So if you think Denny Correll was, well, a little boring here is the proof he could actually rock. Denny was still doing some secular work after he joined Love Song and this is one of them and while this is not an overtly CCM album there is a common Christian theme throughout the album. The band also included guitarist Anthony Dean who worked with Darrell Mansfield for years. This is a great 70’s style Rock & Roll album that had a worldwide release and I’m a little surprised it’s not better known. The single of course was “Good Old Rock And Roll” which was picked entirely based on it’s name because it’s probably the weakest track on the album. There are many better tracks that could have been chosen and then perhaps we would have heard of this album. So here’s a little known piece of Denny Correll history that deserves to be listened to.
Tracklist 1 – Good Old Rock And Roll – 2:45 2 – Tell Me Why – 3:25 3 – Save The Country – 3:05 4 – What Ya Gonna Do? – 3:03 5 – We Can Make It – 3:08 6 – Red Man – 4:45 7 – Southern Bound – 2:39 8 – Clap Your Hands – 2:56 9 – Hold On – 2:47 10 – New Day’s Coming – 4:03 11 – Children Of The Mountain – 4:56
Credits Drums – Bobby Guidotti Guitar – Anthony Dean, James Daniel Vocals – Denny Correll
Companies, etc. Phonographic Copyright ℗ – CBS Inc. Pressed By – Columbia Records Pressing Plant, Pitman
Although most of the material here isn’t CCM, it is Steve Bell’s early work, which makes it interesting enough for us. “Help Me Lord” is a notable exception but most of the tracks are love songs of one sort or another. It’s a collection of pop-y folk-y songs that sound a little more 70s than 80s. There are plenty of harmonies, and Steve’s strong guitar work is on display here. Elias, Schritt & Bell were a group that Steve played with before starting his solo career, making Christian music for a few decades, and winning a few Juno awards and nominations along the way, as well as various other awards. This was recorded in “Studio 11” at the CBC studios in Winnipeg and released by the CBC. The group did not have any follow up recordings, but did tour locally. Steve released his first solo album in 1989.
Tracklist 1 – Awakening – 3:01 2 – Feelin’ Just Fine – 3:32 3 – Jenny – 2:36 4 – Once In A While – 3:31 5 – Never Too Late – 3:52 6 – Wipe The Tears – 3:32 7 – Kristy – 3:34 8 – So Long – 3:09 9 – Maureen – 1:47 10 – Help Me Lord – 3:15
Credits Alto Saxophone – John Schritt Bass – Gary Stefaniuk Co-producer – Andre LaRiviere, Norm Dugas Drums – Gord Metcalfe (tracks: Once In A while), Gord Osland Electric Guitar – Paul O’Neill Executive Producer – Mark Goldman Flute – John Schritt Guitar – Steve Bell, Tim Elias Keyboards – Norm Dugas Percussion – Paul Cerilli Vocals – John Schritt, Steve Bell, Tim Elias
Companies, etc. Produced For – Radio Canada International Published By – R.E.S.B. Publishing Recorded At – CBC Studio 11, Winnipeg
This is Paul’s 8th album but it had a first for him. The album had his first CCM charting single with “Tell Them All” making it to #18. Paul certainly had many great songs before this but finally CCM saw fit to put him on the charts. As usual however the charting single is not the best track on the album. That would be “Here To Stay” which is an excellent duet with Kelly Willard. It’s a much better track that should have singled. The album has a Soft Rock sound with a jazzy feel in places and is pretty good but a little repetitive in places. While a good album this is not his best work as his 70’s work was phenomenal but his 80’s work was more mainstream.
