Erick Nelson and Michele Pillar – The Misfit – 1979

As the world of “Jesus Music” was progressing into what is now known as CCM, there were several very good albums and some brilliant artists making music that was clearly in both genres and served as bridges and building blocks to this new industry. But there were not many “game changers” that forced the music world to consider the genre valid and worthy of consideration. Most great albums lacked quality production, originality or authenticity. The Misfit was a game changer. Completely original and just as good as anything in the pop music world at the time. Most “concept” albums suffer from content over quality and are often filled with songs that are forced to push the story forward and do not stand on their own as original compositions. The Misfit was a concept album that just happened to be filled 13 brilliant individual songs that have stood the test of time. This is not a concept album in the same way as something from The Who where it is a rock opera with a singular storyline weaving throughout each song. Rather, The Misfit is a concept album where a common thread of concept of being an “outside” or outcast weaves its way throughout each and every song. The different topics range from faith, love, loss, doubt and more, but all with a singular focus as coming from the outside looking in. Erick Nelson at this point had a very good and lengthy Jesus Music career going as both a solo artists and as members of popular bands like Good News. Michele Pillar was an up and coming and much talked about new female vocalist on the precipice of a wonderful career in the 1980’s. Her sweet and smooth Karen Carpenter (ballads) or Kiki Dee (pop) like voice matched Nelson’s more soulful and, at times, rocky voice perfectly and the blend just worked. It shocked many at the time that this would be their only album together. Nelson has said of himself that one his greatest strengths is his ability to surround himself with amazing musicians and performers. Though no slouch on the piano himself, he most certainly surrounded himself with the very best on this project. Guest musicians include Hadley Hockensmith, Dean parks, John Wickham, Jonathan David Brown, Alex MacDougall, Keith Edwards, Kelly Willard, Stan Endicott, Denny Correll and a host of others!

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

Tracklist
1 – The Misfit – 3:35
2 – Carry Me Along – 3:30
3 – Stand – 3:58
4 – Sail On – 2:35
5 – Can’t Find My Way Home – 3:22
6 – The Moon Is A Harsh Mistress – 1:56
7 – He’s Asleep – 3:20
8 – Hurting People – 3:42
9 – Take Me To The Light – 4:00
10 – First Prayer – 3:08
11 – Love Hurts – 2:47
12 – He Gave Me Love – 2:54
13 – Martyr Song – 3:40

Credits
Jonathan David Brown – Synthesizer
Alf Clausen – Orchestration
Darrel Cook – Bass
Denny Correll – Background Vocals
Tim Correll – Background Vocals
Keith Edwards – Drums, Percussion
Stan Endicott – Orchestration
Hadley Hockensmith – Bass, Guitars
Phil Kristianson – B3 Organ
Alex MacDougall – Percussion
George Marinelli, Jr. – Electric Guitar
Erick Nelson – Piano, Wurlitzer, Vocals
Dean Parks – Electric Guitar
Michele Pillar – Vocals
David Storrs – Electric Guitar
John Wickham – Electric Guitar
Kelly Willard – Rhodes

Companies, etc.
Phonographic Copyright (p) – Maranatha! Music
Copyright (c) – Maranatha! Music

Michael Anderson – Sound Alarm – 1988

Sometime around 1987 I was working at a very large and popular christian Bookstore in Southern California when a copy of Billboard Magazine came across my desk. Along the bottom of the front page was an ad for an artist on A&M Records. The slogan on the ad was something like, “There’s Nothing Funny About the End of the World.” I was intrigued. I immediately called my local one-stop mainstream distributor and asked about the project. He hadn’t heard about but did make a couple calls for me. It would be released a few weeks later, but he did call the next day and said he got an advanced copy of the album for my to review before ordering. I drove over right away and put the CD in my car. The content seemed “Christian” to me but i had no real proof the artist was a Christian. Songs were about faith and the title track mentioned Babylon and Armageddon. I ordered some for the store despite the “hell” word being present and not receiving any confirmation about the faith of the artist. It sold well. In fact, it sold extremely well. My staff loved it and pushed and I don’t think a customer came in that didn’t hear something about it one way or the other. It charted in CCM Magazine just because of our sales alone. About a month later i received a phone call. On the other end of the line was a man with a very low voice and calm demeanor. He introduced himself as Michael Anderson and asked why in the world was i selling his record at a Christian Bookstore. I was a bit stunned and taken aback. “Don’t get me wrong,” he said, “I just wanted to know how you knew I was a Christian?” As I found out later his manager told him the album charted in CCM Magazine and that was because of the sales from one store. He tracked down the store and called. That started a friendship that would last for several years. My wife and I would travel to Hollywood regularly to hang out with Michael and his wife. In fact, we were invited by Michael his wife’s birthday party at an amazing gourmet Japanese restaurant in Bel Air and were seated at a table with Michael and Stormie Omartian. Michael’s debut project on A&M Records is a powerful, straight ahead Americana rock and roll in the same vein as the best from John Mellencamp and Bruce Springsteen but with a more blues and country influenced sound. Anderson’s voice will huff, puff, spit, scream and squeal with an edge that pierces as it communicates with passion few have reviled. On higher notes he is known to have his voice crack in trademark fashion. But on the mellower tunes he can bring it down to soft, almost Barry White-like smooth growl. Anderson would record two releases for the mainstream market on A&M and then two projects for the Christian market on Forefront. He made his way there after I gave a copy of this album to Eddie DeGarmo at a Benson records sales conference.

