David Lowman – Real 80s CCM

Bruce Cockburn – Stealing Fire – 1984

Stealing Fire is probably Bruce Cockburn’s most “commercial” and accessible project in an illustrative career spanning four decades. That’s not to say it is in any way hit radio ready. It remains, though, one of Cockburn’s most influential and memorable projects. Even Christian radio in some circles picked up some of the songs for regular rotation. After a trip to Central America Cockburn returned with a world music influence and a suitcase full of songs of passion, pain, anger and grace. All that poured out into this wonderful record. The album is most noted for the semi-hit “If I Had a Rocket Launcher.” The always peace-minded Cockburn was so distraught over the victims of war in Central America that even he would cry out in anger against the perpetrators. Many were offended by the final of the song in which Cockburn exclaims that if he had a rocket launcher, “some sonofabitch would die.” Lost in the violent outburst was the fact that in circumstances as evil as those he was experiencing, even the most peaceful of man would be driven to this sort of outburst. Brilliant song! The first track, “Lovers In a Dangerous Time,” should have been a radio hit and was later covered by Barenaked Ladies. One line in particular inspired U2’s Bono would would add it the song “God Part II” in which he says “I heard a singer on the radio late last night/Says he’s gonna kick at the darkness ’til it bleeds daylight.” That line is one of the my favorite and most memorable Cockburn lines. Bono is not the only fan of Cockburn as many consider him one of the great songwriters of this generation. “Making Contact” made it’s way onto some more daring Christian radio station. The world music influenced melody worked well on radio and the chorus was utterly unforgettable. On a dark and difficult album this one light moment clearly stands out. “Making contact/Swimming in an ocean of love.” It is hard to ignore Cockburn’s far left political stand. It is also hard to ignore the truth, grace, passion and purpose with which he writes and performs. On Stealing Fire that is a wonderful blend of all of these and more and for the uninitiated, it’s one of the two or three best places to start.

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

Tracklist
1 – Lovers In A Dangerous Time – 4:06
2 – Maybe The Poet – 4:53
3 – Sahara Gold – 4:31
4 – Making Contact – 3:46
5 – Peggy’s Kitchen Wall – 3:42
6 – To Raise The Morning Star – 5:52
7 – Nicaragua – 4:47
8 – If I Had A Rocket Launcher – 4:59
9 – Dust And Diesel – 5:24

Credits
Art Direction – Bart Schoales
Bass, Chapman Stick [Stick] – Fergus Marsh
Drums – Miche Pouliot
Engineer – John Naslen
Engineer [Assisted By] – Ron Searles
Guitar, Voice – Bruce Cockburn
Keyboards – Jon Goldsmith
Management [Direction] – The Finkelstein Management Company Limited
Mastered By – Mike Reese
Painting [Cover] – Blair Dawson
Percussion – Chi Sharpe
Photography By – George Whiteside
Producer – Jon Goldsmith, Kerry Crawford
Words By, Music By – Bruce Cockburn

Companies, etc.
Phonographic Copyright ℗ – High Romance Music Ltd.
Copyright © – High Romance Music Ltd.
Manufactured By – CBS Records Canada Ltd.
Distributed By – CBS Records Canada Ltd.
Published By – Golden Mountain Music Corp.
Copyright © – Golden Mountain Music Corp.
Recorded At – Manta Sound
Mastered At – The Mastering Lab
Pressed By – Columbia Records Pressing Plant, Don Mills, ON
Printed By – Shorewood Packaging Corp. Of Canada Ltd.
Lacquer Cut At – The Mastering Lab