Tracklist 1 – Tell Them All – 3:12 2 – Breakaway – 4:54 3 – Broken Fool – 3:12 4 – One You Love – 3:45 5 – He’ll Use Me – 3:33 6 – Every Breath – 3:54 7 – Here To Stay – 3:48 8 – Hold On – 4:09 9 – Distant Shore – 3:17 10 – More Than Survivors – 5:06
Credits A&R – Neal Joseph Acoustic Guitar, Guitar, Electric Guitar – Curt Bartlett Artwork, Design – Paul Gross Bass [Fretted], Bass [Fretless] – Lee Jones Design [Inner Sleeve] – Dennis Hill Drums, Percussion – Jim Delong Engineer – Bobby Cotton Engineer [Additional] – Bill Maxwell, Chris Bauer, Peter Haden Mastered By – Bernie Grundman Photography By – Scott Hensel Piano, Electric Piano, Acoustic Guitar, Lead Vocals, Backing Vocals, Producer, Engineer, Written-By – Paul Clark Saxophone, Flute, Synthesizer – Dan Mardock
Fernando was born in Albuquerque, New Mexico but spent parts of his youth in Ecuador and Barbados as his father was employed by the United States Department of State. He attended University of New Mexico and received his bachelor’s degree in music education. Some of you are saying, hey this album came out in 2000. Actually this album was first released in 1991 on small Christian label Urgent. As his popularity grew the album was rereleased in 2000 on Discovery House Music. Though Fernando is an accomplished piano player the album does not concentrate on his piano playing and is instead a full instrument suite album. It leans to easy Listening but is enjoyable and musically sound. As for Fernando he would go on to record many more albums as well as serve as worship leader at Anglican and Evangelical Churches. He is active and touring today and you can find out where he’s playing next on his website.
Tracklist 1 – Through The Fire – 4:46 2 – Night Of Your Return – 4:41 3 – Walking On The Water – 4:40 4 – Father Of My Heart – 4:10 5 – A Son Of Your Love – 4:30 6 – Into The Morning – 4:43 7 – In A Welcome Field – 4:23 8 – Chimayo – 3:41 9 – ‘Til I Reach My Home – 4:52 10 – Lord, I Want To Be Like Jesus – 3:48
Credits Ben Rodgers – Engineer, Mixing Eddie Ashworth – Engineer Fernando Ortega – Composer, Primary Artist Gordon Garrison – Engineer Herb Schucher – Drums John Schreiner – Composer, Producer Mike Reese – Mastering Phillip Sandifer – Executive Producer
The day after Christmas, 2007 Roby Duke suffered a heart attack and went home to be with the Lord. Two days before this he was sharing the stage with his musician son. Many, if not most, in the world of CCM did not know of his passing, nor did many even remember what a wonderful artist they had in their midst for three decades. He was 51 years old. Never did Roby Duke fit the mold of pop star. He did not posses those album cover gracing good looks, he didn’t create music for “today” and he didn’t fit the Nashville scene. Even the rerelease of this great album sported a new cover without his picture and just a painting of a guitar! Though growing up in Mississippi he wrote and performed the music of a Californian wearing an Hawaiian shirt and looking more like a Jimmy Buffet fan that a killer jazz and soul musician and singer. His greatest accomplishment may have been never sounding like he was part of the Nashville machine. In 1980 he signed with Songbird records, a joint effort between Sparrow Records and MCA for artists with a decidedly mainstream sound or potential. Roby Duke’s music was so out-of-place in CCM, with its clear soulful and jazz influence and a cool factor that was through the roof. The album sported a host of who’s who musicians and vocalists including Hadley Hockensmith, Marty Walsh, Harlan Rogers, Keith Edwards, Dan Huff, Alex MacDougall and Rob Watson. How can anyone go wrong with two members of Daniel Amos and nearly the totality of Koinonia? CCM sweetheart Kelly Willard also appears on a great duet. Produced by the legendary Jonathan David Brown, the only artist even close was Bruce Hibbard who also added some songwriting support for the project. Tom Keene’s string arrangements are just flawless. The album also marked the increased involvement of the great Wally Grant, another engineer/producer that deserves a heap of praise for his amazing tenure of work. From songwriting to performance this is nearly a perfect album!
Kicking of the a simple electric keyboard and silky vocals “Love Is Here to Stay” makes a quick transition into a killer jazz groove that doesn’t let up for another ten songs. Driven by Hockensmith’s funky riff and the killer brass section the song is the definition of “put the top down” California coast jazz.
