David Lowman – Page 10

Steve Taylor – On The Fritz – 1985

Steve Taylor followed up his masterpiece, Meltdown, with 1985’s “On the Fritz,” a substantially more refined and mature rock album that was great, but did not seem to match what came before or after. Produced by Ian McDonald of Foreigner and King Crimson fame, Fritz was wider and deeper musically then Meltdown, but seems to lack the more memorable touches and possessed a few too many novelties that don’t bear repeating nearly as often. The great offender on the album was Lifeboat, a song (or mini-musical sketch as it were) that must have sounded great on paper and worked well in video format, but simply is not musical enough to bear consistent repeat listening. “Drive, He Said” comes close, but is interesting enough and has enough of a Bowie type feel that it does not quite as much as the former. But when the album does take musical swings it hits way more often then misses and also contains some of Taylor’s finest and most personal songs. “This Disco (Used to be a Cute Cathedral)” is based on the true story of the Limelight Club in NY that was once an Episcopal Church. Musically more in line with Meltdowns manic, dance driven style, even stations adverse to playing more “upbeat” music added the song to their playlist. The Ian McDonald guitar influence can be heard on the wonder title track. The song looks at a pop star that once confessed Christ but has turned his back in the faith to maintain his stature in the mainstream world. “It’s a Personal Thing” actually sounds like something that would have worked well on the following “I Predict 1990” album with the bass and keyboard driven approach and the political commentary and pre-dated Bill Clinton by nearly a decade. “To Forgive” remains one of Taylor’s finest and most personal songs. The Big Country sounding E-Bow guitar creates a very Euro sounding power pop song. The story telling here is Taylor at his best.”I Manipulate” and “You Don’t Own Me Nothing” are great songs and show a progression of the artist as a songwriter out of the novelty realm. But Taylor’s very best may have been saved for the last song on the album. “I Just Wanna Know” remains Taylor’s most personal and confessional song in his tenure. The self-doubt and internal questioning of motives for his art are examined in full sight of the listener. It is also musically captivating and a perfect ending to a very strong album.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – This Disco (Used To Be A Cute Cathedral) – 4:06
2 – On The Fritz – 3:56
3 – It’s A Personal Thing – 2:58
4 – To Forgive – 3:54
5 – You’ve Been Bought – 2:45
6 – You Don’t Owe Me Nothing – 3:22
7 – I Manipulate – 5:07
8 – Lifeboat – 4:35
9 – Drive, He Said – 4:30
10 – I Just Wanna Know – 4:40

Credits
Backing Vocals – Beverly Slade, Kitty Markham, Mary Davis
Bass – Carmine Rojas
Cover [and Everything Artsy] – The Graphics Studio
Drums – Alan Childs
Drums [Simmons], Finger Snaps, Percussion – Cactus Moser
Engineer [Assistant] – Jay Healy, Joey Flamingo
Engineer, Mixed By – Alan Douches
Finger Snaps – Debbie Taylor
Guitar – Hugh McCracken, Tony Davilio
Guitar [Solo] – John McCurry
Keyboards, Synthesizer [Programming], Synthesizer – George Small
Mastered By – Greg Calbi
Producer, Mixed By, Guitar, Alto Saxophone, Percussion – Ian McDonald
Synthesizer [Programming], Synthesizer – Larry Fast
Tenor Saxophone, Alto Saxophone – Dave Thrush
Written-By, Producer, Vocals – Steve Taylor

Companies, etc.
Phonographic Copyright (p) – The Sparrow Corporation
Copyright (c) – C.A. Music
Copyright (c) – Birdwing Music
Recorded At – Grand Slam Studios
Mixed At – Grand Slam Studios
Mastered At – Sterling Sound