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

Tracklist
1 – Sound Alarm – 5:31
2 – I Know That You Can Stand – 5:14
3 – I Need You – 4:51
4 – Until You Loved Me – 3:49
5 – Sanctuary – 5:43
6 – Little Bit O’ Love – 4:24
7 – Memphis Radio – 4:47
8 – Soweto Soul – 4:03
9 – Shine A Light – 4:49
10 – Time To Go Home – 5:10

Credits
Backing Vocals – Toni Anderson
Bass, Backing Vocals – Buck Silvertone
Drums – Chad Cromwell
Guitar – Josh Sklair
Harmonica – Jimmy Z
Producer, Keyboards, Backing Vocals – Terry Manning
Vocals, Guitar – Michael Anderson

Companies, etc.
Phonographic Copyright (p) – A&M Records, Inc.
Copyright (c) – A&M Records, Inc.
Distributed By – PolyGram
Made By – PolyGram
Recorded At – Ardent Studios
Recorded At – Alpha Sound
Mixed At – Ardent Studios
Mixed At – Alpha Sound
Mastered At – Masterdisk
Published By – Atlantic Recording Corporation
Published By – Cadillac Pink Music

ArkAngel – Warrior – 1980

Featuring Kemper Crabb, Arkangel’s “Warrior” has become one of the most sought after and expensive collector’s item’s in CCM history. From the stunning album artwork to the brilliant art rock performed perfectly, there is really no doubt as to why this is such a sought after project. The artwork and the music conjure up images of Tolkein and “middle Earth,” crusades and knights in shining armor. Primarily a moody and melodic (and dare I say worshipful), there are moments of hard and progressive rock rock. Labeled often a progressive rock masterpiece, art rock is a better label. More thoughtful and contemplative than its contemporaries, Crabb revels in the classical, meditative and majestic musical styles employed. Crabb also demonstrates a diversity of musical taste and instrumentation, with nearly 40 instruments represented on the project with Crabb responsible for playing roughly 30 of them. On a side note, I believe fans of Daniel Amos’ “Shotgun Angel” will find quite a bit to like here. Not as country rock or Beatlesque, but there is a similarity in musical and artistic expression found here. Despite the clear artistic endeavor the album is lyrically very “Christian” and Gospel centered. The title track would later be covered by Caedmon’s Call on their first worship album and works as an introduction to the feel and sound of the entire project. Paradox is just a great acoustic rock song, perfectly suited for its day to be a mainstream radio hit, if not the blatant Jesus content. It should be noted here just how well produced the album is. Given that it was released on the burgeoning Star Song label with a distinctly limited budget, the album sounds fantastic. Vocals are clear, strings are ample and the instrumentation is more than just solid, but at times exquisite. Bekah Crabb adds vocals on a few songs as well. The heaviest number is the nearly six minute “Morning Anthem.” Taking the worshipful lyrical cue from “Warrior,” Morning Anthem is a stunning rocker that calls the worshippers to dance before the Lord. heavy, harmonic and powerful. For the time it would rank amongst the “heavier” songs in CCM and one of the truly rare instances of progressive rock in the genre. There was never a follow up to this amazing project and that is a real shame. Another journey to Middle Earth spiritually and metaphorically would have been a great delight. But alas, like most of the most progressive and artistic endeavors in CCM, it never found an audience. Though some 30 years later that limited audience is willing to part with large sums of money to discover (or rediscover) this amazing project.