Jeff Johnson – Icons – 1984

Jeff Johnson was making “New Age” music before “New Age” was cool. In fact, he was making it before it existed at all. More progressive rock than many of his new age instrumental contemporaries Jeff Johnson has, over the years, created a monstrous library catalog of utterly brilliant, passionate and spiritually moving music that has unfortunately escaped the attention of many in the CCM world. When “New Age” instrumental music was all the rage in CCM during the mid-1980’s Johnson was a leading artist, but many missed out on his more creative, provocative and, dare I say, commercial vocal projects. Of those many overlooked albums comes “Icons,” an utterly brilliant, and completely unforgettable album that is a must own for any audiophile. Not quite as commercial or rock influenced as “Fallen Splendor,” Icons contains some of Johnson’s best vocal music and remains his most cohesive vocal driven project. It also contains “Closed, Please Call Again,” which is Johnson’s finest song. Opening with “Tesseract,” an instrumental opener inspired by the concept of space travel as described in Madeleine L’Engle’s classic novel, “A Wrinkle In Time.” The book may be the only time in this blog I ever use the term “BYSO!” Johnson’s musically explores the “feeling” expressed in the book as the main characters travel through space using the tesseract. The album includes more of Johnson’s early progressive rock influences than on any album that follow outside of Fallen Splendor. “People in Peril” starts with limited percussive sounds and accompanying synthesizer background that is added upon as the song grows. Johnson’s wonderful falsetto is offset by a distant backing vocal that seems to challenge or respond to the lead the vocal as the song fades. The previously mentioned “Closed, Please Call Again” musically explores the heart of one postponing a response to the call of the Gospel or closed off to any true human contact. The song features some of the finest saxophone work on any Christian album. The longing heart is musically portrayed through the instrumental work and the aching vocals make this song a sheer delight. The saxophone is introduced brilliantly with a vocal and instrument interplay. There is so much more to be said about this amazing album, but space limitations prohibit a deeper discussion. Suffice it to say this is clearly an AYSO and would serve as a great introduction to the artist for those unfamiliar with his amazing collection of work.

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

Tracklist
1 – Tesseract – 2:30
2 – People In Peril – 6:22
3 – Selah – 1:55
4 – Closed, Please Call Again – 7:14
5 – Birth, Dreaming, Death – 6:02
6 – Remove The Mask – 4:32
7 – Agony And Ecstasy – 3:29
8 – Waiting For The End – 4:40
9 – Ancient Icons – 3:51
10 – Windemere – 7:08

Credits
Acoustic Guitar – Sandy Simpson
Acoustic Guitar [Solo] – Paul Chasman
Artwork – David Hastings, Kathy Hastings
Backing Vocals – Sandy Simpson
Bass Guitar – Rick Crittenden
Bass [Oregon] – David Friesen
Bells – Roger Hadley
Caxixi – Roger Hadley
Cymbal – Roger Hadley
Drum Programming – Brian David Willis
Drums – Brian David Willis
Drums [Hand] – Roger Hadley
Drums [Heater] – Sandy Simpson
Electric Guitar – Sandy Simpson
Electric Piano – Jeff Johnson
Percussion – Roger Hadley, Sandy Simpson
Percussion [Shells] – Roger Hadley
Piano [Acoustic] – Jeff Johnson
Producer – Jeff Johnson, Sandy Simpson
Programmed By [Emulator] – Jeff Johnson
Saxophone – Susie May
Synthesizer – Jeff Johnson
Tabla – Roger Hadley
Vocals – Jeff Johnson
Wind Chimes – Roger Hadley
Written-By – Jeff Johnson

Companies, etc.
Distributed By – Sparrow Records

Keith Green – No Compromise – 1978

Possibly no album or album title personifies it’s creator quite like Keith Green’s, “No Compromise.” A trite slogan in the hands of many artists this phrase is the ultimate adjective qualifier for the man. As uncomfortable his words and music may have been for many, it was never a feeling that he was pointing a finger without also pointing it at himself. But this is a review of great albums, not great men or personalities. And given the latter, the album is simply fantastic! Like the predecessor, For Him Who Has Ears To hear, No Compromise combines Elton John type funky piano driven tunes and soaring and emotional ballads. Lyrically things are similar as well with a combination of rebuking and exhortive, prophetic declarations mixed with repentant and confessional compositions. There’s even another song about the Devil! It may be simply perception, but No Compromise seems more serious and “mellower” than many other albums from Green, especially in comparison to FHWHETH. Perhaps it just related to the fact that the most popular and memorable songs from the album are the ballads. Make My Life a Prayer, How Can They Live Without Jesus, Asleep in the Light, My Eyes Are Dry and To Obey Is Better than sacrifice all remain classics in the truest sense of the word. Asleep in the Light may go down as the most convicting song in CCM history with the line “Jesus raised from the dead…and you can’t even get out of bed!” Ouch! Two years before the release of No Compromise Tommy James (Shondells) would record “Don’t Wanna Fall Away From You” on a solo project. For years after its release the songs No Compromise contained would haunt, exhort and uplift millions.

