David Lowman – Page 2

Split Level – glo.bal – 1997

Originating from the fruitful music motherland of Ireland in the mid-1980’s, Split Level with a pop riven alternative band that fit right into the mold of British music of the day. For fans of The Baby’s, The Tubes, The Imitators et al, the band garnered a decent following in Europe, though struggled to really breakthrough in the states. After moving to England the band found itself releasing an independent project that sounded more like demos before releasing the highly coveted, “Sons of Liberty” on the British imprint of What? Records. The band would exist for nearly two decades, but only release albums occasionally. The album spotlighted here is their final studio project, “glo.bal.” Released through Pamplin Music (where artists went to die), the album was only a blip on the rock/alternative scene even in the US. Limited marketing and a sound that didn’t fit the accepted sound of Christian music at the time (acoustic folk or hardcore), this was the least “European” sounding album of their career. It is also ranks among their best. “Everything” kicks off the record with what should have been the biggest rock radio hit. Easily palatable to fans of The Elms, Smalltown Poets and Seven Day Jesus, the song has a monster hook chorus and radio friendly vibe. Occasionally the melody got lost in questionable production, where the distortion of the guitar overplays its hand and distracts from the melody. Such is the case with “Twister,” which could have been a mainstream radio single in the early 90’s. The best chance for mainstream Christian radio airplay is the mid-tempo ballad, “Emily.” Touches of Toad the Wet Sprocket, Blind Melon, Dinosaur Jr. and other similar bands with a hooky chorus driven be bass and acoustic guitar. The order of songs is really interesting. Starting with more melodic pop rock, the album becomes much more experimental and introspective as it closes. And much mellower. The second half of the album could easily been released under the moniker, Smalltown Poets. Great acoustic rock with smart melodies. In a way, the band seemed to hit its stride in finding an identity that could have proven successful in the states, but it would unfortunately serve as the last studio project as only a live album would be released a few years later.

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

https://www.youtube.com/playlist?list=PLPcTOx34g9XTnA74LwitjIv4HYPs0coXE

Tracklist
1 – Everything – 3:58
2 – Twister – 3:58
3 – Emily – 3:54
4 – Healed – 4:40
5 – The Things I Do – 3:54
6 – Shrinking Brain – 3:38
7 – Circles – 5:45
8 – If I Should Leave – 4:46
9 – Fly – 2:53
10 – Pinlight – 4:25
11 – Got Your Number – 3:09

Credits
$B Dash 3 – Musician
David Bach – Art Direction
Rob Craner – Drums, Percussion, Vocals
Dan Donovan – Art Direction
Rick Elias – Guitar, Harmonica, Piano, Producer, Vocals (Background)
Chris Grainger – Mixing Assistant
Russ Long – Engineer, Mixing, Percussion, Theremin
Phil Madeira – Musician
Trevor Michael – Studio Assistant
Ben Pearson – Photography
Gary Randall – Executive Producer
Mark Roth – Cover Design, Photography
Split Level – Primary Artist
Hank Williams – Mastering

Companies, etc.
Distributed By – Pila Music
Manufactured By – Pila Music
Record Company – Organic Records
Distributed By – Pamplin Music

Steve Arrington – Dancin’ In The Key Of Life – 1985

After spending several years as vocalist and drummer with the popular funk/soul act, Slave, Steve Arrington left for a solo career. His debut is filled with infectious, danceable and gospel centric songs. The first time I heard this album was at a Christian nightclub that was popular in orange Country, CA during the mid-80’s called The Lighthouse. They played the first cut, “Feel So Real” with its infectious Latin rhythms and non-stop groove. I bought it the next day at Maranatha village, the only bookstore in the country that was carrying it at the time. This is by no means an asterisk (*) release as it pure Gospel throughout. The title track continues the driving rhythm and dance beats. This love song is as infectious as they come. Here Arrington compares the loving human relationship to the never-ending dance and worship before the Lord. He is blatant about his love for God and the need to worship. The music is non-stop and completely authentic to the era. In all honesty, this is the album I wish Phillip Bailey would have recorded. Of all of the musical genres, legitimate dance/funk/soul was sorely lacking in Christian music then and now. Only Jon Gibson came KYMS radio jumped all over this album at the time and played several cuts. Not only the two previously mentioned hits, but also the Holy Ghost driven, “Turn Up the Love.” Arrington would later go on to become a Pastor. He still dabbles occasionally in funk and soul music, doing occasional shows with friends and former music associates.