Randall Waller – Midnight Fire – 1980

Everything that was wrong about the Christian Music industry in the early 80’s rears its ugly head on the classic gem that is a legitimate AYSO. Take an impressive rock vocalist (who would later form the band Avion) have him record killer rock and progressive rock songs but hide the guts in the mix, put the guy a late 70’s leisure suit and put seat him on a throw rug in front of a glowing fire. Ugh! What should have been the North American introduction of a great rocker in the vein of The Eagles “Long Run” ended up being a forgotten and overlooked cut out bin regular. Find this album and get it! There are no mediocre songs and, in fact, some amazing tunes throughout. One of the songs that Avion would later cover is a more commercial version of “I Need You,” a song that should have been a Christian Rock hit. The nearly 6 minute “Lady of the Night” is a rare progressive rock delight in CCM. Even the ballads on this release are worthy of consideration, especially the mid-tempo “Cry From an Absent Friend.” Waller would later appear as a guest vocalist on a David Zaffiro (Bloodgood) solo project.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – I Need You – 4:25
2 – Cry From An Absent Friend – 4:30
3 – Midnight Fire – 2:50
4 – Lady Of The Night – 5:48
5 – Mum ‘N’ The Kids – 4:06
6 – Always Waiting – 3:56
7 – Made For Me – 2:58
8 – Morning Star – 6:05

Credits
Co-producer, Guitar, Lead Vocals – Randall Waller
Engineer – Joe Bellamy
Engineer [Assistant] – Mark Heard, Tom Trafethan
Engineer [Assitant] – Gary Bonar, Hal Sacks
Mixed By – Joe Bellamy (tracks: 2-8), Tom Trafethan (tracks: 1)
Producer – Jon Linn

Companies, etc.
Published By – Gumnut Music

4•4•1 – Mourning Into Dancing – 1986

When discussing the Southern California New wave/Punk scene of the 1980’s it is easy to refer to Undercover, the Lifesavors, Altar Boys and the Lifters, but 441 should not be forgotten. After recording only two albums (a later release featured two band members), the band disappeared. The eponymous debut made an immediate impact as I continued my pestering of the program director of KYMS to try new bands. I was often rebuffed because of the too rocky and edgy music, but with 441 there was an instant appreciation. More soulful new wave/new romantic styles like that of Duran Duran and Spandau Ballet on the softer side, the band was more polished, pop and accessible. As a result the bands singles charted heavily on the station and their popularity grew. But there second album was significantly better, both musically and lyrically as stronger production at the hands of John and Dino Elefante. The band also stood out because they were not afraid to write about the darker, more serious struggles young Christian faced including doubt, purity and self-steem issues. They would wonderfully mask these topics in unforgettable pop. Lead vocalist John McNamara had a cool swing and swagger that worked with the sound. The album cover should been seriously reconsidered. It was so “demo” and “rock’ looking that it should be considered false advertising. This was clearly before the days of image consultants. 441 was band for their time. Caught squarely in the 1980’s new wave sound, the record sound dated, or better yet, nostalgic. The reason is because they were authentic for the time. They were not behind of ahead of the times, they were squarely rooted in the day. And within that framework they created some wonderful music and one very fine record.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Mourning Into Dancing – 3:56
2 – In The Night – 4:12
3 – Is It Enough? – 4:57
4 – In His Presence – 4:43
5 – Take Their Toll – 3:19
6 – New Land – 3:59
7 – On The Run – 4:09
8 – Jordan – 3:05
9 – Say It Right – 3:51

Credits
Backing Vocals – Bob Loux, Greg Velasco, John Stothers, Laura Hale, Sylvia Bronson
Bass, Keyboards – Glenn Holland
Drums – John Elefante (tracks: 9)
Drums, Cymbal – Steve Giali
Electric Guitar, Acoustic Guitar, E-Bow – John Giali
Guitar – Dino Elefante (tracks: 5,9)
Guitar [Solo] – John Gaudesi (tracks: 2)
Mastered By – Wally Trautgott
Percussion – Kurt Rasmussen
Saxophone [Solo] – Scott Martin (tracks: 3)
Vocals – John McNamara