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

Tracklist
1 – Pange Lingua Certaminis – 0:43
2 – Warrior / March Of The Ents – 4:22
3 – Dwelling Place – 4:32
4 – Paradox (Disciple’s Song) – 3:19
5 – Realization – 2:56
6 – Praises In The Old Tongue – 1:21
7 – Greater Love – 3:16
8 – Ex Nihilo – 2:00
9 – Morning’s Anthem – 5:46
10 – Elohim Considers Antedeluvia – 1:44
11 – The Nephilim Disembodied – 0:39
12 – Ark – 4:29
13 – Beastia Ex Machina – 0:39
14 – To A Sleeping Infidel – 3:22
15 – Morning’s Anthem Reprise – 0:22

Credits
Richard Conine – Keyboards, Alto Saxophone, Flute, Background Vocals
Bekah Crabb – Autoharp, Vocals
Kemper Crabb – Producer, Songwriter, Guitar, Lute, Recorder, Drums, Percussion, Kalimba, Dulcimer, Bass, Vocals
Philip Dorflinger – Ent Voices
Jimmy Hotz – Producer, Engineer
David Marshall – Producer, Arrangements, Guitar, Bass, Vocals
Michael Miller – Ent Voices
Paul Mills – Engineer
Randy M. Sanchez – Drums
Brian Tankersley – Bass, Background Vocals
Andy White – Bagpipes
Steve Young – Violin, Keyboards

Companies, etc.
Copyright (c) – Joyeuse Garde Recordings
Recorded At – Rivendell Sound Recorders
Mixed At – Rivendell Sound Recorders

Charlie Peacock – The Secret Of Time – 1990

While managing Maranatha Village I would receive a phone call the beginning of each month from Charlie Peacock asking me if I needed anymore of the cassettes of West Coast Diaries Vol 1. That helped strike up a friendship. But there was often several years in between conversations. In fact, the most recent conversation I recall was after a Sunday Morning service in Colorado Springs where Charlie had performed the offertory for the Church I was attending. I obviously love a lot of different music and because of connections over the years with many, if not most, of the artist that fill up this countdown, I am not very starstruck. But when it comes to Charlie Peacock…I am a dumb fan! I just love what he does and will find buying albums that he produces even if I don’t care for the artist. When Exit was just starting out I was invited by label head Mary Neely to a concert in Hollywood with Steve Taylor and this new band Exit was releasing called Vector. What I remembered the most about that evening was this bouncy keyboardist that seemed to play with one hand while dancing with the other in that classic 80′s swinging of the arms sort of way. Mary gave me a copy of their album advance that night and I immediately noticed the unique vocals on the songs sung be that keyboardist. They would become my favorites. Not that much later Mary invited me out the LA one more time for a convert of Exit artists as they were looking to sign a mainstream distribution deal. The line-up included Robert Vaughan and the Shadows (discussed previously), the 77′s, a new, revamped Vector and that keyboardist, Charlie Peacock. I left that evening with a blank tape advanced copy of a record called “Lie Down in the Grass.” WOW! It was several years between the release of “Lie Down” and the Sparrow release on which we will focus, “The Secret of Time.” In between was a self titled album on Island records that still has two of my favorite Charlie Peacock songs, “Message Boy” and “Down in the Lowlands.” The latter would be covered by Russ Taff on his wonderful Russ Taff project. The “Charlie Peacock” seemed to come and go without even a notice, but the mainstream Christian debut, “Th Secret of Time” would make Charlie Peacock a mainstay in Christian music, whether the artist ever intended things to be that way. “The Secret of Time” combines reworking of several songs from the West Coast Diaries series along with new songs. It may end of being Peacocks most consistent project with jazz, funk and acoustic/alternative all performed with pop sensibilities and Charlie’s unforgettable, breathy vocals. Though the following album, Love Life, would contain Peacock’s biggest hit, “In the Light,” it was TSOT that contained his most memorable collection songs, though not his best overall effort (much later for that).

Tracklist
1 – Big Man’s Hat – 5:11
2 – The Way Of Love – 5:05
3 – One Thing – 4:18
4 – Put The Love Back Into Love – 5:11
5 – Almost Threw It All Away – 6:06
6 – The Secret Of Time – 3:39
7 – Dear Friend – 4:30
8 – Heaven Is A Real Place – 4:59
9 – Drowning Man – 3:04
10 – Experience – 5:23