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

Tracklist
1 – Soften Your Heart – 2:48
2 – Make My Life A Prayer To You – 3:21
3 – Dear John Letter (To The Devil) – 3:20
4 – How Can They Live Without Jesus? – 3:03
5 – Asleep In The Light – 4:25
6 – My Eyes Are Dry – 1:57
7 – You! – 3:33
8 – I Don’t Wanna Fall Away From You – 3:07
9 – Stained Glass – 2:45
10 – To Obey Is Better Than Sacrifice – 3:17
11 – The Victor – 4:20
12 – Altar Call – 3:34

Credits
Acoustic Guitar – Al Perkins, Hadley Hockensmith, Jay Leach, Mike Deasy
Arranged By [Strings] – Lennart Sjöholm
Backing Vocals – Danniebelle Hall, James Felix, Keith Green, Matthew Ward
Choir – Annie Herring, Chris Beatty, Jamie Owens-Collins, Keith Green, Matthew Ward, Melody Green, Nelly Greisen, Steve Greisen, Tommy Funderburk
Congas – Lee Pastora
Electric Guitar – Hadley Hockensmith, Mike Deasy
Guitar – Hadley Hockensmith, Mike Deasy
Marimba – Mark Z. Stevens
Organ – Harlan Rogers
Piano [Fender Rhodes] – Harlan Rogers, Keith Green
Producer – Bill Maxwell, Keith Green
Recorded By – Peter Granet
Steel Guitar – Al Perkins
Tambourine – Bill Maxwell
Triangle – Lee Pastora

Companies, etc.
Copyright © – Sparrow Records, Inc.
Phonographic Copyright ℗ – Sparrow Records, Inc.
Recorded At – Sound Castle Recorders, Los Angeles
Recorded At – MCA Whitney Recording Studios
Mixed At – MCA Whitney Recording Studios
Mastered At – The Mastering Lab
Published By – Ears To Hear Music
Published By – April Music
Published By – Lexicon Music
Lacquer Cut At – The Mastering Lab

The 2nd Chapter Of Acts – With Footnotes – 1974

Hands down one of the most “important” releases in the history of CCM and one of the best Jesus Music albums ever recorded. Jesus Music grew up in a big with this release and forced the rest of the musicians within the genre to step up with quality songs, productions and performances. It also contains one of the greatest CCM songs ever recorded, and possibly the very best! After touring and performing with some of the best artists in the early Jesus Music scene like Barry McGuire, the three siblings were offered on recording contract of their own on Word’s rock label, Myrrh. Myrhh provided a decent enough budget to enlist the likes of Michael Omartian, David Kemper and a young Michael Been (The Call). Manyof the musicians would also become part of the ground tour band known as “a band called DAVID.” The album starts with what would later become a 2nd Chapter classic, Which Way the Wind Blows. Older sibling Annie Herring wrote much the groups music along with husband Buck, while the vocal duties were shared amongst the three. But for many it would be the lone boy, Matthew Ward, who would amaze the listeners with his unbelievable range. The Devil Lost Again features Matthew and would hint at what would come later for him as a solo artists. The more “rocking” of the three siblings, this song would have fit nicely on a Michael Omartian project and features some guitar work that pushed the envelope for the time. “Love, Peace, Joy” features the trademark tight harmonies that would earn the group their international recognition and would also later draw comparisons to ABBA, and eventually be ripped off by Silverwind. Nothing sounds quite as beautiful as siblings harmonizing and this rings true throughout the project. But the finest two and half minutes in Jesus Music history comes courtesy of the classic “Easter Song.” If ever a song deserved the recognition of the “classic” designation, it is this song. I can’t even imagine just how many times this song has been covered, sampled, sung, recorded or performed in its nearly 40 years of existence. I would venture to guess that only the Hallelujah Chorus has been sung at more Easter services. And it is also a wonderful song. Beautiful, inspirational and dynamic. This album was a game changer and a lasting testament to the legacy of one of the most important groups in CCM history.