“Time to Stand” shows the strength of Duke as songwriter and vocalist. The simple arrangement is carried by Duke’s voice and Patitucci’s amazing bass line. This song oozes with cool.
“Season’s of Change” remains my personal favorite of all of Duke’s great songs here and elsewhere. Live this song was great as Duke was a very underrated guitar player and his upbringing on the bass lead to a “thumping” style acoustic guitar playing that was a real treasure live. This song lent itself to a great live “thumping guitar” experience. It was also one of the three or four songs from the album that stayed on rotation at KYMS for many years.
The ballad, “Carpenter” shows exactly what a great song in the hands (or throat) of a master can be like. The vocal inflections and willingness to let the song’s nuances deliver the feeling is shown perfectly here. There are times when his vocals are restrained in order to make the bigger moments work as well as they do in such a simple and lovely song.
For some reason the re-issue of this album replaced the title “Feel It Comin’” with “You Love Me.” It a great song and features Kelly Willard on a duet. Not sure why the change?
What should have become a praise and worship staple, “O Magnify the Lord” was just a bit too “jazzy” I guess. Lyrically it is nearly straight Scripture and the breezy Seawind like jazz arrangement is just stunning. Here we also get a taste of just how smooth and cool Harlan Roger’s keyboard work can be.
“Can’t Stop Runnin’” is a Bruce Hibbard composition that Marty McCall and Fireworks also performed. “Love is Here to Stay” is also a Hibbard tune. That funky yet smooth groove here just works perfectly.
“Rested in Your Love” is my favorite ballad from the album. Keene’s string arrangement works so nicely in support of Duke’s soulful sound.
The title track returns to the killer groove that are the hallmark of Duke’s music. The chorus just sticks with you and the backing vocals on the chorus really move the song. I still remember roller skating at Christian music night to this song. It’s disco tinged groove combined with the great jazz infusion is very good memory stimulator. The song, like the whole album creates an image of not only a time but a place in history.
The album closer, “Promised Land” is Duke’s finest vocals on the album. There is an emotional tinge that really shines through on this plaintive call of the Gospel presented in the lyrics. This, coupled with Brown’s best backing vocal production and arrangement, makes this call believable, authentic and musically realized. It has a real Bob Bennett quality to it. The slow vocal fade at the end just stays with you.
For all the criticism CCM has thrust upon it (some justified, some not) it is the lack of any real understanding of history and those that went before us a generation previous that frustrates me the most. This, I believe, stems from a Church (universal) that thinks Church History started when their Pastor graduated from Bible School. There is little to no sense of history within the halls of Christendom, so why should the music it creates reflect something different?
I should know better…
That is a such a shame!
But despite that the album remains of the best ever recorded in CCM and more than deserving of its placement in this list.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Love Is Here To Stay – 3:59 2 – Time To Stand – 3:46 3 – Seasons Of Change – 4:55 4 – Carpenter (Do What You Got To Do) – 4:15 5 – Feel It Comin’ – 3:19 6 – O’ Magnify The Lord – 3:40 7 – Can’t Stop Runnin’ – 3:34 8 – Rested In Your Love – 3:37 9 – Not The Same – 3:57 10 – Promised Land – 4:15
Credits Arranged By – Harlan Rogers, John Patitucci, Jonathan Brown, Roby Duke Art Direction – George Osaki Bass – John Patitucci Drums – Keith Edwards Engineer – Walley Grant Engineer, Mixed By – Jonathan David Brown Guitar – Hadley Hockensmith, Marty Walsh Keyboards – Harlan Rogers Lead Vocals – Roby Duke Mastered By – Steve Hall Percussion – Alex MacDougall Photography By – Alan Bergman Producer – Jonathan David Brown Saxophone – Michael Carnahan Synthesizer – Rob Watson Trombone – Doug Wintz Trumpet – Ralf Rickert
This is the second album from Bob and Jayne and Word records (The distributor) promoted it like crazy. It included the enduring hit “Boundless Love” (originally written and released by Dennis Loewen) which made it to #13 on the CCM charts. The bigger hit on the album was actually “All You Need” which climbed to #3. This track featured Amy Grant on background vocals which must have had something to do with the albums producer Brown Bannister. Bob said in an interview that he sought out Bannister after hearing Amy’s first album. Brown listen to some of the Farrell’s first album and wanted to do this album. They headed into Gold Mine Studios in Nashville, which was owned by Chris Christian, and cut the album. Farrell & Farrell are not exactly my preferred genre but they always seemed to have the ability to get a few tracks on each album that I liked. Most of this album is soft rock but there’s a few tracks that keep me interested. This in one of the CCM era albums that everyone should listen to.
