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
In 1965 Barry McGuire, former member of the New Christy Minstrels, released the album “Eve of Destruction.” During that same year the single of the same name went to Number One on Billboard’s Hot 100. But it would be 6 years later that McGuire would claim was the greatest event of his life took place. After an encounter with traveling evangelist Arthur Blessitt McGuire became a Christian and started a Christian Music career that would span as many genres as it would decades. Rock, folk, pop, country and even children’s music would be used by McGuire to proclaim the Gospel and he would find success in all of those areas.
Most would remember the hit Eve of Destruction while others may remember the corny novelty country/spoken word song,”Cosmic Cowboy.” Some may even be more familiar with his work with the Agape Ministries children’s project, “Bullfrogs and Butterflies.” But it would be his second Christian release, “Lighten Up,” that would remain the landmark project of his career.
One side note before launching into a discussion of this fantastic, classic album is that McGuire’s Christian debut release, “Seeds,” would be notable for the inclusion of a trio of siblings doing backing vocals. Those siblings would later be known as The Second Chapter of Acts. They would also tour together several years later and record one of the great, classic live albums in CCM history entitled, To the Bride.
As I was listening to this project recently I was surprised by just how much it rocks! McGuire is a big man with a voice to match. It is rough edged, gravelly while remaining warm and personable. The songs in this collection match his particular voice better than just about any other project in his illustrious career. Lighten Up also featured an amazing cast of supporting musicians including Second Chapter of Acts, Leland Sklar, Michael Omartian, Larry Knechtal and Michael Been.
The album starts off with a shortened version of his monster hit, “Eve of Destruction.” This version lasts less than two minutes and is a little less folk sounding as it builds and moves, without a break, into the following song, “Don’t Blame God.” Lyrically it follows on the heals of “Destruction” quite well with images a decaying culture, but prophetically rebuking American not to blame God for the sins of America. But unlike the original “Eve of Destruction” there is a presentation of hope as McGuire quotes 2 Chronicles 7:
“If My people, who are called by my name shall humble themselves and pray. Seek My face and turn from their wicked ways. Then from Heaven will I hear. Forgive them of their sin. And heel their land.”
The song itself just flat out rocks! After a slow and quiet start, the song builds into a full fledged Southern Rock riff that Molly Hatchet or Thin Lizzy would be proud of. It is also here that were are introduced to young keyboardist named Michael Omartian as his piano work is just brilliant.
Larry Knechtal (Beach Boys, Simon and Garfunkel) stands out with an amazing piano performance on “Callin’ Me Home” a beautiful and haunting ballad that is by no means “pop” but rather sung in a melancholy and longing manner to match the content. This stark and limited instrumentation behind McGuire’s gravelly, monster voice would become a trademark. In fact, later albums with bigger production and more instrumentation would prove to be not nearly as compelling. McGuire is so believable and authentic that just a voice and piano delivers.
Another upbeat rocker follows called “Pay the Piper.” This songs adds instrumentation (though still stark and limited) and intensity as it moves along and McGuires edgier, bluesier vocals shine here. Musically it has a feeling like something closer to The Doors than anything else at the time.
One of the highlights from Lighten Up (and any other McGuire album for that matter) is “When the Mist Has Rolled Away.” Again the wonderful piano work of Knechtel shines with a groove closer to Lynard Skynard’s southern rock than country or folk and the backing vocal work of the Wards and Herrings really shine here. There is also a surprising twist with a horn section coming in just past the midway point. If this release wasn’t on Myrrh this could have been a secular radio favorite. It remains one of McGuire’s finest offerings.
McGuire’s ability to shift from melancholy and dark to upbeat, boisterous and joyful is really quite amazing as the first of several upbeat, poppy tunes, “Walk in the Sonshine” displays his brighter side. McGuire’s authenticity and joyful expressions keep the song from sounding like something from the Brady Kids.
This is immediately followed by “Hey! World,” a straight ahead rocker, heavier than just about anything available in mainstream Christian Music at the time. This song moves through differing time signatures and rhythms flawlessly. Both funky and bluesy it simply works! Tale note of the great bass and drum work on this one.
McGuire returns to a more simple, country rock vibe with “You’ve Heard His Voice.” Once again McGuire carries the song with his passion and clarity of mission. Fitting perfectly into the mid-70’s of darker, story-like anthems, the song reveals a more artistic side to McGuire’s musical palette.