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

Tracklist
1 – Which Way The Wind Blows – 4:58
2 – Goin Home – 2:48
3 – With Jesus – 2:45
4 – The Devil’s Lost Again – 3:06
5 – Love, Peace, Joy – 2:33
6 – I Don’t Wanna Go Home – 2:28
7 – Easter Song – 2:20
8 – He Loves Me – 5:07
9 – Good News – 3:20
10 – I Fall In Love/Change – 4:22
11 – The Son Comes Over The Hill – 3:23

Credits
Bass – Joe Osborn, Mike Been
Drums – David Kemper, Jim Gordon, John Guerin, Michael Omartian
Guitar – Al McKay, Art Munson, Mike Deasy
Organ – Danny Timms, Michael Omartian
Piano – Anne Herring, Danny Timms, Michael Omartian, Tom Keene
Producer – Buck Herring
Strings, Arranged By – Michael Omartian
Synthesizer [Arp] – Michael Omartian
Written-By – Anne Herring, Buck Herring

Companies, etc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Latter Rain Music
Copyright © – Word Music, Inc.

Glass Harp – Glass Harp – 1970

The single greatest and most often repeated “urban legend” in CCM history involves a supposed encounter with Jimi Hendrix and Johnny Carson in which it is claimed that Jimi Hendrix claimed that Phil Keaggy was the greatest guitar player in the world. Or maybe it was Dick Cavett and Eric Clapton or perhaps Jimmy Page and… It’s important to note that the only reason the fabled legend has continued to exist (despite Keaggy’s constant denials) is because Phil Keaggy is one of the greatest guitar players in the world. In fact, the proliferation of such a myth can only seem plausible because o0f Keaggy’s sheer mastery of the instrument and his incredible creativity. Now it should be noted that even though the album in question was recorded in the famed Hendrix stomping grounds, Electric Lady Studios, the legendary guitar player passed away two weeks before Glass Harp began recording and Keaggy does not believe Hendrix ever heard Keaggy play. In spite of the legends questionable validity, it must not be discounted what amazing music Keaggy created as part of Glass Harp. One of the original “power trios” in rock music they are often labeled as a psychedelic or progressive rock band when in fact they are closer to a “jam band” popularized by The Grateful Dead, Cream, Blind Faith and most recently Phish. Noted for musical stylistic fusions and original improvisations, Glass harp would and should be considered one of the pioneers of the movement. Built around three very strong musicians, most notably Keaggy, the three albums created by Glass harp are astounding works of creativity, originality and musical mastery. The debut stands out for the more aggressive rock sounds and for leading off with what should be considered the “Stairway to Heaven” of Christian music, Can You See Me. Starting slow and building into two separate instrumental breaks lead by Keaggy’s sizzling and soaring guitar work. It can not be understated just how great this song is and how well it should be regarded by CCM music historians. The whole record is brilliant and moving. It was also very, very “Christian” in its content. There are bold declarations of faith and and Biblical themes despite the placement on a secular label. Oddly enough, this album is often overlooked when people refer to that which can be considered the first “Christian Rock” album. The band would record two more album and right about when many thought they were going to “break through” Keaggy left to concentrate on writing more distinctly Christian songs for the burgeoning Christian music industry. The band has reunited on a few occasions over the years, including one night immortalized in the song, Wish You Were There, from Keaggy’s Town to Town LP.

