This is one big time serious ALBUM YOU SHOULD OWN! (AYSO) But good luck with that. It’s nearly 50 years old and has been out of print for most of those 50 years. For those fortunate enough to track down a copy by hook or by crook know just what a gem this funkadelic soul masterpiece truly is. It is legit with a capital “L” and sounds so good even right now as I listen to it. As far as I have been able to track down, this is the only full length release, while there are some singles floating around. It also appears that in the decade since I first reviewed this album, some streaming services have added their music. The title track kicks off the album with such a soulful jam, tight harmonies and a blistering lead vocal. Very few Christian label releases ever matched this mainstream release. Songbird was a traditional Gospel label that was eventually sold to ABC. I have asked everyone I know from that era and no one can remember any distribution to Christian/Bible bookstores. The soul styling of the title track only hints at what is to be found inside. The members share lead vocal duties and the interaction between them is fun and funky. The cover of Parliament’s “I Want to Testify” is worth the price of admission. The slower soul tunes are packed with real emotion, something sorely lacking in the general world of CCM and the Jesus Music of the time. Even Andrea Crouch and the Disciples never quite reached the authenticity of this great album. In the review over a decade ago I neglected to give kudos to the musicianship that fills this album. Most notable are the amazing bass lines and soulful, gospel organ that permeate the project. Check out “Standing in the Need of Prayer” for evidence. It’s almost unfair to review and so heavily promote this album since for most it will be nearly impossible to find. For those that have it and those that do track down a copy, they will know exactly what I’m talking about. I have seen the vinyl on-line for anywhere from $50 to $100. For some it may be worth it!
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Do You Know Him – 3:33 2 – I’m Sorry – 3:20 3 – I Just Want To Testify – 3:40 4 – Standing In The Need Of Prayer – 3:24 5 – Where Could I Go – 3:25 6 – Didn’t Think I Could Make It This Far – 3:52 7 – Here I Am Jesus – 2:13 8 – Don’t Let The Devil Fool You – 2:50 9 – A Letter – 3:27 10 – Get On Up – 4:00
This album is very tough for me. As readers of the original blog can attest, the Nashville music machine that put out very similar sounding, country infused, safe pop music was never in my wheelhouse. For decades the same singers, songwriters, record companies would put out similar sounding albums and then take home armfuls of Dove Awards. It was an industry that gave the “Rap Dove Award” to Carman! So, as a result, I came to this album very , very late. The first few Steven Curtis Chapman albums were so wrapped up in that world, that when “The Great Adventure” was released I just ignored it. I knew that hits that were incessantly on Christian radio and as a record representative that sold accompaniment cassettes, I knew virtually every song. But they meant very little to me. It wasn’t until I began the painstaking process of creating the original “Top 500” blog that I decided to familiarize myself with the album and tried to listen with new ears. It still did not make the original blog, but I did gain a higher level of respect for the singer/songwriter himself. I then saw Chapman in a solo acoustic concert several years ago where he performed several of the songs from this album with just his guitar, and even acapella. I started to discover the songs behind the processed production and my appreciation grew even more. But albums have to be judged according to their time and the way they were produced. And so the album is included here. But let’s be honest upfront…”Got to Be True” is just an awful, awful song! Most are very, very familiar with the bigger hits from the album like the title track, “Where We Belong,” and “Go There With You.” All are deserving of their success and I struggle to really be too critical here. For me the John Mellencamp ( or was he Cougar then?) inspired “That’s Paradise” is the stand out cut on the album. If Chapman only didn’t have such a pleasant voice, it could have been a mainstream radio single. Chapman also really shines here and throughout his career when accompanied by a more simple, sparse production as heard on “Don’t Let the Fire Die.” Chapman excels on simple ballads, especially when they are more focused on relational issues. “Maria” falls into the same category. Even this song has just too much going on musically. A stripped down acoustic guitar and nothing else would have been plenty. “Hearts Cry” is the very best example of what I am referring. No strings needed! With “The Great Adventure” Chapman truly broke as an artist. He had quite a bit of previous success, but this album was certified gold pretty quickly and brought previous albums along with it. It was from this point that the Gospel Music Association just backed up the Dove Award delivery truck to the Chapman estate annually. This isn’t the last album to be discussed here, but it is the one that fit the most securely in the Nashville Music Machine category, but worthy or more.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Prologue – 2:37 2 – The Great Adventure – 4:35 3 – Where We Belong – 4:19 4 – Go There With You – 5:21 5 – That’s Paradise – 4:59 6 – Don’t Let The Fire Die – 4:48 7 – Got To B Tru – 4:18 8 – Walk With The Wise – 4:34 9 – Maria – 5:01 10 – Still Called Today – 6:00 11 – Heart’s Cry – 5:10