Tracklist 1 – I Couldn’t Live Without You – 3:44 2 – Fallen – 3:55 3 – Put More Love In Me – 3:23 4 – Can’t Ask Anything More – 2:27 5 – Boundless Love – 3:34 6 – No Need – 3:04 7 – Find It In The Word – 2:52 8 – Jailhouse Rock (Acts 16:16-34) – 1:50 9 – All You Need – 4:44 10 – Scars – 4:12 11 – A Place In His Heart For You – 3:03
Credits Acoustic Guitar – Jon Goin, Larry Byrom, Ron Elder Backing Vocals – Amy Grant, Ava Gardner, Cindy Richardson, Marie Clark Bass – Jack Williams, Jerry Bridges, Mike Leach Congas, Bongos – Terry McMillan Cymbal – Terry McMillan Drums – Kenny Malone, Roger Clark Electric Guitar – Jon Goin, Larry Byrom Electric Piano – Randy Goodrum, Bobby Ogden, Shane Keister Flugelhorn – Harrison Calloway, Jr. Flute – Quittman Dennis Horn – Charles Rose, Harrison Calloway, Jr., Harvey Thompson, Ron Eades Lead Vocals – Bob Farrell, Jayne Farrell Lyricon – Quittman Dennis Organ – Shane Keister Percussion – Roger Clark, Terry McMillan Piano [Acoustic Piano] – Bobby Ogden, Randy Goodrum, Shane Keister Strings – Shelly Kurland Strings Synthesizer – Shane Keister Saxophone, Lyricon – Quittman Dennis Trombone – Charles Rose
This is the second album of theirs that we’ve featured and I still can’t find out anything about them. This is their second albumand it appears to be U.K. only release except that it was re-released in Germany in 1993 on CD. I have discovered that Chris Kyle has continued his music career as a studio musician and actually appears on lots of projects and is still working currently. Alistair Stewart appears to have moved on from a recording career as there is no activity from him after 1992. This album is also firmly in the easy listening category with a couple upbeat tracks. Some real talent in these guys and I’m surprised this didn’t get an American release. Anyway enjoy the soothing sounds of Stewart & Kyle.
Tracklist 1 – Come Early – 3:49 2 – America – 4:17 3 – C’est La Vie – 3:23 4 – When Love Came Down – 2:52 5 – Open Boat – 4:45 6 – Do You Remember? – 3:57 7 – Don’t Hold Me Back – 4:42 8 – Many Times – 3:25 9 – Living In These Days – 4:57 10 – The Sad And Lonely – 4:14
Credits Vocals, Guitar, Written-By – Chris Kyle Vocals, Piano, Guitar, Written-By – Alistair Stewart
“How the West Was One” is an artistic achievement of its own and is deserving of its representation here if only for the remarkable performance of Phil Keaggy. Phil Keaggy, more than any artist in Christian music, has suffered from the limitations of studio projects. Most fans of Keaggy bemoan how his live performances have never been captured in the studio. This is certainly not the case here, but that will be dealt with later.