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

Tracklist
1 – Can You See Me – 6:25
2 – Children’s Fantasy – 4:10
3 – Changes (In The Heart Of My Own True Love) – 6:00
4 – Village Queen – 4:00
5 – Black Horse – 2:50
6 – Southbound – 3:50
7 – Whatever Life Demands – 6:30
8 – Look In The Sky – 8:10
9 – Garden – 5:15
10 – On Our Own – 2:30
2005 CD Bonus track
11 – Voice of God Cry Out – 4:10

Credits
Arranged By [Strings] – Larry Fallon
Artwork [Album Design] – Ernie Cefalu
Bass, Vocals, Flute – Dan Pecchio*
Drums, Vocals, Acoustic Guitar – John Sferra
Electric Guitar, Vocals, Acoustic Guitar – Phil Keaggy
Engineer – Ron Johnsen
Liner Notes – Robert Brandt
Photography By [Back Cover] – Billy Bass
Photography By [Glass Harp Photo Effects] – Bill Levy
Producer – Lewis Merenstein
Viola [Electric] – John Cale

Companies, etc.
Copyright © – MCA Records
Recorded At – Electric Lady Studios
Made By – MCA Records (Canada)

White Heart – Don’t Wait For The Movie – 1986

Birthed in 1982 as a rock side project for many members of the Bill Gaither Vocal Band, White Heart went on to be one of the most influential and successful artists of the 80’s and 90’s. Early releases featured inspirational icon Steve Green on lead vocals followed by Scott Douglas (on albums two and three) who would later be convicted of sexual assault. This would have killed most bands, but hidden amongst the bands roadies was young aspiring vocalist named Rick Florian. Florian made his band debut on “Don’t Wait for the Movie” and took the band to a whole new level of success. The Toto pop and inspirational “safe” ballads that populated the first three albums was replaced with a more Journey, REO Speedwagon rock sound. It also marked an “escape” from Home Sweet Home records to Sparrow. Initially the album received some pretty strong negative reviews and reception. Over time the position softened and now the album is considered one of the most important rock releases of the era along side the better works of Petra, Servant and AD. Though not as critically admired as Freedom or Redemption. it remains one of the most successful and cherished albums in the bands career. It also marked the bands first overwhelming reception on Christian rock and CHR radio. Fly Eagle Fly and How Many Times became Christian radio staples well past the shelf life of the album.

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

Tracklist
1 – Read The Book (Don’t Wait For The Movie) – 4:51
2 – Holy Ground – 4:42
3 – Beat Of A Different Drum – 4:17
4 – Fly Eagle Fly – 4:41
5 – Convertibles – 3:43
6 – Let The Children Play (Instrumental) – 1:32
7 – King George – 4:20
8 – No Apology – 4:22
9 – Maybe Today – 4:25
10 – Dr. Jekyll And Mr. Christian – 4:40
11 – How Many Times (Seventy Times Seven) – 4:27

Credits
Art Direction – Buddy Jackson
Artwork By [Hand Tinting] – Mike Drake
Bass, Drum Programming [Linn Programming] – Gary Lunn
Design [Lyric Sheet] – Jim Shanman
Drums, Percussion – Chris McHugh
Edited By – Billy Smiley, Ken Love
Engineer – Brent King
Engineer [Second] – David Pierce
Guitar, Lead Guitar, Sitar, Vocals – Gordon Kennedy
Keyboards, Vocals, Trombone – Mark Gersmehl
Lead Vocals – Ric Florian
Mastered By – Hank Williams
Photography By – Mark Tucker
Producer – Billy Smiley, White Heart
Programmed By [Keyboard Programming] – Tommy Greer
Vocals, Keyboards, Guitar, Trumpet – Billy Smiley

Companies, etc.
Phonographic Copyright (p) – The Sparrow Corporation
Recorded At – Center Stage Studio
Overdubbed At – Center Stage Studio
Mixed At – Mastermix
Mastered At – Mastermix
Published By – Word Music, Hall-Clement Publications, Yellow Jacket Music, Inc., Welk Music Group, Birdwing Music, Kid And The Squid Music, White Heart Publishing