Credits Accordion – Jo-El Sonnier Acoustic Guitar, Electric Guitar – Steven Curtis Chapman Arranged By [Strings, Brass], Conductor – Don Wyrtzen, J.A.C. Redford Backing Vocals – Brent Lamb, Chris Rodriguez, Herb Chapman, Kip Raines, Lionel Cartwright, Mark Heimermann, Ricky Skaggs, Steven Curtis Chapman, Trace Balin Backing Vocals [Yells] – Chad Ballantyne, Chris Moore, Herb Chapman, James Isaac Elliott, Jason Cole, Marty Funderburk, Phil Naish, Steve Charles, Steven Curtis Chapman, Todd Robbins Bass – Jackie Street Contractor [Orchestra] – Carl Gorodetzky Design – Carol Bobolts, Red Herring Design Dobro – Scott Sanders Drum Programming – Mark Hammond Drums – Paul Leim Engineer – Ronnie Brookshire Engineer [Additional] – Carry Summers, Patrick Kelly, Steve Bishir Engineer [Assistant] – Carry Summers, John Kunz, Patrick Kelly, Todd Robbins Executive-Producer – Peter York Guitar – Dann Huff, Jerry McPherson Keyboards – Phil Naish Lap Steel Guitar, Dobro [Additional] – Rusty Young Mixed By – Bill Deaton, Ronnie Brookshire Orchestra – The Nashville String Machine Photography By – Frank W. Ockenfels Piano – Cheryl Rogers Producer – Phil Naish Rap, Guest – Toby McKeehan Soprano Saxophone – Mark Douthit Vocals [Duet] – BeBe Winans
I first met Linda Elias at the Frontline Records offices some time in 1989 when Brian Tong (VP) and Mike MacLane (Marketing and A&R) asked me to come over and hear a new artist they had just signed. His name was Rick Elias. I was working for the Benson Company (Frontline’s distributor) and had just moved back from a year in the Washington DC area. Over the years I had grown accustomed to going by the office regularly (when working for Maranatha Village) and listening to the newest music. This was different. This time they called me. There must have been something very special about this new signee, Rick Elias. Much will be discussed regarding Rick as time goes on! And there was! It was there I first met Linda. She was one of the kindest people I had met and I instantly enjoyed talking to her and discovered that she was part of the Confessions (Rick’s band) and had this great, melodic pop voice that was very much in tune with what was happening in music at the time. A little Belinda Carlisle and a little Susanna Hoffs with a sweetness to the voice. I was very excited to hear Linda’s solo project, “The Meaning of Love,” and it did not disappoint. Immediately the album kicks off with a Belinda Carlisle like title track. Like most of the album the song was written by Linda and Rick. Most of the album stays within this same lane, except a real standout with “Your’s and Mine,” a duet with her esteemed singer songwriter husband, Rick. This tune should have been a legitimate mainstream radio hit. The juxtaposition of Linda’s sweet, at times lilty voice and Rick’s strained and edgy style worked so well together. The blatant Gospel message, though, most likely would have doomed it. Special kudos to great sax solo by Li’l Stevie Crum. Solid throughout, it unfortunately was the only release for Linda.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – The Meaning Of Love – 3:38 2 – Don’t Ever Stop – 3:22 3 – Miracle – 3:25 4 – Make My Heart Like Yours – 4:12 5 – My Only One – 3:27 6 – Don’t Take Your Love Away – 4:20 7 – All I Can Do – 4:06 8 – Your’s And Mine – 3:30 9 – Where There’s Love – 3:49 10 – I Believe In You – 3:17
Credits Acoustic Guitar – Rick Elias Backing Vocals – Dave Jahnsen, Julie Robbins, Linda Elias, Rick Elias Bass Guitar – Kelly Burns Design – Lark Drums – Doug Mathews Electric Guitar – Glenn Pearce Engineer – Dave Jahnsen Executive-Producer – Caesar Kalinowski, Gavin Morkel Keyboards – Linda Elias, Tim Elias Mastered By – Steve Hall Mixed By – Dave Jahnsen, Rick Elias Photography By – Kevin Break Piano – Michele Garcia Producer – Rick Elias Programmed By [Keyboards], Drum Programming – Tim Elias Soprano Saxophone – Lil Stevie Crum (tracks: 8) Vocals – Linda Elias
Companies, etc. Phonographic Copyright (p) – Wonderland Copyright (c) – Wonderland Manufactured By – Word, Inc. Distributed By – Word, Inc. Recorded At – McCrummy Music Studio Mixed At – Mixing Lab A Mastered At – Future Disc Manufactured By – JVC