Credits
Acoustic Guitar – Jimmy A.
Arranged By – Charlie Peacock
Arranged By [Backing Vocals] – Annie Stocking, Vince Ebo
Art Direction – Barbara Hearn
Backing Vocals – Alexia Abegg (tracks: 7), Annie Stocking, Ellie Bannister (tracks: 7), Eric Volz (tracks: 7), Margaret Becker (tracks: 8), Molly Ashworth (tracks: 7), Sam Ashworth (tracks: 7), Vince Ebo, Wayne Kirkpatrick (tracks: 8)
Bass – Tommy Sims
Coordinator [Production] – Richard Headen
Design – Larry Vigon Studio
Drums – Chris McHugh
Electric Guitar – Jerry McPherson, Jimmy A.
Engineer [Assistant] – Graham Lewis, Mark Nevers, Roy Gamble, Shawn McLean, Steve Bishir, Todd Culros*\
Executive-Producer – Peter York
Guitar [Les Paul And Marshall] – Rick Will
Keyboards – Blair Masters, Charlie Peacock
Keyboards [Hammond B-3] – Roger Smith
Keyboards [Solo] – Roger Smith
Lead Vocals – Charlie Peacock
Mastered By – Doug Sax
Mixed By – Jeff Balding
Mixed By [Additional] – Rick Will (tracks: 3, 7, 8)
Percussion – Trent Dean
Percussion [Programming] – Charlie Peacock
Photography – Mark Tucker
Producer – Brown Bannister
Programmed By [Fairlight] – Byron House
Programmed By [Synclavier] – Jeff Boggs
Recorded By – Brown Bannister (tracks: 6, 7), Jeff Balding
Recorded By [Additional Overdubs] – Byron House, Daryl Zachman
Recorded By [Overdubs] – Brown Bannister
Sampler – Blair Masters
Saxophone [Solo] – Michael Butera
Trumpet [Solo] – George Tidwell

Companies, etc.
Phonographic Copyright (p) – The Sparrow Corporation
Copyright (c) – The Sparrow Corporation
Distributed By – Canadian Christian Distributors, Inc.
Mastered At – The Mastering Lab
Glass Mastered At – Nimbus, Virginia

What If – What If – 1987

After a short tenure for one of the greatest bands assembled in Christian Music History, The Front, the group reformed with a few new members under the moniker “What If” and released one album on mainstream label, RCA. And what an album it is! Bob Wilson of Seawind and session singer phenom, Tommy Funderburk, formed The front with guitar great Dann Huff (Giant) and produced one of CCM’s best albums ever. They toured for a short while and disbanded. Two years later the primary members (Wilson and Funderburk) recruited a few Seawind member and enlisted young guitarist Michael Landau to join on the record. the latter was a great choice and the Toto-styled music fit perfectly with Landau’s blazing guitar work. Landua was the one responsible for the great guitar work on Leslie Phillip’s debut project. The album is filled with straight ahead pop and rock tunes in the vein of Toto, Yes , Genesis and Ambrosia. Great hook filled rockers and stunning, memorable ballads. A great example of the later is the wonderful cover of Tonio K’s, Perfect World. When it comes right down to it, though, the album, like The Front, is all about Tommy Funderburk’s voice. He is easily one of the strongest vocalist to ever appear in CCM and he carries every song with his emotive, scratchy and spot on style. He effortlessly belts out both rockers and ballads with similar passions. One must not look for common evangelical themes here as this was an album directed to the mainstream audience. there are plenty of spiritual and Biblical themes, but one must think this is a record aimed at Christians. Along with themes of love and loss in relationships there are more social conscious and spiritual themes in One Look, What If, When Right is Wrong and Ride the Hurricane. Funderburk later formed the band “King of Hearts” and has released a few projects under that name. he has also continued in the CCM world with appearances on several projects on backing vocals and his own work in worship music.

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

Tracklist
1 – What If – 4:48
2 – If This Is Love – 4:04
3 – Perfect World – 4:36
4 – One Look – 3:36
5 – Ride The Hurricane – 3:49
6 – She Rocked My World – 4:08
7 – Love Is A Fire – 5:19
8 – When Right Is Wrong – 4:12
9 – Turn And Walk Away – 4:45

Credits
Arranged By – What If
Art Direction – Norman Moore
Drums – Bob Wilson
Engineer – Gary Wagner
Engineer [Additional] – Bill Jackson, Darin Klein, Don Murray, Richard McKernan
Engineer [Second] – Marnie Riley
Keyboards, Saxophone, Keyboards [Synth Bass] – Larry Williams
Management – Burt Stein, Danny Goldberg
Mastered By – Bernie Grundman
Photography By – Phillip Dixon
Producer, Engineer, Mixed By – Mick Guzauski
Vocals – Tommy Funderburk

Companies, etc.
Copyright (c) – BMG Music
Phonographic Copyright (p) – BMG Music
Manufactured By – BMG Music
Distributed By – BMG Music
Recorded At – Conway Studios
Mixed At – Conway Studios
Pressed By – Electrosound Group Midwest, Inc.

The Choir – Circle Slide – 1990

You can’t be serious!

Has it seriously been over 20 years since this amazing album was first released? It feels and sounds just like it was yesterday. It is really both staggering and sad to consider the amount of time that has passed and how, in some ways, things have stayed the same despite the changes going on around us.

