I have seen King’s X live on three occasions. I still have no idea how they pull off their sound live with just three guys. It is really impressive. Of course, one of the times I saw them they were the band for CCM pop artist Morgan Cryar. They played at the infamous “lighthouse” in Orange County. With their third release, Faith, Hope, Love, King’s X were positioned to become the next great rock band, and even though they have garnered a stellar track record and decent fan base, the world just some times doesn’t “get it” when it comes to great and significant rock. Possibly more “commercial” than the first two release, FHL, is still a rocking album and filled with the bands unique, creative and progressive rock music. The Beatlesque vocals married to big and heavy rock just seem to work so well, especially here. The single, “It’s Love” is a brilliant song that deserved even more radio support than it did. But like most King’s X projects it’s deeper into the album that the real gems shine though. “Fine Art of Friendship” has such a killer groove that sticks with you and a wonderful message of reconciliation. “We Were Born to Be Loved” just flat out rocks…hard! And the spoken vocal just works perfectly. Many prefer the debut because of it’s greater progressive and creative influence, but FHL delivers such a consistent and listenable sound that it bears more repeated listening.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – We Are Finding Who We Are – 4:39 2 – Its Love – 4:34 3 – Ill Never Get Tired Of You – 3:46 4 – Fine Art Of Friendship – 4:21 5 – Mr Wilson – 3:39 6 – Moanjam – 6:05 7 – Six Broken Soldiers – 3:32 8 – I Cant Help It – 3:53 9 – Talk To You – 4:36 10 – Everywhere I Go – 3:53 11 – We Were Born To Be Loved – 4:52 12 – Faith Hope Love – 9:23 13 – Legal Kill – 4:42
Credits Art Direction – Derika Van Reenan Artwork [Back Cover Illustration] – James McDermott Artwork [Front Cover Illustration] – Randy Rogers Bass Guitar, Vocals – Doug Pinnick Drums, Percussion, Vocals – Jerry Gaskill Engineer, Recorded By – Steve Ames Guitar, Sitar, Vocals – Ty Tabor Management – Sam Taylor Mastered By – Tony Dawsey Photography By – George Craig Producer – King’s X, Sam Taylor Written-By – King’s X
After nearly a decade of writing, performing and touring with a group bearing his name, Pat Terry found himself working as o solo artist in the early 1980’s. While the Pat Terry Group was a Southern Rock/Country (with the emphasis on a mellower country feel). Pat Terry the solo artist sported an Americana rocker drive similar to Tom Petty and apparently positively influenced by producer Mark Heard. There is an eerie similarity in Terry’s singing and writing to Mark Heard’s Domino and Victims era and that is not a complaint. Like Heard, there are also touched of Lindsey Buckingham present as well. While the tow later Heard produced albums (Film at Eleven and The Silence) feature longer, darker and more “difficult” songs, Humanity Gangsters is filled with hope, passion, doubt and a commercial bent that is both immediately likable and transcendent. The Right Place welcomes the listener in with a hand of fellowship despite their current circumstances. Terry creates an air of acceptability for those longing for truth and acceptance. Too Many Voices sounds like a song lifted from Heard’s “Victims of the Age” thematically with the description of a man whose life is filled with too many voices clamoring for his attention and response. The ballads are less sweet and radio friendly than one might expect from a Jesus Music pioneer, with “Sounds So Simple” being the perfect example. In an evangelical world where easy answers are offered on Church marquees Terry laments the lack of transparent honesty offered by modern Christendom. Personal favorite and album highlight is “Don’t Take It So Hard.” Expanding on the previous songs lamenting of easy answers, here the Springsteen like Terry explores how the world (radio, newspapers, TV) adds to the easy answer dilemma and how the pain of not having the personal contact with those around us makes sharing the real truth so difficult. The two closers from each side would stand as the only real radio releases (though at the time radio was not ready for the content). In the vein of Stephen Bishop and James Taylor “Steal away” and “Nothing I Say” are beautiful ballads, simple, honest and poignant. The latter will remind listeners of Heard’s Appalachian melody. This album was such a revelation of songwriting, musicianship and personal expression at the time. Even now as I listen again to write this review I am swept away into a wonderful work that deserved greater appreciation and response. It also amazing me how truly relevant it sounds, both musically and lyrically, some 30 years later.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – The Right Place – 3:46 2 – Too Many Voices – 3:02 3 – Sounds So Simple – 3:16 4 – Don’t Take It So Hard – 5:02 5 – Steal Away – 3:55 6 – Open The Door – 4:23 7 – Can’t Be Satisfied – 3:58 8 – I’ll Come Back To You – 5:19 9 – Nothing I Say – 3:08