The first of several Michael Knott (Lifesavers, LSU, Aunt Betty’s) related projects to find its way onto this list, and like the previously discussed “Weber and the Buzztones,” the placement of this album suffers from EP bias. By that I mean if it was a full length release, rather than just six songs, it most likely would have found its way into the upper half of the countdown. Even with that the album is worthy of consideration. It is also quite possibly the rarest of Michael Knott releases. Though listed as a “Blonde Vinyl” release, the limited nature and no national distribution makes the EP a sought after vinyl. Idle Lovell was a segue between different incarnation of the Lifesavers and LSU. The band, despite a limited run, went through a few incarnations itself with multiple musicians making up the band, though along with Knott, members included Vince Pangrazio on bass and Bradford J. Salamon on drums. Longtime friend and collaborator Brian Doidge, who also performed with Knott in multiple incarnations of the Lifesavers, LSU and the Aunt Betty’s. For me, “One Sided Love Affair” is the most Lifesavers sounding song on the album, and would not have been out of place on Dream Life. This one of many attempts by Knott to reach the mainstream market. It also ended up being the first release on Knott’s Blond Vinyl record label. The ultimate irony was that it was also the only Blond Vinyl release to be released on vinyl. Apparently the band wrote and worked on several more songs, but soon disbanded and those songs would find their way onto other Michael Knott related Lifesavers projects. The first real stand out for me is the opening track, “Touch Me in the Wind.” A very “current” tune for the times that would and maybe should have been a hit on mainstream alternative radio stations like LA’s famous KROQ. All six songs are very, very strong tunes with a darker, more dance-like goth feel. Great for fans of The Cure, The Church, Echo and the Bunnymen and the Psychedelic Furs. Two songs would later show up on Lifesaver and LSU projects. In fact, the feel and sound would play a heavy role in the future LSU incarnation with its darker edge. LSU and Lifesaver guitarist Brian Doidge would be a key band member for the live shows. One song of note is “I Can’t Wait,” which would appear on the following Lifesavers “Kiss of Life” project. I have always found it a bit ironic that the Idle Lovell version is much more pop and upbeat sounding to my ear than the version that appears on the much more pop and upbeat “Kiss of Life” album. Idle Lovell serves as a record keeper for the times and the progression Knott was making as a songwriter and performer. Always ahead and on the edge, Knott consistently made memorable music that was much more palatable than his reputation as some sort of avante garde artist would suggest. Hard to find, but worth the effort.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Touch Me In The Wind – 5:02 2 – Shallow – 3:55 3 – I Can’t Wait – 3:55 4 – Only – 4:05 5 – One Sided Love Affair – 3:52 6 – Drone – 5:20
Credits Artwork [Charcoal Drawings], Layout [Cover & Insert] – Bradford J. Salamon Backing Vocals – Bridget Knott Bass – Vince Pangrazio Drums – Bradford J. Salamon Keyboards – Jim Richards Keyboards [Additional] – John Gloudeman Mastered By – Bernie Grundman Photography By [Insert] – Colleen Knott Producer, Engineer – Thom Roy Vocals, Guitar – Michael Knott Written-By – Michael Knott
On November 16th, 1994 Reverend Dan Smith died. He was 84 years old. To most of the world, including the world of CCM, the passing went by without much of an acknowledgement. But for 80 of his 84 years, Smith was a blues crooning, harmonica blasting, Gospel/folk, street preaching treasure. I challenge people to try to listen to this amazing album with being moved emotionally or spiritually. His life was filled with difficulties, trials and pain. Born in Alabama under Jim Crow laws he faced racism, depression and financial hardship. He struggled to educate himself while living the life of southern sharecroppers. He eventually landed a decent paying job the 1940’s, but was blinded in an industrial accident. All the while he played, sand and preached anywhere and everywhere. He even joined Pete Seeger in the fight to clean up the Hudson River. But despite all that, it is hard not to feel, sense, experience the sheer joy he expresses in every note. His love for his Savior is so obvious it drips from every note. His harmonica playing was very influential in the 60’s folk and blues world. The album being discussed here was recorded intermittently at his home as he was in poor health. The album was produced by Buddy Miller and features Miller’s wife and CCM icon, Julie Miller along with Victoria Williams and Bryan Duncan. Almost 30 years after it’s unheralded release and over 25 years since Smith’s death this masterpiece reminds us not only of a great musician, preacher, singer, but hopefully reminds of a long and treasured tradition of this truly American musical expression. If you do not own this amazing album…just find it!
