After a chance meeting with traveling evangelist Arthur Blessit in 1971 led to a conversion to Christianity for folk/rock singer Barry McGuire, the young Christian signed with heavyweight label Myrrh to record a series of popular albums. The first two made this list and the debut is discussed here. As a member of the New Christy Minstrels McGuire scored several hits, but soon left to start a solo career. He recorded several solo albums before his conversion, but it was the one with the most ominous and spiritual theme that resonated with audiences. “Eve of Destruction” was hit both as an album and as a single, reaching the coveted number spot on Billboard. But the fame was short lived and following albums never met the same level of response. Seeds was his debut in the Christian market and was greeted warmly was very positive responses outside of the normal “devil’s music” complaints from the same tired circles. One song in particular became a mini anthem for the Jesus Movement. “Enter In” tells the story of three different people on judgment day and the Lord’s response to them. The memorable chorus and rollicking melody made it an instant favorite of youth groups at the time. Oddly enough McGuire’s music became less and less current after his first two projects. His first two were right in line with the folk and early 70’s rock for the time. Michael Omartian, 2nd Chapter of Acts and a young Howard McCreary all lend support on the project. Buck Herring produced and they created a true gem. The common themes of the rapture, evangelism and retelling of popular Bible stories fill the albums content. But it’s a much more joyful McGuire the expresses these themes than the one who recorded “Eve of Destruction.” The previous brooding singer-songwriter would reappear in “Lighten Up” but here on Seeds it’s all about the joy of the Lord in a new believer.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – To Know Love – 3:17 2 – Last Daze Waltz – 3:15 3 – Peace – 4:05 4 – Enter In – 5:35 5 – David And Goliath – 3:00 6 – Lear Jets / Father’s Son – 6:05 7 – Love Is – 3:54 8 – Railroad Man – 4:40 9 – Use The Crosswalk – 2:30 10 – Shauna’s Song – 4:05
Credits Arranged By [Horn, String], Keyboards – Mike Omartin Bass – Joe Osborn Drums – David Kemper, Jim Gordon Engineer – Buck Herring, Wally Duguid Guitar [Solos] – Mike Deasy Harp – Ben Benay Keyboards – Howard McCrary, Larry Knechtel Producer – Buck Herring Saxophone – Don Menza Saxophone, Saxophone [Solos] – Jim Horn Trombone – Dick Hyde Trumpet – Chuck Findley, Ollie Mitchell Vocals – The 2nd Chapter Of Acts
Companies, etc. Phonographic Copyright ℗ – Word Recorded At – Sunwest Recording Studios Mixed At – Sunwest Recording Studios
Going Public must be recognized for the important album that it is and the impact on the industry. But it must also be acknowledged for being a wonderful record with incredible music and stronger lyrical themes then many of its contemporaries. This is the second record produced by Steve Taylor and the influence in the “smartness” in the lyrics and depth shows more here than on the previous release. Most notably on the monster hit “Shine” that would assuredly be recognized as one of the great songs in Christian Rock history. The album also features the bands most consistently strong content. Newsboys tend to create three of four amazing songs per album and then a side full of filler. here every song is strong and there is more cohesion as to the order of the music. There is both a musical and lyrical force behind each song as they flow from one to another. Spirit Thing, Real Good Thing and the title track still rank among the best the band has ever recorded. One other note. the album does not contain many ballads and the ones that are there posses a more introspective content and atmospheric sound which made them great songs, but not radio friendly. I always respect a rock band that can create ballads without the focus being trying to break though on Christian AC radio.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Real Good Thing – 2:53 2 – Shine – 3:42 3 – Spirit Thing – 3:27 4 – Let It Rain – 4:18 5 – Going Public – 3:31 6 – Truth And Consequences – 2:58 7 – Lights Out – 3:09 8 – Be Still – 3:19 9 – When You Called My Name – 4:03 10 – Elle G. – 5:13
Credits Bass, Backing Vocals – Kevin Mills Booking – Scott Huie Coordinator [Project] – Laura E. Cobble Cover [Cover Concept] – Peter Furler, Steve Taylor Creative Director – Toni Fitzpenn Crew [Touring], Keyboards, Programmed By [Additional Programming] – Jeff Frankenstein Design – Franke Design Co. Engineer [Additional] – Lisa Miller, Martin Woodlee, Wayne Mehl Engineer, Mixed By – Russ Long Executive-Producer – Darrell A. Harris, Wes Campbell Guitar, Backing Vocals – Jody Davis Keyboards, Backing Vocals – Duncan Phillips Lead Vocals – John James Lead Vocals, Drums, Programmed By – Peter Furler Management – Wes Campbell Mastered By – Bob Ludwig Performer [Additional Musician] – Blair Masters, Danny Duncan, Darrell A. Harris, Dave Perkins, Eric Darken, John Mark Painter, Kenny Greenberg, Kim Keyes, Phil Madeira, Russ Long, Steve Taylor, Vicki Hampton, Wade Jaynes Photography By [Cover] – Dave Perkins Family Archives Photography By [Group] – Norman Jean Roy Producer – Peter Furler, Steve Taylor