Companies, etc.
Recorded At – Pakaderm Studios
Mastered At – Capitol Records

DeGarmo & Key – Mission Of Mercy – 1983

Childhood friends Eddie DeGarmo and Dana Key joined forces in their late teens to create music and for three decades were responsible for some of the popular CCM ever recorded. Millions of albums and millions of miles traveled. Even after they had gone their separate way musically their single minded ministry and deep, personal friendship never wavered. I had always hoped for one reunion tour. I, and everyone else, will have to wait for quite some time as earlier this year Dana Key went home to be wioth the Lord. D&K were the first band I ever used my own money to buy. It was their debut album, This Time Thru. I wore out three vinyl copies of their second album, Straight On, Their live album is one of the best live records ever recorded in CCM. And during the Summer after I graduated from High School I was eagerly anticipating their latest release. It was not what I expected. the progressive and blues infused, guitar centered rock and roll had been replaced by a heavy dose of synthesizers and strings. At first I was appalled and saddened that I had lost “my band” and that my childhood CCM heroes hadAs time went on, though, I not only earned to appreciate the album foir what it was, I actually began to love it. For what it is, it is very, very good. Top notch production, great and memorable arrangements and some very finely crafted pop tunes. And though they will never get the credit for it, they really were early pioneers in the world of modern worship music. “Let the Whole World Sing,” the monster number hit from the album is a modern worship chorus that should have been a church standard. Mission of Mercy would be the first in what I have dubbed, “The Techno Years.” Sandwiched between nearly two decades of straight ahead rock were three albums of keyboard driven pop. MoM, Communication and Commander Sozo built a substantially larger fan base for the group and expanded their ministry opportunity. Many years later I came to understand the duo was keeping with the times and would not be defined by any previous release. I learned to live with it. Of those three album the first, Mission of mercy, would be the best even though it featured the least amount of guitar. When it came right down to it, it contained the best songwriting with more than a handful of huge hits. “That the Way God Planned It” would remain a popular live song for the band while Ready or Not and When It’s Over would all top the charts. Oddly enough , for a band noted for their rock style they had always been an amazing ballad band, mainly because of Dana Key’s stunning and compassionate vocals. Of all of the songs on the album the most like their earlier music is the ballad “All the Losers.” This great song ranks up with Addey, Mary and Only the Meek Survive. It’s also the strongest song lyrically. A great record that was a record for its time and must be regarded as such. Also, when taken within that framework it is a wonderful record with wonderful songs by a wonderful and unforgettable band.

God Bless Dana Key. RIP…Rest In Paradise

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Ready Or Not – 2:47
2 – Special Kind Of Love – 3:23
3 – When It’s Over – 2:52
4 – All The Losers Win – 3:18
5 – The Gift – 2:24
6 – Fill Me Lord – 3:36
7 – Let The Whole World Sing – 3:38
8 – In His Love – 3:31
9 – Everlasting Love – 3:02
10 – You Can’t Run From Thunder – 4:14
11- That’s The Way God Planned It – 3:24

Credits
Arranged By [Strings], Conductor – Carl Marsh
Art Direction, Design – Susan DeGarmo
Drums – Greg Morrow
Engineer – John Hampton
Executive-Producer – Dan R. Brock
Lead Vocals, Guitar – Dana Key
Management – Brock & Associates
Mastered By – Ken Love
Percussion – Chad Crowell
Photography By – Mark Tucker
Producer – Dana Key, Eddie DeGarmo
Producer [Vocals] – Ron W. Griffin
Recorded By [Strings] – Brent King
Strings – The Nashville String Machine
Vocals, Bass Guitar – Tommy Cathey
Vocals, Guitar – Tony Pilcher
Vocals, Keyboards – Eddie DeGarmo

Companies, etc.
Phonographic Copyright (p) – The ForeFront Communications Group, Inc.
Copyright (c) – The ForeFront Communications Group, Inc.
Recorded At – Ardent Studios
Overdubbed At – Sound Stage Studios
Mastered At – Mastermix
Pressed By – Discovery Systems
Distributed By – The Benson Company, Inc.
Distributed By – Main Roads Music Group
Distributed By – Alpha & Omega Distributors
Distributed By – Word (Uk) Ltd.
Distributed By – Concorde Distributors Ltd