Credits Acoustic Guitar, Electric Guitar, Slide Guitar, Guitar, Soloist, Harmonica, Lead Vocals, Synthesizer, Written-By – Pat Terry Backing Vocals – Mark Heard, The Strat Brothers Bass – Billy Batstone, Mark Heard Congas – Alex MacDougall Drums – John Mehler Electric Guitar – Mark Heard Engineer – Bill Cobb, Mark Heard, Chris Taylor Handclaps – Mark Heard Mastered By – Bernie Grundman Mixed By – Mark Heard, Pat Terry Organ [Hammond B3] – Carl Pickhardt Percussion – Alex MacDougall Photography By, Layout – Mark Heard Piano – Carl Pickhardt (tracks: A4), Pat Terry Producer – Mark Heard, Pat Terry
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
“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.
Clearly the single greatest oversight in the previous Top 50 list was the omission of Bob Bennett as an artists, and most specifically, this amazing project as an album. That omission is hopefully rectified here with its inclusion in the Top 20; a well deserved placement for one of the early 80’s most poignant, important and brilliant releases. Bennet’s stories songwriting career found a zenith of sort in the nearly perfect musical expression. A decade before the strains of life brought a painful album of loss and regret in “Songs From Bright Avenue,” Bennett released “Matters of the heart,” an album filled with grace, yearning, hopes, legacy and love. Brilliantly performed with not one stray note or moment, the album is Bennett’s finest complete collection. There is nothing here that can be skipped. No album title has ever been more apropos than the one here as Bennett explores the emotional, nostalgic, inspiration and frailty of the human heart and its faltering condition. The themes are set against some beautiful melodies that warm, soothe and wrap their notes around the listener in such a gentle and calming way that the album serves as both wonderful background music and forefront personal examination encouragement. Bennett’s first release was on Maranatha Music and Bennett noticed from the very beginning that he did not quite fit with the rest of the artists on the label and with the Calvary Chapel way of doing things. the label’s pastoral type executive were kind enough to allow Bennett to record his brilliant debut, but did nothing to garner airplay, tour support or marketing. In fact, Bennett was left out of all of the label sponsored concerts and events. Bennett’s concerns about the relationship were verified when there was never a discussion about a follow up despite the albums relative success given the lack of support. So, as the 1970’s became the 1980’s Bennett found himself with a suitcase full of songs and no label. At the same Time CBS Records was working on an “Inspirational” imprint with eyes of taking CCM into the mainstream with artists they believed carried that potential. The James Taylor-like musical expressions of Bennett’s soulful pop had a strong Adult Contemporary, acoustic appeal that was quite popular at the time. The label would be called “Priority Records” and would be the home of everyone from Bennett to Carman and even a one-off by Mylon LeFevere under the name, “Look Up.” Bennett was impressed initially by the label when the label’s President actually personally returned a phone call to him. This true rarity gave Bennett hope this would be his new musical home. Bennett went into the studio with Jonathan David brown to record some demos for the label and eventually signed with the label. Bennett described to me that after the rather simplistic contract with Maranatha Music, the CBS record deal would make the IRS regulations seem pale in comparison. After signing Bennett returned to the studio with Brown and a sick list of musicians that would make most artists green with envy. Smitty Price was brought in to create the band charts, arrangements and lead the band that consisted of Hadley Hockensmith, John Patitucci, Keith Edwards, John Ferraro, Alex MacDougall and Price. Bennett was joined by Kelly Willard and the impeccable Roby Duke on backing vocals.There are even real