Kemper Crabb’s own biography states that he may have been born 700 years too late. That is nor more correct than on his classic Celtic/progressive/folk rock classic, The Vigil. Inspired by the Crusades and the music from nearly that same era, The Vigil is a masterpiece that is admittedly not for everyone. He has played with Caedmon’s Call and Atomic Opera. He fronted the amazing Progressive Rock band, Arkangel (reviewed later) and has a list of credits a mile long. He is also an ordained minister in the Reformed Episcopal Church and lectures on a diverse selection of theological and sociological subjects. How truly magnificent is this work? Consider that every review on Amazon is 5 stars and that sealed original copies can go for as much as $200 without a problem of finding a buyer. The combination of worshipful baroque, Celtic hymns, classical instrumentals and brilliantly conceived and crafted lyrics make this beyond anything resembling an AYSO. Litanies and liturgies are not the normal fair for Christian rockers and many may stumble through upon first listening. But as these brilliant works swirl and envelope an initial appreciation may soon become an obsession. Crabb’s stunningly beautiful rendition of “Be Thou My Vision” is utterly captivating. “The Danse” would later appear on the first Caedmon’s Call worship album.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com
Tracklist 1 – Sunset Before The Vigil – 1:21 2 – The Vigil – 2:03 3 – They That Go Down To The Sea In Ships – 4:12 4 – Tannin – 3:03 5 – Doulos – 3:32 6 – All Father Litany – 2:09 7 – Be Thou My Vision – 2:45 8 – Outremer – 1:16 9 – Salarello – 1:16 10 – The Danse – 4:50 11 – Thigpen’s Wedding – 2:00 12 – Taking The Cross – 1:35 13 – Candle Flame – 2:34 14 – Te Deum – 1:47 15 – Fairest Lord Jesus (Crusader’s Hymn) – 2:59 16 – The Vigil – 2:04 17 – Sunrise After The Vigil – 2:13
Credits Art Direction – Dave Rogers Bagpipes – Andy White Engineer [Assistant] – Cathy Mills Engineer [Assistant], Backing Vocals – Rick Thigpen Guitar – Lee Ann Turner* Harp [Troubador] – Barbara Goodrich Illustration – Randy Rogers Mandolin – Jerry McPherson Mastered By – Greg Calbi Mixed By – Paul Mills Mixed By, Lead Vocals, Backing Vocals, Recorder, Tin Whistle, Guitar, Dulcimer, Bells, Psaltery – Kemper Crabb Percussion – John Witte, Russell Dunlap Photography – Frank White Photography [Front Photo Concept], Backing Vocals – Bekah Crabb Producer, Arranged By, Engineer, Organ – Paul Mills Written-By – David Marshall, K. Crabb, P. Mills Written-By, Timpani – C. Mills
One of the most influential and important bands of the 1990’s never really received all the recognition they clearly deserved. Check that: They didn’t reserve anywhere near the recognition they deserved. Borrowing a line from CS Lewis “The Lion, The Witch and the Wardrobe,” the Seattle based quartet created some of the most significant and original music in CCM during their tenure. And no one album encapsulated that important edge quite like Mindsize. The teens that made up the band gave their demo to Randy Stonehill who passed it along to Terry Taylor. Taylor got it into the hands of Mike MacLane at Frontline Records who went after the band immediately. I remember Mike playing the demo for me in his office and I kept bugging him, asking when would the album be coming out! Part grunge, part alternative, part funk and all original and exceptional. From the riff to the last strum the band, with some creative production direction by Terry Scott Taylor, created a debut unlike any other from that era save Mortal’s debut. Someone still has to explain to me how a song like “All Pretty For the TV” can not make a serious ripple on college radio. Its retro funky grooves and alternative driven chorus are the stuff heroes are made of. Aaron Sprinkle guitar ranges from sleek and sexy to fuzzy and rough depending on the mood of the tune. Most often there’s a funky fuzz that dominates the lyrics of doubt, questions and searching. Christianese is limited as the songs (written by mere teenagers at the time) offer more insight than many of their contemporaries without the normal jargon associated with the genre. Is there a better and more fuzzy base line than the one found on “In Love With the Greenery?” The bass is so low at times it is felt more than heard. Utterly brilliant and fearless. “Sometimes Cry” is another song that deserved a wider hearing. Sprinkles weaving and swirling guitar drives one of the best chorus hooks on the entire album. Possibly the finest song on the album and in the entire Poor Old Lu catalog is “Cruciality.” The soulful groove and beautiful melody just works against the grungy guitar and plodding bass. Brilliant songwriting and execution. It is amazing that when one considers a good part of the group was still in their late teens that Taylor’s influence was not overpowering and they maintained their musical vision. This helped them create several more great albums and allowed them to be one of the great bands of the 90’s.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – More – 3:55 2 – All Pretty For The T.V. – 3:29 3 – So Good To See Me – 3:52 4 – In Love With The Greenery – 3:30 5 – Sometimes Cry – 3:47 6 – Do I? – 5:56 7 – Tried & True – 2:59 8 – Cruciality – 4:07 9 – To Be Awake – 4:21 10 – Tigger’s Daily Jog – 0:49 11 – Peapod – 3:54 12 – Shine – 4:11
