David Lowman – Real 80s CCM

Children Of The Day – Come To The Waters – 1971

With a gift of $900 four young “hippy” converts went into a studio with friend Buck Herring and recorded what many claim is the first “group” album in CCM history and the Jesus Movement and Music in Southern California was born. Predating Love Song’s classic debut by nearly a year, Come to the Waters by Children of the Day birthed a genre and a “scene” in Southern California that would not be duplicated. And before the band finished their decade long career, they would also be a part of CCM’s first great scandal. Four friends from Calvary Chapel, Costa Mesa joined forces to create a tight harmony driven folk quartet and called themselves, Children of the day. The name of the band also comes from a line in one of the songs on the debut album. The album would also contain one of the true classic anthems of the generation and possibly the most popular worship song of the Jesus Music era. Leader and songwriter Marsha Carter and sister Wendy along with friends Peter Jacobs and Russ Stevens joined forces to create an American folk band that was even recognized and received critical acclaim from those outside the tine Jesus Music movement. Carter and Steven would marry soon after the albums release. They began performing regularly at coffee shops, Calvary Chapel Churches and elsewhere throughout the southern California region. Immediately requests for their music poured in and the quartet approached Pastor Chuck Smith about borrowing some money to record their debut album. That album would be the first on Maranatha Music, though its catalog number would be 777. The Everlasting Living Jesus Music Concert would actually be released first as this album was held up until the compilation album was released, though the finishing of the album was several months before the compilation. Come to the Waters starts with a beautiful acoustic mid-tempo ballad called “New Life” and would serve as the definitive sound for the project and the group. Acoustic piano and limited electric instruments support brilliantly tight harmonies with all four members sharing lead vocals throughout. Buck Herring would recreate a similar sound with 2nd Chapter of Acts. The acoustic piano solo is wonderful when one considers the limited budget and the fact that their use of the piano was limited by Larry Norman breaking the same piano during his recording session at the same studio.

“As a Child” sports a classical intro and a contemplative, worshipful sound throughout. The six-minute song shows the diversity that is found throughout the album with its more classical approach both musically and vocally. While the following track, “Children of the Day,” has a more acoustic folk rock sound similar to The Seekers or even the Monkees. Interestingly one would expect a Mamas and the papa sound, but it really isn’t there as the vocals are more classical sounding than “California cool.” The vocal bridge on this song is a great evidence of this. The male vocals take front and center stage on “The Search.” Written at a time and for a generation that was constantly searching for truth or the next high, the song is perfect snapshot of that generation. Here again Herrings piano arrangement is just perfect. “Two Hands” is a Tommy Coomes/Chuck Butler composition that would also be later recorded by Love Song on their debut. The arrangement is similar on both versions. The rockiest (and nearly progressive) “Jesus Lives” is a real standout both musically and vocally. I can only imagine how “radical” this must have sounded in 1970. There are even a few vocal “issues” left in that are actually endearing and creates more of a live sound. A little Bach follows with the a capella “All Breathing Life.” Again the groups musical and vocal versatility shines through here. Imagine all those rock music critics confused by some classical a capella vocals. Brilliant. Especially considering the two sisters were still in High School. “Jesus” would have worked perfectly on a Love song album as well. The arrangement and vocals just sound like Love Song, especially the transition at the two-minute mark. Even vocally Peter Jacobs sounds a bit like Tommy Coomes on this one. The album closes with a song that would be covered by more artists during the 70’s than just about any other song outside of “Easter Song.” It is also the song from which the album receives its name and was used at countless seaside baptisms over the years. Yet the song has had several critics because of the questionable theology it contains. The song, “For Those Tears I Died,” became an anthem for an entire generation though it was written by Carter when she was just 16. It is a very sentimental ballad that has Jesus proclaiming that He died for the tears accompanying repentance. The song contains the line “Come to the waters,” and that has made it such a popular baptism hymn.