After a popular response to The Choir’s more pop laden “Wide -Eyed Wonder,” the band returned with what many consider their finest outing. I am in the camp that believes “Chase the Kangaroo” is the bands finest moment and that album will appear much later, but I leave not doubt to the fact that “Circle Slide” is a brilliant masterpiece and one of the finest the industry has ever produced.

After the more upbeat and positive approach taken on “Wide-Eyed Wonder” (having a child will do that to you). Circle Slide returns to a darker, foreboding and introspective approach, both musically and lyrically. The struggles, difficulties and depression that were relatively absent from the previous album return here with an album full of real problems and pains.

This album may be all too real for many readers and, in some cases, make the listener very uncomfortable. For those married and struggling with the inter-personal relationship demands, this album is both a refuge and a rebuke. All the while the band was also suffering turmoil. Just one album after the much heralded arrival of female bassist Robyn Spurs, she left in the midst of recording this album. Daugherty replaced her in the studio while former bassist, Mike Sauerbrey, makes an appearance on the album’s closer. David Miner also makes a guest appearance.

This internal tension coupled with songwriter and drummer Steve Hindalong’s apparent personal strife’s make the album what it is. Stark, real and ever so inviting. These songs of loss, pain and struggle are so universal that the album remains one of the most personal and honest albums in CCM history.

I don’t know if the tensions lead to the more experimental sounds that fill the album, but one must consider how a musician may find solace in their instrument and guitarist and vocalist Derri Daugherty is at his most expansive and atmospheric on this release. The 7 minute opening title track is evidence of this while the more aggressive sounds found on “If I Had a Yard” also illuminate this possibility, especially having saxophonist Dan Michaels play through a wah-wah pedal to create an utterly unique musical expression.

The title track opens the album with over seven swirling and whirling minutes. Daugherty’s guitar not only creates a melody, but a mood, feeling and image. Michael’s subtle sax found way back in the mix, then brought forward later to build the mood, adds to the imagery that matches the album artwork perfectly. The song just sounds like Fall. But it’s here we find some of Hindalong’s most pointed lyrics where we find a golden crown the savior wore. Yet there is a sense of detachment between those who claim the name of Christ in their most personal and intimate relationships.

“If I Had a Yard” looks at the struggles within marriage by using the metaphor (even reality) of desiring something more of our residence. Money is tight and one can only afford what they can afford, but that does not keep us from believing that our relationship would improve if only our circumstances were different or, seemingly, better. Anyone who is married and struggling with finances can understand the rift and pressure these type of situations place on a relationship.

Yet with “Sentimental song” we find a man who truly loves with an earnest and forthright love the one God has given him. Hindalong not only writes a great song here but also plays some of his best drums on the album.

“Merciful Eyes” is one of the most beautiful attempts to reconcile the eternal struggle within man to understand how a righteous and perfect God can loves a wretched and sinful man and why He puts up with us. His mercy knows no bounds and this song attempts to describe this great mystery.

“Tear for Tear” is the much too short (a complaint about the whole album by many) love song that blends directly into the more commercial rock sounding “About Love.” This may be the happiest song on the album. The recognition that it is God that provides the love we desire through human relationships (especially within marriage) is matched by Daugherty’s more pop musical expression. there are love songs and songs about love; this is both.

“Blue Skies” returns to a more brooding and introspective content and musical expression. A combination of dreamlike images and stark realities created a song with layered textures message wise. This starkness is matched by the limited instrumentation during many parts of the song, with some moments possessing only drums.

The album closes with “Restore My Soul,” easily one of the best songs by The Choir. This Psalmists lament is a stunning display of combining a message and the musical medium it is swaddled within. The pain and ache for the restoring work of God is so universally real that it is inescapable. The longing and desire for fulfillment is so beautifully portrayed and is the perfect closing for this amazing project.

The Choir remains one of those bands that seemingly can do no wrong. They have been a model of consistency and artistic integrity for nearly 30 years! They have few equals and if there is ever to be a real CCM Hall of fame they would and should be amongst those included in its freshman class of inductees.