DA (Daniel Amos) – Darn Floor – Big Bite – 1987

The famous gorilla Koko was trained to speak in sign language on a limited basis, After experiencing an earthquake the gorilla signed the words, “Darn Floor – Big Bite” to describe the incident. The gorilla’s limited expressions and inability to fully communicate the response is compared to man’s inability to express the wonders of God and the way life is lived with its many facets and expressions on one of Daniel Amos’ most constantly impressive albums of the same name. After finally completing the four album tour de force known as the “Alarma Chronicles,” (on four separate labels mind you), the band released its second album for Frontline Records. Now without keyboardist Rob Watson and featuring an increase involvement of the ever impressive Greg Flesch, the album was less atmospheric and surreal and more earthy and rock driven. It is a brilliant, rather accessible and stunning album that would remain one of the least successful projects in the band’s history. (Well, they did use the word “darn” in the title, so what did they expect?) I almost dread reviewing anything Terry Taylor does, especially what is found under the moniker Daniel Amos for fear of fans decrying a lack of understanding on my part as to what the band and Terry were attempting to create. Quite frankly a quick perusing of Daniel Amos websites and chat boards reveal that the only acceptable Christian Music Top 10 would look something like this:

Alarma – Daniel Amos
Horrendous Disc – Daniel Amos
Mr. Beuchner’s dream – Daniel Amos
Outdoor Elvis – The Swirling Eddies
Bibleland – Daniel Amos
A Briefing for the Ascent – Terry Taylor
Shotgun Angel – Daniel Amos
Doppelganger – Daniel Amos
Let’s Spin – The Swirling Eddies
Fearful Symmetry – Daniel Amos

and so on… There is no fan base in Christian music that comes anywhere close to the passion and obsession that accompanies the fans of this amazing band. Myopic and intolerant of dissent, they know more about every little release Taylor and Co. have even been involved with and to speak with any authority on the subject without prior approval and the express written consent of Major League baseball is strictly prohibited. So, walk softly and carry a very approving stick! The other problem is that, quite often, I have no idea what a song may be about. Taylor may be one of the best read songwriters in CCM (or anywhere for that matter) and his references to obscure writers and events can leave a puzzled look on many a face. That’s not a Taylor problem, but rather a listener problem; but it also can cause some severe confusion on the listener’s part. But despite the limited success of the album and it, sometimes, obscure content, it remains one of the best of the band’s career and has a cool freshness even as I listen over and over to it in writing this review.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Return Of The Beat Menace – 2:56
2 – Strange Animals – 3:11
3 – Darn Floor – Big Bite – 4:22
4 – Earth Household – 3:49
5 – Safety Net – 3:28
6 – Pictures Of The Gone World – 2:47
7 – Divine Instant – 3:51
8 – Half Light, Epoch, And Phase – 4:15
9 – The Unattainable Earth – 3:42
10 – The Shape Of Air – 3:25

Credits
Backing Vocals – Gene Eugene (tracks: B5), Jeff Crandall (tracks: B5), Maria Chandler (tracks: B5), Mike Stand (tracks: B5), Ric Alba (tracks: B5), Riki Michele (tracks: B5)
Bass, Backing Vocals – Tim Chandler
Co-producer – DA
Drums, Percussion, Backing Vocals – Ed McTaggart
Engineer – Doug Doyle
Lead Guitar, Panpipes [Pan Flute], Concertina [Squeeze Box] – Greg Flesch
Lead Vocals, Backing Vocals, Guitar – Terry Taylor
Lyrics By – Terry Taylor
Music By – Greg Flesch, Terry Taylor, Tim Chandler
Percussion – Alex MacDougall
Producer – Terry Taylor

Companies, etc.
Phonographic Copyright (p) – Frontline Records
Copyright (c) – Frontline Records
Distributed By – The Benson Company, Inc.
Recorded At – 3-D Studios, Costa Mesa CA.
Mixed At – 3-D Studios, Costa Mesa CA.
Published By – Broken Songs
Glass Mastered At – Nimbus, Virginia

