David Lowman – Page 10

James Vincent – Waiting For The Rain – 1978

Hot off the world renowned success of 1976’s “Space Traveler” James Vincert embrace Christianity and set a distinctly different course than the one he had previously been on. Considered one of the best jazz guitarists of his generation James Vincent would record two very directly Christian album, the first being the one in question. Because of the immense success of the previous album “Waiting for the Rain” received a very strong distribution (normally lacking for CCM artists) through his mainstream record company. Filled with some amazing jazz and rock tunes with the emphasis on jazz and Vincent’s brilliant guitar work and the Seawind horn section. Musically in the vein of George Benson or the mellower side of Earth, Wind and Fire with a soulful and rich voice and stellar guitar work. There are two strong radio songs in “What Does It Profit a Man” and “People of the World.” I remember working at KYMS radio some five to 10 years later and still playing these two songs. But really it is the more obscure and less commercial songs that make the album so amazing. Resistance is a progressive jazz piece with limited vocal and several changes throughout while the guitar in Daniel, Daniel will remind many of Keaggy’s guitar styling. How Can I Thank You is a pure delight as Vincent scats over the top of his guitar solo. Though the follow up release, Enter In, may have contained some better and more mature lyrics there is a simplicity and joy to this release that makes it such a treasure.

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

Tracklist
1 – What Does It Profit A Man? – 4:50
2 – Resistance – 4:52
3 – Etude #20 – 1:16
4 – Daniel, Daniel – 3:10
5 – People Of The World – 4:39
6 – How Can I Thank You Enough – 4:55
7 – Soon Comes The Son – 3:48
8 – Waiting For The Rain – 3:12
9 – The Seventh Day – 6:11
10 – Babylon Is Fallen – 3:09

Credits
Arranged By [Horns] – Seawind Horns
Backing Vocals – Carla Vincent (tracks: A5)
Bass – Steve Evans
Congas – Pat Murphy
Drums [Hand & Trap] – Tom Donlinger
Guitar – James Vincent
Keyboards – Ron Stockert
Marimba – Tom Donlinger
Percussion – Pat Murphy
Percussion, Congas – Carla Vincent (tracks: B5)
Producer – James Vincent
Saxophone – Kim Hutchcroft, Larry Williams
Synthesizer [Roland Guitar, Roland 5h-5] – James Vincent
Trombone – Bill Reichenbach
Trumpet – Jerry Hey
Vocals – James Vincent
Whistling – Vincent Dondelinger (tracks: B3)

Companies, etc.
Copyright (c) – CBS Inc.
Phonographic Copyright (p) – CBS Inc.
Published By – Big Elk Music
Published By – Caleb Music
Published By – Swinghouse Music

Lone Justice – Lone Justice – 1985

Is their a more powerful or intense female vocalist in the world than Lone Justice’s Maria McKee. If there is I have never heard her. Once the opening question, “Should I go North?” is belted out at full velocity this amazing record never loses ferocity and passion. All this is wrapped up in cowpunk like country rock the defies comparison. The first single “Ways to Be Wicked” penned by Tom Petty was sorely misunderstood by many in Christian market that ventured out and bought the project based on reviews in many Christian Music publications. But one cut from the album, the finale, “You Are the Light” found its way onto many Christian Rock radio shows as well as Orange County’s famous KYMS. The beautiful country tinged ballad is a stunning and memorable tune reminiscent of Patsy Cline. Stark, stunning and instantly emotional and authentic. They would follow this with the more commercial and “Christian” sounding album, “Shelter,” that will be discussed later.