Another stand out on the project would becomes the signature song for McGuire for many years to follow. The fun and funky “Happy Road” works well in this set and is the perfect juxtaposition to the darker and heavier themes previously explored. This “life on the road” ditty could have been covered by any number of southern rock acts of the same era.
The record closes with “Anyone But Jesus,” another funk and blues driven tune and features the best and most passionate vocals from McGuire on the whole project. He appears pleasantly content and passionate about singing:
“I’m not gonna sing about anyone but Jesus…”
That defines Barry McGuire and his 40 year Christian Music ministry! This long out of print project still remains his definitive work and it’s albums like this that deserve to find a home on the shelf of all fans of Christian music and anyone who wants to have a sense of the great history of the genre.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Eve Of Destruction / Don’t Blame God / II Chronicles 7:14 – 6:07 2 – Callin’ Me Home – 2:45 3 – Pay The Piper – 3:18 4 – When The Mist Has Rolled Away – 3:10 5 – Walk In The Sonshine – 2:57 6 – Hey World! – 3:26 7 – You’ve Heard His Voice – 4:05 8 – Happy Road – 3:28 9 – How Many Times – 4:38 10 – Anyone But Jesus – 4:32
Credits Arranged By [Horn] – Mike Melvoin Backing Vocals – 2nd Chapter Of Acts Bass – Leland Sklar Clavinet – Larry Knechtel Drums – David Kemper Engineer – Buck Herring Guitar, Banjo – Mike Deasy Harmonica – Ben Benay Keyboards [Aarpvark] – Mike Omartian Organ – Larry Knechtel Photography By – Wally Duguid Piano – Larry Knechtel Producer – Buck Herring Written-By – B. McGuire
I am full convinced that more than even the Beatles, the most influential band on Jesus Music was The Eagles. The Way, Parable, Daniel Amos and countless others always seem to be compared to The Eagles. My thesis is that they country/folk/rock was considered “safer” within Church walls than the Beatles, Beach Boys and Rolling Stones. That being said the band that pulled off the comparison best was easily Bethlehem. The songwriting seems legitimate and band leader, Danny Daniels, had the perfect voice for the job. The band released one album on Maranatha Music in 1978 and disbanded shortly after. One reviewer noted that “Desert Song” was a dead ringer for “Peaceful, Easy Feeling” and he was right on. The band separated itself during its short tenure by incredible musicianship, wonderful harmonies and very memorable songs. The album also sported some of the finest production for the time with Jonathan Brown, Tom Stipe and Al Perkins. Side One is more melodic and pop/country influenced while side two demonstrates a bit more rock and creative influence. This is most notable on the album closer, Pilgrim, which features lengthy instrumental breaks, a wall of backing vocals and a more progressive arrangement. Side two also contain a personal and fan favorite, Night Rider, which has more in common with The Outlaws than the Eagles with a great story telling vocal and big chorus. Themes on the album are very consistent with music from the era with songs of repentance, community and more than a few obligatory “end times” songs. Of all of the bands from that era, Bethlehem was a notch above most on nearly all fronts from songwriting and production to musicianship and performance. Daniels went on to a great solo career as many of his solo albums are worth owning.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Think It Over – 3:50 2 – Lover – 4:02 3 – Desert Song – 3:41 4 – Holy Ghost Blues – 2:39 5 – Dead Reckoning – 3:47 6 – Night Rider – 3:04 7 – This Road – 3:16 8 – No Good Excuses – 4:02 9 – Just A Prayer Away – 3:57 10 – Pilgrims – 4:43
Credits Acoustic Guitar – Danny Daniels Artwork [Leather Tooling] – Al Dugas Backing Vocals – Bethlehem, Bob Bennett, Cindy Simmons, Dan McCleery, Danny Daniels, Dom Franco, Gary Arthur, Jerry Chamberlain, John Falcone, John Wickham, Julie Paulsen, Kelly Willard, Lewis McVay, Lisa Irwin, Perry Hildebrant, Richie Furay, Sharon McLaughlin, Tom Coomes Banjo – Don Gerber Bass – John Falcone Clavinet – Randy Rigby Cowbell – Dan McCleery Design [Album], Art Direction, Layout – Neal Buchanan Dobro – Dom Franco Drums – Dan McCleery Electric Guitar – Danny Daniels, Randy Rigby Electric Piano – Randy Rigby Engineer – Al Perkins, Jonathan Brown, Peter Gregg Guitar [Pull-String Guitar] – Al Perkins Harmonica – Frank Loomis Keyboards – Randy Rigby Lead Guitar – Randy Rigby, Randy Rigby Lead Vocals – Danny Daniel, Dom Franco Mastered By – Bob Carbone Mixed By – Al Perkins, Jonathan Brown Percussion – Dan McCleery Photography By – Sam Emerson Photography By [Insert] – Mike Shoup Photography By [Tinting] – Neal* Piano [Acoustic Piano] – Randy Rigby Producer – Al Perkins, Tom Stipe Steel Guitar – Dom Franco Vocals – Dan McCleery, Danny Daniels, Dom Franco, John Falcone, Randy Rigby