strings to be heard here! What made the album seem so consistent throughout was that even though the album was loaded with brilliant musicians there was primarily one core band with only Ferraro and Edwards sharing the drumming duties. This gave an amazing studio album a true band feel throughout. Much kudos here to Brown for making it come together flawlessly for the listener. The albums title track and finishing track share a similar musical landscape and even a similar title. This somewhat thematic approach weaves throughout the entire project. Opening with “Matters of the Heart” and closing with “Heart of the Matter,” the album introduces and brings home all of these themes into one cohesive unit. The album starts off with the title track and the listener is immediately introduced to a wonderful acoustic musical, swirling melody that quickly morphs into a jazzy vibe that is utterly infectious. The listener is also introduced to brilliant songwriter at his very best. The song delivers a powerful message of the truth that there are things that numbers, statistics and sales cannot measure, nor define; these are the true matters of the heart. These undefinable feelings, impressions and responses cannot be put through a strainer or defined by an outside source. The constant struggle to understand the “concrete and the spiritual” that wields this internal battle is so beautifully portrayed that the only lyrical comparison would be something from Bruce Cockburn’s “Dancing In the Dragon’s Jaws.” This would probably also serve as a good starting point musically. the guitar work, especially Bennett’s acoustic work is very reminiscent to Cockburn’s work on that album. It should be noted here that not only did Bennett surround himself with brilliant musicians, he is also an accomplished acoustic guitar player. The previous comparison to Cockburn is meant to be taken lyrically and musically. His playing both melodic and intricate. Perhaps only Keaggy and Heard would rival his playing. The beautifully jazzy “Falling Stars” will remind some listeners of Roby Duke’s softer side or the aforementioned Cockburn’s “Night Vision.” Here the heart’s struggles and pain are examined. Sin and the pain of loss are compared to these falling stars with no hope but to crash. But Bennett finds a glimmer of hope as the song concludes that hints at what will be revealed later in time and on the album. One of Bennett’s truly great artistic achievements follows with “Mountain Cathedrals.” This epic song of epic praise reads like a Psalm where the writer realizes just how minuscule he is compared to the vast creation and majestic work of God, all the while realizes this same God loves him personally. Bennett’s personal frailty is so common that one would be hard pressed not to relate. Musically, the album is a real treasure as it floats from a simply worship like melody to this wonderful Celtic type musical break and closes with a more country rock feel of the same melody. It is nearly progressive in a purely acoustic setting. The first of a few “legacy” songs is “1951,” a poignant picture of his family, especially his father. One can see the song , written in black and white, and compares favourable to Bruce Springsteen’s more emotive lyrics, though musically very acoustic jazz. The legacy of simple faith and the need to pass along to further generations the faith and family values is on display here. Nothing about the life of the family sounds easy, but rather, all too real. A long time personal favourite is “A Song About Baseball.” This same father introduced in the previous song appears here as a loving and compassionate one who loves his son no matter the results of his athletic endeavours. Bennett croons, “He loves me, no matter how I played.” And so, this example rings true about a heavenly father who loves us no matter what. One line that really sticks with the listener is “nothing mattered after the game, when my father would find me, and call out my name.” The simple expression of a father knowing his son by calling out his name leaves an indelible mark. On “Madness Dancing” the heart finds a heart that is more expressive and joyous than elsewhere on the album. There are times when all hearts must simply release its love for God even in ways that are unconventional and uncomfortable. Though there are times to experience a sombre, sober and reflective worship, there are times when the heart must be free of expectations. It is at these times that Bennett cries out, “I don’t want to shoot anyone, with my high powered doctrine