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – God’s Radar – 3:23 2 – Just Keep Goin’ On – 2:48 3 – Introduction – 0:59 4 – I’ve Never Been To Seminary, But I’ve Been To Calvary – 4:38 5 – I Walk By Faith – 3:24 6 – To Another Room – 4:51 7 – Dan Speaks – 0:15 8 – It Takes God To Build A Home – 3:37 9 – When Your Time Comes To Die – 2:52 10 – Jesus Knows My Name – 4:06 11 – This Is The Lord’s House – 3:14 12 – Down Through The Years (Testimony) – 8:47
Credits Acoustic Bass – Denny Croy Acoustic Guitar – George Ward Acoustic Guitar, Electric Guitar, Electric Bass – Buddy Miller Backing Vocals – Dexter Dickerson, Julie Miller, King Cotton, Mark Heard, Victoria Williams, Willie Greene Jr. Dobro, Mandolin, Fiddle, Banjo – Dennis Caplinger Drums – Scott Babcock Mastered By – Doug Doyle Organ [Hammond], Piano – John Andrew Schreiner Percussion – Steve Hindalong Producer – John Flynn Producer, Mixed By – Buddy Miller Resonator Guitar – Michael Hackanson-Stacy Vocals [Duet] – Bryan Duncan Vocals, Harmonica – Rev. Dan J. Smith Written-By – Rev. Dan J. Smith
Companies, etc. Manufactured By – Word, Inc. Distributed By – Word, Inc. Made By – JVC
Released just as the rage of male duo pop acts was waning, Limpic and Rayburn’s sophomore and final release as a duo hit the CCM marketplace. Bridging the gap of Jesus Music and CCM, Gerry Limpic and Mark Rayburn, created a record that both pointed back to the simplistic sounds and messages of acoustic Jesus Music while also pointed forward toward Gerry Limpic’s future solo work. Immediately recognizable as a late 70’s folk/pop duo replete with wide collars and leisure suits, the duo would fit in quite nicely with Loggins & Messina and England Dan & John Ford Coley. The music contained in this now classic is immediately likable and recognizable. Christian radio was very favorable to “Good News,” “Crossfire” and the popular wedding song, “Time for Joy.” The latter would become a very good seller in the fledgling accompaniment track industry and a top seller for sheet music. Limpic was the primary songwriter and would soon leave to pursue a solo career. Gerry got his start in music as a member of the band, The Random Sample, along with his brother Ted. The Random Sample recorded on Tempo Records, the contemporary arm of Impact Records in the early to mid 70’s. Side two is a bit more progressive musically with “Coming Soon” and the album’s closer, “How Long.” The standout, though, is the passion play song, “Mary’s Song (He is Alive).” A slow building story song, the first chorus is a powerful admission that many of us would be equally guilty of joining the crowd calling for Christ’s crucifixion. The final chorus is equally powerful, but the words are changed to declare the resurrection. A great song that should have been an Easter classic, but I honestly never recall anyone performing it. For fans of 70’s acoustic rock with the California country vibe (Poco, Eagles) mixed with radio friendly ballads, this one has the markings of a regular listen.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Crossfire – 3:40 2 – Mr. Good News – 3:21 3 – Domino – 4:19 4 – Time For Joy – 2:50 5 – Guide My Steps – 2:44 6 – Mary’s Song (He Is Alive) – 5:17 7 – Coming Soon – 3:48 8 – Love Songs (To the Father) – 3:41 9 – How Long – 5:35
Credits Bass – Dave Pollard Design, Illustration – Craig McNair Wilson Drums – Semaja Photography By – John Jordan Piano – Jim Crow Producer, Guitar, Vocals, Backing Vocals – Gerry Limpic, Mark Rayburn Producer, Orchestrated By, Engineer, Mixed By, Mastered By – Ron Compton
Companies, etc. Phonographic Copyright (p) – Word, Inc. Produced For – Home Free Productions Recorded At – Fanfare Studios, El Cajon, California