Credits A&R – Matthew Duffy Arranged By – Poor Old Lu, Terry Taylor Arranged By [Strings] – Aaron Sprinkle Backing Vocals – Aaron Sprinkle, Brandon Thompson, Clark Leake, Derri Daugherty, Nick Barber, Terry Taylor Bass – Nick Barber Cello – Rick Rekedal Design, Layout – Aaron Sprinkle, Marc Ludena Drums, Percussion – Jesse Sprinkle Engineer [Second Engineering] – John Goodmanson Executive-Producer [Reissue] – Jeffrey Kotthoff Guitar, Keyboards – Aaron Sprinkle Lyrics By – Scott Hunter Music By – Poor Old Lu Percussion – Steve Hindalong Photography By [Additional] – Lloyd McCracken Photography By [Band Photography] – Anna Cardenas Producer – Terry Taylor Project Manager [Reissue Direction & Coordination] – Jeffrey Kotthoff, Scott Hunter Recorded By, Mixed By – Derri Daugherty Remastered By – Levi Seitz Technician [Drum Technician] – Aaron Mlasko Violin – Susan Jensen Vocals – Scott Hunter
I have seen King’s X live on three occasions. I still have no idea how they pull off their sound live with just three guys. It is really impressive. Of course, one of the times I saw them they were the band for CCM pop artist Morgan Cryar. They played at the infamous “lighthouse” in Orange County. With their third release, Faith, Hope, Love, King’s X were positioned to become the next great rock band, and even though they have garnered a stellar track record and decent fan base, the world just some times doesn’t “get it” when it comes to great and significant rock. Possibly more “commercial” than the first two release, FHL, is still a rocking album and filled with the bands unique, creative and progressive rock music. The Beatlesque vocals married to big and heavy rock just seem to work so well, especially here. The single, “It’s Love” is a brilliant song that deserved even more radio support than it did. But like most King’s X projects it’s deeper into the album that the real gems shine though. “Fine Art of Friendship” has such a killer groove that sticks with you and a wonderful message of reconciliation. “We Were Born to Be Loved” just flat out rocks…hard! And the spoken vocal just works perfectly. Many prefer the debut because of it’s greater progressive and creative influence, but FHL delivers such a consistent and listenable sound that it bears more repeated listening.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – We Are Finding Who We Are – 4:39 2 – Its Love – 4:34 3 – Ill Never Get Tired Of You – 3:46 4 – Fine Art Of Friendship – 4:21 5 – Mr Wilson – 3:39 6 – Moanjam – 6:05 7 – Six Broken Soldiers – 3:32 8 – I Cant Help It – 3:53 9 – Talk To You – 4:36 10 – Everywhere I Go – 3:53 11 – We Were Born To Be Loved – 4:52 12 – Faith Hope Love – 9:23 13 – Legal Kill – 4:42
Credits Art Direction – Derika Van Reenan Artwork [Back Cover Illustration] – James McDermott Artwork [Front Cover Illustration] – Randy Rogers Bass Guitar, Vocals – Doug Pinnick Drums, Percussion, Vocals – Jerry Gaskill Engineer, Recorded By – Steve Ames Guitar, Sitar, Vocals – Ty Tabor Management – Sam Taylor Mastered By – Tony Dawsey Photography By – George Craig Producer – King’s X, Sam Taylor Written-By – King’s X
After nearly a decade of writing, performing and touring with a group bearing his name, Pat Terry found himself working as o solo artist in the early 1980’s. While the Pat Terry Group was a Southern Rock/Country (with the emphasis on a mellower country feel). Pat Terry the solo artist sported an Americana rocker drive similar to Tom Petty and apparently positively influenced by producer Mark Heard. There is an eerie similarity in Terry’s singing and writing to Mark Heard’s Domino and Victims era and that is not a complaint. Like Heard, there are also touched of Lindsey Buckingham present as well. While the tow later Heard produced albums (Film at Eleven and The Silence) feature longer, darker and more “difficult” songs, Humanity Gangsters is filled with hope, passion, doubt and a commercial bent that is both immediately likable and transcendent. The Right Place welcomes the listener in with a hand of fellowship despite their current circumstances. Terry creates an air of acceptability for those longing for truth and acceptance. Too Many Voices sounds like a song lifted from Heard’s “Victims of the Age” thematically with the description of a man whose life is filled with too many voices clamoring for his attention and response. The ballads are less sweet and radio friendly than one might expect from a Jesus Music pioneer, with “Sounds So Simple” being the perfect example. In an evangelical world where easy answers are offered on Church marquees Terry laments the lack of transparent honesty offered by modern Christendom. Personal favorite and album highlight is “Don’t Take It So Hard.” Expanding on the previous songs lamenting of easy answers, here the Springsteen like Terry explores how the world (radio, newspapers, TV) adds to the easy answer dilemma and how the pain of not having the personal contact with those around us makes sharing the real truth so difficult. The two closers from each side would stand as the only real radio releases (though at the time radio was not ready for the content). In the vein of Stephen Bishop and James Taylor “Steal away” and “Nothing I Say” are beautiful ballads, simple, honest and poignant. The latter will remind listeners of Heard’s Appalachian melody. This album was such a revelation of songwriting, musicianship and personal expression at the time. Even now as I listen again to write this review I am swept away into a wonderful work that deserved greater appreciation and response. It also amazing me how truly relevant it sounds, both musically and lyrically, some 30 years later.