Bob Bennett – Matters Of The Heart – 1982

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

Companies, etc.
Manufactured By – Priority Records
Manufactured By – CBS Inc.
Produced For – Pacific Entertainment Group
Recorded At – Weddington Studios
Mixed At – Weddington Studios
Mastered At – MCA Whitney Recording Studios
Pressed By – Columbia Records Pressing Plant, Carrollton, GA
Designed At – McConnell Graphics
Lacquer Cut At – MCA Whitney Recording Studios
Phonographic Copyright ℗ – CBS Inc.
Copyright © – CBS Inc.
Published By – Priority Music

Paul Clark & Friends – Good To Be Home – 1975

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

Companies, etc.
Distributed By – Word Records
Record Company – Seed Records
Copyright © – Seed Records
Published By – Seed Records
Printed By – Press & Post Ltd.
Made By – Press & Post Ltd.
Lacquer Cut At – Master Room

Out Of The Grey – Out Of The Grey – 1991

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

Companies, etc.
Copyright © – The Sparrow Corporation
Phonographic Copyright ℗ – The Sparrow Corporation
Published By – Sparrow Song
Published By – Andi Beat Goes On Music
Recorded At – Kaleidoscope Sound
Mixed At – Digital Recorders
Mixed At – Sixteenth Avenue Sound
Mixed At – Kaleidoscope Sound
Mastered At – Mastermix
Glass Mastered At – Nimbus, Virginia
Distributed By – Christian Marketing Canada, Ltd.

Tonio K. – Romeo Unchained – 1986

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.

Ashley Cleveland – Big Town – 1991

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

Companies, etc.
Phonographic Copyright ℗ – Atlantic Recording Corporation
Phonographic Copyright ℗ – WEA International Inc.
Copyright © – Atlantic Recording Corporation
Copyright © – WEA International Inc.
Made By – WEA Musik GmbH
Mastered At – The Mastering Lab
Pressed By – Record Service Alsdorf

Michael Been – On The Verge Of A Nervous Breakthrough – 1994

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

Barry McGuire – Lighten Up – 1974

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

Companies, etc.
Record Company – Word, Inc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Word, Inc.
Published By – American Broadcasting Music, Inc.
Published By – Candle Company Music (2)
Published By – Dayspring Music
Published By – Latter Rain Music
Published By – Shaunda Music
Published By – Shayne Music
Published By – Word Music, Inc.
Recorded At – Puget Sound Recorders
Recorded At – Sunwest Recording Studios
Mastered At – Artisan Sound Recorders

Bethlehem – Bethlehem – 1978

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

Companies, etc.
Recorded At – North Star Studios
Recorded At – Buddy King Studios, Huntington Beach, CA
Recorded At – Sound Castle Recorders, Los Angeles
Recorded At – Maranatha! Studio
Mixed At – Maranatha! Studio
Mastered At – A&M Records
Copyright © – Maranatha Music
Phonographic Copyright ℗ – Maranatha Music
Published By – Maranatha Music

Donna Summer – She Works Hard For the Money – 1983

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

Companies, etc.
Phonographic Copyright ℗ – Phonogram International B.V.
Copyright © – Phonogram International B.V.
Recorded At – Lion Share Recording Studios
Recorded At – Hollywood Sound Recorders
Recorded At – Rhema Studios
Mixed At – Lion Share Recording Studios
Mixed At – Hollywood Sound Recorders
Mixed At – Rhema Studios
Mastered At – Future Disc
Mastered At – A&M Mastering Studios
Pressed By – PRC Recording Company, Compton, CA
Manufactured By – Polygram Records, Inc.
Marketed By – Polygram Records, Inc.

Steve Forbert – Streets Of This Town – 1988

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

Companies, etc.
Copyright © – The David Geffen Company
Phonographic Copyright ℗ – The David Geffen Company
Manufactured By – Columbia House
Mastered At – Sterling Sound
Recorded At – Shorefire Recording Studios
Mixed At – Power Station
Mixed At – The Hit Factory
Mixed At – Shorefire Recording Studios
Licensed To – Columbia House