The first thing to note is the ambitious scope of the project itself. A few years earlier the 2nd Chapter of Acts had released a live album with fellow Jesus Music pioneer, Barry McGuire. That album was a double album and sold relatively well based primarily on the success of Barry McGuire who brought quite a strong musical legacy to Christian music. This project was more ambitious being a very rare three record set with the 2nd Chapter of Acts having to carry the load as Phil Keaggy was a relative newcomer to the market and his following was much more in the rock musician vein. Add to that the fact that the SCOA had not released another album of new material since the previous live album with McGuire.
But the pure passion and quality of the performances included on this project are simply top rate. The back up band, a band called DAVID, contained some of the best musicians Christian music has ever witnessed. The band was not called “DAVID” but rather “a band called DAVID.” The band included Gene Gunnels, former drummer Strawberry Alarm Clock, Peter York and the amazing Richard Souther. Along with Keaggy playing throughout the entire album the musicianship was superior. The live band also made the music of SCOA more authentically contemporary,
Highlights include “Hey, Watcha Say,” “Which Way the Wind Blows,” Yahweh,” and one of the finest versions of “Easter Song” to date. The recordings, which were culled from an 18 city tour during 1977, were incredibly well produced with exceptional mixes.
As much as I am a huge fan of the Second Chapter of Acts this project was truly a coming out party for Phil Keaggy. Previous to this release Keaggy was a bit of a cult hero, but mainstream Christian music had not completely caught on to this amazing master. Underground rock fans were familiar with Keaggy and his previous band Glass Harp, a sixties influenced, psychedelic blues influenced band that released three fantastic projects that saw limited success.
Keaggy’s guitar virtuoso reputation was impressive and many urban legends regarding secular guitar heroes respect for his abilities have continued unabated despite nefarious beginnings. One included a comment from famed guitar “rock god” Jimi Hendrix supposedly calling Keaggy the greatest guitar player in the world. Keaggy denies even the possibility of this by noting that Glass Harp’s first album did not even begin to be recorded until weeks after Hendrix’s death.
But these legends have continued for 40 years precisely because of the kind of guitar work demonstrated on “How the West Was One.” Both acoustic and electric stylings are represented here and the craftsmanship is simply unbelievable.
Highlights include “What a Day,” the title track from Keaggy’s debut solo record and has remained a staple for Keaggy for nearly 40 years. “Your Love Broke Through” was the title track of Keaggy’s second release and is a wonderful Jesus Music classic penned by Randy Stonehill and Keith Green. It is said that Green was so impressed by Keaggy and his version of the song that he requested that Keaggy release the song before he did.
But there are two songs that simply make this project the true classic that it has become. The first is the nearly 17 minute version of “Rejoice” that shows both Keaggy’s amazing skills and the subtlety of his guitar work. This is not some long rambling “jam” but rather the work of a master displaying diversity, restraint and creative skill. Much of the instrumental spotlight is exclusively the work of Keaggy as the rest of the band simply stops playing and leaves Keaggy and his guitar work center stage.
The other highlight is quite possibly the “Stairway to Heaven” of Christian music. The song, “Time” is a 10 minute tour de force of rock at its finest. Where “Rejoice” shows the innovative, creative and quieter side of Keaggy’s work, “Time” just flat out rocks and contains the finest rock work of Keaggy’s career. The song shows the blazing speed and tasteful lead work that always seems to be missing from his studio projects. The back and forth playing between Keaggy and keyboardist Richard Souther is a sheer rock and roll joy.