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – The Right Place – 3:46 2 – Too Many Voices – 3:02 3 – Sounds So Simple – 3:16 4 – Don’t Take It So Hard – 5:02 5 – Steal Away – 3:55 6 – Open The Door – 4:23 7 – Can’t Be Satisfied – 3:58 8 – I’ll Come Back To You – 5:19 9 – Nothing I Say – 3:08
Credits Acoustic Guitar, Electric Guitar, Slide Guitar, Guitar, Soloist, Harmonica, Lead Vocals, Synthesizer, Written-By – Pat Terry Backing Vocals – Mark Heard, The Strat Brothers Bass – Billy Batstone, Mark Heard Congas – Alex MacDougall Drums – John Mehler Electric Guitar – Mark Heard Engineer – Bill Cobb, Mark Heard, Chris Taylor Handclaps – Mark Heard Mastered By – Bernie Grundman Mixed By – Mark Heard, Pat Terry Organ [Hammond B3] – Carl Pickhardt Percussion – Alex MacDougall Photography By, Layout – Mark Heard Piano – Carl Pickhardt (tracks: A4), Pat Terry Producer – Mark Heard, Pat Terry
The day after Christmas, 2007 Roby Duke suffered a heart attack and went home to be with the Lord. Two days before this he was sharing the stage with his musician son. Many, if not most, in the world of CCM did not know of his passing, nor did many even remember what a wonderful artist they had in their midst for three decades. He was 51 years old. Never did Roby Duke fit the mold of pop star. He did not posses those album cover gracing good looks, he didn’t create music for “today” and he didn’t fit the Nashville scene. Even the rerelease of this great album sported a new cover without his picture and just a painting of a guitar! Though growing up in Mississippi he wrote and performed the music of a Californian wearing an Hawaiian shirt and looking more like a Jimmy Buffet fan that a killer jazz and soul musician and singer. His greatest accomplishment may have been never sounding like he was part of the Nashville machine. In 1980 he signed with Songbird records, a joint effort between Sparrow Records and MCA for artists with a decidedly mainstream sound or potential. Roby Duke’s music was so out-of-place in CCM, with its clear soulful and jazz influence and a cool factor that was through the roof. The album sported a host of who’s who musicians and vocalists including Hadley Hockensmith, Marty Walsh, Harlan Rogers, Keith Edwards, Dan Huff, Alex MacDougall and Rob Watson. How can anyone go wrong with two members of Daniel Amos and nearly the totality of Koinonia? CCM sweetheart Kelly Willard also appears on a great duet. Produced by the legendary Jonathan David Brown, the only artist even close was Bruce Hibbard who also added some songwriting support for the project. Tom Keene’s string arrangements are just flawless. The album also marked the increased involvement of the great Wally Grant, another engineer/producer that deserves a heap of praise for his amazing tenure of work. From songwriting to performance this is nearly a perfect album!
Kicking of the a simple electric keyboard and silky vocals “Love Is Here to Stay” makes a quick transition into a killer jazz groove that doesn’t let up for another ten songs. Driven by Hockensmith’s funky riff and the killer brass section the song is the definition of “put the top down” California coast jazz.
“Time to Stand” shows the strength of Duke as songwriter and vocalist. The simple arrangement is carried by Duke’s voice and Patitucci’s amazing bass line. This song oozes with cool.
“Season’s of Change” remains my personal favorite of all of Duke’s great songs here and elsewhere. Live this song was great as Duke was a very underrated guitar player and his upbringing on the bass lead to a “thumping” style acoustic guitar playing that was a real treasure live. This song lent itself to a great live “thumping guitar” experience. It was also one of the three or four songs from the album that stayed on rotation at KYMS for many years.
The ballad, “Carpenter” shows exactly what a great song in the hands (or throat) of a master can be like. The vocal inflections and willingness to let the song’s nuances deliver the feeling is shown perfectly here. There are times when his vocals are restrained in order to make the bigger moments work as well as they do in such a simple and lovely song.
For some reason the re-issue of this album replaced the title “Feel It Comin’” with “You Love Me.” It a great song and features Kelly Willard on a duet. Not sure why the change?
What should have become a praise and worship staple, “O Magnify the Lord” was just a bit too “jazzy” I guess. Lyrically it is nearly straight Scripture and the breezy Seawind like jazz arrangement is just stunning. Here we also get a taste of just how smooth and cool Harlan Roger’s keyboard work can be.