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

Tracklist
1 – New Life – 4:18
2 – As A Child – 6:03
3 – Children Of The Day – 2:23
4 – The Search – 5:27
5 – Two Hands – 3:59
6 – Jesus Lives – 3:51
7 – All Breathing Life – 2:14
8 – Jesus – 3:58
9 – For Those Tears I Died – 5:10

Credits
Design – Kernie/Malone
Drums – John Mehler
Engineer – Buck Herring
Flute – Linda Conner
Musician – Bill Keene, Frank Chavez, Larry Oppenheim
Performer – Marsha Carter, Pete Jacobs, Russ Stevens, Wendy Carter
Photography By – Gary Conniff
Producer – Holy Spirit

Keith Green – For Him Who Has Ears To Hear – 1977

The sweet-natured half-smile, kind eyes and one-way finger nearly obscured by the head and face of hair on the cover does not serve as indication as to what laid within the grooves of this album. This is not sweet, syrupy, pabulum CCM with songs of encouragement for your “tough days.” Though the Jeremiah in rags pointing at God’s people with the Word as a sword would be the experience of the following album, “No Compromise,” there still is the ever-present call for repentance and holy living. But also noticeable are songs obviously written at a time just after conversion focusing on those beginning moments of love and joy. This debut album would not only showcase Green’s songwriting and vocal acumen, but would also be the most piano focused release. There are times that the listener feels like Green is sitting in his living room playing their piano and performing just for them. The central focus of the piano in the instrumentation and mic puts one of Green’s finest skills front and center. The reason for this is that the album was recorded almost completely live in the studio with very limited overdubbing, just limited to strings and backing vocals. This “live” feel was probably as much for budget as for the listener’s experience, but for this record it works. The focus throughout remains the voice, the piano, the songs. The album starts with “You Put This Love In My Heart,” a Elton John type piano driven pop song reflecting on God’s undying love and intrusive offer of love and grace.

Cause your love has released me
From all that’s in my past
And I know I can believe you
When you say I’ll never be forsaken
Your love is gonna last

There’s so much more I should say
If I could just find a way
You put this love in my heart

A continuing theme of God’s faithfulness amidst our sin is the focus of the ballad “I Can’t Believe It!” which introduces an endearing and lasting (though short lived due to his death) ballad form. The Elton John quality here is often where Green is at his finest. “Because of You” handles the same topic but in a decidedly more upbeat fashion. Where the former is more introspective the latter deals with how the change in one’s life impacts those around them.

Now people just can’t believe, that my life used to be
Something that no one had any use for
I’d stay at home each night, never shine the light
And i thank you, it will never be like before

It’s because of you
People point at me and say i like what that boys got
And because of you
I confess i don’t have a lot
But what i have is because of you

Now people smile at me and ask me what it is
That makes them want to be just like i am
So i just point to you and tell them, yes it’s true
I’m no special one, i’m just one man

It’s because of you

The more upbeat songs tend to showcase Green’s amazing piano work in a rock format and this song may be his finest work on the album using this style. His rollicking piano form owes much to the Jerry Lee Lewis revivalistic R&B. One song from the album that remained a radio standard for many years to follow is “When I Hear the Praises the Start.” This song of God’s undying love for His bride is sung from the point of view of Jesus calling out to His Church.

My child, My child, why are you weeping
You will not have to wait forever
That day and that hour is in My keeping
The day I’ll bring you into Heaven

For when I hear the praises start
My child, I want to rain upon you
Blessing that will fill your heart
I see no stain upon you
Because you are My child and you know me
To me you’re only holy
Nothing that you’ve done remains
Only what you do in Me