Dion – I Put Away My Idols – 1983

The teen heart throb of the 50’s and 60’s becomes a troubadour for the Gospel by the 70’s and 80’s. Dion Dimucci (Dion) was a solo artist and member of Dion and the Belmonts in the early years of rock and roll and remained a chart topper for years. Ironically his two biggest hits, Runaround Sue and The Wanderer, were both about philanderers, one a woman and one a man. But right before the dawn of the 1980’s Dion had a spiritual awakening and began a lengthy career is Christian music. He released several successful albums for Dayspring Record with “I Put Away My Idols” being the most successful and most artistically satisfying. The style is closer to Dion’s 70’s folk rock style with limited 50’s rock and roll except in a novelty form. The content is very evangelical, yet never too trite or contrived. The title track is the closest to a “testimony” song as anything he recorded in CCM. “Trust in the Lord” and “Very Soon” have a very “island” sound (I wouldn’t call it reggae) similar to direction Steven Soles took but more Jimmy Buffet than Bob Marley. Most of the album is very “Scriptural” using direct Biblical references to support the message of the songs.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Here Is My Servant – 3:37
2 – Trust In The Lord – 2:59
3 – Day Of The Lord – 4:02
4 – I Put Away My Idols – 3:08
5 – Daddy – 5:00
6 – Very Soon – 4:08
7 – They Won’t Tell You – 3:38
8 – Healing – 5:14
9 – Give It Up And Surrender – 3:09
10 – My Prayer For You – 2:53

Credits
Acoustic Guitar – Dion DiMucci
Alto Saxophone, Soprano Saxophone – Neal Bousanti
Arranged By – Dion
Arranged By [Strings], Conductor [Strings], Electric Piano [Rhodes], Piano, Organ, Harp – Paul Harris
Backing Vocals – Chuck Kirkpatrick, John Sambataro, Kitty Woodson, Pamela Sessody
Bass – Phil Chen
Congas – Walter Santos
Cover, Layout, Design – Jeffery Fey
Drums, Percussion – Joe Galdo
Engineer – Eric Schilling
Engineer [Assistant] – Jim Sessody
Layout [Inner Sleeve] – Dennis Hill
Lead Guitar, Rhythm Guitar, Acoustic Guitar – George Terry
Management – Zachary Glickman
Mastered By – Bob Ludwig
Photography By – Aaron Rapoport
Producer – Dion DiMucci, Eric Schilling, Paul Harris
Synthesizer – Tim Devine
Written-By – Bob Smith (tracks: A5-B4)

Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Produced For – Salt Productions, Inc.
Copyright (c) – Word, Inc.
Recorded At – Criteria Recording Studios
Mixed At – Criteria Recording Studios
Mastered At – Masterdisk
Pressed By – Monarch Record Mfg. Co.
Designed At – Art Hotel
Published By – County Line Music
Published By – Skinny Zach Music
Published By – Brotherly Love Productions
Published By – Gold Mine Music Inc.
Published By – Word Well Music
Published By – Word Music

Kenny Marks – Right Where You Are – 1984

In the world of Christian pop music more than a handful of artists bounded on the scene without the songwriting credentials, artistic acumen and lyrical insight…and they sold a ton of records. Other like Kenny Marks made a name for themselves and sold a decent amount, but never attained the popularity their quality work deserved. Often favorably compared to Bryan Adam and Richard Marx, Kenny Marks was a singer-songwriter that plied his trade in the CCM world and should have done much better. His songs combined the popular and common themes of mainstream CCM with a twist or difference that set him apart. he would also deal with subjects either taboo or poorly communicated in other settings. He may be most noted for his trilogy of songs that surrounded the relationship between a Johnny and a Jeannie. Two High School sweethearts that date, marry, have a child and divorce. Though a later album would bring Johnny back as a character, it is the three songs on three records in a row that are of most note. That trilogy started here with “Growing Up Too Fast.” The albums biggest hit was the title track, a stirring ballad about God’s undying love and forgiveness. “One Small Voice” reminds the listener of God’s attempt to speak to us in the small things in a busy and loud world. “Single-Minded Love” addresses the loneliness and difficulty of being a single adult within the walls of the Church. Marks had a decent little career, but it should have been stronger and lasted longer. There were three of four fantastic albums released throughout the mid-80’s that still deserve repeated listening.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Right Where You Are – 4:11
2 – One Small Voice – 3:17
3 – Prisoner – 4:57
4 – It’s Incredible – 3:21
5 – Gift From God – 4:10
6 – Growing Up Too Fast – 4:00
7 – Single-Minded Love – 3:45
8 – Still Be Believing – 3:20
9 – You’re The Best – 3:40
10 – Sing For Joy – 3:11

