Author: David Lowman

Owner and writer at CCM's 500 Best Albums Of All Time. https://ccms500bestalbums.wordpress.com/

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:

  1. Alarma – Daniel Amos
  2. Horrendous Disc – Daniel Amos
  3. Mr. Beuchner’s dream – Daniel Amos
  4. Outdoor Elvis – The Swirling Eddies
  5. Bibleland – Daniel Amos
  6. A Briefing for the Ascent – Terry Taylor
  7. Shotgun Angel – Daniel Amos
  8. Doppelganger – Daniel Amos
  9. Let’s Spin – The Swirling Eddies
  10. 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

Barnabas – Approaching Light Speed – 1983

After two releases on Canada’s Tunesmith label that featured a very eclectic combination of punk, funk, metal and blues, Barnabas signed to Light Records (home of Sweet Comfort and Resurrection Band) and unleashed a fury of heavy metal onto the CCM world that was light years ahead of the industry. Young guitar virtuoso Brian Belew plays with a Van Halen flair and the music is pure heavy metal for fans of Triumph and Van Halen. Production was also superior for the time with real guitar mixes and a wall of sound type vocal production. This was very big sounding, especially for the day. Nancy Jo Mann’s vocal can be an acquired taste for some with a little Grace Slick with more passion and power, but on this album it works quite well. There are some very interesting musical interludes such in the case of “If Love Brings Love” that starts with just an acoustic piano and slowly builds into a huge wall of guitars and becomes a rock anthem in the truest sense of the term. The call of the Gosepl is proclaimed with brilliant clarity. Waiting for the Aliens is a 6-plus minute epic that, like many artists lyrics during the time, deals with a particular view of end times replete with Marks, Antichrists and a deception of the world that will cause everyone to believe aliens have taken over the world. This is borrowed from many popular prophecy prognosticators and was not a rare hypothesis. the song rocks though! The album ends with another epic that is more progressive rock in nature than the rest of the album with several musical and time signature changes. “Crucifixion” also features a bass solo, which is so “old school” that it’s almost shocking to hear now even though it was not the peculiar for the time. The songs is a wonderful, well arranged and powerful depiction of the passion in a borderline rock opera type setting. By the way…the album cover rocked!

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

Tracklist
1 – No Freedom – 4:30
2 – Stormclouds – 4:39
3 – If Love Brings Love – 4:03
4 – Waiting For The Aliens – 6:10
5 – Warrior – 3:55
6 – Never Felt Better – 3:20
7 – Subterfuge – 5:47
8 – Crucifixion – 5:59

Credits
Bass, Keyboards – Gary Mann
Cover [Cover Art] – Kernie Erickson
Drums, Percussion – Kris Klingensmith
Engineer – Tom Tucker
Engineer [Additional Technical Assistance] – John Hurst
Guitar – Brian Belew
Photography By – Dennis Mabie
Producer – Barnabas, Tom Tucker
Vocals – Nancy Jo Mann

Companies, etc.
Phonographic Copyright (p) – Lexicon Music, Inc.
Copyright (c) – Lexicon Music, Inc.
Pressed By – Electrosound Group Midwest, Inc.
Published By – Lexicon Music, Inc.
Recorded At – Triad Studios, Des Moines
Mastered At – Future Disc

Lewis McVay – Coming Attraction – 1984

Nearly a decade after releasing one of the most classic, definitive Jesus Music albums, Sail on Sailor, with his band Mustard Seed Faith and some six year since releasing his first solo album “Spirit of St. Lewis” Lewis McVay released an amazing record that was only hampered by being part of a label that was about to fold. From the creative cover to the phenomenal musicianship on the album, every song works and works well. Combining many different genres all within the framework of pop/rock with touches of new wave and soulful jazz, there is also a hint of the sounds also explored by labelmates Prodigal. Christian radio was very responsive to the mid-tempo ballad “Someday” which sounds nothing like the rest of the album and is uncanny how much it sounds like a David and the Giants ballad. It is also the only over the top syrupy CCM song on the entire album and seems like it was written just for the radio. That is really the ONLY song not up to par with the rest of the album. The rest of the album is really that good. There is not a weak song to be found anywhere. Highlights include the title track, Moon Eyes and You Can’t Fool Me. This is a serious AYSO and one can only hope to find one to own. You don’t want to know what I paid for mine 20 years later!