After living the previous decade as the overtly sexual queen of disco Donna Summer entered the 80s experimenting with a few different musical styles and appeared to have lost herself in the wandering. With return to her roots with more of an 80-‘s pop/rock edge, a ferocious vocal delivery and a new born again spirit Donna Summer released one of the biggest albums in her lengthy career entitled “She Works Hard for the Money.” My little Christian bookstore was probably the second store in the country to carry it after I saw it being sold at Maranatha Village. I grabbed a copy immediately, both out of fascination and also to see if it was something I could convince my bosses to carry. Once you get past the often misunderstood innuendo of the opening cut’s title and realized that it actually is a powerful, woman endorsing tribute the rest of the album was an easy fit. “He’s a Rebel” is clearly a testimonial song about her new found faith in the “rebel” Jesus Christ and has a decidedly more rock edge and clearly influenced by producer Michael Omartian. “Unconditional Love” featured popular reggae sensation “Musical Youth.” The song would later receive a punk remodel when covered by Christian punk/rock band the Altar Boys. Another mainstay in Christian Music circles, Matthew Ward (2nd Chapter of Acts) does a duet on “Love Has a Mind of It’s Own” and, as a result, received some pretty good reception of Christian radio. Summer would continue to add more Gospel tinged lyrics to future releases but would not match the success or create such an overall realized album of Christian content.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – She Works Hard For The Money – 5:19 2 – Stop, Look And Listen – 5:46 3 – He’s A Rebel – 4:22 4 – Woman – 4:19 5 – Unconditional Love – 4:41 6 – Love Has A Mind Of Its Own – 4:16 7 – Tokyo – 4:25 8 – People, People – 4:38 9 – I Do Believe (I Fell In Love) – 4:34
Credits Art Direction, Design – Chris Whorf Backing Vocals – Dara Lynn Bernard, Mary E. Bernard, Matthew Ward, Roberta Kelly Bass – Nathan East Concertmaster – Assa Drori Congas – Lenny Castro Coordinator [Production] – Yvonne Garcia Drum Programming [Simmons] – John Gilston Drums – Mike Baird Engineer [Assistant] – Larry Fergusson, Ross Pallone Horns – Charlie Loper*, Chuck Findley, Dick Hyde, Gary Grant, Jerry Hey Liner Notes – Donna Mastered By [A&M] – Bernie Grundman Mastered By [Future Disc] – Steve Hall Photography By – Harry Langdon Piano, Synthesizer – Michael Omartian Producer, Arranged By – Michael Omartian Programmed By [Synthesizers] – Michael Boddicker Recorded By, Mixed By – John Guess
This is an interesting album that swirled just outside the periphery of Christian music in the late 80’s. We carried it at Maranatha Village and several Christian music publications positively reviewed it and ran stories on Forbert. A brilliant singer/songwriter, Steve Forbert started his lengthy career in the late 70’s recording his only real radio hit, “Romeo Tune” on his second release in 1979, “Jackrabbit Slim.” (Highly recommend) But with “Streets of this Town,” The Christian market began to take notice. Songs like “Hope, Faith and Love,” “As We Live and Breathe” and “Search Your Heart” seemed to deal honestly with spiritual ideas and faith questions. One song from this album was covered by a pretty major CCM artist at the time (bonus points if you know the artist and song). Forberts easy going Americana Rock style is immediately likeable and would appeal to fans of John Hiatt, Jackson Browne, Julie Miller, etc.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Running On Love – 3:32 2 – Don’t Tell Me (I Know) – 3:33 3 – I Blinked Once – 4:45 4 – Mexico – 3:30 5 – As We Live And Breathe – 3:18 6 – On The Streets Of This Town – 3:39 7 – Hope, Faith And Love – 3:41 8 – Perfect Stranger – 3:33 9 – Wait A Little Longer – 3:45 10 – Search Your Heart – 4:38