gun.” I also would like to bring attention to the great band feel on this song, especially the brilliant guitar work by Hockensmith. The album returns to a much more reflective and difficult content with “Together All Alone.” The struggles for purity and true relationship are contrasted with the desire to be loved and to interact on a deeper level. Very few songs understand the real struggles of young people and older ones alike like this song. The first story revolves around a lonely and needy young boy whose girlfriend had moved away leaving him at a loss. But Bennett’s keen wisdom and lyrical precision describes the struggle perfectly with the lines, “She bounces his heart like a basketball” and “he lies with his with back to back…together all alone.” Then leaves a chilling and sombre reminder that somewhere, half-way around the world, “a shepherd tends his sheep” “Beggar” always brings to mind Walter Wangerin’s great short story, “Ragman,” in which a man trades in his rags for new clothes. In Wangerin’s powerful story the beggar trades his old clothes with another who takes upon himself the wounds and scars of the beggar. Here the beggar is clothed in new garb who is also now well fed because he discovered where true bread resides. I will not claim that “Come and see” in Bennett’s finest moment ever, but it certainly ranks up there among his best. This beautiful and worshipful melody is just captivating. It should have grown to be a great song of invocation or calling for its majestic sound and yearning content. Bennett calls the listener to come and meet this man from Heaven. A recent Facebook discussion led one man I admire greatly in the industry to refer to the song as “majestic.” I cannot disagree, I find myself hitting repeat quite often as I listen to the album. Though it does not serve as the album’s closing piece, it does, in way, close out the albums message with a call to meet the Savior. In the hands of a less gifted communicator the content could have sounded trite and simplistic, but with Bennett it is revealed as authentic, genuine and convincing. The album closes with somewhat of a reworking of the title track in “Heart of the Matter.” After a short acoustic introduction, the title track’s rhythm and groove is repeated with a chord reversal to match the title’s reversal. There is one moment when the song retraces the actual title track’s melody, then returns to its initial form. It is is really a musically brilliant work and Bennett, Brown and, especially Price, deserve serious kudos. CCM Magazine made the album it’s “Album of the Year” and would later include it in the Top 20 of it’s first “Greatest of All Time” countdowns. It would also show up up lower when the CCM released its Top 100 of all time, which is ridiculous! Bennett ranks with Mark Heard, Bruce Cockburn and Terry Scott Taylor as among the finest songwriters in Christian music history. “Matters of the Heart” is Bennett’s finest work ranks among the very best singer-songwriter albums in or out of Christian music.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Matters Of The Heart – 3:30 2 – Falling Stars – 3:07 3 – Mountain Cathedrals – 4:54 4 – 1951 – 3:07 5 – A Song About Baseball – 3:21 6 – Madness Dancing – 3:19 7 – Together All Alone – 2:48 8 – Beggar – 3:57 9 – Come And See – 2:51 10 – Heart Of The Matter – 6:10
Credits Acoustic Guitar – Bob Bennett Arranged By [Strings & Woodwinds], Conductor – James Gabriel Stipech Art Direction – Bob McConnell Booking – The Holmes Agency Concertmaster – Pavel Farkas Drums – John Ferraro, Keith Edwards Electric Bass, Acoustic Bass – John Patitucci Electric Guitar – Hadley Hockensmith Engineer [Second] – Wally Grant English Horn, Flute, Saxophone – John Phillips Guitar [2nd] – Steve Swinford Hammered Dulcimer [Hammer Dulcimer] – Mark Davis Keyboards – Smitty Price Mastered By – Steve Hall Percussion – Alex MacDougall Photography By – Ken Kim Photography [Bob Bennett and Albie Pearson] – Dad Producer, Engineer, Mixed By – Jonathan David Brown Score Editor [Rhythm Charts] – Smitty Price Steel Guitar – Steve Swinford