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

Tracklist
1 – East Of Eden – 2:36
2 – After The Flood – 3:38
3 – Ways To Be Wicked – 3:26
4 – Don’t Toss Us Away – 4:19
5 – Working Late – 2:44
6 – Sweet, Sweet Baby (I’m Falling) – 4:10
7 – Pass It On – 3:38
8 – Wait ‘Til We Get Home – 3:17
9 – Soap, Soup And Salvation – 4:01
10 – You Are The Light – 3:59

Credits
Art Direction – Jeffrey Kent Ayeroff, Paula Greif
Bass – Marvin Etzioni
Design – Jeri McManus
Drums – Don Heffington
Engineer – Shelly Yakus
Guitar – Ryan Hedgecock
Management – Carlyne Majer
Mastered By – Stephen Marcussen
Mixed By – David Thoener (tracks: B4), Don Smith (tracks: A1 to A3, A5, B2, B3), Greg Edward (tracks: A4, B1, B5), Shelly Yakus (tracks: A1 to A3, A5, B2, B3)
Photography By – Deborah Turbeville
Piano, Organ – Benmont Tench
Producer – Jimmy Iovine
Production Manager [Coordinator] – Janet Weber
Recorded By – Greg Edward (tracks: A4, B1, B2), Joe Chiccarelli (tracks: A3, B3), Shelly Yakus (tracks: A1, A2, A5, B5), Thom Panunzio (tracks: B4)
Vocals – Maria McKee

Companies, etc.
Distributed By – WEA Music Of Canada, Ltd.
Manufactured By – WEA Music Of Canada, Ltd.
Recorded At – Power Station
Recorded At – Sunset Sound
Recorded At – Amigo Studios
Recorded At – Rumbo Recorders
Overdubbed At – Sunset Sound
Overdubbed At – The Village Recorder
Overdubbed At – Amigo Studios
Overdubbed At – Rumbo Recorders
Overdubbed At – Studio 55, Los Angeles
Mastered At – Precision Lacquer
Mixed At – The Village Recorder
Mixed At – Rumbo Recorders
Mixed At – Sound City Studios

Darrell Mansfield – Get Ready – 1980/1992

Several months ago someone asked me if there were and “jam albums” in CCM. Off the top of my head I struggled to come up with any according to my friends definition. What was being sought after was a rock and roll album that wasn’t afraid to have the musicians take over a song for a while and letting each instrument have it’s share of the spotlight. Get Ready is such an album! The average song lasts longer then 5 minutes with a very simple blues verse chorus structure which leaves ample time for long instrumental jams featuring guitar and harmonica (Mansfield’s instrument of choice). Solos are loud and long and a heavy blues influence. The album was actually released on Polydor and had very limited Christian distribution when originally released. There was hope of Mansfield breaking into mainstream AOR radio but it never really happened despite relatively positive reviews. It may have had to do with the very evangelistic lyrics, something artists has never compromised on. The title track sounds like something from Dylan’s “Saved” album with a gospel choir accompanying the great guitar work. There are no ballads on the original 8 song release and only one song that could be categorized as “pop.” This would be the last album before Eric Turner would be added to the band n guitar. Turner’s heavier rock influence would be felt on future releases, but here it is original guitarists, Dennis Carothers, who handles the slide and electric lead perfectly. Fans of blues and southern rock like Molly Hatchet, 30 Special, Lynard Skynard and the Allman Brothers will find something here to like, In fact, this is the album I originally hoped Rick Cua would have made with the Outlaws influence. Mansfield’s importance to Jesus Music and later CCM should not be understated, even though he primarily remained a Southern California regional star. Along with Glen Kaiser Mansfield single-handedly kept the influence of blues music alive in CCM.

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

Tracklist
1 – Get Ready – 4:45
2 – Mr. Rock ‘N’ Roll – 4:08
3 – Above The Water – 5:17
4 – Billy Joe – 3:45
5 – Heaven Southwestern – 6:45
6 – Never Be The Same – 3:37
7 – Power Of Love – 4:18
8 – Life Saver – 4:57
CD Bonus Tracks
9 – Not Far Away – 4:18
10 – When The Curtain Falls – 3:47
11 – Flow Like A River – 4:56