Credits Bass – Danny Counts Coordinator – Tom Zutaut Design – Jeff Morris Drums, Percussion, Backing Vocals – Bobby Lloyd Hicks Keyboards, Backing Vocals – Paul Errico Lead Guitar, Backing Vocals – Clay Barnes Management – Praxis International Mastered By – George Marino Mixed By – Michael Frondelli Mixed By [Assisted] – Gary Solomon Photography By – Jeff Morris, Lee Thomas Producer – Garry Tallent Recorded By – Jan Topoleski Songwriter [All Songs] – Steve Forbert Vocals, Acoustic Guitar, Harmonica – Steve Forbert
Glad was, for a time, one of the most influential and important groups in Christian Music. An incredibly high standard of quality, interesting and creative arrangements and some of, if not the best, harmonies in CCM history. After their debut showed a much more “progressive” rock and jazz influence, Beyond a star would carry their original form into the 1980’s with more pop and the introduction of the a capella vocal style they would later by primarily known for. Though less progressive than their debut the album still contain several classic influences such as the Yes sounding “Away” and a touch of the 2nd Chapter of acts on “Sing a New Song.” “Iron Sharpens Iron” has a Steely Dan or Alan Parsons Project feel. The opening track, “The Reason” would introduce the a capella vocal style that would end of being the trademark for the band through much the 1980’s. In fact, their biggest selling album would be the firs “A Capella Project,” going gold and beyond. This would not have been possible without the perfect combination of voices the band possessed. Many members are still actively involved in music, most notable Bob Kauflin, who is spearheading a great modern worship label based on more doctrinally solid lyrical content than what is found in most of today’s worship music.
Contributor – David Lowman https://ccms500bestalbums.wordpress.com/
Tracklist 1 – The Reason – 1:50 2 – Take A Stand – 3:32 3 – Beyond A Star – 3:49 4 – Away – 4:11 5 – Sing A New Song – 3:37 6 – Iron Sharpens Iron – 3:36 7 – Lying – 3:25 8 – Lonely Love – 4:31 9 – It Is Good – 4:54 10 – Pierce My Ear – 3:19
Credits Arranged By [Special Assistance, Strings & Horns] – Dan Wolgemuth Arranged By [Strings & Horns] – Bob Kauflin, Ed Nalle Arranged By [Vocals] – Bob Kauflin Booking – Logsdon Associates Design [Art Design] – Michael Harris Drums – Brad Currie, Mark Farley, Roger Clark Electric Guitar – John Goin Engineer – Brown Bannister, Skip Plant Executive-Producer – Michael Blanton Flugelhorn – George Tidwell Mastered By – Larry Nix Photography By [Back Cover] – Mimi Roth Mandel Photography By [Front Cover] – Michael Borum Producer – Brown Bannister, Ed Nalle Saxophone – Billy Puett, Dennis Solee Strings – The Shelly Kurland Strings Trombone – Dennis Good Trumpet – Don Sheffield Vocals, Acoustic Guitar, Electric Guitar – Jim Gheen Vocals, Bass [Alembic] – Don Nalle Vocals, Electric Guitar – John Bolles, Wayne Farley Vocals, Keyboards – Bob Kauflin Vocals, Percussion – Ed Nalle
Randy Matthews may be the single most important artist in Christian music that the vast majority of CCM fans have never heard of. Even casual fans of the genre are familiar with randy Stonehill, Phil Keaggy, Larry Norman and Love Song, but few can name Randy Matthews. Yet, without Matthews and his early success and ground breaking, the industry that formed may have never stood a chance. After dabbling in Southern Gospel with his father Monty (a founding member of the Jordanaires), Matthews took to a more folk rock approach and began performing in coffee shops and small concert halls building a name for himself as a songwriter and performer. His infusion of dry and biting humor in concert was legendary. As a result, Matthews became the first “rock” act to be signed to a mainline Christian label. Word Record, a label known for spoken work and Southern Gospel acts, signed Matthews and he released his debut. For his next album Word would launch the Myrrh label to provide a platform for the new “Jesus Rock” that was beginning to break through. Matthews would be seen as the “rockiest” with his more blues influenced music and Joe Cocker like rough vocals. The rest of the movement was a little softer, employing a more folk and country driven sound. This would haunt Matthews and ultimately cause a disillusionment with Christian Music. In fact, while touring in support of Son of Dust, Matthews appeared at a large outdoor Christian music festival. The audience was more accustomed to the Love Song acoustic folk style and Randy’s raucous rock