David Lowman – Page 12

Nobody Special – Nobody Special – 1987

Real punk rock. Joey “Ojo” Taylor’s (Undercover) little brother went by the name of Pat Nobody with a band called Nobody Special whose debut release was called entitled Nobody Special and was produced by older brother Ojo. There is something about the name Taylor and Christian Music that just screams quality – Ojo, Steve, Terry Scott and Pat! Nepotism and redundancy aside, this album just plain kicked ass! Fast, hard, heavy and one of the finest punk deliveries in Christian Music. Ironically Pat formed the band, Nobody Special, right after the album was released by Frontline records. The original “band” that recorded the project along with Pat included Ojo Taylor (Undercover), Gene Eugene (Adam Again), Chris Birgandi (The Lifters) and others from the OC Christian music “cool scene.” I remember seeing the band Immortal Youth a few times playing around the LA and OC Christian punk scene in the early 80’s with bands like Undercover and the Lifesavors and remembering that I thought they were really cool. I did not find out until many years later that Pat was in that band as well. They (he) would only record two albums and that is a true loss to the industry that could have used many more.

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

Tracklist
1 – Sliding Backwards – 2:22
2 – That Feelin’ – 1:45
3 – Come Around – 1:22
4 – I Was – 2:14
5 – Dissertation – 1:02
6 – We Are Confident – 1:26
7 – People Who – 1:48
8 – Killin’ Time – 2:19
9 – Burnt – 3:09
10 – I Wonder – 1:48
11 – Numb – 0:56
12 – Get Off The Air – 2:21
13 – Ain’t That Hard – 3:57
14 – Separation – 1:29
15 – Deeper Things – 1:39

Credits
Artwork [Insert Lettering, Illustrations] – John Russey
Bass, Keyboards – Turner Burn
Drums – Emil Harvey
Edited By – Dave Jahnsen
Guitar – Dickey Moe
Guitar, Vocals – Pat Nobody
Mastered By – John Matousek
Photography By – Brian Ray
Producer, Engineer, Mixed By – Joey Taylor
Written-By – Pat Nobody

Prodigal – Just Like Real Life – 1985

Throughout this exploration of the greatest music in Christian Music history, much has been said about the shame that it is one of CCM’s great realities: great bands don’t sell and disappear much too quickly. The greatest (worst?) example of this axiom if the band Prodigal. The great crime of CCM is that this amazing band only made three unbelievably impressive albums and then… …nothing! Their swan song was the impressive “Just Like real Life,” an album filled with so much great music and original concepts that any description will really not do it any justice. Ranging from hard “new wave” to American rock and roll there are ten fantastic tracks here. Production quality is through the roof fantastic for what was, I am sure, a minuscule budget. The vocals are as diverse as the music as three different lead vocalist shared the duties. the most notable is Loyd Boldman and his HUGE voice. Boldman always seemed to tackle the big rock numbers and so is often recognized as the lead vocalist though that is really not the case. It should be noted that quite often his songs are the most memorable. This is the case here. Future Now starts with a musical introduction that always reminds me of the soundtrack to movie St. Elmo’s Fire, especially the primary song, “Man in Motion.” “Safety in Numbers” starts off with a great guitar lick the harkens to Daniel Amos’ “I Love You #19.” Throughout the entire record great riffs and monster walls of sound permeate every song. What is truly impressive about the band, though, is their lyrical content. Not content to recite the normal CCM diatribes, Prodigal placed themselves directly into the songs and transparently admit their failings along with those around them. A constant theme is the alienation of the modern world and need for honest and actual relationships. Both with God and with one another.