Ron Salsbury And J.C. Power Outlet – Forgiven – 1974

Jesus Music was in dire need of a rock and roll band. In 1972 Myrrh released the self-titles debut album from JC Power Outlet to mixed reviews. The Devil’s music in your Christian bookstore! Two years later the follow up come out and it was better produced and, in some way, quite a bit harder edged. Bookstores still weren’t ready. The driving force behind JC Power Outlet was Ron Salsbury and he provided a formula of rocker followed by balled followed by rocker throughout each project. This second and final release for the group made a huge impact on the Jesus Music world as they finally had a legit rock band to go with the folk and pop groups like Love Song, Jamie Owens and Honeytree. Nothing earth shattering lyrically here as this is vintage Jesus Music evangelism and rapture ready warnings. But it’s very important to remember that these artists were also walking a very fine line of acceptance within their own churches and making bold proclamations of faith were all but necessary for their own survival and support. Forgiven was a game changer from the very creative artwork to the more consistent “rock” sound for the day, especially landing on a more mainstream Christian label. Here again we have an album that is both good and important to the growth and expansion of the Christian Music industry.

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

Tracklist
1 – Peace and Power – 3:17
2 – Oh My Jesus – 2:54
3 – Too Bad – 2:54
4 – My Friend – 2:49
5 – I Choose to Follow You – 5:29
6 – Give Him Your Love – 2:15
7 – Goodbye – 4:07
8 – My Sign – 3:32
9 – Don’t Let Jesus Pass You By – 3:24
10 – Open Your Spiritual Eyes – 3:35

Credits
Arranged By, Producer [Produced By] – Darrell Rodman
Band [J.C. Power Outlet] – Bruce Neal, Dave Edwards, John Pantano, Ron Salsbury
Composed By – Ron Salsbury
Cover, Design Concept – Ron Salsbury
Engineer – Dan Holmes
Lacquer Cut By – Eck
Photography By – Bill Grine
Photography By [Backliner] – Jennifer Salsbury

Companies, etc.
Record Company – Word, Inc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Word Music, Inc.
Engineered At – Audiotek Studios, Minneapolis

Cliff Richard – Now You See Me… …Now You Don’t – 1982

I do believe the only artist on this list to be officially “knighted” is Cliff Richard. Not bad for a pop star and teen heart throb from the 1950’s and 60’s. Then again John Lennon was a fan and he is said to be the first real “rock star” from Great Britain. Sir Cliff Richard has also been a devoted Christian and has recorded several Gospel themed albums. The one in question here is the very best as it is simply a pop album with Gospel themes rather than a Gospel album that tries to sound pop. The album is also unique in that it also generated a comeback of sort for the artist in his native land after several years of unsuccessful pop albums. NYSMNYD went Gold in England and had several radio hits on both side of the Atlantic. Released in 1982 Christian music was constantly gravitating toward “pop stars” who professed a Christian belief (Bob Dylan, Joe English), but this album never saw Christian distribution and many missed this great album. Thief in the Night is much heavier song musically than the normal Richard bubble gum and is the center piece to the whole project. It rocks and like the rest of the albums sounds like it was influenced by Mark Williamson and Chris Eaton. The album has a bit of an Ambrosia feel with silky, pop driven rockers and big ballads meant for radio consumption. But the rockers stand out like the previously mentioned Thief in the Night and the bombastic Son of Thunder. “Little Town” Chris Eaton arranged version of O Little Town of Bethlehem would also be recorded by Amy Grant and Michael W Smith. Richard’s version would be the best. One last song of note is the song Christian radio gravitated to; Water is Wide is a stunningly beautiful remake of the traditional tune. Simply, if not a bit over-produced, the song would chart on CCM radio and be Richards only real CCM hit. He would later do a duet with Van Morrison that would also hit CCM radio.