cause such an uproar that their instruments were unplugged and were chased off the stage by the crowd. With tongue firmly planted in cheek, Matthews would later release an album called “Plugged In” where that story would be recounted. Fans of The Rolling Stones, Bob Dylan, Joe Cocker, Van Morrison and Larry Norman will find much to appreciate on this album that is now considered a true classic of Jesus Music. On Son of Dust Matthews addresses more political, spiritual and emotional issues than what his contemporaries were willing to look at. Relationships, sin, society and the whole of life are addressed with an honesty that would not be seen very often in the industry until the 1980’s. The album is also noteworthy for the studio version of Matthews most memorable and time tested classic. Didn’t He. The story of the crucifixion is, in this reviewers opinion, the very best contemporary song written on the subject. Matthews emotive and scratchy voice delivers an unforgettable emotional experience. Matthews pounds his acoustic guitar for every time the hammer hits the nail and that sound hits the heart. One cannot listen to this song without some sort of emotional connection. If there is ever a list to be done of the greatest songs in CCM history this must be among the Top 5! Amongst the great albums of Jesus Music history, this is a must have and an unquestionable AYSO!
Contributor – David Lowman https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Holy Band – 3:25 2 – The Bad Has Made It Better – 2:45 3 – It Ain’t Easy – 2:42 4 – Mighty Fine – 2:25 5 – Brown Eyed Woman – 4:46 6 – Here I Am – 3:22 7 – On The Road – 2:50 8 – Evacuation Day – 2:30 9 – Didn’t He – 5:40 10 – Pharaoh’s Hand – 3:17
Credits Arranged By – D. Bergen White Art Direction, Photography By – Bill Grine Banjo – Robert Thompson Bass – John Williams, Tommy Cogbill Drums – Jerry Carrigan, Kenny Buttrey Engineer – Rex Collier, Rick Horton, Tommy Semmes Guitar – Billy Sanford, Charlie McCoy, John Christopher, Randy Matthews, Reggie Young Keyboards – Bobby Wood, David Briggs Keyboards [Moog] – Rick Powell Mastered By – Tom Semmes Percussion – Farrell Morris, Jerry Carrigan Producer – Billy Ray Hearn Recorded By – David McKinley, John Brandon Saxophone – Bill Puett Steel Guitar – Lloyd Green Vocals – Bergen White, Billy Ray Hearn, Randy Matthews, Rick Powell Written-By – Randy Matthews
Companies, etc. Recorded At – Woodland Studios Mastered At – Woodland Studios
One of the often overlooked “Maranatha Bands” of the 1970’s was Parable. They recorded two albums before disbanding. Parable was lead by Chuck Butler, who had previously been a part of the band Country Faith, one of the great Jesus Music bands to never have recorded a full album despite great responses for the songs they had recorded on many different samplers. The first album, More Than Words, was more folk-rock with a country feel. Imagine The Eagles with a male and female lead vocals. the album was very well received. After The Way disbanded guitar virtuoso John Wickham joined the band for this second album and added a significantly more rock sound with some amazing guitar work. Stylistically the band went more pop with a rock emphasis and may remind some readers of early Servant and Petra. But it was really the guitar work that set the album apart along with very strong writing with very memorable hooks. There’s a reason and Come Untangled kick the album off with a strong rock emphasis and straight ahead evangelical messages before “The City” slows things down, at least initially. Sounding similar to a The Eagles or Chicago ballad before kicking into gear and finishing with one of the best guitar solos in Christian Music to that point. The only other albums at that time with such great guitar work were those by Phil Keaggy and Paul Clark. Female vocalist Lisa Faye Irwin takes the reins on several songs including “A Friend,” a song very reminiscent of Servant from the same era. The album is very consistent and memorable throughout, though side 2 is noticeably mellower than side 1, with very impressive production for the time, and far superior to most of the music coming out of Maranatha Music at that time. Both albums have been re-released on CD be the group and is still available as best as I can tell.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – There’s A Reason – 4:30 2 – Come Untangled – 3:24 3 – The City – 5:27 4 – A Friend – 3:23 5 – The Plain Truth – 3:34 6 – Act 3 – 3:55 7 – The Promise – 3:20 8 – Ladder Song – 4:24 9 – Got To Decide – 3:54 10 – A Prayer – 4:08