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

Tracklist
1 – Future Now – 3:55
2 – Push And Shove – 3:00
3 – Safety In Numbers – 2:52
4 – Answering Machine – 3:57
5 – Under The Gun – 3:47
6 – Jump Cut (Just Like Real Life) – 3:14
7 – Incommunicado – 2:50
8 – Next Big Thing – 2:44
9 – Burn It Up – 3:16
10 – The Big Sleep – 3:16
11 – Just Make Up Your Mind – 3:13

Credits
Loyd Boldman – keyboards and vocals
Rick Fields – guitars and vocals
Mike Wilson – bass
Dave Workman – drums and vocals
Executive Producer – Jon Phelps
Produced and Engineered by Gary Platt
Arranged by Prodigal and Gary Platt
Synthesizer Programming – Wes Boatman
Synth Solo on “Push And Shove” – Wes Boatman
Recorded at – Fifth Floor Studios, Cincinnati, OH, Boatman’s Ranch, New Richmond, OH, Starke Lake Studios, Ocoee, FL
Assistant Engineer – Carol Burkart
Assistant Engineer / Concert Sound – Steve Moller

Companies, etc.
Distributed By – The Benson Company, Inc.
Copyright (c) – Heartland Records Company
Phonographic Copyright (p) – Heartland Records Company
Mastered At – Criteria Recording Studios
Pressed By – Hub-Servall Record Mfg. Corp.

Benny Hester – Nobody Knows Me Like You – 1981

Benny Hester’s classic “Nobody Knows me Like You” is the very best Adult Contemporary pop album in the history of Christian Music! Hyperbole much? Nay! There will be other album that are classified as AC or pop higher on this list, but most of the albums were not really “current,” commercial vehicles. They appealed to a pop market, but were not actually purely pop music for the day. But NKMLY was in a class all by itself. All the while the CCM market was discovering they had a treasure in Benny Hester the artist, who, over the years, has not only delivered memorable songs, but actual classics that changed and shaped the CCM landscape. Most artists would be honoured to have one song that could be listed among the greatest in the history of the genre, while Hester has a handful! Long before he made a mockery of radio chart records with “When God Ran,” has had made a very potent career of not just brilliant hits, but overwhelming good albums within his genre. Borrowing liberally from the hit music makes of the late 70’s and early 80’s (Hall & Oates, Christopher Cross, Bee Gee’s, Elton John), Hester mastered his songwriting craft early and never slowed down. He was driven to be a recognized artist, all the while he was driven to express his faith in original and honest ways. Unlike the vast majority of his peers, Hester did not release an album every year like clockwork. Often there were a few years between releases and this gave him the opportunity to create great collections of well-written pop music. But no album would surpass his third (second CCM) album. With the album (and many albums like it) it is often the backstory that makes the album so intriguing and lasting. In the late 70’s Hester had record a series of songs and was getting nowhere with record labels. His debut (mainstream) release owns a tragic story and has become a collectors item of sorts. The label he was signed to folded and the warehouse holding the LP’s burned to the ground, destroying most known copies. Only a handful ever found there way into the hands of listeners. I am one those lucky few. Hester took those few songs and drove from Las Vegas to Canoga Park, CA and the then offices of Sparrow Records. Hester sat in the reception office until Bill Hearn (Sr.) finally agreed to meet with him. Hester played the songs for Hearn who signed him on the spot. Those songs and a few others were released as Hester’s “debut,” the self-titled Spirit Label release that was later knows as “Be a Receiver.” Soon after the release of the album, Hester found himself driving across the Golden Gate bridge in San Francisco. By the time he had crossed the bridge he had written the chorus to the song “Nobody Knows Me Like” without an instrument. He spent the rest of the day in San Francisco writing the song that he would forever attached to and that would make Hester one of the most popular CCM artists at the time. Hester went into the studio with a who’s who collection of musicians and emerged several months later with his classic. But the album took longer to get going because his new label (Myrrh) wanted Hester to work with producer, Michael Omartian. No one could blame Hester and the label for waiting to work with Omartian. But the time off also allowed Hester to fine tune his craft. It also gave the industry just enough time to forget who he was, and Hester and the label would have to start all over again and making Hester a known commodity.