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

Tracklist
1 – Feel So Real – 5:08
2 – Dancin’ In The Key Of Life – 4:55
3 – She Just Don’t Know – 5:16
4 – Willie Mae – 6:00
5 – Gasoline – 6:09
6 – Stand With Me – 4:43
7 – Brown Baby Boy – 4:50
8 – Turn Up The Love – 4:34

Credits
Steve Arrington – Main Vocal, Vocal Backing, Keyboards
India Arrington, Dani Johnson, Marti McCall, Pattie Brooks, Michael Terry, Wilmer Raglin – Vocal Backing
George Johnson – Guitars and Electric Bass
Eric Williams – Guitars
Anthony Johnson, Carlos Murguia, William F. Zimmerman, Joey Gallo, Ramsey Embick – Keyboards
Paulinho Da Costa – Percussion
Freddie Hubbard – Trumpet
Stella Castellucci – Harp

Companies, etc.
Manufactured By – Atlantic Recording Corporation
Phonographic Copyright ℗ – Atlantic Records
Published By – Konglather Publishing
Published By – Motor Music Co.
Published By – Cheyenne Publishing
Published By – Secret Agent Man Music
Published By – JRG Music
Published By – Aurora Borealis Music
Published By – Polyglot Music
Published By – Aris Music
Recorded At – Devonshire Studios
Recorded At – Dawnbreakers Recording Studios
Mixed At – Dawnbreakers Recording Studios
Mastered At – Bernie Grundman Mastering
Produced For – Producers Alliance

The Predators – The Predators – 1982

Throughout the 80’s The Predators released three albums of authentic, frantic and believable new wave/pop punk rock geared directly at the lost but from a distinctly Christian worldview. Two of the albums will make this list, including this, the debut from 1982. I did not have a chance to hear them for several years after this released because of the limited distribution in the US and even more limited Christian Bookstores willing to carry the album. Though not as strong as the follow up, Social Decay, this release does have more energy and a distinctive garage appeal. Borrowing liberally from the post punk and new wave of England at the time, the band forged a trail few would follow. Not only high energy and driving rhythms, but a social awareness of topics that ranged from racism to personal vanity to emotional and mental struggles. The album kicks off with “Sunday Boy,” a fun punk rocker dealing with maintaining faith amidst the insanity that surrounds us in the culture. It also serves as a stark warning to the lost. “You Better Run” is more reminiscent of the pop side of Undercover’s first two albums. In fact, the lead vocals are eerily similar to Bill Walden. Again, the theme that runs throughout the album of warning of a short life and need for Christ, is present here. “Don’t Burn That Cross” deal openly and obviously with racism. It is couched in a world music rhythm similar to The Police. It is a tough and unflinching song, especially for the time it was released. “Maybe Tomorrow” remains a favorite some 40 years later. It is the most commercially accessible song on the album and Christian radio most likely would have embraced it in some areas if it was available.