Credits
Art Direction – Bill Brunt
Backing Vocals – Denny Henson, Kenny Marks, Pamela Marks, Patti Leatherwood, Randy Guidry
Bass – Mike Brignardello
Drums – Dennis Holt
Engineer – Kyle Lehning
Engineer [Assistant] – Doug Sarrett
Engineer, Mixed By – Jeff Balding
Executive-Producer – Neal Joseph
Guitar – Jon Goin
Mastered By – Hank Williams
Percussion – Terry McMillan
Photography By – Mark Tucker
Producer, Keyboards, Synthesizer, Keyboards [Mini Moog Bass], Backing Vocals – Keith Thomas
Saxophone – Mark Douthit

Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Recorded At – Gold Mine Studio
Mixed At – Gold Mine Studio
Mastered At – Mastermix
Pressed By – Monarch Record Mfg. Co.

Robert Vaughn And The Shadows – Love And War – 1987

One of the great crimes in the history of CCM was the sudden disappearance of Robert Vaughn and the fact that this amazing record was all but ignored. It may be the most significant AYSO on this entire list! There have been a few different incarnations of Robert Vaughn with different backing band names, but the husky, edgy and utterly unforgettable voice is pure Vaughn. Labeled initially as Americana rock and roll and compared to Springsteen, Mellencamp and Petty, there is much more originality here and a totally different musical landscape. Musically the most immediate comparison I ever mention is Hothouse Flowers with the soulful, expressive music and vocal stylings. This album was part of the short-lived Exit Records/IRS experiment that saw only The 77’s receive any deep distribution. This album and the self-titled Charlie Peacock never really saw the light of day, let a lone placement in Tower Records. That is a shame as RVaTS could have been a great success given any support for radio and touring. I saw them once at a showcase with Charlie Peacock and The 77’s and, if not for Mark Tootle’s guitar smashing antics, RV may have stolen the show. He was great live and much more passionate musically then even what appears on this great project. Everyone I know that owns this album has asked not “if” this album will make the list, but rather “where” as for those who own it know it is a total no-brainer for the album to be included. The rest should find a way to track it down!

Tracklist
1 – Spanish Rebels – 3:03
2 – Justice – 5:24
3 – Palace Of Tears – 4:22
4 – Dreaming Fields – 1:38
5 – Love And War – 4:37
6 – Love Came Falling – 3:00
7 – Nights On Fire (Bye Bye Moon) – 4:41
8 – December – 3:50
9 – Bordertown – 2:05

Credits
Acoustic Guitar – Anthony Daluz, Robert Vaughn
Backing Vocals – Anthony Daluz, Leo Corriea, T.J. Tindall
Bass – Doug Boone
Coordinator – Jan Volz
Drums – Greg LaRocco
Electric Guitar – Anthony Daluz, Robert Vaughn
Engineer [Additional] – Daryl Zachman, T.J. Tindall
Engineer [Assistant] – Rick Slater
Executive-Producer – Mary Neely
Flute – Steve Kocherhans
Guitar – T.J. Tindall
Keyboards – Steve Kocherhans
Mixed By – Eric Calm
Organ [Hammond] – John Nau
Percussion – Bongo Bob Smith
Piano – John Nau
Producer – T.J. Tindall
Programmed By – Bill Coe
Recorded By – Michael W. Harris
Sampler – Bill Coe
Sampler [E-mu Ii] – John Nau, Robert Vaughn
Saxophone – Steve Kocherhans
Violin – Linda Cummiskey
Vocals – Robert Vaughn

Companies, etc.
Manufactured By – Island Records
Distributed By – MCA Records
Published By – Sangre Productions
Mixed At – Quad Recording Studios
Recorded At – Western Audio
Recorded At – Mix Masters
Recorded At – Sacred Tone