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

Tracklist
1 – Come Back – 4:14
2 – No Man’s Land – 4:13
3 – Rubber Canoe – 4:09
4 – Nobody Knows Me Like You – 4:44
5 – Step By Step – 4:53
6 – One More Time – 4:07
7 – Goodbye Salty – 4:39
8 – Real Change – 4:22
9 – You Loved Me – 4:04
10 – Christ The Solid Rock – 2:22

Credits
Acoustic Guitar, Vocals – Benny Hester
Art Direction – Dennis Hill
Artwork [Special Logo Design] – Tim Barela
Backing Vocals – Jeff Lams, Michael Omartian, Tommy Funderburk
Bass – Abraham Laboriel
Concertmaster – Assa Drori
Congas – Bobby LaKind
Coordinator [Production Coordinator] – Yvonne Garcia
Drums – Ron Tutt
Electric Guitar – Martin K. Walsh
Engineer [Second] – Ross Pallone, Steve Crimmel
Engineer, Remix – John Guess
Keyboards – Jeff Lams, Michael Omartian
Mastered By – Ken Perry
Photography By – Harry Langdon
Producer – Michael Omartian
Saxophone – Kim Hutchcroft

Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Produced For – Rhema Productions
Recorded At – Hollywood Sound Recorders
Mastered At – Capitol Mastering
Pressed By – Monarch Record Mfg. Co.

Twila Paris – The Warrior Is A Child – 1984

It is not very often that an artist has the privilege of writing and recording a song that would one day be considered a classic. Even less often does that same artist write and record two or three such songs. Almost never do those three songs all appear on one album. After a sweet but neglected debut release, Knowing You’re Around, Twila released the popular Keepin’ My Eyes On You in 1982. That album showed the promise that would be realized on The Warrior is a Child. The album would contain several Top 10 singles and a few Number One singles. The most notable is the title track which went on to win several awards, own the radio charts and be the definitive song for an artist that has recorded over 20 albums and charted over 30 number one singles! Many songs have been added to recent editions of Church Hymnals while others have become modern worship classic. “Do I Trust You,” written after the death of Keith Green remained a radio favorite for years and one of the top selling accompany tapes ever sold. The beautiful and memorable melody has been added to hymnals and worship playlists. The song of God’s sovereignty has hit home with millions as a reminder of God’s role in our lives, even and especially during the difficult times. “We Bow Down” has also found it’s way into many modern hymnals and remains one of the most popular praise and worship songs of all time. It’s important to note that she was writing “pop” music for the masses that became worship classics well before the modern worship phenomenon. Very few MOR/Inspo albums have made there way on to this list, but one must recognize that when someone excels even in an area or style that is not a personal favorite, there is deserved recognition. Such is the case here as The Warrior is a Child remains a classic for the genre and genuinely great album with lasting impact and implications.

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

Tracklist
1 – The Warrior Is A Child – 4:05
2 – Forever Eyes – 3:32
3 – Clearer Vision – 4:13
4 – Do I Trust You – 4:11
5 – Covenant Keeper – 2:43
6 – The Battle Is The Lord’s – 2:55
7 – We Bow Down – 2:41
8 – Leaning On The Everlasting Arms – 4:18
9 – To Do Your Will – 2:40
10 – Come On In – 3:58
11 – Praise Him – 3:36

Credits
Arranged By – Jonathan David Brown, George (Smitty) Price
Art Direction, Design – Joan Tankersley
Backing Vocals – Dan Collins, Jamie Owens Collins, Jonathan David Brown, Kelly Willard, Starla Paris, Twila Paris
Bass Guitar – Jim Johnson, John Patitucci
Drums – Cactus Moser
Drums, Percussion – Keith Edwards
Electric Guitar, Acoustic Guitar – Hadley Hockensmith
Engineer – Jonathan David Brown
Engineer [Assisted By] – Steven Ford, Todd VanEtten
Executive-Producer – Phil Brower
Layout – Lori Cooper
Mastered By – Steve Hall
Percussion – Victor Feldman
Photography By – Craig Stewart
Piano [Acoustic], Electric Piano [Rhodes] – George (Smitty) Price
Piano [Acoustic], Organ [B-3] – Harlan Rogers
Producer – Jonathan David Brown
Synthesizer – John Schreiner
Written-By – Twila Paris (tracks: A1 to B2, B4 to B6)