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

Tracklist
1 – The Only Way Out – 3:20
2 – First Date – 3:33
3 – Thief In The Night – 3:50
4 – Where Do We Go From Here – 2:53
5 – Son Of Thunder – 3:58
6 – Little Town – 4:03
7 – It Has To Be You, It Has To Be Me – 4:17
8 – The Water Is Wide – 3:50
9 – Now You See Me, Now You Don’t – 3:00
10 – Be In My Heart – 4:38
11 – Discovering – 4:50

Credits
Autoharp – Craig Pruess
Bass Guitar – Andy Pask, Mark Griffiths, Mo Foster, Paul Westwood
Bells [Sleigh Bells] – Craig Pruess
Design – Cream
Drum Programming – Craig Pruess
Drums – Dave Mattacks, Graham Jarvis
Electric Piano – Graham Todd
Electric Violin – Paul Hart
Engineer Assistant – Tony Richards
Engineer – John Kurlander
Engineer – John Walker
Engineer Assistant – Steve Cook
Engineer [Strawberry] – Keith Bessey
Guitar – Bill Roberts, John Clark, Mart Jenner
Harmonium – Craig Pruess
Mastered By – Gordon Vicary, Keith Bessey
Mixed By – Keith Bessey
Mixed By [Assisted By] – Howard Gray
Photography By – Brian Aris
Piano – Craig Pruess, Graham Todd, Peter Skellern
Producer – Cliff Richard, Craig Pruess
Saxophone – Mel Collins
Sequenced By – Craig Pruess
Synthesizer – Craig Pruess, Dave Cooke
Vocals, Backing Vocals – Cliff Richard
Wind Chimes – Craig Pruess

Companies, etc.
Marketed By – EMI
Distributed By – EMI
Manufactured By – EMI
Phonographic Copyright ℗ – EMI Records Ltd.
Printed By – EMI Services Benelux B.V.
Recorded At – Abbey Road Studios
Recorded At – Strawberry Studios
Mastered At – The Town House
Mixed At – The Town House

Aunt Bettys – Aunt Bettys – 1996

Of all of Mike Knott’s multiple incarnation, Aunt Bettys is by far the most puzzling, controversial and utterly brilliant. Mike Knott should be a rock star and the Aunt Bettys should have been the vehicle to deliver him to that status. Combining the most frenetic writing, best of his previous work and a band recording live in the studio to create a loud and passionate rock and roll project. Not as pop and sweet as the Lifesavers, or as dour and dark as LSU, Aunt Betty’s took the best of Jane’s Addiction and kicked it in the ass. Much of the debut is made up of previously recorded or written songs from Mike’s repertoire, but here the versions seem faster, heavier, wilder. Many struggled with this release and the “not-so-sanitized” versions of some songs. “Jesus” still ranks among the best of Knott’s career. “Rock and a Bomb” is just a great song…period! But this is a rock and roll record and songs like Addict make it a 90’s classic. The version of Double is great, though here is the one time I would choose the original. The band would release other material but the flight to the bright lights never took off. Suffice it to say that no matter the incarnation, Knott is utterly brilliant and deserved much more than he received from the industry.

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

Tracklist
1 – Jesus – 3:36
2 – Mother Trucker – 3:00
3 – Star Baby – 1:48
4 – Skinny Bones Jones – 3:35
5 – Lush – 3:31
6 – Feel – 3:48
7 – Rocket & A Bomb – 4:47
8 – Addict – 2:06
9 – Speeder Mode – 2:53
10 – Kitty Courtesy – 3:06
11 – Little Fighter – 3:36
12 – Suicide Sex Doll – 2:09
13 – Jane – 3:11
14 – Cruel – 1:37
15 – Double – 3:25
16 – Rock And Roll – 2:17

Credits
Art Direction – Jennifer Roddie
Band, Bass, Backing Vocals – Brian Doidge
Band, Drums, Percussion – Chuck Cummings
Band, Lead Guitar, Backing Vocals – Andrew Carter
Band, Vocals, Acoustic Guitar – Michael Knott
Engineer [Additional Engineers] – Bob Moon, Kevin Leonard
Executive-Producer – Lara Hill
Illustration – Tim Okamura
Management – Cahn-Man
Mastered By – Brian Gardner
Photography By – Jon Gipe
Producer, Engineer, Mixed By – Gene Eugene, Mark Rodriguez, Michael Knott
Written By – Michael Knott