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

Tracklist
1 – Sunday Boy – 2:42
2 – Man Of The War – 3:12
3 – Don’t Burn That Cross – 4:43
4 – Don’t Mess Around – 3:41
5 – Maybe Tomorrow – 3:50
6 – Never Said A Word – 2:50
7 – Plastic Surgeon – 3:11
8 – Emotional Upset – 4:17
9 – Where You’re Going – 4:42
10 – You Better Run – 2:52
11 – Drift Away – 6:06

Credits
Bass, Vocals – Chris Thompson
Drums – Francis Johnson
Guitar – Kelvin Allwood
Keyboards – Christopher Norton
Lacquer Cut By – BilBo
Plated By – PAG
Producer – John Pantry
Vocals – Kevin Smith

Companies, etc.
Lacquer Cut at – Tape One

Hokus Pick – Snappy – 1997

Hokus Pick is apparently a Canadian expression of surprise. And this record continues to surprise. The court jesters of CCM, the Canadian rock band Hokus Pick had a ten year career that, given the quality of their output, should have garnered the band a longer tenure. It is with “Snappy” that the band it its full stride with a complete album of memorable, funny, serious and, well…weird…songs. The track that informed the albums title also sports one of the greatest videos ever. After the more U2 influenced “Faith, Hope and Love” starts the album, it is “I’m So Happy” that steals the show. As mentioned the video is simply hysterical, but deep within the ska grooves is a positive message of hope. This theme will permeate the album. It was really a shame when I was working for Diamante Distribution that we could never really garner the sales and the radio response necessary and that the band deserved. Even touring with Steve Taylor (a perfect fit) could not break the band nationally, another in the long line of disappointments in this industry. “We Are the People” drives a 60’s influenced rock that would later prove successful for the previously reviewed “Rock n Roll Worship Circus.” “The ska influenced “Our God” should have been a late 90’s youth anthem…should have been! A personal favorite is “True Believer,” a song reminiscent of then labelmates, The Kry. A great, straight ahead and emotional song about the struggles of faith and the desire to be a competent follower of Christ. The CD did also contain a hidden bonus track, if you want to call it that. It is more of a radio play called “An Appointment with Stupidity.” Hysterical, but not necessarily meant for repeated listening.

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

Tracklist
1 – Faith, Hope And Love – 3:59
2 – I’m So Happy – 2:51
3 – Naturally – 2:52
4 – Nothing More – 4:58
5 – We Are The People – 3:15
6 – This Time – 4:16
7 – Our God – 3:18
8 – True Believer – 4:18
9 – God For One Day – 3:27
10 – Silver – 2:44
11 – Let Go, Let God – 4:20
12 – Comfort Song – 1:01
13 – (Hidden Track) – 29:49

Credits
Art Direction – Keith Hamilton
Bass Guitar – Dave Strilchuk
Drums [Ayotte] – Rick Colhoun
Engineer – Rick Colhoun
Engineer [Second] – Riley Armstrong
Lead Guitar – Matt Pierrot
Photography By – James Copp
Producer – Hokus Pick
Vocals, Guitar – Russ Smith
Written By – David Strilchuk, Matthew Pierrot, Richard Colhoun, Russell W. Smith

Companies, etc.
Recorded At – Soundcastle
Manufactured By – Malaco Music Group
Distributed By – Malaco Music Group

Third Day – Third Day – 1982

A decade before the Mac Powell lead Third Day began owning the Christian radio and album sales charts there was a band from Ontario, Canada with the same name and a distinctly different sound. Once again it was the little, progressive Canadian label, Tunesmith, that delivered the band to the States. The band released one fantastic and completely original album in 1982 and little is known about them other than what I can read on album sleeve and hear in the grooves. Primarily a jazz influenced, progressive rock band with a male lead vocalist and female backing vocals. Great guitar and synthesizer work. “Covenant” kicks off side one with the albums most memorable tune. I vaguely remember playing this one for a short while on KYMS back in 1982. The album is often filled with straight scripture. It is also filled with very good guitar solo work. The opening track has both. I have always enjoyed a band that is not afraid to stop singing and actually play their instruments, something they do quite well. In fact, there is a nearly 7-minute instrumental on an album only containing 8 songs. Outside of the one token cheesy ballad (His Yoke Is Easy) most of the album rocks pretty hard within the progressive constraints. This would be more for fans of early Genesis, with more folk and rock influences. In fact, I read a review once that described them a “prog-folk,” and the label kind of works. In 1982 there was Resurrection Band and a few “metal” bands, but very few progressive rock band in the vein of Third Day and, as a result, they stood out. They also stood out initially because of the great artwork and “gate fold” LP packaging Tunesmith provided. If only the label would have spent a few more pennies on the production of many of their releases. But here Third Day stands out again with great production.