Credits
Backing Vocals – Biff Vincent (tracks: 1 to 8), Bryan Duncan (tracks: 1 to 8), Christina Dent (tracks: 1 to 8), Kathy Hazzard (tracks: 1 to 8), Katy Mahoney (tracks: 1 to 8), Lisa Whitcomb (tracks: 1 to 8), Robin Glick (tracks: 1to 8), Rosemary Butler, Scott Galbraith (2) (tracks: 1 to 8), Susan Curley (tracks: 1 to 8), Virgil Beckham (tracks: 1 to 8), Virgil Beckham (tracks: 9, 10, 11)
Bass – Abraham Laboriel (tracks: 9, 10, 11), Charlie Sousa (tracks: 1 to 8)
Bass, Vocals – Jimmy Perez (tracks: 1 to 8)
Drums – Bill Maxwell (tracks: 9, 10, 11), Donny Vosburgh (tracks: 1 to 8), Paul Angers (tracks: 1 to 8)
Guitar – Hadley Hockensmith (tracks: 9, 10, 11)
Keyboards – Harlan Rogers (tracks: 9, 10, 11)
Lead Guitar, Rhythm Guitar – Anthony Dean (2) (tracks: 1 to 8)
Lead Guitar, Rhythm Guitar, Twelve-String Guitar, Vocals – Dennis Corothers (tracks: 1 to 8)
Percussion – Alex Acuña (tracks: 9, 10, 11)
Producer – Skip Konte (tracks: 1 to 8), Virgil Beckham (tracks: 9, 10, 11)
Slide Guitar – Jerry Swallow (tracks: 9, 10, 11)
Vocals, Harmonica – Darrell Mansfield (tracks: 1 to 8), Darrell Mansfield (tracks: 9, 10, 11)

Companies, etc.
Phonographic Copyright (p) – Polydor Incorporated
Manufactured By – Polydor Incorporated
Marketed By – Polydor Incorporated
Recorded At – International Automated Media
Mixed At – International Automated Media
Mastered At – International Automated Media
Pressed By – Bestway Products Inc.

Daniel Amos – Fearful Symmetry – 1986

It is amazing to consider that within a year the conclusion of the Alarma Chronicles will be celebrating its 25th anniversary. 25 years ago one of the most impressive, ambitious and amazing four album series came to an end with a work of sheer art. Each album was unique musically with Fearful Symmetry being the darkest, brooding and mysterious of the four. Following the significantly more new wave “pop” of Vox Humana, FS was shocking, intriguing and…well…fearful. The majority of the album deals with darker subjects like death, pain and loss and the musical soundscape of ethereal vocals and sweeping and weeping keyboards envelope the listener in the dark cloud of the content. That is not to say that the album is replete of hope or grace, but actually just the opposite. It is through the valley of this projects the light that does shine through appears that much brighter. Terry Scott Taylor’s admiration of and inspiration by William Blake is the strongest on this project. From the album title to the most haunting song, Sleep Silent Child, the album is filled with images and direct quotations from Blake. The album does close with the stunningly simple and beautiful lullaby or sorts, Beautiful One. This one hearkens back to Taylor’s solo projects with the sing-songy simplicity and lush keyboard strings and Taylor’s lilting higher register. It is the perfect ending to the “chronicles” as it’s message about the eternal hope of all Christians to find themselves in the arms of the Beautiful One upon their death. I remember when the album was released the number of complaints we received were almost exclusively related to the naked man (from the waist up) on the album cover. Those that complained obviously never listened to nor understood the content of the project or the complaints may have been drastically different. More keyboard driven and music less guitar oriented. the album reflected much of the European alternative music of the day like Depeche Mode, Alphaville, etc but also shows reflections of art rock music of Genesis and Pink Floyd. Not immediately accessible or as warmly received as the first four projects, the album eventually became regarded as one of the best of the Daniel Amos catalog.

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

Tracklist
1 – A Sigh For You – 3:58
2 – The Pool – 3:47
3 – Sleep Silent Child – 4:38
4 – Neverland Ballroom – 3:17
5 – Strong Points, Weak Points – 3:55
6 – Instruction Thru Film – 3:20
7 – When Moonlight Sleeps (On The Frosted Hill) – 3:55
8 – Sudden Heaven – 3:23
9 – Shadow Catcher – 4:32
10 – Beautiful One – 3:33