Credits Arranged By [Horns] – Kim Hutchcroft Arranged By [Strings] – Jim Stipec Art Direction – Neal Buchanan Bass Guitar – Gary Arthur Drums – Don Kobayashi Engineer – Jack Joseph Puig, Jonathan David Brown Guest [Vocals] – Becky Ugartechea, Virgil Beckham Handclaps – Malcolm & The Honeys Horns – Allen Gregory, Glen Myerscough, Kim Hutchcroft Illustration – Larry McAdams Keyboards – Alan DiCato Layout – Neal Buchanan Lead Guitar – John Wickham Lead Vocals – Chuck Butler, Lisa Faye Irwin Mixed By – Jonathan David Brown Organ [B3] – Mike Escalante Percussion – Alex MacDougall, Donnie K. Producer – Tommy Coomes Rhythm Guitar – Chuck Butler Vocals – Alan DiCato, Gary Arthur, John Wickham Written By – C. Butler
A good friend, Micheal Anderson, whose album will appear later on this list was having a birthday party for his wife at a wonderful gourmet Chinese restaurant in Beverly Hills. I was seated at a table with my wife and the wonderful Hal Fishman, the late famed local news anchor in Southern California. Seated to my right, though, was a man I had admired my entire music listening life. I have met countless “famous” people over the years and seldom found my self starstruck. That night I was as I was seated next to Michael Omartian. Michael Omartian is easily the most renowned, decorated and successful individual in Christian music. Most of that as a producer in mainstream music for everyone from Michael McDonald and Christopher Cross to Donna Summer and Rod Stewart. Grammys, Doves and Billboard awards cover the portions of the wall not occupied Gold and Platinum albums. He, along with Quincy Jones, produced the most successful single in history, We are the World. In 1974 Omartian released his first solo album on ABC/Dunhill and later that year on Word’s Myrrh label. I was easily the finest produced album the Christian music world had seen at the time. Leaps and bounds above its contemporaries, White Horse is a majestic and stellar album that easily has earned its “classic” status. The album was also one of the most progressive musically any artist had released. Fusing jazz, funk gospel and progressive rock sounds very “current” for the time with some of the finest musicians in the world, White Horse was a revelation and a game changer like nothing the industry had ever seen. Am added plus is that the album is also filled with wonderful songs, both lyrically creative and musically stunning. Omartian collected a line-up of supporting musicians second to none. Larry Carlton, David Hungate, David Kemper, Dean Parks and a host of others lent their talents to this amazing project, Omartian’s voice has touches of Peter Gabriel and Neil Young and he weaves through musical genres as diverse as those he has produced. Touched of Genesis, Yes, Kansas combine with pop, gospel and jazz fusion. Lyrically the album did not reflect the simplistic evangelical approach which was the norm for the time. perhaps the mainstream release did not limit Omartian’s content and his wife, Stormie, provided the bulk of the lyrics. The lead track, Jeremiah, walks through the themes of the minor prophets and relates them both to the historical setting and modern application. The Steely Dan like groove of “Fat City” shows off Omartians stellar keyboard work and an amazing brass section. The title track is a seven minute epic masterpiece. Starting slow and building into an amazing instrumental section driven by Omartian’s keyboard work and Larry Carlton and Dean Park guitar work. The industry had never seen anything like it and it would be quite some time for the rest of the industry to catch up.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Jeremiah – 4:37 2 – Fat City – 3:09 3 – The Orphan – 2:01 4 – Silver Fish – 2:34 5 – Add Up The Wonders – 5:19 6 – Take Me Down – 3:39 7 – Right From The Start – 2:30 8 – The Rest Is Up To You – 2:47 9 – White Horse – 7:06
Credits Backing Vocals – Ann White, Carolyn Willis, Patti Henderson, Stormie Omartian Cover [Album Cover Artwork By], Artwork [Album Cover Artwork By] – Dave Jarvis Cover [Album Cover Concept By] – James Fitzgerald Guitar – Dean Parks, Larry Carlton Lyrics By – Stormie Omartian Management [Personal Management] – James Fitzgerald Enterprises, Inc. Music By – Michael Omartian Photography By – Harry Langdon Producer, Arranged By – Michael Omartian Tenor Saxophone – Don Menza, Jackie Kelso Trumpet, French Horn – Paul Hubinon Vocals, Keyboards, Percussion – Michael Omartian