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

Tracklist
1 – Circle Slide – 7:23
2 – If I Had A Yard – 4:16
3 – A Sentimental Song – 5:01
4 – Merciful Eyes – 4:55
5 – Tear For Tear – 1:22
6 – About Love – 4:04
7 – Blue Skies – 4:05
8 – Laugh Loop – 1:45
9 – Restore My Soul – 6:23

Credits
Art Direction [Associate Art Director] – Roz Roos
Art Direction, Design – John Flynn
Co-producer [Co-produced By], Recorded By – David Hackbarth
Executive-Producer – Tom Willett
Lyrics By – S. Hindalong
Management – Snyder & Emery
Mastered By – Steve Hall
Mixed By – Steve Griffith
Music By – D. Daugherty, S. Hindalong
Photography By – Susan Goines
Producer [Produced By] – Derri Daugherty, Steve Hindalong

Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Manufactured By – Word, Inc.
Recorded At – Neverland Studios
Mastered At – Future Disc
Published By – Never Say Never Songs
Published By – Word Music

CD Case Front
CD Case Back
Disc

Chris Eaton – Vision – 1986

One of the most important British imports to Christian music, Chris Eaton began his CCM career as a member of the band LYRIX with friend Mark Williamson. He stayed with the band as they changed their name to the Mark Williamson Band, but soon left to seek a songwriting and solo music career. His arrangement of “Little Town of Bethlehem” has been covered by Cliff Richard, Michael W Smith and Amy Grant. He also had songs recorded by Russ Taff, Susan Ashton and Margaret Becker. Eaton’s first solo record, Vision was a revelation of great blue eyed soul pop music infused with contemporary dance styles. This album would musically influence the world of CCM for the next few years including Russ Taff and Amy Grant as their musical style reflected similar style. In fact, the title track would become a hit for Taff on his monstrously popular Medals album. Great keyboard driven pop rock and sentimental ballads, very reminiscent of country mate Cliff Richard. Chris has gone on to a great and lengthy career as an artist and songwriter. In fact I saw him last year on tour with Amy Grant on her “Lead Me On” reunion tour and he was a good as ever.

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

Tracklist
1 – Vision – 4:07
2 – Don’t Underestimate My Love – 4:38
3 – When My Heart Breaks – 5:04
4 – Golden Rule – 4:31
5 – Hold Back The Tears – 4:24
6 – Love For The Common Man – 4:34
7 – Talk To Me – 4:13
8 – This Is For Real – 4:23
9 – Don’t Play Games – 4:40
10 – It Was Love – 5:20

Credits
Arranged By – Orion Crawford
Art Direction, Design – Kent Hunter, Thomas Ryan Design
Backing Vocals – Don Snow, Mark Williamson, Nick Glennie-Smith, Thom Kelly, Tommy Funderburk
Bass – Nathan East, Neil Stubenhaus, Pino Palladino
Drums – Carlos Vega, Charlie Morgan, Paul Leim
Executive-Producer – Dan Harrell, Michael Blanton, Stuart Ongley
Guitar – Dann Huff, Michael Landau, Paul Jackson, Phil Palmer
Horns – Mel Collins
Keyboards – Dave Cooke, Larry Williams, Rhett Lawrence, Robbie Buchanan, Robin Smith
Mastered By – Doug Sax
Mixed By – John Potoker
Percussion – Lenny Castro
Photography By – Larry Williams
Producer – Brown Bannister
Producer, Engineer – Jack Joseph Puig
Written-By, Backing Vocals – Chris Eaton

Companies, etc.
Phonographic Copyright (p) – Reunion Records
Copyright (c) – Reunion Records
Manufactured By – Word, Inc.
Distributed By – Word, Inc.
Recorded At – Bill Schnee Studios
Recorded At – Mama Jo’s
Recorded At – The Bennett House
Recorded At – Bullet Recording
Recorded At – Ridge Farm Studios
Recorded At – Snake Ranch
Recorded At – Paradise Studios
Recorded At – Marcus Recording Studios
Recorded At – Hot Nights Studios, London
Recorded At – Utopia Studios
Recorded At – Mayfair Studios
Mixed At – Blue Jay Studios
Mastered At – The Mastering Lab
Pressed By – Electrosound Group Midwest, Inc.