Credits
Arranged By [All Arrangements By] – DA
Art Direction, Layout – Mr. Ed (McTaggart)
Backing Vocals – Crystal Lewis (tracks: B2, B5), Jerry Chamberlain (tracks: A5, B5)
Design Concept [Cover Concept] – DA
Drums, Percussion, Synthesizer [Synthesizers] – Ed McTaggart
Electric Bass, Double Bass [Upright Bass], Bass [Electric Twelve-String Bass], Guitar [Guitars] – Tim Chandler
Keyboards, Snare [Snares] – Rob Watson (tracks: A3)
Lead Guitar [Lead Guitars], E-Bow [E-Bo], Synthesizer [Synthesizers], Organ [Pump Organ], Dulcimer, Mandolin – Greg Flesch
Mastered By – John Matousek
Narrator – Jerry Chamberlain (tracks: B1)
Percussion – Alex MacDougall (tracks: B2, B5)
Photography By [Band Photos By] – Linda Dillon Baley
Photography By [Photographics By] – Ken Baley
Photography By, Photography By [Photographics By] – Derrill Bazzy
Producer – DA, Terry Taylor
Recorded By, Mixed By – Dave Hackbarth, Doug Doyle, Terry Taylor
Synth [Synth Treatments] – Dave Hackbarth (tracks: A1, B3), Doug Doyle (tracks: A1, B3)
Text By [¡Alarma! Chronicles Text Volume 4 By] – Greg Flesch, Terry Taylor
Vocals, Guitar [Guitars], Harmonica, Synthesizer [Synthesizers] – Terry Taylor

Companies, etc.
Distributed By – The Benson Company
Distributed By – The Master’s Collection
Phonographic Copyright (p) – Frontline Records (3)
Copyright (c) – Frontline Records (3)
Published By – Broken Songs
Recorded At – 3-D Studios, Costa Mesa CA.
Mastered At – Hitsville

David Meece – Are You Ready? – 1980

The term “classic” gets thrown around a lot, both here and elsewhere, when trying to discuss the world of music. Often it’s a term meant to designate a song that’s just really good, but it should be used to describe something with true lasting value. A song the remains viable and important decades later. When one uses the latter, more significant definition, the number of truly “classic” songs becomes much more limited. Very few artists have ever truly written a “classic” song. But in 1980 one young singer-songwriter did just that. David Meece was a popular late comer to the Jesus Music movement and is more closely associated with the burgeoning CCM world. His high pitched voice (think a Gibb brother) and stylized pop (think ABBA) made him a safe and family friendly CCM music star. Sometime after 1980’s “Are You Ready” the term would be superstar. After 9 very strong pop (disco even) songs and great and memorable ballads came the albums finale, “We Are The Reason.” The song would become on of the most popular songs in CCM history and would easily rank in the Top 5 of all time classic songs. There has yet to be a Christmas or Easter when the song is not reprised somewhere and some way. It really is a beautiful and well written song. Feeling a little like a Barry Manilow ballad with the key change and all, the song is dynamic and emotional. Starting slow and building into a great crescendo, it has struck a musical and emotional core for over three decades now. Great song and closes a great album, the best in Meece’s career.

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

Tracklist
1 – Follow You – 2:55
2 – Peace In My Heart – 2:50
3 – Comin’ Back – 3:02
4 – Gospel Train – 2:48
5 – Love One Another – 5:18
6 – Are You Ready? – 3:59
7 – Just A Little More Time – 4:07
8 – Have A Little Talk – 3:39
9 – Satan, Just Leave Me Alone – 2:48
10 – We Are The Reason – 4:43

Credits
Brown Bannister – Producer
Kathleen E. Berk – Bagpipe
Michael Blanton – Executive Producer
Mike Brignardello – Bass
Clay Caire – Drum Overdubs
Eddie DeGarmo – Piano, Rhodes, Synthesizers
Diana DeWitt Hanna – Background Vocals
Becky Foster – Background Vocals
Leon Gaer – Bass
Bob Gelotte – Drums
Jon Goin – Electric Guitar
John Hampton – Drums
Ron Huff – String Arranger
Greg Huffman – Drum Corp
Shane Keister – Piano, Organ, Rhodes, Special Effects
Dana Key – Guitars
Patti Leatherwood – Background Vocals
Paul Leim – Drums
Terry McMillan – Percussion
David Meece – Songwriter, Keyboards, Percussion, Vocals
Gary Pigg – Background Vocals
Harlan Rogers – Piano, Synthesizers
Buddy Skipper – Horn Arranger
Denis Solee – Saxophone, Lyricon, Flute
Keith Thomas – Background Vocals
Billy Walker – Electric Guitar
Jack Williams – Bass

Companies, etc.
Published By – Word Music (2)
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Mastered At – Masterfonics
Pressed By – Monarch Record Mfg. Co.

