David Lowman – Page 3

David Edwards – David Edwards – 1981

From the outset it should be duly noted that this is my all time favorite album…ever! And now that the disclaimer has been provided let’s get on with the review. Before DA sounded the Alarma. Before Taylor built a Clone. Before the Choir, Lifesavers, Altar Boys or Undercover. There always has to be a first. And most often, the first is either soon forgotten or remains unknown for decades. This happens more often in Christian music because an artist is not only breaking down musical barriers, but spiritual and self-righteous one as well. If there was a Top 50 “Albums You Should Own, But Probably Don’t” this one would top the list. David Edwards’ self-title debut topped Campus Life Magazine as one of the best releases of the year at a time when Christian music was dominated by Amy Grant, Evie and the Sweet Comfort Band. Then along comes this little album on Myrrh Records with a pink rising sun backdrop and a guy wearing a loosened thin tie, looking either quite tired or possibly stoned. I was a Freshman in High school when the album came out and it was life changing. I wasn’t familiar with David Edwards’ history in Christian music at the time as I later discovered he played bass for J.C. Power Outlet and was friends with Keith Green, Larry Norman and Randy Stonehill. All i knew was that he looked pretty cool on the cover and Campus Life Magazine compared him to Elvis Costello. I bought the album as soon as I found a Christian Bookstore that was willing to carry it. I ended working at that same store a couple of years later. After listening to the first song I lifted the needle of the record and put in a tape to record it as I knew right away I would want to listen to this album everywhere I went. Three years later after the release of his follow-up album, “Get the Picture” I wrote a letter to him and told what an impact his first album had on me and that his lyrics had encouraged me to start publishing my poems and I sent a few of them along in the letter. Not only did he respond but began an occasional correspondence that continued for some time. Later that same year he performed at Calvary Chapel Costa Mesa during one of their famous Saturday Night Concerts. I went up afterward and introduced myself and he in turned introduced me to the rest of his band who he had mentioned my letters to. I was overwhelmed. My wife and I even went to visit him in upper state New York several years ago on his farm and introduced me to a great recipe for scrambled eggs that remains a favorite in our household.

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

Tracklist
1 – Best Friend – 2:13
2 – Rather Be Wrong – 2:26
3 – Commercial Suicide – 4:26
4 – Nagging Optimism – 2:39
5 – Hollywood High – 2:54
6 – The Getaway – 3:36
7 – Kicks – 2:44
8 – Disposable Love – 2:25
9 – The Tongue Is A Fire – 3:25
10 – Don’t Ever Say – 3:18
11 – Not Going To Fall Away – 3:11
12 – Song Of Wholeness – 3:24

Credits
Art Direction – Art Hotel, Leo McIntire
Drums – Craig Krampf
Electric Bass – Eric Nelson
Electric Guitar – Dan Jacob
Electric Guitar, Sitar [Electric] – Ira Ingber
Layout [Inner Sleeve], Design – Dennis Hill
Organ [Hammond & Vox] – Dave Garland
Piano, Synthesizer, Arranged By – Barry Kaye
Producer – Buddy King
Recorded By, Mixed By – Bill Bottrell, David Marquette, Mitch Gibson
Vocals, Acoustic Guitar, Percussion, Arranged By – David Edwards

Companies, etc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Word, Inc.
Produced For – Pure Joy Productions
Recorded At – Soundcastle
Mixed At – Soundcastle

Good News – Good News – 1975

Good News was a band, an album and a song. They were also one of the most talented bands of the Jesus Music era with a line-up that included David Diggs, Bill Batstone, Erick Nelson and a 16 year Bob Carlisle. Though released through Maranatha Music the album was actually recorded independently and there seems to be a sense of freedom in the recording that shows.They would do a follow up “studio band” album in that they never intended to tour to support the second album and recorded just for the purpose of releasing new material. the second album featured Keith Green on piano. The title track was written by Beau MacDougall is a great 70’s pop number with more guitars than the church was accustomed to at the time. But being a band led by Erick Nelson, piano was to be a prominent instrument and the whole album is very piano based and reminds many of Keith Green musically. Lead vocals are shared between Nelson and Yvonne Lewis. Her pretty alto voice is reminiscent of Karen Carpenter and Michelle Pillar which is significant given Nelson’s later project with Pillar that is a true classic in the industry called The Misfit. Most of the songs are common Jesus Music themes of unity, social responsibility of the Church, evangelism and the rapture. The latter seemed to be an official prerequisite for any official Jesus Music release. “Tear Down the Walls” is a great, blues influenced straight ahead rock song common for the time and fit in with what was happening in pop music for the time. “Never Knew” follows the same footsteps as the title track while the album closer, “Why,” is the perfect “altar call” finisher in the vein of Keith Green. The album follows a back and forth rotation of upbeat songs followed by a ballad. Most of the rockier songs’ vocals are handled by Nelson while the ballads are divided up between Lewis and Nelson. Nelson would go on to be an important figure in the birthing of CCM with the aforementioned “The Misfit” album. Batstone would remain a prominent figure in CCM until today as a leading voice in the world of worship music. Diggs has been a major producer, songwriter and jazz musician with a longlist of credits. Carlisle went on the record the biggest song in CCM history with Butterfly Kisses as well as being the lead singer Christian “supergroup” Allies.