If ever the added artist inclusion of “friends” even meant anything it was on Paul Clark’s classic rock and roll album “Good to Be Home.” The Phil Keaggy factor is HUGE here including his inclusion as the lead vocalist on the opening track. Keaggy’s guitar work is also all over the album. And it’s some of Phil’s rockier work as in comparison to his own albums released at the same time. For 1975 this was pretty progressive. Hammond organ riffs jettisoning back and forth with Keaggy’s fantastic fret work. Also included amongst the friends are Jay Truax and John Mehler from Love Song. They all collaborated on this album and the “band” feel really shows. “Unveiling” may be one of Clark’s most impressive and compelling songs. Clocking in at just under seven minutes this song truly allows Keaggy to shine, not just in the fancier fret work or scorching leads but in creating ambiance and atmosphere for this epic. This may have been CCM’s earliest foray into progressive rock sounding like a more jazz influenced Kansas number. I once asked several “Jesus Music” experts if they could only own one of Paul Clark’s classic albums, which one would it be. The response was unique in that many stated that though they didn’t believe “Good to Be Home” to be Clark’s finest work, the majority stated it would be the one to own. That says a lot about how often in Jesus Music and CCM the heart of an album can impact ones perception as much as the artistic value.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Holding On To You – 2:30 2 – Which One Are You? – 4:11 3 – All Your Ways – 3:51 4 – Unveiling – 6:42 5 – For My Children – 3:15 6 – It’s All Waiting – 3:25 7 – Good To Be Home – 2:51 8 – Under His Grace – 3:15 9 – Abide – 3:05
Credits Artwork By [Cover Design] – Ted Stone Artwork By [Cover Illustration] – Gary Pycior Backing Vocals – Sandy Dryden Bass, Vocals – Jay Truax Engineer – Bob Cotton Guitar, Vocals – Phil Keaggy Organ – Stew Langer Percussion – John Mehler, Lanny Hansen Photography – Eben Fowler Piano, Guitar [Acoustic], Vocals – Paul Clark Piano, Vocals – Bill Speer Producer – Paul Clark, Phil Keaggy Saxophone, Flute – Barry Kelsey Written-By – Paul Clark, Phil Keaggy
One of the best debut albums in CCM history, Out of the Gery’s self-titled released was so “out of the ordinary” for mainstream CCM as to make one wonder how why they signed to such a major label as Sparrow. Husband and wife duo Christine and Scott Dente made a great career of thoughtful, intelligent and stirring music. Scott is a very underrated guitar player (acoustic or electric) and Christine’s voice is both diverse and consistent. I saw Scott play with Phil Keaggy and Scott did more than just hold his own with the legend. Christine’s voice will sometimes (especially here) draw comparisons to Over the Rhine and The Innocence Mission, with less lilt and more punch. The pop and radio friendly songs are very good, but it is on the more adventurous tunes that the depth and creativity really shows. “Write My Life” has the previously mentioned Innocence Mission feel and matches vocal and music perfectly. Remember this continues to sound fresh and He Is Not Silent is nothing short of brilliant. Literally one could make a mention of every song here and find something worthy to discuss. there is not one forgettable song with only “Dance” not quit fitting with the rest of the album, though it is a good song on its own. Their career has not kept up the steam the debut built up and there has not been a new recording in several years, but one should not think they are not making music or out of the industry. Both continue to appear of friends’ albums and Scott’s guitar work can still be heard on occasional releases. That all should not discount just how great an initial release this album is.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Wishes – 4:58 2 – Write My Life – 4:11 3 – Remember This – 4:31 4 – The Dance – 3:36 5 – He Is Not Silent – 4:00 6 – Better Way To Fall – 4:31 7 – Time Will Tell – 3:21 8 – Perfect Circle – 5:00 9 – The Only Moment – 3:15 10 – The Deep – 3:21
Credits Acoustic Guitar, Electric Guitar, Vocals – Scott Denté Art Direction, Design – Heather Horne Backing Vocals – Vicki Hampton, Vince Ebo Bass – Tommy Sims Booking – Jeff Roberts & Associates Drums – Chris McHugh, Steve Grossman Electric Guitar – Jerry McPherson Engineer [Additional Engineering] – Kevin Twit Engineer [Assistant] – Buzz Leffler, Garrett Rockey, Jonathan Beach Executive-Producer – Peter York Mastered By – Ken Love Mixed By – Bill Deaton, Craig Hansen, Rick Will Mixed By [Assisted By] – Graham Lewis Percussion – Eric Darken Performer [Out Of The Grey] – Christine Denté, Scott Denté Photography By – Chris Carroll Piano, Keyboards, Programmed By – Charlie Peacock Producer, Arranged By – Charlie Peacock Programmed By [Additional Programming], Engineer – Craig Hansen Programmed By [Sampling] – Blair Masters Tambourine – Rick Will Vocals – Christine Denté Written-By – Charlie Peacock, Christine Denté, Scott Denté