Companies, etc.
Record Company – The Zondervan Corporation
Phonographic Copyright (p) – Singspiration
Copyright (c) – Singspiration
Published By – Singspiration Music
Recorded At – Mama Jo’s
Mixed At – Mama Jo’s
Mastered At – Future Disc
Designed At – The Cover Story

The Predators – Social Decay – 1983

I have no idea how I ever got copies of the three albums from The Predators back in the early 80’s. I don’t even know how the were distributed here in the US. I don’t even remember buying them. All I know is that I love all three and this, Social Decay, is just fabulous. When the dictionary defines “new wave” they should have a picture The Predators. Heavy keyboard dominated dance music with guitar stylings taken straight from The Knack and vocals at times sounding eerily like Bill Walden of early Undercover fame. In fact, the first Undercover album may be a decent comparison, though much more musical and stronger songwriting.But it is not a stretch to hear comparisons to Weber and the Buzztones, Quickflight, Elvis Cotello and even Ishmael United. There is a great combination of straight ahead evangelical lyrics and thoughtful and vague pop themes, but all with a Biblical worldview. “Man in My Room” has the feeling of a stalker story until you realize the song is about the Holy Spirit. “Stand Up and Be Counted” is a Christian anthem and “Nasty Video” addresses the problem of modern cinema and its impact. Their catalog is a tough find but worth the effort for those with an affection for early 80’s new wave pop.

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

Tracklist
1 – Jack – 3:10
2 – Free World – 3:09
3 – Man In My Room – 4:07
4 – Stand Up And Be Counted – 3:45
5 – Lost At Sea – 3:48
6 – 2 Out Of 7 – 3:49
7 – One More Time – 3:12
8 – Wipe The Tears – 4:16
9 – Nasty Video – 3:02
10 – Never Say Die – 3:26

Credits
Bass, Vocals – Andy Rayner
Drums, Percussion – Francis Johnson
Engineer – Mick Robson
Guitar – Kelvin Allwood
Keyboards, Vocals – Brian Westhead
Producer – John Pantry
Vocals – Kevin Smith

First Call – Undivided – 1986 – Full Album

First Call is the term given to a musician or vocalist who are the top of every producer’s list to appear on a project. They are usually paid the highest amount and are known for needing the least amount of studio time to get it right, actually saving the studio money even though they can charge a higher rate. The group first call earned their name. The trio headlined by Marty McCall (Fireworks) were a famed studio trio that appeared on countless albums and earned a record contract. McCall’s experience with Fireworks and Mel Tunney and Bonnie Keen’s studio work made them seasoned veterans without ever performing live together. Undivided is seen as the groups official first album even though the previous year they were the primary force behind one of the finest CCM Christmas albums ever, An Evening in December. The Christmas album, though, also featured other named CCM artists at the time. Undivided starts with a sound similar to what was coming out of Nashville at the time with inspirational balled and medium tempo songs like the title track, which went on to be a huge hit. The group, though, really excelled and separated themselves when they ventured into more jazz and Manhattan Transfer styled compositions. But even in the more common fair their vocals and arrangements, especially on songs like “The Future” put them in a class all by themselves.

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

Tracklist
1 – Messiah – 3:25
2 – Undivided – 4:12
3 – Campmeetin’ Tonight – 3:33
4 – Bless, Ye The Lord – 4:25
5 – God Is Greater – 3:22
6 – One Step At A Time – 2:58
7 – Step Of Faith – 3:12
8 – The Future – 3:08
9 – Snap To It – 2:33
10 – Just As True For You – 4:15

Credits
Bass – Craig Nelson, Gary Lunn, Jimmy Lee Sloas, Mike Brignardello
Brass – Chris McDonald, Ernie Collins, John Rommell, Mike Haynes
Drums – Mark Hammond, Paul Leim
Guitar – Gary Burnette, Greg Jennings, James Hollihan, John Darnall, Jon Goin, Mark Baldwin, Tom Hemby
Keyboards – Dick Tunney, Phil Naish
Keyboards, Drum Programming – Keith Thomas
Percussion – Farrell Morris
Percussion [Anatomical] – Terry McMillan
Piano [Acoustic] – David Huntsinger
Saxophone – Dennis Solee, Doug Moffet, Jim Horn
Vocals – Bonnie Keen, Marty McCall, Melodie Tunney

Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Manufactured By – Word, Inc.