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

Tracklist
1 – Moon Eyes – 4:03
2 – Coming Attraction – 2:25
3 – Can’t Fool Me – 3:43
4 – It’s Real – 3:52
5 – Someday – 3:39
6 – I Need You – 3:34
7 – Running – 3:00
8 – Is Everything Possible? – 3:46
9 – Can’t Live Without Your Love – 3:56
10 – Working Man – 3:06

Credits
Backing Vocals – Bill Batstone, Darrell Cook, Jon Phelps, Kay Roebuck, Keith Edwards, Lewis McVay, Ronda Taff, Ted French
Bass – Darrell Cook, Greg McNelly
Co-producer – Lewis McVay
Drums – Keith Edwards, Larrie Londin
Electric Guitar – Bill Batstone, Jon Goin
Engineer – Greg McNeily, Jonathan David Brown
Engineer, Mixed By – Gary Platt
Keyboards – Jeff Lamms, John Shriner
Lead Guitar – James Cloke, Jon Goin, Wayne Braust
Lead Vocals, Guitar – Lewis McVay
Mastered By – Mike Fuller
Mixed By – Greg McNeily
Photography – Dianne McVay
Producer – Jon Phelps, Ted French (tracks: B4)
Saxophone – Ronnie Eades
Synthesizer – Loyd Boldman, Rob Watson, Shane Keister

Companies, etc.
Copyright (c) – McVay Publishing
Copyright (c) – Between The Lines Music

Tommy Coomes – Love Is The Key – 1981

No matter what happened after 1975 or so Tommy Coomes place in Christian music would be forever cemented as a result of his inclusion as a founding member of Love Song, possibly the most important band in Jesus Music. Tommy spent some time in the Army during the late 1960’s and upon returning began hanging around with an old friend named Fred Field and a few other young “hippies” looking for a positive future named Jay Truax and Chuck Girard. But even after Love Song’s relatively short tenure ended Tommy did not leave ministry or music behind him. He worked as an executive with Maranatha Music and recorded occasionally. One such solo recording is the subject of this post. Love is the Key is smart and smooth pop/jazz influenced record focusing on Tommy’s sweet and unique voice. A renowned band of who’s who is Southern California musicians (many members that would later form the jazz band Koinonia) including Hadley Hockensmith, Harlan Rogers, Darrell Cook and others. Other friends like former Love Song bandmates Church Girard, John Mehler and Jay Truax also joined the likes of Bob Bennett, Alex MacDougall, Michelle Pillar and Kelly Willard in support of the project. The top notch musicianship shows.

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

Tracklist
1 – Love Is The Key – 4:04
2 – I Owe Everything To You – 3:37
3 – The Pleasure’s Mine – 4:08
4 – Hidden Treasure – 3:13
5 – Singing Our Praises To Jesus – 3:04
6 – Thinkin’ Of You – 4:07
7 – A Faithful Witness – 2:55
8 – He’s A Liar – 5:58
9 – Don’t Be Afraid (Just Walk With Him) – 4:57