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

Tracklist
1 – Covenant – 3:53
2 – The Real You – 5:30
3 – It’s A New Day – 6:30
4 – His Yoke Is Easy – 2:47
5 – Revelation – 5:20
6 – The Word – 4:55
7 – Without Love – 4:54
8 – He Holds The Sun – 4:37

Credits
Acoustic Guitar – Al Tiernay, Lazarus Varla
Art Direction, Photography By – Tom Fenney
Artwork [Signed] – D. Rieger
Backing Vocals – Beth Hudson, Esther Hudson, Sharon Hudson
Bass – Geoff Taylor, Lazarus Varla, Steve Kennedy
Cover, Illustration – Adolph Rieger
Drums – Frank Difelice, Paul Quinton
Electric Guitar – Al Tiernay, Lazarus Varla
Electric Piano [Rhodes] – David Geldart
Engineer [Assistant] – Lori Taylor, Paul Templeman
Engineer [Second] – Cam Shearer, Frank Kitson
Engineer, Mixed By – Paul Massey
Flute, Piccolo Flute – Bev Joel
Guitar – Lazarus Varla
Lead Guitar – Lazarus Varla
Lead Vocals – Lazarus Varla
Mixed By – Doug McKenzie
Percussion – Paul Quinton
Producer, Arranged By – Lazarus Varla
Rhythm Guitar – Al Tiernay
Synthesizer – Lazarus Varla
Synthesizer [Oberheim O B X] – David Geldart, Lazarus Varla
Synthesizer [Prophet 5] – Bob Federer
Vocals – Al Tiernay, Lazarus Varla
Written-By – Al Tiernay, L. Varla

Companies, etc.
Published By – Noteworthy Publishing
Recorded At – Master’s Workshop
Mastered At – Greg Lee Processing

Caedmon – Caedmon – 1978

Not to be in any confused with CCM stalwarts, Caedmon’s Call, this is Caedmon, a progressive, medieval folk, blues, Celtic, jazz quintet from Edinburgh University that unleashed a completely original and creative project embraced a both sides of the pond and both sides of the music realm, garnering great reviews in Christian and mainstream publications. The group started off as a trio of veterinary students that primarily performed traditional British folk tunes and Church hymns and spirituals. The group expanded, as did their repertoire. They played with Water Into Wine, After the Fire, Larry Norman among other Jesus Music artists of the 70’s in Britain. But like many contemporaries…they disappeared quickly. Though the desire for the music has prompted a few re-releases over the years. Whether it’s the Celtic like folky number, “Ten Maidens fair” that kicks off the album or the moody, folky jazz tune, “Man Maker” that follows, the production is top notch, the quality of musicianship, originality and harmonies are simply compelling. Male and female lead vocals trade off with each song and often within each song. But one of the more compelling aspects is the vocal arrangements. There is really a lot going on here. “Sea Song” starts off like an old British shanty, then moves into a progressive rock like instrumental section with a killer guitar solo. The beautifully returns to its roots. Other true stand out tracks include “Living in the Sunshine” and “Columbas’ Song.” This a truly a brilliant gem that most likely would appear much higher on this list of I didn’t come to it so much later in life. I assume if I had owned this throughout its life cycle it would appear much higher on this list. I expect complaints from many claiming it deserves a higher ranking and an equal amount revealing they have never heard of it. The latter would do well to track it down as a phenomenal re-release with vastly improved sonics took place in the past year or so.