Northbound – Northbound – 1983

At first I had considered listing this album amongst those chosen as a “guilty pleasure.” Everyone, critics and fan, have these albums. The ones that you’re not supposed to like and that you know the hyper-critical snobs will scoff at as being “too commercial” or “too pop” or “too whatever.” But spending months compiling the list and listening over and over to many albums I came to the conclusion that the inclusion of Northbounds one and only album is not only well deserved, but that is more than just a guilty pleasure, but a great pop album that stands up well nearly 30 years later. Touches of Hall & Oates, Toto, Chicago, The Eagles and even Bryan Duncan, Kenny Marks and the first Prodigal album (for the CCM fans) can be heard throughout this incredibly well produced project. For a debut (and unfortunately only) release this was one of the best produced projects with bright high ends, diverse musical arrangements and some killer saxophone. The album kicks off with what could be the catchiest songs in CCM history, Dancin’ In the Aisles. This ode to a more expressive form of worship has such a monster hook that I mentioned the band’s name to a friend of mine in Christian radio and he immediately began singing the chorus despite not playing the song since around 1985. “Maybe Tonight” slows things down to something akin to a mid-tempo rocker by The Eagles with a bit more soul. The nearly 6 minute ballad “What Do You Do” is reminiscent of Kenny Marks’, “The Party’s Over,” with a slow build that ends huge with great passionate vocals. The question raised about gaining the whole world while losing your soul is timeless and works well within the storytelling nature of the song. The more “Seawind,” jazzy tunes work really well on this project. Songs like Evening Song, Life Without Your Love and When I Look In Your Eyes are great examples. “You Got Me Singing” is the “singing” version of Dancin’ in the Aisles. The albums closer, “Easy Street,” has a “Desperado” sort of feel with the solo piano arrangement builds as the song progresses. This is a clear AYSO, though it may be nearly impossible to find. The album was released nearly 30 years ago and was not amajor hit. It, along with David Edwards’ “Get the Picture” and Dion’s “I Put Away My Idols” were released with a free LP of various Myrrh artists that is also a tough find.

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

Tracklist
1 – Dancin’ In The Aisles – 3:31
2 – Maybe Tonight – 5:10
3 – Livin’ In The Light – 4:21
4 – What Do You Do – 5:48
5 – Evening Song – 4:07
6 – Life Without Your Love – 4:39
7 – You Got Me Singin’ – 3:29
8 – When I Look In Your Eyes – 3:33
9 – Easy Street – 3:02

Credits
Arranged By [Basic Tracks] – Mike Utley (tracks: B1, B4, B5)
Arranged By [Vocal And Instrumental] – Bill Bottrell, Bob Book, Ron Gollner
Bass – Tim Camp
Drum Machine [Linn] – Bill Bottrell
Drums, Vocals – Dave Workman
Engineer [Assistant] – David Marquette, Larry Nefzger, Mitch Gibson, Paul Erickson
Executive-Producer – Buddy King
Guitar [Additional] – Bill Hawkins
Guitar, Vocals – Bob Book
Keyboards [Rhodes “Dyno-my-piano” / Moog / Prophet V], Vocals – Ron Gollner
Lead Vocals – Bob Book, Ron Gollner
Organ [Hammond] – Dave Danieli
Piano – Dale Walker
Producer, Mixed By – Bill Bottrell
Programmed By [Synthesizers] – Ron Gollner
Saxophone [Sax Solos] – Steve Allen

Companies, etc.
Copyright (c) – Word Music
Copyright (c) – Pure Joy Music
Phonographic Copyright (p) – Word Music
Recorded At – Triad Studios
Recorded At – Soundcastle
Mixed At – Soundcastle
Mastered At – Future Disc
Pressed By – Monarch Record Mfg. Co. – ?26221
Pressed By – Monarch Record Mfg. Co. – ?26203