Jon Gibson – Body & Soul – 1989

Jon Gibson would score higher sales (Jesus Loves Ya) and radio success (Forever Friends) elsewhere, but his true artistic triumph came on this sweet little record, Body & Soul. Combining an obvious Beatles influence with his Stevie Wonder grooves helped Gibson create an utterly unique and never duplicated release. The album would also feature Gibsonsd most transparent, thoughtful and poignant songwriting. The soulful crooning and Gospel infused Church Anthems still remain, but there is a distinct musical quality, a fresher, more earthy appeal, that sets the record apart. It also remains the finest production work in Bill Baumgart’s career. The sub-three minute Beatle’s directed “Heart of Gold” kicks off the album with a great Abbey Road era sound to the opening strings followed by Bill Baumgart’s great piano that would prove to be the central instrumentation for the whole project. “In the Name of the Lord” follows and remains one of Gibson’s biggest radio hits despite many stations rejecting the song based on the term “good God” used in the chorus. But it is with the ballads that Gibson becomes most personal and intimate. Whether biographical or not, many of the slower songs capture a hurting and striving artist. Most notably is “Merry-Go-‘Round.” The sense of loss and repentance found in the words of a father seeking redemption are at times chilling. “God Will Find Ya” has Gibson with a psuedo-falsetto vocal that whines through a hypnotic melody that never pushes the groove. Possibly the strongest ballad is “Father, Father.” Another song of repentance builds and builds as it moves to a great vocal climax, more emotional than many other Gibson ballads. Two last songs of note are the great cover of Stevie Wonders “Have a Talk With God,” that features a cameo by Wonder on harmonica and the killer closer, Everyone Needs the Lord.” The later is Black Gospel masterpiece that Smokie Norful really needs to cover. Starting slow and building up both the passion and pace as it moves, the song would become a moderate hit and great live experience. With it Gibson continued to prove he was easily the most soulful artist in CCM at the time, and maybe ever. the only criticism is that it is clearly 3 minutes too short!

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

Tracklist
1 – Heart Of Gold – 3:02
2 – In The Name Of The Lord – 4:38
3 – Merry-Go-Round – 4:46
4 – God Will Find Ya – 4:36
5 – Father, Father – 3:52
6 – Have A Talk With God – 3:28
7 – Long Ago – 4:32
8 – Us Now – 3:07
9 – Everyone Needs The Lord – 3:56

Credits
Art Direction – Ed McTaggart
Backing Vocals – Belinda Stewart (tracks: 2,6), Beverly Williams (tracks: 2,6), Crystal Blake (tracks: 3), Francine Williams (tracks: 2,6), Jon Gibson, Lisa Russo Judd (tracks: 2,6)
Choir – The Friendship Baptist Choir
Co-producer – Jon Gibson
Engineer – Bill Wolfer
Engineer [Assistant] – Eric Kibbe, Jon Gibson
Executive Producer – Brian K. Tong
Guitar – Jon Gibson, Kit Charlton
Harmonica – Stevie Wonder (tracks: 6)
Keyboards, Drum Programming, Synthesizer [Bass Synth] – Bill Wolfer
Keyboards, Guitar, Lead Vocals – Jon Gibson
Keyboards, Programmed By – Paul Gottschalk
Lead Vocals – Cubby Ingram (tracks: 8), Jon Gibson
Mixed By – Bill Wolfer
Percussion [African Drums], Cuica, Djembe – Vinx
Photography By – Ken Kloster
Producer – Bill Wolfer