There are only two artists in the history of CCM that I wish would come out from hiding and release a new album. The first is Steve Taylor and i understand the whole “trying to make a movie” clap trap, but enough already! The second is David Edwards and I would prefer the latter to the former if I had to choose just one to release an album. Two rock efforts, a lullaby album and a collection of Christmas carols is simply not enough; especially when the artists is simply this amazing. The debut album will be discussed later. Here we will look at the sophomore release that suffered from no sophomore jinx. A little darker, more musically refined and chock full of pop music goodness, this album will go down as the greatest crime in CCM history. He should have been a rock star and this album should have made him a household name. Hell, there’s even a great wedding song and that always meant success in the early 80’s in CCM! Musically that album is a bit the Knack and a bit Billy Joel. More rock than new wave and more smart than quirky. Perhaps it was all those songs about “love” on the album that caused it’s doom; just like one sweet little lady told me when she wanted to return the album to the store I was working at by asking “what does love have to do with Jesus anyway?” Edwards walks the listener through the many feelings, struggles and circumstances that come about when love is either absent or twisted. “Anything But Love” describes how lust clouds the heart from seeing reality, while “Someone to Trust” pictured the opposite reality. It’s a great wedding and I should know, it was in mine! “The Feeling Part” addresses the mistake Christians make by not addressing the reality of romance and feelings in relationships, both with God and with one another. “How Could You Throw It All away?” should have made Edwards a star. sadly it just kicks off side 2 with a great reminder that love is worth holding on to. “Break the Big One” deals with the scar of abortion when sexual love is removed from its Biblical context of marriage. The album closes with two songs that, though not connected on the recording, are completely inseparable. “Girls Like You” expresses the anger of a broken heart and the vindictive feelings associated with being the “dumped.” Kind of like the losers version of Ben Fold’s “Song for the Dumped.” “Girls” is followed by possibly Edwards’ finest composition, “A Fools Condition.” The song recounts the story of a young (naive?) and sexually tempted boy who falls for and is captured by a dead and decaying woman who only possesses a beautiful outer appearance. Borrowing from the writings of George MacDonald (this wouldn’t be the last time), Edwards’ protagonist is consumed by the appearance and loses his soul as a result. Brilliantly conceived, wonderfully presented and utterly unforgettable. I went nearly two decades unable to listen to it until Edwards released the album himself on CD, and was singing along by the first line. This album is the definition of an AYSO!
Contributor – David Lowman https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Anything But Love – 3:43 2 – Someone To Trust – 3:09 3 – The Feeling Part – 4:55 4 – Watch Over Your Heart – 3:19 5 – How Could You Throw It All Away – 4:37 6 – Break The Big One – 3:38 7 – Put Me Down – 3:06 8 – All I Want – 3:10 9 – True Confession – 2:50 10 – Girls Like You – 2:18 11 – A Fool’s Condition – 5:17
Credits Acoustic Guitar – David Edwards Alto Saxophone – Irv Cox Arranged By, Programmed By [Synthesizer], Backing Vocals, Written By, Composed By – David Edwards Art Direction – Barbara LeVan Backing Vocals – Randy Stonehill, Suzan Curly Bass, Backing Vocals – John Trujillo Cello – John Walz Drums, Percussion – Rick Geragi Electric Guitar, Acoustic Guitar – Dan Jacob Marimba – Guy Shiffman Mastered By – Bernie Grundman Piano – David Edwards Producer, Keyboards, Arranged By, Programmed By [Synthesizer] – Barry M. Kaye Recorded By, Mixed By – Britt Bacon Tenor Saxophone, Baritone Saxophone, Alto Saxophone – Jay Leslie
Companies, etc. Phonographic Copyright – Word, Inc. Copyright – Word, Inc. Published By – Mountain Park Music Published By – Dayspring Music Recorded At – Skyline Recording Mixed At – Skyline Recording Mastered At – A&M Mastering Studios Pressed By – Monarch Record Mfg. Co. 25877