Phil Keaggy – Town To Town – 1981

There is not a lot to say about Phil Keaggy that hasn’t already been said. In fact, I can be pretty sure than nothing I say will be in any way enlightening to the reader. I can do no more than to simply repeat the previous accolades and find a way to recommend even more so the need to own as much Phil Keaggy as humanly possible, especially his 70’s and 80’s material which is just staggeringly impressive. Town to Town is separated from nearly all other Keaggy releases by the fact that it may be his most accessible and commercial. It contains more radio friendly and pop based structured than any other Keaggy recording outside of the “band” Sunday’s Child. The opening track is a great live favorite that tells the story of a one night reunion with his classic rock band, Glass Harp. This song, like many of Keaggy’s, suffer from the guitar solos being limited. The same is not the case for the following track, Full Circle. Here is a great example of how to create a pop rock song without shorting the guitar aficionado fans desire for Keaggy guitar solos.
“What a Wonder You Are” featured vocal support from the queen of Christian duets, Michele Pillar, and ended up being the biggest hit from the album. The song broke molds in that was one of the first radio hits that was simply a love song without having to be a “wedding song.” Previously the only romantic songs were those specifically created for weddings. The album closes with one of Keaggy most popular and enduring songs, Let Everything Else Go. The beautiful song proves that stunning guitar work does not always have to be blistering guitar solos, but also soothing, atmospheric sounds created at the hands of a master. Here we find beautiful and haunting sounds that so create the musical canvas Keaggy’s Paul McCartney-like vocals can paint upon.

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

Tracklist
1 – Wished You Were There – 3:01
2 – Full Circle – 4:15
3 – Life Love And You – 4:20
4 – Town To Town – 6:45
5 – What A Wonder You Are – 4:00
6 – In Between – 3:01
7 – Our Lives – 5:23
8 – Rise Up O Men Of God – 4:10
9 – Let Everything Else Go – 4:50

Credits
Alex Acuña – Percussion
Curt Bartlett – Guitar
Bob Cotton – Engineer, Producer
Jim DeLong – Drums, Percussion
Eugene Friesen – Composer
Leon Gaer – Bass, Bass (Electric), Guitar (Bass)
Dean Hagen – Drums
Paul Halley – Composer
Bruce Hibbard – Vocals (Background)
Lee Jones – Fretless Bass
Bernadette Keaggy – Vocals
Phil Keaggy – Bass, Composer, Guitar, Guitar (Bass), Primary Artist, Vocals
Tom Keene – Keyboards, Piano, Synthesizer
Dan Murdock – Keyboards, Piano
Michele Pillar – Vocals (Background)
John Pooley – Engineer
Denny Siegrist – Engineer
Richard Souther – Synthesizer
The Winans – Vocals (Background)
Pete York – Vocals (Background)

Companies, etc.
Phonographic Copyright (p) – Sparrow Records, Inc.
Printed By – Garrod & Lofthouse Ltd.

Mark Heard – Victims of the Age – 1982

I do not cry very often. I will cry in a movie before I cry about things in my own life. I have only cried once at a funeral, but never have I cried when hearing about the death of someone I did not know extremely well. Except on August 17th 1992 when I had learned of the death the previous day of Christian artist Mark Heard. And I don’t know why… Perhaps I was so moved by his music and felt such a connection to it that his death simply moved me. Or I have considered I was familiar enough with the story of his life and trials and struggles he endured for his art that I felt an empathy previously unknown. Sometime I believe it is because I realized the world lost a beautiful soul, a loving man and brilliant artist…and the world didn’t even know it. That is the great shame of the life and death of Mark Heard. It is a shame that most of the world had no idea who the man was and what an amazing collection of art he had created in his 20 years as a musician, poet, producer and performer. “Victims of the Age” was the second album of Mark’s that I would own (though I now own them all) and its consistently carried theme of city life and isolation and the ever-present Gospel ring as true today as it did in 1982. Plus I firmly believe that Victims, more than any other Heard release, walked the very fine line between commercially accessible and artistically intriguing as any other.