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

Tracklist
1 – Ten Maidens Fair – 4:17
2 – Maker Man – 3:25
3 – Death Of A Fox – 4:18
4 – Sea Song – 5:35
5 – Aslan – 4:15
6 – Living In The Sunshine – 3:27
7 – Storm – 6:06
8 – Columba’s Song – 2:21
9 – Smile On Your Face – 4:35
10 – Caedmon’s Hymn – 4:15
11 – Give Me Jesus – 6:45
12 – Beyond The Second Mile – 4:15

Credits
Acoustic Guitar – Jim Bisset
Acoustic Guitar, Spoons [Spoon And Teacup] – Ken Patterson
Vocals – Angela Naylor
Vocals, Bass Guitar – Sam Wilson
Vocals, Electric Guitar – Jim Bisset
Vocals, Guitar, Mandolin, Other [etc] – Simon Jaquet
Vocals, Piano, Cello – Ken Patterson

Companies, etc.
Manufactured For – Nimbus

Wayne Watson – Giants In The Land – 1985

I once coined a phrase called “WayneWatsonitis.” I used it in retail to describe artists that everyone loved their songs, but no one knew there name. It happened when I took my sister to see Wayne Watson at Melodyland in Southern California (across the street from Disneyland). She mentioned before the concert that she was unfamiliar with Watson, but midway through the concert leaned over and said, “I know every one of these songs!” Watson is a prolific artists with mountains if hits, popular church songs and some actual classics and yet is often forgotten when discussing the best of late 70’s and 80’s music. Many may remember his truly classic, “Touch of the Master’s Hand” or even the popular wedding song, “Somewhere in the World” that appears here, but his legacy is much broader and more impactful. This album brought Watson into the mainstream of CCM, moving from a smaller label to Dayspring Records and receiving distribution from mega company Word. But the album is filled with radio favorites and many songs that lasted for decades. “Narrow Way” starts of the album with a safe, CCM pop radio hit. But it was “Lookin’ Out for Number One” that KYMS jumped on and made it into a monster hit. Upbeat and approachable it became the song that brought Watson into the forefront in Southern California. It also allowed the follow up single to become the classic it is now regarded as. “Somewhere in the World” could have easily been just another song about parenting until listeners discovered it was a song about praying for the future spouse of their own child. The emotional chord it struck would only be duplicated a few years later by a song like “Butterfly Kisses.” It became a wedding classic and sold truck loads of accompaniment tracks. Even typing to this as I listen I am struck by the emotional tug that hopefully someone out there is praying for my own young daughter to be the Godly woman fit for their Godly son. The sentiment is emotional, but authentic, and I believe why it struck such a powerful chord with listeners. The album bounces between mid-tempo pop rock and stirring, inspirational ballads. But Watson’s vocals are so pure and naturally emotive that even the most formulaic CCM numbers never come across as trite. It’s fair to say that Watson possessed a voice that ranks among the best in CCM. Most of the album fits quite nicely within the framework of the CCM world at the time and served as a wonderful set up for his classic album that would follow (to be discussed much later).

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

Tracklist
1 – The Narrow Way – 4:05
2 – Lookin’ Out For Number One – 3:08
3 – Heart Of Hearts – 3:57
4 – Peace That Passes Understanding – 4:02
5 – Somewhere In The World – 3:29
6 – Giants In The Land – 4:18
7 – Born In Zion – 4:23
8 – Look Me In The Heart – 3:16
9 – Changed In A Moment – 3:07
10 – Holiness – 3:52

Credits
Acoustic Guitar, Electric Guitar – Greg Jennings
Arranged By – Phil Naish
Arranged By [Strings] – Alan Moore
Arranged By, Keyboards [Electronic] – Shane Keister
Art Direction – Buddy Jackson, Jackson Design
Bass Guitar – Mike Brignardello
Drums, Electronic Drums, Programmed By [Percussion] – Dennis Holt
Engineer [Assistant] – Alan Henry, Bill Whittington, Chris Hammond, Danny Mundhenk, J.T. Cantwell, Keith Penney
Executive-Producer – Neal Joseph
Keyboards [Electronic & Moog Bass Lines] – Phil Naish
Mastered By – Doug Sax
Percussion – Terry McMillan
Photography By – Mark Tucker
Producer, Arranged By – Wayne Watson
Producer, Engineer, Mixed By – Scott Hendricks
Saxophone [Solo] – Sam Levine
Strings – The Nashville String Machine