Companies, etc.
Recorded At – Mixing Lab B
Mixed At – 7th Street Sound

Michael W. Smith – The Big Picture – 1986

It has been said here and elsewhere (and quite often) that a CCM album’s depth, quality and creativity will be inversely proportionate to its sales success. Meaning; the better the album the fewer the people that will purchase it. This appears to remain true even for CCM’s golden boy and most popular and prolific male artist, Michael W Smith. The Big Picture, Smith’s artistic triumph remains his weakest selling album and the only album in his career not to reach even gold status. After a strong debut and the utterly forgettable argyle sock of a sophomore release (aptly titled “2”), Smith grabbed the CCM world by the throat with an album that was sonically, creatively and musically miles ahead of the rest of the Nashville pablum for the time. From the dark purple and gold hues of the artwork to the tasteful technological advances and superior production, the Big Picture is great from start to finish. What keeps the album from falling off the tracks in a travesty of technological traps is that the songs themselves are very organic and real. Taking themes from the culture and wrapping them in modern sounds with a clear and poignant response to the baggage those theme bring along makes the album the one worthy release from Smith in the Top 100. Producer John Potoker had worked with Brian Eno, Madonna and a host of others and had a huge influence on the musical direction and big production sound. Many will obviously find the music and production technique dated, but one of this lists presuppositions was to judge albums based on the time they were recorded and what was happening musically. And for that, this album is the most “current” album of Smith’s career. He would record about 10 more albums in a row that are completely indistinguishable from one another. But the strength here lies not in the production (or over-production) but in the strength of a songwriter album to have his songs outlast even the dated production technique.

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

Tracklist
1 – Lamu – 5:55
2 – Wired For Sound – 6:00
3 – Old Enough To Know – 4:47
4 – Pursuit Of The Dream – 5:00
5 – Rocketown – 4:32
6 – Voices – 5:50
7 – The Last Letter – 4:37
8 – Goin’ Thru The Motions – 4:55
9 – Tearin’ Down The Wall – 3:35
10 – You’re Alright – 4:36

Credits
Artwork By [Art Direction And Design] – Kent Hunter, Thomas Ryan Design
Backing Vocals – Chris Harris, Wayne Kirkpatrick
Bass, Chapman Stick – Tony Levin
Bass, Drum Programming – Gary Lunn
Drum Programming – Frank Doyle, Tokes, Mark Kovac
Drums – Steve Ferrone
Drums, Drum Programming – David Huff
Engineer [Additional] – Bill Heath, Bob Vogt, Clark Schleicher, Ed Goodreau, JB, Jeffrey Dovner, Jon Goldberger, Keith Odle, Ken Criblez, Mike Clute, Nick Deire, Rob Feaster, Spencer Chrislu, Tim Hatfield, Tony Volante
Executive-Producer – Brown Bannister, Dan Harrell, Michael Blanton
Guitar – Dann Huff, Eddie Martinez, Nick Moroch
Guitar, Backing Vocals – Chris Rodrigues
Horns – Jim Pugh, Michael Brecker, Randy Brecker
Keyboards, Drum Programming, Backing Vocals – Michael W. Smith
Keyboards, Programmed By [Fairlight], Drum Programming – Shane Keister
Mastered By – Ted Jensen
Other [Child] – Christopher Copeland
Other [Grooming] – Jody Morlock, Julie Miller Overstreet
Other [Production Coordinator] – Kimberly Smith
Other [Styling] – Beverly Ann Moore
Percussion – Bashiri Johnson
Photography By – Dean Dixon, Larry Williams
Producer – John Potoker, Michael W. Smith
Programmed By [Synclavier] – Steve Schaffer

Companies, etc.
Phonographic Copyright (p) – Reunion Records – 1986
Copyright (c) – Reunion Records – 1986
Manufactured By – Word, Inc.
Distributed By – Word, Inc.
Recorded At – Power Station
Recorded At – Mediasound
Recorded At – Sigma Sound Studios, New York
Recorded At – Soundtrack Studios
Recorded At – Bullet Recording
Recorded At – The Bennett House
Recorded At – Emerald Sound Studios
Recorded At – The Castle Recording Studios
Recorded At – Blue Jay Studios
Mixed At – Blue Jay Studios
Mastered At – Sterling Sound