“How the West Was One” is a snap shot in time and, in some ways, spelled the end of the Jesus Music part of Christian Music’s history. Things seemed to get “bigger” after the release of this project and two Jesus Music’s leading performers would become significant cogs in the bigger music medium of the 1980′s. But for that moment in time, this wonderful album remains a reminder to what was as it, at the same time, pointed to would be.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Concert Intro – 2:19 2 – Hey, Watcha Say – 4:13 3 – Keep On Shinin’ – 3:26 4 – I Fall In Love/Change – 5:49 5 – Now That I Belong To You – 4:08 6 – What A Day – 6:38 7 – Love Broke Thru – 4:26 8 – Take Me Closer – 5:34 9 – My Life – 5:58 10 – Another Try – 5:06 11 – Rejoice – 16:57 12 – Just The Same – 4:17 13 – Hallelujah – 5:37 14 – Time – 9:35 15 – Easter Song – 4:54 16 – Dance With You – 4:07 17 – Which Way The Wind Blows – 4:44 18 – Something Tells Me – 6:32 19 – Yaweh (Yawehuesse Cosio) – 3:24 20 – Psalms 61 (From Scripture) – 3:18 21 – Grinding Stone – 2:47 22 – Receive – 3:53 23 – Morning Comes When You Call/Son Comes Over The Hill – 6:51
Credits Marc Curtis – Coordinator [Concert] Wally Duguid – engineer Nelly Greisen – vocals Gene Gunnels – drums Annie Herring – piano, vocals Buck Herring – producer, mixer, concert intro Phil Keaggy – guitar, vocals Herb Melton – bass Richard Souther – piano, multi-keyboards, background vocals Matthew Ward – vocals Peter York – rhythm guitar, background vocals
Companies, etc. Manufactured By – Word, Inc. Distributed By – Word, Inc.
This is Sharalee’s (Sharalee Lucas Sherman) 5th album. She was completely unknown to me but this is another case of someone who’s genre wasn’t my choice. She actually appeared on a ton of albums in the 70’s including Walt Disney’s Voices of Liberty. She also hosted the 1978 Dove Awards with her husband of the time Jerry Lucas who was a NBA basketball star. As for the album well it’s rather strange. The music has a funk feel but her vocals are completely unsuited to this style. Also strangely there is one country track on the album but this track suits her vocals. The album was produced by John Thompson who was a great producer but I have no idea why he thought this album was good. Continuing the strange of this album, it was re-released a year later on Impact records. Impact did a different much better album cover but otherwise the album was identical. Anyway give it a listen and tell me what you think.
Tracklist 1 – Stand Up And Be Counted – 4:19 2 – Gettin’ Out – 3:12 3 – Welcome Love – 3:45 4 – Even As We Are One – 3:36 5 – Lead Me Home – 3:43 6 – Don’t Give In – 2:55 7 – Open Up My Eyes – 3:15 8 – Glory Forevermore – 4:41 9 – Don’t Look To Me – 2:46 10 – You Mean More To Me – 3:25 11 – Resurrection Power – 3:30
Meet Jesus Music were a U.K. Jesus music band out of the 70’s. I had never heard of them before so I started doing some research and discovered they were pretty popular in the U.K. at the time. The U.K. didn’t have as many Jesus music bands so these guys filled a gap in local music. This is their second and last album but many members of the band went on to have solo careers. The band is probably best known in the 80’s circles for their performance at Greenbelt in 1979. As for the album it is your rather typical Jesus music and nothing really stands out to me but that’s not to say it’s bad. To me a lot of music form this era sounds the same but I am not a connoisseur of this era and I don’t mean any disrespect to the music.
Tracklist 1 – Gold – 5:05 2 – Too Many Times – 4:05 3 – Just One Touch – 4:06 4 – High Time – 2:40 5 – Cannot Understand – 4:15 6 – Hey Mr. Sally Ann! – 3:22 7 – Jesus – 3:22 8 – Take Time – 4:51 9 – Don’t Let Them Fool You – 4:21 10 – Praise the Lord! – 3:20
Credits Bass – Simon Dennis Bass Trombone – Dave Scragg Cello – Dave Thorn Congas, Timbales – Julian Sullivan Design – Gillard Bros. Graphics Drums – Tony Taylor Engineer [‘Live’ Sound Engineer] – Mike Waller Engineer, Producer – John Pantry Guitar – Dave Gillard Harp – Muriel Liddle Trombone – Dave Gladman, Keith Brown Trumpet, Flugelhorn – Ray Allen Vibraphone, Flute, Arranged By [Brass Arrangement] – Peter Shade Vocals – Angie Routledge Vocals, Guitar, Trombone – Ken Smith Vocals, Keyboards – Keith Routledge, Lou Hayles