Before this album Then there was four years of silence from Krikorian. He continued to write songs for others and had begun building friendships with many of the “disenfranchised” Christian artists who did not fit the mold of popular CCM like Leslie Phillips, T-Bone Burnett and Mark Heard. He had songs placed on mainstream Christian artists albums like Benny Hester and Burnett and Heard recorded some of his music. In 1985 some close friends of these artist that were working at the Myrrh Los Angeles offices started a sub-label in connection with A&M Records called What? Records. The label’s purpose was to be a home to artist who did not fit the CCM mold and would be a haven for more commercial, mainstream oriented artists with spiritual messages. The label was short-lived but released four of the greatest albums in Christian music including two from Tonio K, Mark Heard’s “iDEoLa” and Dave Perkins’ “The Innocence.” The theme of loves lost and found is not new. But in those silent four years a change took place in Krikorian. The beliefs he had for years became faith. According to the interview I had with him right after of the release of “Romeo Unchained” he had discovered grace for the first time in his life. He had also found love. The real kind. And rather than songs of frustration, anger and revenge, there are songs of grace, commitment and hope. That does not mean that he pushed aside the caustic wit and smart and stinging lyrics. Here the pen is pointed against a world that wants to tear down and destroy the love God has provided. The victim of Tonio K’s previous work are now the ones he defends. The whole album appears to be a picture of the juxtaposition of true love and the facade the world offers. I should also note that “Romeo Unchained” may have one of the best album covers ever. The images of half a man as mannequin, the made up attractive woman and iron display the struggles of modern women and the battle for the real and eternal they seek. All with K-9 (Tonio K.) observing this turmoil. There is a little story about K-9 I will mention later. The album was highly praised in both secular and Christian circles. Rolling Stone Magazine would even rave that it was the best Bob Dylan album since Bob Dylan lost interest in pop music. T-Bone Burnett handled much of the production and cast of LA heavyweights lent their talents in the studio including David Mansfield (Dylan) and David Miner (T-Bone Burnett) and David Raven and Tim Chandler of DA/Swirling Eddies.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – True Confessions – 3:40 2 – Perfect World – 4:12 3 – Romeo And Jane – 3:46 4 – You Belong With Me – 4:50 5 – Impressed – 4:24 6 – I Handle Snakes – 3:36 7 – Emotional War Games – 3:53 8 – Living Doll – 3:44 9 – You Don’t Belong Here – 5:51 10 – You Will Go Free – 6:37
Credits Art Direction, Layout – Tim Alderson Backing Vocals – Rick Neigher, T-Bone Burnett Bass – David Miner, Eric Gotthelf, Phil Chen, Rick Neigher, Tim Chandler Coordinator [Production Coordinator] – Penny Payne Design Concept [Visual Concepts], Photography By – Linda Myers Drum Programming – Rick Neigher, T-Bone Burnett Drums – Burleigh Drummond, Freddy Alwag, Ron Aston Engineer – Billy Taylor, Joe Chiccarelli, Larold Rebhun, Mark Heard, Nick Van Maarth, Rick Neigher Engineer [Assistant Engineering] – Carolyn Collins, Joe Borja, Judy Clapp, Peter Doell, Steve Himelfarb Guitar – Billy Steele, Charlie Sexton, Daryl Caraco, Nick Van Maarth, Peter Banks, Rick Neigher, T-Bone Burnett, Tonio K. Horns – Little Effort, Phil Kenzie Management – Gary Heaton Management Mandocello, Violin – David Mansfield Mandolin [Mandocello], Violin – David Mansfield Mastered By – Bob Ludwig Mixed By – Ed Thacker (tracks: A5, B3, B4), Joe Chiccarelli (tracks: A1 to A4, B1, B2) Other [Assistant Engineering] – Milton Other [Cover Girl] – Lisa Taylor Percussion – Burleigh Drummond, Efrain Toro Synthesizer – Bob Rose, Dave Aston, David Lewis, Rick Neigher Technician [Productive Trouble-Shooting] – T-Bone Burnett Vocals [Featured Vocalist] – Tonio K.
Companies, etc. Produced For – Vogue Productions (2) Recorded At – Lawrence Welk’s Champagne Recorders, Hollywood, CA. Recorded At – Baby’O Recorders Recorded At – Eldorado Recording Studios Recorded At – Cherokee Studios Recorded At – Hitman Studios Recorded At – Fingerprint Recorders Recorded At – Redwing Studios Mixed At – Capitol Studios Mastered At – Masterdisk Pressed By – Electrosound Group Midwest, Inc. Record Company – What? Records Manufactured By – A&M Records, Inc. Distributed By – A&M Records, Inc.