Steve Archer – Through His Eyes – 1983/1994

There are a handful of families who could possibly lay claim to being the “First Family of CCM” including the Wards, Rambos, Winans, Cruze’s and the Archers. There was a time from the late 1970’s until the mid-80’s that the Archers were the biggest thing in CCM. Not too many CCM artists can claim to be invited to the Grammy Awards during that time, let along being asked to perform on the program…twice! The siblings of Steve, older brother Gary and little sister Janice recorded several albums, hit the top of the charts regularly, toured extensively and were the face of CCM for many years. One of their albums will also appear later on this last. In the early 80’s Steve was wanting to broach a solo career while maintaining a schedule with the family’s music plans. His first release “Solo” was warmly received and caused enough reaction to call for a follow-up. That follow-up was “Through His Eyes,” an album that, for the time, would be considered a “mega-hit” record with strong sales, topping the CCM sales chart and unbelievable radio support. It also featured what many people consider the first legitimate music video in CCM. Most albums start with an upbeat tune to grab the listener’s attention. Archer went against the norm and started with the title track, one of the few songs in CCM to deserve the “classic” title. The ballad was huge…I mean HUGE! Despite its sugary string arrangement (I want to blame Chris Christian) the song actually has an emotional center where concern for the lost and hurting around us is authentic. The song is call for those disenfranchised to see themselves as Christ sees them. This was not the normal “Jesus makes me happy” lyric that dominated (still?) Christian radio. Archer’s “blue-eyed soul (is that term overused enough?) is reminiscent to Hall and Oates (I’ll Do My Best) or a softer Bryan Duncan (Believe It). The album is filled primarily upbeat pop numbers and strong, radio friendly ballads. Archer bridge a generational gap and was a safe artists within Church circles, which allowed him to benefit from programs like “Hour of Power” and other national programs. This only increased his fan base. This fan base carried him for several more years both as a solo artist and with his family. I understand that music critic elitist simply do not understand the world of pop music and shutter when certain genres receive recognition. But within every genre are artists who are clearly superior in their craft. In the world of family and Church safe CCM no artists in his generation matched what Archer was able to accomplish.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Through His Eyes Of Love – 4:20
2 – Safe – 4:08
3 – I’ll Do My Best – 3:48
4 – Holy, Holy – 4:11
5 – Believe It – 3:52
6 – Renew Me Lord – 3:30
7 – Teach Me To Be Like You – 4:19
8 – New Heart – 4:10
9 – Must Be You – 4:47
10 – Unless God Builds Your House – 3:21
11 – Eye Of The Storm – 4:01
12 – Blood Of Jesus – 3:26

Credits
Bass – Nathan East
Drums – John Robinson
Executive-Producer, Producer – Chris Christian
Guitar – Dann Huff, Michael Landau
Keyboards – Robbie Buchanan

Companies, etc.
Phonographic Copyright (p) – Home Sweet Home Records, Inc.
Copyright (c) – Home Sweet Home Records, Inc.
Manufactured By – LCS Music Group, Inc.
Distributed By – LCS Music Group, Inc.

Carson Cole and RU4 – Mainstreet – 1986

I will admit very limited knowledge of Carson Cole either before or after the release of this legitimate Americana rocker record on Frontline Records back in 1987. I remember that he was from Canada and that Mike MacLane of Frontline was a huge John Mellencamp fan and kept telling me about Carson long before the album came out. Painted with the same striped as Mellencamp, Springsteen, Mark Farner, Robert Vauhgan and even 38 Special, Carson Cole and RU4 delivered a driving and rocking American heartland project. The title track has a killer rock groove and Cole’s slightly rough edged vocals combining to create a decent Christian rock radio hit. Themes on the album are common Christian fair for the time but without the common vernacular that caused mainstream listeners to miss the point. But there are also theme of guilt, depression, infidelity, forgiveness and the all too common apocalyptic elements. A personal favorite is Kingdom Come, and fun rocker with Dylanesque vocals and an E Street vibe complete with sax solo.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Mainstreet – 3:45
2 – Donna – 3:57
3 – Cheating – 3:28
4 – Hailstones – 3:00
5 – Fight – 2:48
6 – Kingdom Come – 4:25
7 – Bradley – 4:34
8 – Hollywood And God – 3:19
9 – Serenity – 4:05
10 – Emmanuel – 4:10

Credits
Keyboards – Carson Cole, John Garau, Doug Doyle
Guitars – Cole Carson, Mike Stand
Lead Guitars – Greg Flesch, Doug Doyle, Mike Stand, Carson Cole
Bass – Tim Chandler
Drums – Martin Zinger
Sax – Alan Palmer
Background Vocals – Walter S. Harrah, Bobbi White, Maxayne Moriguchi
Producer – Carson Cole, Doug Doyle, Terry Taylor