Credits
Acoustic Guitar – Hadley Hockensmith (tracks: A4, B4), Tommy (tracks: A1, A5)
Alto Saxophone, Tenor Saxophone – Gordon Goodwin (tracks: B2, B3)
Arranged By – Harlan Rogers (tracks: A4, B2-B4)
Arranged By [Strings], Conductor – Stan Endicott
Backing Vocals – Bili Thedford (tracks: A1, A3, B1-B3), Bob Bennett (3) (tracks: A2, B4), Chuck Girard (tracks: A5), Dona Thedford (tracks: A1), Harlan Rogers (tracks: A4, B4), Jay Truax (tracks: A5), Kelly Willard (tracks: A2, A4, B3, B4), Michele Pillar (tracks: A2, A4, B3, B4), Mortonette Jenkins (tracks: A3, B1-B3), Phyllis St. James (tracks: A3, B1-B3), Tommy (tracks: A2, A5), Vanetta Fields* (tracks: A1)
Baritone Saxophone – Gordon Goodwin (tracks: B2)
Bass – Darrell Cook (tracks: A1, A4, A5, B4), Jimmy Perez (tracks: A2, A3, B1-B3)
Design [Back Cover] – Milton Sue
Design [Front Cover] – Dennis Hill (6)
Drums – John Mehler (tracks: B1), Keith Edwards (tracks: A2, A3, B2, B3), Ron Tutt (tracks: A1, A4, A5, B4)
Electric Guitar – Tony Dean (tracks: A2, A3, B1-B3), Hadley Hockensmith (tracks: A1-A3, B1-B4)
Electric Piano [Fender Rhodes] – Harlan Rogers (tracks: A1-A3, B1, B3)
Electric Piano [Wurlitzer] – Harlan Rogers (tracks: B2)
Engineer – Chris Taylor (11), Jonathan Brown
Lead Vocals – Tommy
Mastered By – Steve Hall
Organ [“Soultown” B-3 Organ] – Harlan Rogers (tracks: B2)
Percussion – Alex MacDougall (tracks: A2, A3, B1-B3)
Photography By – Paul Ekon
Piano – Harlan Rogers (tracks: A4, B4)
Producer – Tommy Coomes
Producer, Arranged By [Horns] – Harlan Rogers
Saxophone – John Phillips (tracks: A3)
Synthesizer [Prophet 5 Synthesizer] – Harlan Rogers (tracks: B4), Rob Watson (tracks: A2, A3, B3)
Tenor Saxophone – John Phillips
Trombone – Val Johnson (tracks: B2, B3)
Trumpet – Darrell Gardner (tracks: B2, B3)
Written-By – Chuck Girard (tracks: A5), Tom Coomes

Companies, etc.
Phonographic Copyright (p) – Maranatha! Music
Copyright (c) – Maranatha! Music
Distributed By – Word, Inc.
Mastered At – MCA Whitney Recording Studios

Kyle Henderson – More Than The Look Of Love – 1985

After making a name for himself as the leader of the cool, underground, new wave band The Producers, Kyle Henderson became a Christian, left the band and recorded one album for the Christian Music industry. He released the one album on Kerry Livgren’s short-lived label Kerygma. Henderson then disappeared from CCM altogether. But that one album was filed with ten great songs, if not a bit too sparsely produced. Christian radio was generally receptive to this debut and several singles charted. The album was released with a sticker that noted his experience in The Producers. Fans of the Producers were probably somewhat disappointed as the album did not really reflect the music of the classic new wave band, but rather had more in common with Bryan Adams and Benny Hester while his vocals have a Steve Perry (Journey) quality to it. The lyrics were rather common, especially among new Christian in the industry as their earlier releases of “cross over” albums tend to be more direct and testimonial in nature. The same is true here. highlights include the title track, Gift of Grace, Renaissance and the radio hit, Beautiful People. One song of note “He’s Coming Back.” I bring this song up because the production and instrumentation is for some reason superior to the rest of the album and no where near as thin sounding as the rest. As mentioned already the style was more middle American rock and roll like Richard Marx and Bryan Adams with heavy saxophone presence and unfortunately thin production. I have always wondered what would have happened if the album was more successful or how his career may have gone if he continued within the CCM industry.

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

Tracklist
1 – Gift Of Grace – 3:09
2 – Open The Lines – 3:53
3 – More Than The Look Of Love – 3:22
4 – Beautiful People – 4:24
5 – Renaissance – 5:02
6 – He’s Coming Back – 3:44
7 – Sold Out – 3:40
8 – It’s You – 3:30
9 – Fallen Angel – 4:46
10 – All Of My Life – 2:57

Credits
Backing Vocals – Dennis Marcellino
Bass – Kyle Henderson
Drums – Greg Eckler
Engineer – Brad Aaron
Executive Producer – Ken Marcellino
Guitar – Bob Marshalek, Kyle Henderson, Mark Moulin (tracks: B3)
Keyboards – Roger Delaney
Lead Vocals – Kyle Henderson
Mastered By – Mike Reese
Producer – Kyle Henderson
Saxophone – Dennis Marcellino
Written-By – Dennis Marcellino (tracks: B2), Kyle Henderson

Companies, etc.
Distributed By – Sparrow Records