Companies, etc.
Phonographic Copyright ℗ – Elektra Entertainment Group
Copyright © – Elektra Entertainment Group
Recorded At – The Green Room
Mixed At – The Green Room
Mixed At – Sound Kitchen
Mastered At – Bernie Grundman Mastering
Published By – Almo Music Corp.
Published By – Stormie Lane Music
Pressed By – Specialty Records Corporation

Magdallan – Big Bang – 1992

Magdallan’s “Big Bang” is the audio definition of an album that was hurt by too many delays in its release. Delayed well over a year (maybe two?), the album would have been the best album in its genre in 1989, but two or so years later and the whole music world changed. but even taking that into consideration, when one considers the album exclusively on its merit it cannot be denied as truly great work. The title may also be a track on the album, but it is also an adequate description of the totality of the album. It is BIG. Really, really big! Production is over the top with literally hundred of vocals layered on top of another and blazing guitar solos that are simply unmatched in CCM. I had lunch one day with Ken Tamplin and he spent the entire time talking about Hal Lindsey and the soon coming end of the world. I was really into the topic at the time and was fascinated. My ideology has shifted drastically in the past 25 years, but even though the album comes across like a track for the Pre-Trib Rapture theory, I cannot deny the unequaled quality of the album. The theme is so interwoven throughout the project that it becomes inescapable. the lead track is called “End of the Ages” and the content lyrically should be clear without any discussion. But what shines here though is some thoroughly enjoyable late 80’s guitar god, over-the-top solos. Though Tamplin was the lead vocalist for the project and primary songwriter, it should be noticed that the band really belongs to Lanny Cordolla. The famed House of Lords guitarist enlisted the help of his former band mates to round out the rest of the band. The high level of musicianship sets the record a[part from the rest of its contemporaries. This is shown in the diversity of arrangements and some of the greatest drumming on any arena rock album. Other stand outs include the title track, Radio Bikini (about the American nuclear bomb testing around WW2) and the ballad Wounded Heart. Despite a Dove Award nomination, the album never met sales projections though it was the best selling album for Intense Records (Frontline) of all time. Radio wouldn’t touch the ballads and the musical direction of rock radio had gone toward grunge and alternative.

Tracklist
1 – End Of The Ages – 6:12
2 – Radio Bikini – 4:41
3 – Shake – 3:50
4 – Wounded Hearts – 5:34
5 – Love To The Rescue – 5:07
6 – Old Hard Line – 4:31
7 – Dome Of The Rock – 4:47
8 – Big Bang – 4:51
9 – House Of Dreams – 4:17
10 – Cry Just A Little – 4:57
11 – Heartbreak Woman – 4:08
12 – This 1’s 4U – 2:46
13 – End Of The Ages (Reprise) – 0:34

Credits
Art Direction – Ed McTaggart
Bass, Acoustic Bass – Brian Bromberg
Co-producer, Engineer [Mixing], Engineer [Tracking] – Mick Guzouski
Cover [Painting “The Last Judgement”] – Michelangelo Buonarroti
Design – Brian Godawa
Drums – Ken Mary
Engineer [Second] – Eric Rudd, Pat Woehl
Engineer [Tracking] – Kim Bullard
Engineer [Tracking], Engineer [Second] – Gil Morales, Kevin Becka
Keyboards – Kim Bullard
Lead Vocals, Backing Vocals – Ken Tamplin
Management – Mike Slarve, Nicki Slarve
Orchestrated By – Roger Mielke
Producer, Written-By – Ken Tamplin, Lanny Cordola
Rhythm Guitar, Lead Guitar, Acoustic Guitar, Sitar, Banjo, Mandolin – Lanny Cordola

Companies, etc.
Recorded At – Ocean Way Recording, Mama Jo’s, The Lighthouse, The Barn, Los Angeles, CA
Mixed At – The Lighthouse, The Village Recorder, Mixing Lab A
Phonographic Copyright ℗ – Intense Records (10)
Copyright © – Intense Records, Ken Tamplin Music, Cordman Music
Glass Mastered At – Nimbus, Virginia