“Can’t Stop Runnin’” is a Bruce Hibbard composition that Marty McCall and Fireworks also performed. “Love is Here to Stay” is also a Hibbard tune. That funky yet smooth groove here just works perfectly.
“Rested in Your Love” is my favorite ballad from the album. Keene’s string arrangement works so nicely in support of Duke’s soulful sound.
The title track returns to the killer groove that are the hallmark of Duke’s music. The chorus just sticks with you and the backing vocals on the chorus really move the song. I still remember roller skating at Christian music night to this song. It’s disco tinged groove combined with the great jazz infusion is very good memory stimulator. The song, like the whole album creates an image of not only a time but a place in history.
The album closer, “Promised Land” is Duke’s finest vocals on the album. There is an emotional tinge that really shines through on this plaintive call of the Gospel presented in the lyrics. This, coupled with Brown’s best backing vocal production and arrangement, makes this call believable, authentic and musically realized. It has a real Bob Bennett quality to it. The slow vocal fade at the end just stays with you.
For all the criticism CCM has thrust upon it (some justified, some not) it is the lack of any real understanding of history and those that went before us a generation previous that frustrates me the most. This, I believe, stems from a Church (universal) that thinks Church History started when their Pastor graduated from Bible School. There is little to no sense of history within the halls of Christendom, so why should the music it creates reflect something different?
I should know better…
That is a such a shame!
But despite that the album remains of the best ever recorded in CCM and more than deserving of its placement in this list.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Love Is Here To Stay – 3:59 2 – Time To Stand – 3:46 3 – Seasons Of Change – 4:55 4 – Carpenter (Do What You Got To Do) – 4:15 5 – Feel It Comin’ – 3:19 6 – O’ Magnify The Lord – 3:40 7 – Can’t Stop Runnin’ – 3:34 8 – Rested In Your Love – 3:37 9 – Not The Same – 3:57 10 – Promised Land – 4:15
Credits Arranged By – Harlan Rogers, John Patitucci, Jonathan Brown, Roby Duke Art Direction – George Osaki Bass – John Patitucci Drums – Keith Edwards Engineer – Walley Grant Engineer, Mixed By – Jonathan David Brown Guitar – Hadley Hockensmith, Marty Walsh Keyboards – Harlan Rogers Lead Vocals – Roby Duke Mastered By – Steve Hall Percussion – Alex MacDougall Photography By – Alan Bergman Producer – Jonathan David Brown Saxophone – Michael Carnahan Synthesizer – Rob Watson Trombone – Doug Wintz Trumpet – Ralf Rickert
“How the West Was One” is an artistic achievement of its own and is deserving of its representation here if only for the remarkable performance of Phil Keaggy. Phil Keaggy, more than any artist in Christian music, has suffered from the limitations of studio projects. Most fans of Keaggy bemoan how his live performances have never been captured in the studio. This is certainly not the case here, but that will be dealt with later.
The first thing to note is the ambitious scope of the project itself. A few years earlier the 2nd Chapter of Acts had released a live album with fellow Jesus Music pioneer, Barry McGuire. That album was a double album and sold relatively well based primarily on the success of Barry McGuire who brought quite a strong musical legacy to Christian music. This project was more ambitious being a very rare three record set with the 2nd Chapter of Acts having to carry the load as Phil Keaggy was a relative newcomer to the market and his following was much more in the rock musician vein. Add to that the fact that the SCOA had not released another album of new material since the previous live album with McGuire.
But the pure passion and quality of the performances included on this project are simply top rate. The back up band, a band called DAVID, contained some of the best musicians Christian music has ever witnessed. The band was not called “DAVID” but rather “a band called DAVID.” The band included Gene Gunnels, former drummer Strawberry Alarm Clock, Peter York and the amazing Richard Souther. Along with Keaggy playing throughout the entire album the musicianship was superior. The live band also made the music of SCOA more authentically contemporary,
Highlights include “Hey, Watcha Say,” “Which Way the Wind Blows,” Yahweh,” and one of the finest versions of “Easter Song” to date. The recordings, which were culled from an 18 city tour during 1977, were incredibly well produced with exceptional mixes.
As much as I am a huge fan of the Second Chapter of Acts this project was truly a coming out party for Phil Keaggy. Previous to this release Keaggy was a bit of a cult hero, but mainstream Christian music had not completely caught on to this amazing master. Underground rock fans were familiar with Keaggy and his previous band Glass Harp, a sixties influenced, psychedelic blues influenced band that released three fantastic projects that saw limited success.
Keaggy’s guitar virtuoso reputation was impressive and many urban legends regarding secular guitar heroes respect for his abilities have continued unabated despite nefarious beginnings. One included a comment from famed guitar “rock god” Jimi Hendrix supposedly calling Keaggy the greatest guitar player in the world. Keaggy denies even the possibility of this by noting that Glass Harp’s first album did not even begin to be recorded until weeks after Hendrix’s death.
But these legends have continued for 40 years precisely because of the kind of guitar work demonstrated on “How the West Was One.” Both acoustic and electric stylings are represented here and the craftsmanship is simply unbelievable.