Jacket Front
Jacket Back
Sleeve Front
Sleeve Back
Side 1
Side 2

The Alarm – Strength – 1985

After several bad experiences with mediocre to horrible opening acts at concerts my friends and I were in no hurry to get to the LA Sports Arena for U2’s War Tour performance. Fortunately for all of us, the traffic was mysteriously light on a Friday night through Los Angeles. Even stalling to purchase a tour program, T-shirts and buttons would make us late, as much as we tried. Then a loud acoustic crescendo rocked the arena and all we could make out through the curtained corridors were the words, “Come on down and meet your maker, come on down and take your stand.” We all looked at each and ran to our floor seats as quickly as we (and the security) would allow. There began my love affair with The Alarm. Mike Peters and crew have created a score of albums filled with punch, power, presence and an unparalleled passion. There is never a moment in any song where the listener doubts a single word. Filled with Biblical images, inner city turmoil, depression like conditions and hopeful anthems of faith and perseverance, Strength goes beyond platitudes and delivers stinging rebukes and hope filled sermons. I have always considered the “color” music creates. Artists paint with many shades of colors from the brightest hues and technicolor bouquets (Owl City) to dark and gloomy grays (Saviour Machine). To me, the Alarm painted in earth tones of dirt brown and industrial smog orange. These are images of the working class in urban settings filled with clotheslines draped from apartment buildings and kids playing stickball on gravel roads with broken glass. Vivid pictures of real life. But through it all a sense of hope and strength that emanates from a place deeper than the hole the subjects populate. Songs like Deeside present this contradiction most clearly. While the centerpiece of the album and highest charting single, Absolute Reality, rings with the anthemic furor that built the Alarm such a consistent and adoring fan base. Strength doesn’t contain a “hit” in the normal sense of the word, but it ends up being one of the most consistently strong records of their career. Knife Edge, the title track and the stunning closer, Walk Forever By My Side, remain as powerful and stirring as they were some 25 years ago.

Tracklist
1 – Knife Edge – 5:06
2 – Strength – 5:34
3 – Dawn Chorus – 5:24
4 – Spirit Of ’76 – 7:05
5 – Deeside – 3:08
6 – Father To Son – 4:04
7 – Only The Thunder – 4:06
8 – The Day The Ravens Left The Tower – 4:45
9 – Absolute Reality – 3:24
10 – Walk Forever By My Side – 3:32

Credits
Artwork – Lewis Evans
Bass – Eddie Macdonald
Drums – Nigel Twist
Engineer, Mixed By – Nigel Luby
Guitar – David Sharp
Keyboards – Rupert Black
Management [Alarm Management] – Ian Wilson
Mixed By – Mike Howlett
Photography By – Kevin Cummins
Producer – Mike Howlett
Vocals – Mike Peters
Written-By – Eddie Macdonald (tracks: A1, A3 to B6), Mike Peters (tracks: A1, A3 to B6)

Companies, etc.
Phonographic Copyright (p) – International Record Syndicate, Inc.
Copyright (c) – International Record Syndicate, Inc.
Recorded At – Marcus Recording Studios
Manufactured By – MCA Records (Canada)
Distributed By – MCA Records (Canada)
Mastered At – MCA Pressing Plant, Gloversville
Published By – Illegal Songs, Inc.
Mixed At – Battery Studios, London
Pressed By – Cinram

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Sweet Comfort Band – Breakin’ The Ice – 1978

If there was one group that bridged the gap between the Jesus Music of the 1970’s and the introduction of what is known as CCM, it is the Sweet Comfort Band. Four immensely talented musicians, songwriters and a future superstar in the making in lead vocalists Bryan Duncan. Borrowing directly from the funk/soul sounds of the late 70’s without falling into the trap of disco, Sweet Comfort created an album for the ages with sharp production, killer grooves, monster vocals and some of the most stirring ballads for the day. The style was much more Chicago and Steely Dan than just about anything else. Kicking it off with a long time live favorite, Got to Believe, Duncan shares the lead vocal duties with guitarist Randy Thomas who really shines on guitar later in the song. And the horn section just takes the song to a level comparable to the aforementioned Chicago. At the time CCM was really lagging behind in the production quality world (this based more on minuscule budgets than musicianship) and the band really created a new standard here. The title track also shines with Thomas also taking on vocal duties and the horn section again driving the song. Other rockers that shine include: Melody, Harmony, Searchin’ For Love and possibly the best song song on the whole project, Good Feelin’. Good Feelin’ really shows Duncan’s range and Thomas’ guitar prowess. But I would be remiss to discount the strength of the ballads on this album. I Need You Love Again is a beautiful call to the Lord for His graciousness toward a fallen soul. But it’s the albums closer, I Love You With My Life, that remains a true classic and a song many believe (myself included) is the finest song the band ever performed. This beautiful reminder of Jesus’ final words to the disciples is comforting and inspiring. It also contains the trademark Duncan powerful ballad vocals. Breakin’ the Ice will not be the last of the Sweet Comfort albums listed as the band was incredibly important in the burgeoning CCM scene and made several exceptional albums. Breakin’ is simply one of them.