Companies, etc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Word, Inc.
Recorded At – Bullet Recording
Recorded At – OmniSound Studios
Mixed At – Bullet Recording
Mastered At – The Mastering Lab

Seawind – Light The Light – 1979

Seawind’s “Light the Light” broke through the Christian and mainstream world with original rhythms, world class horn section, Pauline Wilson’s piercing, soulful voice and a collection of musicians that are comparable to no one. Added to that, a very strong selection of songs and killer production. Many of the band members would later be the driving force behind the epic CCM band, The Front. The horn section would play with everyone Michael Jackson to George Benson. Formed in Hawaii, the island theme would show itself throughout along with soul, funk, jazz, disco (they would later score a charting disco hit) and world music. The album starts off with a monster hit, “Hold On to Love.” More progressive Christian radio stations (like KYMS) added them to their playlist, helping them garner the following in the Christian music circles at the time. “Free” pre-dated Gloria Estefan by nearly a decade, but the sound created here would later be a forefront of the Miami music sound of the 80’s. Cool, smooth and yet rhythmically funky. Bass lines driving Larry Williams great keyboard work and Wilson’s powerful voice. It’s also one of the most Biblical Worldview enhanced songs on the album. The sound throughout is consistent and unforgettable. Bob and Pauline Wilson would later do a solo project that will be discussed later.

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

Tracklist
1 – Hold On To Love – 4:23
2 – Free – 4:21
3 – Sound Rainbow – 3:47
4 – Follow Your Road – 5:43
5 – Light The Light – 3:33
6 – Morning Star – 5:23
7 – Imagine – 4:10
8 – Enchanted Dance – 5:06

Credits
Alto Saxophone, Soprano Saxophone, Tenor Saxophone, Baritone Saxophone, Flute [Alto], Electronic Wind Instrument [Computone Wind Synthesizer] – Kim Hutchcroft
Bass – Ken Wild
Drums [Pearl] – Bob Wilson
Guitar – Bud Nuanez
Keyboards [Oberheim Polyphonic, Prophet 5, Mini-moog], Saxophone [Tenor], Flute, Piccolo Flute – Larry Williams
Mixed By – Al Schmitt
Producer – Tommy LiPuma
Recorded By – Al Schmitt, Armin Steiner
Trumpet, Flugelhorn, French Horn – Jerry Hey
Vocals – Pauline Wilson
Written-By – Bob Wilson

Companies, etc.
Record Company – Horizon Records & Tapes
Phonographic Copyright ℗ – A&M Records, Inc.
Copyright © – A&M Records, Inc.
Published By – Seawind Music Inc.
Published By – Sojourn Music
Mastered At – The Mastering Lab