Highlights include “What a Day,” the title track from Keaggy’s debut solo record and has remained a staple for Keaggy for nearly 40 years. “Your Love Broke Through” was the title track of Keaggy’s second release and is a wonderful Jesus Music classic penned by Randy Stonehill and Keith Green. It is said that Green was so impressed by Keaggy and his version of the song that he requested that Keaggy release the song before he did.
But there are two songs that simply make this project the true classic that it has become. The first is the nearly 17 minute version of “Rejoice” that shows both Keaggy’s amazing skills and the subtlety of his guitar work. This is not some long rambling “jam” but rather the work of a master displaying diversity, restraint and creative skill. Much of the instrumental spotlight is exclusively the work of Keaggy as the rest of the band simply stops playing and leaves Keaggy and his guitar work center stage.
The other highlight is quite possibly the “Stairway to Heaven” of Christian music. The song, “Time” is a 10 minute tour de force of rock at its finest. Where “Rejoice” shows the innovative, creative and quieter side of Keaggy’s work, “Time” just flat out rocks and contains the finest rock work of Keaggy’s career. The song shows the blazing speed and tasteful lead work that always seems to be missing from his studio projects. The back and forth playing between Keaggy and keyboardist Richard Souther is a sheer rock and roll joy.
“How the West Was One” is a snap shot in time and, in some ways, spelled the end of the Jesus Music part of Christian Music’s history. Things seemed to get “bigger” after the release of this project and two Jesus Music’s leading performers would become significant cogs in the bigger music medium of the 1980′s. But for that moment in time, this wonderful album remains a reminder to what was as it, at the same time, pointed to would be.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Concert Intro – 2:19 2 – Hey, Watcha Say – 4:13 3 – Keep On Shinin’ – 3:26 4 – I Fall In Love/Change – 5:49 5 – Now That I Belong To You – 4:08 6 – What A Day – 6:38 7 – Love Broke Thru – 4:26 8 – Take Me Closer – 5:34 9 – My Life – 5:58 10 – Another Try – 5:06 11 – Rejoice – 16:57 12 – Just The Same – 4:17 13 – Hallelujah – 5:37 14 – Time – 9:35 15 – Easter Song – 4:54 16 – Dance With You – 4:07 17 – Which Way The Wind Blows – 4:44 18 – Something Tells Me – 6:32 19 – Yaweh (Yawehuesse Cosio) – 3:24 20 – Psalms 61 (From Scripture) – 3:18 21 – Grinding Stone – 2:47 22 – Receive – 3:53 23 – Morning Comes When You Call/Son Comes Over The Hill – 6:51
Credits Marc Curtis – Coordinator [Concert] Wally Duguid – engineer Nelly Greisen – vocals Gene Gunnels – drums Annie Herring – piano, vocals Buck Herring – producer, mixer, concert intro Phil Keaggy – guitar, vocals Herb Melton – bass Richard Souther – piano, multi-keyboards, background vocals Matthew Ward – vocals Peter York – rhythm guitar, background vocals
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Clearly the single greatest oversight in the previous Top 50 list was the omission of Bob Bennett as an artists, and most specifically, this amazing project as an album. That omission is hopefully rectified here with its inclusion in the Top 20; a well deserved placement for one of the early 80’s most poignant, important and brilliant releases. Bennet’s stories songwriting career found a zenith of sort in the nearly perfect musical expression. A decade before the strains of life brought a painful album of loss and regret in “Songs From Bright Avenue,” Bennett released “Matters of the heart,” an album filled with grace, yearning, hopes, legacy and love. Brilliantly performed with not one stray note or moment, the album is Bennett’s finest complete collection. There is nothing here that can be skipped. No album title has ever been more apropos than the one here as Bennett explores the emotional, nostalgic, inspiration and frailty of the human heart and its faltering condition. The themes are set against some beautiful melodies that warm, soothe and wrap their notes around the listener in such a gentle and calming way that the album serves as both wonderful background music and forefront personal examination encouragement. Bennett’s first release was on Maranatha Music and Bennett noticed from the very beginning that he did not quite fit with the rest of the artists on the label and with the Calvary Chapel way of doing things. the label’s pastoral type executive were kind enough to allow Bennett to record his brilliant debut, but did nothing to garner airplay, tour support or marketing. In fact, Bennett was left out of all of the label sponsored concerts and events. Bennett’s concerns about the relationship were verified when there was never a discussion about a follow up despite the albums relative success given the lack of support. So, as the 1970’s became the 1980’s Bennett found himself with a suitcase full of songs and no label. At the same Time CBS Records was working on an “Inspirational” imprint with eyes of taking CCM into the mainstream with artists they believed carried that potential. The James Taylor-like musical expressions of Bennett’s soulful pop had a strong Adult Contemporary, acoustic appeal that was quite popular at the time. The label would be called “Priority Records” and would be the home of everyone from Bennett to Carman and even a one-off by Mylon LeFevere under the name, “Look Up.” Bennett was impressed initially by the label when the label’s President actually personally returned a phone call to him. This true rarity gave Bennett hope this would be his new musical home. Bennett went into the studio with Jonathan David brown to record some demos for the label