Avion – Avion – 1983

A few decades before he would grace the stage nightly with country mega-star Shania Twain, guitarist and vocalist Randall Waller lead his band Avion with amazing guitars and vocals. The band would release two albums and Waller would release a solo project under the “Larry Norman Presents” banner on Tunesmith Records. In 1983 the band would release its first album on 1983 and despite great songs, top notch production and radio friendly image and music, the album just didn’t go anywhere. There are so many great songs here produced so incredibly well it becomes another one of those great frustrations in the music world. Several songs also appear on Waller’s “Midnight Fire.” Straight ahead early 80’s rock with a touch of southern rock thrown in for fans of the Eagles (Long Run), Aerosmith, Loverboy and 38 Special. I Need You, Lady of the Night and Always waiting are those that also appear on Waller’s solo album, but appear here with slightly different arrangements and significantly better production. “Once Bitten, Twice Shy” remains a favorite some 30 years later with it’s great rhythm guitar riff and sexy vocals. Waller commands the vocal stage so well it’s really amazing he never broke into the mainstream. The album can be a tough find but well worth the effort.

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

Tracklist
1 – I Need You – 3:51
2 – Diamond Eyes – 4:17
3 – Lady Of The Night – 2:58
4 – We Can Try – 3:24
5 – Warrior – 4:34
6 – Never Let Me Go – 4:27
7 – Where Do We Go From Here – 3:40
8 – Always Waiting – 3:32
9 – Who’s Crying Now – 3:06
10 – Once Bitten, Twice Shy – 3:19

Credits
Bass, Backing Vocals – Kendall Waller
Drums, Backing Vocals – John Waller
Guitar – Martyn Toole
Keyboards – Evan Murray
Producer – Chris Gilbey
Vocals, Electric Guitar, Acoustic Guitar – Randall Waller

Companies, etc.
Phonographic Copyright (p) – RCA Records
Copyright (c) – RCA Inc.
Distributed By – RCA Inc.
Manufactured By – RCA Inc.

Leslie Phillips – Beyond Saturday Night – 1983

Along with Julie Miller, Leslie (Sam) Phillips is the only female artist to have four albums included on this list. It was very close to five but Powder Room Politics was a deal breaker. Phillips began her career singing backing vocals for other LA based Myrrh artists like Randy Stonehill, David Edwards and Mark Heard. It was while singing backing vocals on Mark Heards classic “Victims of the Age” album that she heard the song “Heart of Hearts” that she would cover on this album and would become her first of several career hits. As much as the label would push her as the Christian Cyndi Lauper, only a few cuts from Dancing With Danger would really qualify. The only comparison was the high pitched, young girl sounding voice (similar to Julie Miller in many ways), for Leslie was more rock than pop and more lyricist than entertainer. BSN is filled with so many amazing and lasting songs that there actually no real forgettable songs. Michael Landua’s impressive guitar work (similar to Dann Huff and Steve Lukather) was unfortunately lost often in Jack Joseph Puig’s mixes. I have often wondered if the record company requested that the album be softened in the mix as it has been a constant frustration just how such impressive guitar work would be so stifled in the production. Songs like Hourglass, Heart in Me, Bring Me Through and He’s Gonna Hear You Crying deliver the rock goods that deserve a remix and remastering at some point. Phillips also proved early that she could bring a ballad with passion and transparency sorely lacking from female artists at the time. I’m Finding became a huge radio hit while the title track and Heart of Hearts show the strength of an artists that is rarely seen on a debut project. Phillips would go one to be one of the important, prominent and perplexing artist in CCM history,

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

Tracklist
1 – Hourglass – 3:28
2 – Gina – 3:24
3 – Put Your Heart In Me – 4:00
4 – I’m Finding – 3:23
5 – Beyond Saturday Night – 4:27
6 – Bring Me Through – 4:43
7 – Heart Of Hearts – 3:14
8 – Will They Love Him – 4:31
9 – He’s Gonna Hear You Cryin’ – 3:10
10 – Let Me Give – 3:42

Credits
Backing Vocals – Bob Carlisle, Brian Duncan, Leslie Phillips
Bass – Leland Sklar, Nathan East
Coordinator [Production Coordinator] – Susan Pyron
Design [Album Design] – Paradise Graphics, Paul Gross, Steve Elowe
Drums – Carlos Vega
Executive-Producer – Doug Corbin
Guitar – Michael Landau, Randy Thomas
Keyboards – John Schreiner, John Hobbs, Robbie Buchanan
Liner Notes – Davin Seay, Leslie
Mastered By – Doug Sax, Mike Reese
Photography By – Aaron Rapoport
Producer, Recorded By – Jack Joseph Puig
Synthesizer – John Schreiner, John Hobbs