The first of the “asterisk” artists to make the countdown, Cactus World News may also prove to be the least well known. Despite being the first Mother Records, and getting U2’s seal of approval, the band’s success never really came. But it should have! The most obscure of the asterisk artist, CWN released a stellar debut project that yielded a moderate hit with “The Bridge” and a sound that was right in the wheelhouse of what was happening in music at the time. Influences that included The Clash, Ramones, U2 the band also had an energy that equaled The Alarm, Echo and the Bunnymen and Big Country. Christian music listeners might want to use Undercover, 441 and early 77’s as a musical comparison, though their sound was completely their own. The first single and biggest hit, The Bridge, was produced by Bono and helped spur enough interest to be placed on a tour with the Cult. Band members, especially band leader and guitarist, Frank Kearns, shared a longtime friendship with U2 and would often serve as road and equipment support for the then fledgling band. Though immediately likeable and a long time favorite, my favorite cut wasn’t the hit single, but rather the opening track, Worlds Apart. The high energy and passion of the song reveals a heart wrenching longing for acceptance and closeness. Another stand out follows with “In a Whirlpool.” Again, the high energy delivers and impassioned plea for belonging. “The Promise” contains the most direct allusions to a biblical understanding and remains another personal favorite from the album. More questioning than evangelical the band longs for answers as they examine the world around them and discover that they are no less guilty than anyone else. This song is most “U2ish” on the album. Despite the theme of loneliness that weaves itself throughout the project, the album does not feel depressing or dark. For those desiring or demanding a more obvious or clearly evangelical message this album should be avoided. For those who embraced bands like The Waterboys, U2, The Alarm and The Call, this should prove a very satisfying, albeit very obscure, experience.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – Worlds Apart – 3:36 2 – In A Whirlpool – 3:36 3 – The Promise – 5:03 4 – The Bridge – 4:15 5 – State Of Emergency – 7:10 6 – Years Later – 4:10 7 – Church Of The Cold – 3:49 8 – Pilots Of Beka – 6:04 9 – Jigsaw Street – 3:19 10 – Maybe This Time – 7:00
Credits Artwork By – Creative Department Ltd, The, Dublin, Ireland. Artwork By [Sleeve Design] – Steve Averill Bass – Fergal MacAindris Drums, Percussion – Wayne Sheehy Electric Guitar, Guitar [Spanish] – Frank Kearns Engineer [Assistant, Dublin] – Mary Kettle Engineer [Dublin] – Mark Freegard Engineer [Holland] – Thomas Stiehler Lead Vocals, Acoustic Guitar – Eoin McEvoy Photography [Black And White Interiors] – Conor Horgan Photography [Exterior] – Brian Griffin Producer – Chris Kimsey Written-By, Performer – Cactus World News
Companies, etc. Phonographic Copyright (p) – MCA Records, Inc. Manufactured By – MCA Records, Inc. Distributed By – MCA Records, Inc.
The first release from T-Bone Burnett after the demise of the incredible Alpha Band proved the songwriting genius of T-Bone Burnett suffered no loss at the bands demise. Fresh, current, original and utterly and completely T-Bone Burnett. The Alpha Band is not completely gone here as Steven soles, David Miner and David Mansfield all appear on the album with T-Bone. I have worked in the Christian music arena since the late 1970’s and have never been starstruck when meeting artists. Even backstage at Anaheim Stadium meeting Bono and the Edge was exciting, but no stuttering or stammering conversations took place. But when Leslie Phillips released the Turning the store I was managing did an in-store appearance with her. She brought T-Bone Burnett with her in tow. I completely lost it. I mean, seriously. the dude is T-Bone freakin Burnett! I met him again a few years later at Anaheim Stadium at the same U2 concert where my wife and I were seated between then Sam Phillips with T-Bone on one side and Nick Cage and his date on the other side. I’m sure people around me had to wonder why I was more enthralled with the fact I was next to this tall lanky, Texan with an unfamiliar face. It was with Truth Decay that i was first introduced to T-Bone Burnett. I went back to get the Alpha Band after discovering him through this great album. If I was to create a “Best Of” project it would include nearly every song from this album and a few songs from his others. Every song here rang true with great country and blues driven guitar and Burnett’s nasally and caustic vocals. It was my introduction to “roots rock” and I was sold! The album possesses a wonderful combination of bluesy rockers and stark, introspective ballads. The lyrics are as caustic, raw and emotive as the music. Relationships, selfishness, materialism and faith all are explored here with precision and honesty. One