and eventually signed with the label. Bennett described to me that after the rather simplistic contract with Maranatha Music, the CBS record deal would make the IRS regulations seem pale in comparison. After signing Bennett returned to the studio with Brown and a sick list of musicians that would make most artists green with envy. Smitty Price was brought in to create the band charts, arrangements and lead the band that consisted of Hadley Hockensmith, John Patitucci, Keith Edwards, John Ferraro, Alex MacDougall and Price. Bennett was joined by Kelly Willard and the impeccable Roby Duke on backing vocals.There are even real strings to be heard here! What made the album seem so consistent throughout was that even though the album was loaded with brilliant musicians there was primarily one core band with only Ferraro and Edwards sharing the drumming duties. This gave an amazing studio album a true band feel throughout. Much kudos here to Brown for making it come together flawlessly for the listener. The albums title track and finishing track share a similar musical landscape and even a similar title. This somewhat thematic approach weaves throughout the entire project. Opening with “Matters of the Heart” and closing with “Heart of the Matter,” the album introduces and brings home all of these themes into one cohesive unit. The album starts off with the title track and the listener is immediately introduced to a wonderful acoustic musical, swirling melody that quickly morphs into a jazzy vibe that is utterly infectious. The listener is also introduced to brilliant songwriter at his very best. The song delivers a powerful message of the truth that there are things that numbers, statistics and sales cannot measure, nor define; these are the true matters of the heart. These undefinable feelings, impressions and responses cannot be put through a strainer or defined by an outside source. The constant struggle to understand the “concrete and the spiritual” that wields this internal battle is so beautifully portrayed that the only lyrical comparison would be something from Bruce Cockburn’s “Dancing In the Dragon’s Jaws.” This would probably also serve as a good starting point musically. the guitar work, especially Bennett’s acoustic work is very reminiscent to Cockburn’s work on that album. It should be noted here that not only did Bennett surround himself with brilliant musicians, he is also an accomplished acoustic guitar player. The previous comparison to Cockburn is meant to be taken lyrically and musically. His playing both melodic and intricate. Perhaps only Keaggy and Heard would rival his playing. The beautifully jazzy “Falling Stars” will remind some listeners of Roby Duke’s softer side or the aforementioned Cockburn’s “Night Vision.” Here the heart’s struggles and pain are examined. Sin and the pain of loss are compared to these falling stars with no hope but to crash. But Bennett finds a glimmer of hope as the song concludes that hints at what will be revealed later in time and on the album. One of Bennett’s truly great artistic achievements follows with “Mountain Cathedrals.” This epic song of epic praise reads like a Psalm where the writer realizes just how minuscule he is compared to the vast creation and majestic work of God, all the while realizes this same God loves him personally. Bennett’s personal frailty is so common that one would be hard pressed not to relate. Musically, the album is a real treasure as it floats from a simply worship like melody to this wonderful Celtic type musical break and closes with a more country rock feel of the same melody. It is nearly progressive in a purely acoustic setting. The first of a few “legacy” songs is “1951,” a poignant picture of his family, especially his father. One can see the song , written in black and white, and compares favourable to Bruce Springsteen’s more emotive lyrics, though musically very acoustic jazz. The legacy of simple faith and the need to pass along to further generations the faith and family values is on display here. Nothing about the life of the family sounds easy, but rather, all too real. A long time personal favourite is “A Song About Baseball.” This same father introduced in the previous song appears here as a loving and compassionate one who loves his son no matter the results of his athletic endeavours. Bennett croons, “He loves me, no matter how I played.” And so, this example rings true about a heavenly father who loves us no matter what. One line that really sticks with the listener is “nothing mattered after the game, when my father would find me, and call out my name.” The simple expression of a father knowing his son by calling out his name leaves an indelible mark. On “Madness Dancing” the heart finds a heart that is more expressive and joyous than elsewhere on the album. There are times when all hearts must simply release its love for God even in ways that are unconventional and uncomfortable. Though there are times to experience a sombre, sober and reflective worship, there are times when the heart must be free of expectations. It is at these times that Bennett cries out, “I don’t want to shoot anyone, with my high powered doctrine gun.” I also would like to bring attention to the great band feel on this song, especially the brilliant guitar work by Hockensmith. The album returns to a much more reflective and difficult content with “Together All Alone.” The struggles for purity and true relationship are contrasted with the desire to be loved and to interact on a deeper level. Very few songs understand the real struggles of young people and older ones alike like this song. The first story revolves around a lonely and needy young boy whose girlfriend had moved away leaving