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

Tracklist
1 – Good News – 4:20
2 – Carry Me Along – 3:25
3 – Going Home – 3:20
4 – Tear Down The Walls – 4:18
5 – Picking Up The Pieces – 3:55
6 – Never Knew – 4:00
7 – Follow You – 3:25
8 – Rock Of Ages – 3:52
9 – Why Must You Go – 3:10
10 – Jimmy – 3:20

Credits
Arranged By, Conductor [Conducted By] – David Diggs
Artwork [Art] – Neal Buchanan
Composed By – Erick Nelson, Joy Strange
Electric Guitar – Anthony Dean
Engineer [Engineered By] – Billy Taylor
Handclaps – Eddie Espinosa
Performer – Bill Batstone, David Diggs, Erick Nelson, Yvonne Lewis
Photography By – Scot Lockwood
Photography By [Photo Tinting] – John Carreon
Vocals – Bob Carlisle, Chuck Girard, Eddie Espinosa

Companies, etc.
Phonographic Copyright ℗ – Maranatha! Music
Copyright © – Maranatha! Music
Copyright © – Erick Martin Nelson
Copyright © – Joy Strange
Recorded At – Mama Jo’s

The Call – Let The Day Begin – 1989

I have written this elsewhere on several occasions and will repeat it again here: Michael Been was the single most impressive and passionate lead vocalist to ever grace a rock and roll stage. Others may bellow, scream and prance about, but Been could stand perfectly still and show little or no emotion and still drive me to tears with the sheer passion and believability of his voice. The rich baritone that could elevate to staggering heights of emotion has simply not been matched. I miss him… Let the Day Begin was the 6th album from The Call and carried the band into the 1990’s with what should have been the coming out party. Rock radio loved the title track, making it the bands only number one single, but it just wasn’t to be. It is one of the great mysteries of rock and roll music that a band like The Call could never break into the mainstream music fans consciousness despite a consistently impressive output of amazing music. This album was that one shot. It was filled with radio friendly rock music with a slight alternative twist that seemed reared and ready for success. The first four songs (Let the Day Begin, Run, Surrender and When) should have been runaway hits and appeared on several movie soundtracks. Been’s history in Christian music is actually relatively unknown. His first known appearance (that I am familiar with) is playing bass on the first two Barry McGuire albums as well as being a musician for 2nd Chapter of Acts. He regularly appeared on Jesus Music/CCM albums before creating The Call and heading into a more mainstream world. But his Biblical worldview is present here and on every able he was connected with. It should not difficult to see the hope, grace and mercy that poured from his been and voice. Yes, he will be missed. Greatly!

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

Tracklist
1 – Let The Day Begin – 3:50
2 – You Run – 5:34
3 – Surrender – 4:07
4 – When – 5:18
5 – Jealousy – 5:38
6 – Same Ol’ Story – 3:36
7 – For Love – 6:13
8 – Closer – 5:00
9 – Communication – 5:38
10 – Watch – 4:16
11 – Uncovered – 2:24

Credits
Art Direction – J.A.
Design – Jeanne Bradshaw
Drums, Vocals – Scott Musick
Engineer [Assistant] – Matthew “Boomer” LaMonica, Paul Dieter
Engineer [Studio Monitor] – Gary Sanguinet
Guitar, Bass Guitar, Lead Vocals – Michael Been
Guitar, Vocals – Tom Ferrier
Keyboards, Vocals – Jim Goodwin
Mastered By – Bob Ludwig
Photography By – Richard Corman
Producer – Jim Goodwin, Michael Been
Recorded By [Additional Recording] – Ed Cherney
Recorded By, Mixed By – Rob Eaton
Supervised By [Equipment Supervision] – Mike Smith
Technician [Guitar Techs] – Edd Kolakowski, Rich Modica

Companies, etc.
Phonographic Copyright ℗ – MCA Records, Inc.
Copyright © – MCA Records, Inc.
Manufactured By – Cinram
Manufactured For – MCA Records Canada
Distributed By – MCA Records Canada

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