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

Tracklist
1 – Got To Believe – 3:56
2 – Breakin’ The Ice – 3:40
3 – Young Girl – 3:15
4 – Melody, Harmony – 3:20
5 – I Need Your Love Again – 4:30
6 – Good Feelin’ – 4:00
7 – Searchin’ For Love – 4:06
8 – The Lord Is Calling – 3:56
9 – I Love You With My Life – 4:01

Credits
Arranged By [Horns] – Kim Hutchcroft
Bass – Kevin Thomson
Design [Cover Design], Artwork – Kernie Erickson
Drums, Vocals – Rick Thomson
Engineer [Maranatha Studios] – Dan Willard
Engineer [Martinsound Studio] – Jack Joseph Puig
Engineer [Mastering] – Ken Perry
Engineer [Mix Down] – Mike Stone
Guitar, Vocals – Randy Thomas
Horns – The Seawind Horns
Horns [The “Seawind Horns”], Alto Saxophone, Organ [Flute Organ], Synthesizer [Oberheim Mini Moog], Synthesizer [Prophet 5 Synthesizers] – Larry Williams
Horns [The “Seawind Horns”], Tenor Saxophone, Flute – Kim Hutchcroft
Horns [The “Seawind Horns”], Trombone – Bill Reichenbach
Horns [The “Seawind Horns”], Trumpet, Flugelhorn – Jerry Hey
Keyboards, Vocals – Bryan Duncan
Percussion – Steve Foreman*
Photography By – Linda Dillon, Mark Worthington
Producer, Arranged By [Horns] – Bob Wilson

Companies, etc.
Phonographic Copyright (p) – Lexicon Music, Inc.
Copyright (c) – Lexicon Music, Inc.
Recorded At – Martinsound
Recorded At – Maranatha! Studio
Mastered At – Capitol Studios
Published By – Lexicon Music, Inc.
Published By – Sojourn Music

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The English Band – What You Need – 1985

The best of all of Joe English’s contribution to the world of CCM was also his last. There was band name from The Joe English Band to just The English band and a decidedly much more contemporary sound than the previous albums that seemed dated, even by the standard of the day, despite having some wonderful songs and killer production attached to them. Joe English entered the Christian Music world with a bang with name recognition high as the drummer for the band Wings of Paul McCartney fame. After producing a few pop albums in a distinctly 70’s feel there was clear need for a change. That change came in the form of a new label, new musical direction as well as the previously mentioned band name change. More “modern” sounds with heavier guitars, bigger and glossier production, electronic drums (a thankfully short lived music experiment in the world of music) and more contemporary musical arrangements made the album a pretty big hit with several Top 10 radio hits. His back up band were an amazing group of musicians that also recorded a solo record of their own under the name Forerunner with former Petra member John Lawry handling the vocals. What You Need, The Master, Yield to the Spirit and Children of the Light are all stand outs. It may be difficult for some to listen to the album now is it was clearly impacted by the sound of the day and does not translate as well as other album. But for the time the album was a standard. The musical direction also impacted groups like the Imperials. English would return to do a solo album a few years later that did not make a dent. He then simply disappeared and was unable to continue drumming due to some physical ailments regarding his ankles. He has also recently been seen filming a video for a questionable and controversial Church in the south where he denounces his years in CCM as a fraud, claiming to have never been a Christian during those days.

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

Tracklist
1 – What You Need – 3:33
2 – The Master – 3:38
3 – Take the Cross – 4:05
4 – The First Stone – 3:10
5 – Easy Street – 3:13
6 – I Will Follow You – 3:51
7 – Yield to the Spirit – 3:52
8 – The Joy of the Lord – 4:12
9 – Children of the Light – 3:29
10 – Through the Veil – 2:22

Credits
Kim Boyce – Background Vocals
Paul Brannon – Songwriter, Bass, Guitar
Steve Camp – Songwriter
George Cocchini – Producer, Songwriter, Guitars, Bass
Rick Crawford – Songwriter
James Isaac Elliott – Songwriter
Joe English – Producer, Songwriter, Drums, Vocals
Glen Allen Green – Songwriter, Background Vocals
Monroe Jones – Songwriter
Chris McCollum – Songwriter
Paul Mills – Songwriter, Keyboards, Synclavier
Justin Peters – Songwriter
Brian Tankersley – Producer, Engineer, Mixed, Background Vocals
Becky Thurman – Songwriter
Geoff Thurman – Songwriter
David Zycheck – Background Vocals

Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Distributed By – GMB
Distributed By – Nye Toner / Teovision
Distributed By – Finngospel
Distributed By – Sephora Diffusion
Distributed By – Emmaul
Distributed By – GMI Records
Distributed By – Filadelfia Forlag
Distributed By – La Sorgente Music
Distributed By – Master Music
Distributed By – Grace Music
Distributed By – Master-Vision-S.A.
Distributed By – Leon Music A.B.
Distributed By – Kir Music
Distributed By – Word (Uk) Ltd.
Distributed By – Pila Music
Engineered At – Rivendell Recorders
Mixed At – Rivendell Recorders

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