him at a loss. But Bennett’s keen wisdom and lyrical precision describes the struggle perfectly with the lines, “She bounces his heart like a basketball” and “he lies with his with back to back…together all alone.” Then leaves a chilling and sombre reminder that somewhere, half-way around the world, “a shepherd tends his sheep” “Beggar” always brings to mind Walter Wangerin’s great short story, “Ragman,” in which a man trades in his rags for new clothes. In Wangerin’s powerful story the beggar trades his old clothes with another who takes upon himself the wounds and scars of the beggar. Here the beggar is clothed in new garb who is also now well fed because he discovered where true bread resides. I will not claim that “Come and see” in Bennett’s finest moment ever, but it certainly ranks up there among his best. This beautiful and worshipful melody is just captivating. It should have grown to be a great song of invocation or calling for its majestic sound and yearning content. Bennett calls the listener to come and meet this man from Heaven. A recent Facebook discussion led one man I admire greatly in the industry to refer to the song as “majestic.” I cannot disagree, I find myself hitting repeat quite often as I listen to the album. Though it does not serve as the album’s closing piece, it does, in way, close out the albums message with a call to meet the Savior. In the hands of a less gifted communicator the content could have sounded trite and simplistic, but with Bennett it is revealed as authentic, genuine and convincing. The album closes with somewhat of a reworking of the title track in “Heart of the Matter.” After a short acoustic introduction, the title track’s rhythm and groove is repeated with a chord reversal to match the title’s reversal. There is one moment when the song retraces the actual title track’s melody, then returns to its initial form. It is is really a musically brilliant work and Bennett, Brown and, especially Price, deserve serious kudos. CCM Magazine made the album it’s “Album of the Year” and would later include it in the Top 20 of it’s first “Greatest of All Time” countdowns. It would also show up up lower when the CCM released its Top 100 of all time, which is ridiculous! Bennett ranks with Mark Heard, Bruce Cockburn and Terry Scott Taylor as among the finest songwriters in Christian music history. “Matters of the Heart” is Bennett’s finest work ranks among the very best singer-songwriter albums in or out of Christian music.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Matters Of The Heart – 3:30 2 – Falling Stars – 3:07 3 – Mountain Cathedrals – 4:54 4 – 1951 – 3:07 5 – A Song About Baseball – 3:21 6 – Madness Dancing – 3:19 7 – Together All Alone – 2:48 8 – Beggar – 3:57 9 – Come And See – 2:51 10 – Heart Of The Matter – 6:10
Credits Acoustic Guitar – Bob Bennett Arranged By [Strings & Woodwinds], Conductor – James Gabriel Stipech Art Direction – Bob McConnell Booking – The Holmes Agency Concertmaster – Pavel Farkas Drums – John Ferraro, Keith Edwards Electric Bass, Acoustic Bass – John Patitucci Electric Guitar – Hadley Hockensmith Engineer [Second] – Wally Grant English Horn, Flute, Saxophone – John Phillips Guitar [2nd] – Steve Swinford Hammered Dulcimer [Hammer Dulcimer] – Mark Davis Keyboards – Smitty Price Mastered By – Steve Hall Percussion – Alex MacDougall Photography By – Ken Kim Photography [Bob Bennett and Albie Pearson] – Dad Producer, Engineer, Mixed By – Jonathan David Brown Score Editor [Rhythm Charts] – Smitty Price Steel Guitar – Steve Swinford
If ever the added artist inclusion of “friends” even meant anything it was on Paul Clark’s classic rock and roll album “Good to Be Home.” The Phil Keaggy factor is HUGE here including his inclusion as the lead vocalist on the opening track. Keaggy’s guitar work is also all over the album. And it’s some of Phil’s rockier work as in comparison to his own albums released at the same time. For 1975 this was pretty progressive. Hammond organ riffs jettisoning back and forth with Keaggy’s fantastic fret work. Also included amongst the friends are Jay Truax and John Mehler from Love Song. They all collaborated on this album and the “band” feel really shows. “Unveiling” may be one of Clark’s most impressive and compelling songs. Clocking in at just under seven minutes this song truly allows Keaggy to shine, not just in the fancier fret work or scorching leads but in creating ambiance and atmosphere for this epic. This may have been CCM’s earliest foray into progressive rock sounding like a more jazz influenced Kansas number. I once asked several “Jesus Music” experts if they could only own one of Paul Clark’s classic albums, which one would it be. The response was unique in that many stated that though they didn’t believe “Good to Be Home” to be Clark’s finest work, the majority stated it would be the one to own. That says a lot about how often in Jesus Music and CCM the heart of an album can impact ones perception as much as the artistic value.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Holding On To You – 2:30 2 – Which One Are You? – 4:11 3 – All Your Ways – 3:51 4 – Unveiling – 6:42 5 – For My Children – 3:15 6 – It’s All Waiting – 3:25 7 – Good To Be Home – 2:51 8 – Under His Grace – 3:15 9 – Abide – 3:05
Credits Artwork By [Cover Design] – Ted Stone Artwork By [Cover Illustration] – Gary Pycior Backing Vocals – Sandy Dryden Bass, Vocals – Jay Truax Engineer – Bob Cotton Guitar, Vocals – Phil Keaggy Organ – Stew Langer Percussion – John Mehler, Lanny Hansen Photography – Eben Fowler Piano, Guitar [Acoustic], Vocals – Paul Clark Piano, Vocals – Bill Speer Producer – Paul Clark, Phil Keaggy Saxophone, Flute – Barry Kelsey Written-By – Paul Clark, Phil Keaggy