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

Tracklist
1 – Victims Of The Age – 3:14
2 – City Life Won’t Let Up – 3:40
3 – Faces In Cabs – 3:22
4 – Nothing Is Bothering Me – 4:22
5 – Some Folks’ World – 4:32
6 – Growing Up Blind – 4:57
7 – Dancing At The Policeman’s Ball – 3:53
8 – Everybody Loves A Holy War – 4:24
9 – Heart Of Hearts – 3:14

Credits
Backing Vocals – Larry Norman, Leslie Phillips
Bass, Backing Vocals – Billy Batstone
Drums – John Mehler
Electric Guitar, Lead Guitar, Slide Guitar, Lead Vocals, Backing Vocals, Percussion, Harmonica, Accordion [Accordian], Mandolin – Mark Heard
Engineer – Bill Cobb
Engineer, Photography By – Janet Sue Heard
Keyboards – Carl Pickhardt, Tom Howard
Mastered By – Bernie Grundman
Producer, Engineer, Mixed By, Arranged By, Design [Cover] – Mark Heard
Tambourine, Shaker – Harry Stinson

Companies, etc.
Phonographic Copyright (p) – Home Sweet Home Records
Copyright (c) – Home Sweet Home Records
Distributed By – The Benson Company, Inc.
Recorded At – Poiema Studios
Recorded At – Gold Mine Studio West
Mixed At – Wilder Bros. Studios, Los Angeles
Mastered At – A&M Mastering Studios

Steven Soles – Walk By Love – 1982

Steven Soles may be the most accomplished artists in CCM that very people had ever heard of. Soles was member of Bob Dylan’s famous “Rolling Thunder Revue” tour in 1975 and, along with a few friends were one of those who shared the Gospel with Dylan. Two other band members, T-Bone Burnett and David Mansfield, started the famed Alpha Band and released three amazing albums. He has also gone on to perform on albums by Dylan, T-Bone Burnett, Peter case and Elvis Costello. After The Alpha Band disbanded he recorded two solo projects for the Christian market. Both were widely critically acclaimed if not necessarily widely received. The better of those two is Walk By Love. Using a light reggae rhythm throughout the world music influence set him apart from anything else in the Christian Music world. Lyrically straight forward and yet very smart and original. The title track should have been a hit if not for the suspicious nature of Christian radio and refusal to play music that didn’t fit the normal scheme of things even if it was directly commercial.

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

Tracklist
1 – Walk By Love – 3:44
2 – Shepherd Of The Valley – 3:29
3 – The Last Round Up – 5:07
4 – Joy In All – 2:43
5 – The Talents – 4:32
6 – Let Him In – 3:17
7 – Standing In His Power – 3:35
8 – Love Come To You – 3:59
9 – Light Of Lights – 3:20
10 – Walk By Love (Reprise) – 1:29

Credits
Bass, Vocals – Jerry Scheff
Engineer – Bobby Macias, David Goldstein
Flute, Saxophone – Marco Macisso
Guitar, Mandolin – David Mansfield
Guitar, Vocals – Steven Soles
Keyboards, Vocals – Danny Timms
Photography, Art Direction, Design – Herbert Wheeler Worthington III
Producer – Steven Soles
Recorded By, Percussion – Larry Hirsch
Vocals – Jude Johnstone, Tommy Funderburk, Wendy Matthews
Vocals, Drums – Ron Tutt

Companies, etc.
Distributed By – Word Records (2)
Published By – Good News Records
Phonographic Copyright (p) – Good News Records
Printed By – Shorewood Packaging
Made By – Shorewood Packaging
Copyright (c) – Specific Gravity Music
Copyright (c) – Dunamis Music
Copyright (c) – Nophir Music
Copyright (c) – Arthur Buster Stahr Music
Recorded At – Monterey Sound Studios
Mixed At – Paramount Recording Studios