I remember hearing about this blond with a monster voice that had appeared on “everybody’s” albums, and regularly with one of my musical heroes, John Hiatt had signed a mainstream record deal with Atlantic. But nothing prepared me for the pushing play on my CD players and the a capella vocal strains of “Soon and Very Soon” busted through the clutter of modern music with sledge hammer. Damn, what a voice! Then i was even more pleasantly surprised to discover an album rich in textures, loaded with incredible talent and filled with brilliantly conceived and produced songs. There is really not a dud on the entire project. Of course Cleveland could also sing Presbyterian Book of Church Order and make it sound like Maggies Farm. I soon discovered Cleveland was an artist and not just a voice; a singer-songwriter with credentials to spare. But still I come back to that voice. Throwing out comparisons and superlatives will do her pipes no justice. A wonderful combination of Joplin passion, Slick rock cred and a bluesy, smokey vibe that is unmatched. In all honesty this should not have been the only album of hers to make list and that oversight is purely mine. That notwithstanding her debut here stands out heads and shoulders above most of her contemporaries and like nothing else in CCM at the time. I highly recommend her recent traditional blues and Gospel projects as well.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Soon And Very Soon / Big Town – 5:10 2 – Love On The Mainline – 4:59 3 – Willy – 4:40 4 – I Could Learn To Love You – 7:14 5 – Tentative Man – 4:00 6 – Angel – 4:41 7 – Up From The Ether – 5:31 8 – We Can Dance – 4:40 9 – I’ll Call You – 5:41 10 – Walk To The Well – 5:22 11 – Rebecca – 5:19
Credits Acoustic Guitar, Vocals – Ashley Cleveland Bass – Glenn Worf Drums, Percussion – Craig Krampf Electric Guitar – Kenny Greenberg Keyboards – Bill Cuomo Mastered By – Doug Sax Mixed By – Craig Krampf, Niko Bolas Producer – Craig Krampf, Niko Bolas Recorded By – Niko Bolas
I have written extensively elsewhere regarding the sad and sudden death of Michael Been of The Call. He was a brilliant, amazing, passionate, powerful artist. His work with The Call will be discussed several times throughout this countdown and his impact on CCM and the music world at large cannot be overstated. The call was simply the most underrated band in history…period! Much hyperbole? Nope. He also created an amazing solo project here that unfortunately went overlooked both in mainstream and CCM circles. The lead track, Us, is so good, so very, very good, that if it was the good song on the whole album it would still make this list! But fortunately the entire album is filled with amazing and powerful tracks. I find the album to be “heavier” than the albums by The Call, but still just as passionate, melodic and poignant. It’s also just as spiritual, introspective and authentic. Been had this amazingly uncanny ability to make deep spiritual truths sound simple and not so “preachy” while stating very blatant and undeniable truths. To list the “highlights” I would simply just cut and paste the entire track list! This is most definitely an AYSO!
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Us – 3:48 2 – When You’re With Me – 4:48 3 – Nearly Fell – 3:55 4 – This World – 4:43 5 – In My Head – 5:02 6 – This Way – 6:59 7 – Luminous – 5:37 8 – She – 4:14 9 – Worried – 4:16 10 – For Your Love – 3:18 11 – Invitation – 3:57 12 – Now I Know High (Part 2) – 7:43 13 – To Feel This Way – 4:56 14 – To Feel This Way (2006 Remix) – 6:00
Credits A&R – Hugo Burnham Bass – Robert Been Bass Guitar – Dave Allen Drums – Hugo Burnham Drums, Percussion – Scott Musick Engineer – Joel Jaffe Engineer [Additional] – Bruck Dawit Engineer [Assistant] – Alfred Brand, Larry Brewer Guitar – Tom Ferrier Guitar, Drums [Additional], Vocals – Ralph Patlan Lead Vocals, Guitar, Bass Guitar, Keyboards – Michael Been Mastered By – Bernie Grundman Mixed By – Michael H. Brauer Producer – David Z, Michael Been Producer [Associate] – Ralph Patlan Vocals – Eli Braden
Companies, etc. Recorded At – Studio D, Sausalito, CA Mixed At – Quad Recording Studios