Companies, etc.
Record Company – Myrrh Records
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Pressed By – Monarch Record Mfg. Co. – Δ25989
Published By – Word Music (2)
Published By – Cutting Edge Music
Published By – Maranatha! Music
Published By – Bug & Bear Music
Recorded At – Bill Schnee Studios
Recorded At – Goldmine West
Recorded At – Mama Jo’s
Mastered At – The Mastering Lab

Kansas – Audio-Visions – 1980

The last album to feature the original (at least recorded version) members of Kansas. It is also the first “post-conversion” Kansas album for band leader Kerry Livgren. Lead singer Steve Walsh would soon leave the band to pursue solo ventures. It was also considered that his departure was influenced by the increasing Christian content presented by Livgren and supported by two other recent Christian converts in the band. The album shows a disjointed vision with Livgren’s distinctly Christian content and Walsh’s decidedly worldly lyrical influence. But Walsh was a very special vocalist and hearing him sing Livgren’s work is compelling. He also stayed around long enough to work on the demos for the follow-up album (Vinyl Confessions) and I do have copies of those demos. AV has all the trademarks and trappings of Kansas with progressive, classically influenced rock epics filled with progressive time signature changes, creative arrangements, violin interludes and thought provoking lyrical images. It also contains what could be Livgren’s finest Christian song on a Kansas project, No One Together. Clocking in at nearly seven minutes this song should rank along with Portrait (He Knew), Song For America, Journey from Mariabronn and Magnum Opus in Kansas “epic” lore.

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

Tracklist
1 – Relentless – 4:55
2 – Anything For You – 3:56
3 – Hold On – 3:45
4 – Loner – 2:26
5 – Curtain Of Iron – 6:08
6 – Got To Rock On – 3:19
7 – Don’t Open Your Eyes – 4:03
8 – No One Together – 6:54
9 – No Room For A Stranger – 2:55
10 – Back Door – 4:20

Credits
A&R [Correspondence] – Brad Lentz
Bass, Vocals – Dave Hope
Co-producer, Engineer – Brad Aaron, Davy Moire
Crew – Clay Schell, Jerry Gilleland, Merle McLain, Steve “The Count” Venezia
Design [Album], Art Direction, Illustration [Additional] – Tom Drennon
Design Concept [Album] – Kansas
Drums, Percussion, Vocals – Phil Ehart
Engineer [Assistant] – Greg Webster
Guitar, Keyboards, Percussion, Vocals – Kerry Livgren
Guitar, Percussion, Vocals – Rich Williams
Illustration – Peter Lloyd
Keyboards, Vibraphone [Vibes], Percussion, Lead Vocals – Steve Walsh
Management – Budd Carr
Mastered By – George Marino
Photography By [Inner Sleeve] – Exley
Producer – Kansas
Technician [Studio Assistance] – Jerry Gilleland, Count Venezia
Violin, Viola, Lead Vocals – Robby Steinhardt
Voice [Additional], Sounds – Donna Williams, Joey Jelf, Lisa White, Terry Ehart, The Four Bassmen, Vicci Livgren
Written-By – Hope (tracks: B2), Livgren (tracks: A1, A3, A5, B2, B3), Ehart (tracks: B2), Williams (tracks: B2, B4), Walsh (tracks: A2, A4, B1, B2, B4, B5)

Companies, etc.
Recorded At – Axis Sound Studio
Mixed At – Axis Sound Studio
Mastered At – Sterling Sound
Pressed By – Columbia Records Pressing Plant, Pitman
Record Company – Don Kirshner Entertainment Corp.
Distributed By – CBS Records
Distributed By – CBS Inc.
Published By – Don Kirshner Music
Published By – Blackwood Music Publishing
Published By – CBS Music Publishing
Phonographic Copyright (p) – CBS Inc.
Copyright (c) – Corn & Blood, Inc.