September – September First – 1981

I remember when I was first hired at the Pink Lady Christian bookstore I kept seeing this album in the demo LP section and never bothered to listen to it because the cover looked liked a late 70’s adult contemporary cover. That was my loss. September was a band comprised of three siblings, Russ, Dale and Doug Kirkland. Their music output lasted three decades with seven releases that maneuvered in and out of the current musical landscape of the time. This was their finest work. Fans of Servant, Anthem, Prodigal and the more progressive edge of CCM at the time will find much here to appreciate. The album starts off with “Prelude/Jester” a more than 6 minute song that if I only gave it the first two minutes (Prelude) it may have not made it into my consistent musical rotation. Prelude sounds like the album cover looks, but it is when “Jester” kicks in that every about the album (and the band) changed for me. Where “Prelude” sounded similar to Annie Herring, “Jester” was much more Prodigal and Barnabas. Great transition and killer guitar work! “Why Did I Wait” has touches of Farrell and Farrell and Seawind, but with a heavy rock tinge as the guitar solo kicks in. Fans of Jesus Music band, Parable,” will be very please with what they hear here. Again, like “Jester,” the guitar work here is fantastic. The more I listen the more I hear Parable’s “The City.” “Can’t Be Right” is way more Ambrosia and even Steely Dan than the rest of the album. Fans of the Prodigal debut along with the Doobie Brothers will really appreciate this song. There are a few straight ahead CCM radio songs that will remind listeners of The Archers and Second Chapter of Acts. Unfortunately, Christian radio just didn’t jump on what was an independent release, though it did receive moderate distribution. The album has become a pretty sought after vinyl collectors item, for a good reason.

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

Tracklist
1 – Prelude / Jester – 6:07
2 – Relate It To Me – 3:23
3 – Why Did I Wait – 5:17
4 – Can’t Be Right – 4:17
5 – I Owe You Everything – 3:23
6 – Sorry – 4:36
7 – Empty Love – 3:52
8 – Island Song – 3:29
9 – Hallelujah – 3:17

Credits
Carl Albrecht – Drums, Percussion
Wayne Boosahda – Producer
Jim Bullard – Bass
Doug Flagg – Drums
John Hayes – Guitars
James Hollihan – Guitars
Billie Kessler – Recording Engineer
Kent Kesterson – Engineer
Doug Kirkland – Vocals
Russ Kirkland – Songwriter, Piano, Minimoog, Rhodes, Prophet 5, Organ, Vocals
Michael James Murphy – Songwriter
Jan Parker – English Horn, Oboe
Scott Payne – Guitars
Dan Peek – Production Assistance, Guitars, Percussion
Steve Peistrup – Assistant Engineer
Bobby Price – Songwriter
Darwin Seidel – Bass
Curt Taipale – Engineer, Mixed
Dale Kirland Tiemann – Piano, Organ, Vocals
Bobby Wilson – Songwriter

Dave Kelly – Crowning Of A Simple Man – 1980

Dave Kelly was a member of a great band called “Ark” that released one incredible album that will be featured later on this list. Ark was a wonderful band that escaped the attention of most fans but critics loved for very good reason. Dave Kelly was an integral part of Ark and his songwriting prowess shows on this solo debut. Fans of British pop will love it immediately with a Beatlesque quality and an overall sound comparable to Alwyn Wall and Cliff Richard. Very catchy hooks and memorable melodies from start to finish and a message that was upfront but without a “preachy” quality to it. The albums closer is worth a mention here. A Scottish inspired acoustic number with violin and bagpipes accentuate a story of kings and dragons and knights in a castle. Lyrically sounding like something Kemper Crabb may have written, but musically closer to Van Morrison. All the imagery points to the redemptive work of Christ. Anyone even remotely interested in the early days of CCM in England and the influence of the birth of a more legitimate musical expression in the states should try and obtain a copy of this great album.

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

Tracklist
1 – King of Love 02:39
2 – God Knows 03:46
3 – Tonight 02:25
4 – Turn Your Back 02:49
5 – Dead Or Alive 02:13
6 – Trouble 02:49
7 – Love Night and Day 01:56
8 – Supernatural Man 02:21
9 – Sandy 02:19
10 – Ballad of J.C. 02:32

Credits
Background Vocals – Mary Russell, Mona Lisa Young
Bagpipes – Alex McGilvery
Bass – Dennis Belfield
Drums – Jim Keltner
Harmony Vocals – Jim Seatter
Lead Guitar – Billy Joe Walker
Lead Vocals, Acoustic and Electric Guitar – Dave Kelly
Organ, Piano, Background Vocals – Terry Young
Penny Whistle, Fiddle – Stewart Hamilton
Prophet Synthesizer – Dale Ocherman