Honky-tonk piano highlights “He’ll Take Care of the Rest,” a song that continues the theme of God’s persevering work for His people. using Moses and Noah as Biblical examples of God’s faithfulness. This song shows Green’s more playful and humorous side that would be nearly completely absent on “No Compromise” and return on “Egypt.” The classic “Your Love Broke Through” follows. There is an interesting story regarding the song. Green had written the song a few years earlier with Randy Stonehill but graciously allowed Phil Keaggy to record the song and release it before himself. That is simply unheard of not only today, but ever. And with all due respect to Stonehill, Keaggy and others, this is the definitive version. The first of Green’s “trilogy” of songs about the Devil follows with “No One Believes In Me Anymore.” Again here Green displays his lighter and more humorous side. Honky-tonk piano again drives this song about the limited belief on the Devil, both in and out of the Church. The point is the deceptive nature of God’s enemy, his greatest deception being that of getting people to no longer believe in him. The song works as a musical version of CS Lewis’ classic book, “The Screwtape Letters.”

Oh, my job keeps getting easier
As day slips into day
The magazines, the newspapers
Print every word I say
This world is just my spinning top
It’s all like child’s play
You know, I dream that it would never stop
But I know it’s not that way
Still my work goes on and on
Always stronger than before
I’m gonna make it dark before the dawn
Since no one believes in me anymore!

Well, I used to have to sneak around
But now they just open their doors

Green’s most passionate performance is reserved for “Song to My Parents,” a plea to his family to find the love that God has for them. As one whose entire family are believers I can only imagine how heart breaking this experience must be for people. “Trials Turned to Gold” deals with the common struggle all Christians face when coming against difficult times and trying to understand God’s plan amidst the trials.

The view from here is nothing near
To what it is for You
I tried to see Your plan for me
But I only acted like I knew

Oh Lord forgive the times
I tried to read your mind
Cause you said if I’d be still
Then I would hear your voice

The album closes with Green’s version of the 2nd Chapter of Acts classic “Easter Song.” This song in unique on the album as it is the only song not written or co-written by Green and one of the few times he covered a song on any album in his career. It should be noted that Green does add a verse not in the original. Green’s voice, though, is brighter and stronger on this song than just about any other in his career. This remains one of the two or three greatest songs of the Jesus Music era and Green’s version is a worthy one and the perfect way to finish this amazing and timeless classic record. Green’s impact on Christian music and ministry cannot be understated. There have been three tribute albums made by various artist including one by rock and alternative label, Tooth and Nail nearly 20 years after his death. His impact was so great that a collection of artist there were in diapers when he dies were moved and motivate enough to lend themselves to covering his amazing music.

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

Tracklist
1 – You Put This Love In My Heart – 3:29
2 – I Can’t Believe It! – 3:37
3 – Because Of You – 3:32
4 – When I Hear The Praises Start – 4:23
5 – He’ll Take Care Of The Rest – 3:59
6 – Your Love Broke Through – 3:26
7 – No One Believes In Me Anymore (Satan’s Lament) – 3:20
8 – Song To My Parents (I Only Want To See You There) – 4:00
9 – Trails Turned To Gold – 3:25
10 – The Easter Song – 3:55

Credits
Accordion – Kenny Kotwitz
Arranged By [Strings] – Harlan Rogers
Backing Vocals – Danniebelle Hall, James “Arky” Felix, Keith Green
Bass – Todd Fishkind
Concertmaster – George Poole
Drums – Bill Maxwell
Engineer – Al Perkins, Gordon Shryock, Larry Emerine, Wally Duguid
Engineer [Mixing] – Bill Maxwell, Keith Green, Tom Trefethen
Guitar – Dean Parks, Gary Denton, Mike Deasy
Organ – Harlan Rogers
Photography – Gary Heely
Piano, Acoustic Guitar – Keith Green
Producer – Bill Maxwell, Keith Green

Companies, etc.
Phonographic Copyright ℗ – Sparrow Records, Inc.
Copyright © – April Music Inc.
Recorded At – Studio 55, Los Angeles
Recorded At – Location Recording Service
Recorded At – Western Recorders
Mixed At – Mama Jo’s
Published By – April Music Inc.
Published By – King Of Hearts
Published By – Latter Rain Music
Mastered At – Capitol Mastering

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