song to note is “Power of Love,” which would later be covered impressively by Mark Heard. Quicksand, Talk Talk Talk Talk Talk, and Boomerang are all major standouts on a record filled with. the latter is simply brilliant! I could never prove it but I have always been convinced that Gene Eugene was influenced by the melody and vocals found here on Madison Avenue. This is an obvious AYSO like the rest of T-Bone’s catalog. Very few artists have even scratched the surface of the brilliance of Burnett. His accolades run a mile long and his production credits have earned him Grammy and even Oscar’s, but it is with his wonderful, simply solo projects that the genius truly is exposed.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Quicksand – 3:54 2 – Talk Talk Talk Talk Talk – 3:40 3 – Boomerang – 4:15 4 – Love At First Sight – 4:11 5 – Madison Avenue – 2:35 6 – Driving Wheel – 3:10 7 – Come Home – 4:22 8 – Power Of Love – 2:54 9 – House Of Mirrors – 3:30 10 – Tears Tears Tears – 2:30 11 – Pretty Girls – 4:00 12 – I’m Coming Home – 4:00
Credits Art Direction – John Van Hamersveld Bass – David Miner Drums – David Kemper Engineer [Recordist] – Geoff Gillette Lacquer Cut By – JG Mixed By – Larry Hirsch Performer – Billy Swan, Gary Montgomery, Jerry McGee, Jude Johnstone, K.O. Thomas, Stephen Bruton, Steven Soles Performer [Uncredited] – T-Bone Burnett Photography By – Nick Rozsa Producer – Reggie Fisher
Companies, etc. Lacquer Cut At – Kendun Recorders Pressed By – Columbia Records Pressing Plant, Terre Haute Distributed By – Chrysalis Records, Inc. Copyright (c) – Takoma Records Phonographic Copyright (p) – Takoma Records
After a wonderful debut and solid sophomore effort something happened to Margaret Becker that would change the direction of her musical progression for the better and help her create one of the truly great female rock albums in CCM history. Someone introduced her to Charlie Peacock. With Peacock’s help Becker created “Immigrant’s Daughter,” a thoughtful, and rock filled pop album with alternative underpinnings. Sounding now a little more like Annie Lennox than Ann Wilson, Becker’s vocal chops expanded and sounded more current and original. Subdued when needed and blowing up when necessary, her vocals here would not be matched until much later on some independent releases. Also with Peacock’s oversight, the songwriting became more introspective and universal. Christian themes combined with real human experiences to create a more passionate and authentic record. The personal expression is found immediately with the title track and continues throughout the project. The album also sounded more “current” and pulled Becker out of the “Chick Rocker” track and allowed to expand and grow as an artist and songwriter. Wonderful rockers and paired with ballads and “modern” musical expressions that also found radio to be quite responsive. Not every ballad has to be “These dreams” or “Alone” as sometimes the softer side provides a more memorable and authentic experience. There are so many strong songs here but a few worth receiving special notation include: Solomon’s Shoes, This Is My Passion, Stay Close to Me and the title track. The cover of “People Get Ready” is also a nice touch to close the album.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Immigrant’s Daughter – 4:25 2 – This Is My Passion – 4:03 3 – Stay Close To Me – 3:08 4 – The Hunger Stays – 4:06 5 – Just Come In – 4:25 6 – I Commit – 4:22 7 – Honesty – 3:44 8 – Solomon’s Shoes – 3:13 9 – Laugh A Little – 3:42 10 – People Get Ready – 3:39
Credits Acoustic Guitar – Jimmy Abegg, Margaret Becker Art Direction – Barbara Hearn, Larry Vigon Backing Vocals – Annie Stocking, Brent Bourgeois, Charlie Peacock, Jeanie Tracy, Margaret Becker, Vince Ebo Bass – Larry Tagg Design – Larry Vigon Studio Drums – Mike Urbano Electric Guitar – Jimmy Abegg Engineer [Additional] – Bill Deaton, David Houston Executive-Producer – Peter York Liner Notes – Margaret Becker Mastered By – Doug Sax Mixed By – Jeff Balding Mixed By [Assistant] – Derek Marcil, Jared Held Organ [Hammond B-3] – Roger Smith Photography By – Mark Tucker Piano, Keyboards – Charlie Peacock Producer, Arranged By – Charlie Peacock Recorded By – Rick Sanchez Recorded By [Assistant] – Jim “Watts” Vereecke Written-By – Charlie Peacock (tracks: 1, 3, 4, 8, 9), Curtis Mayfield (tracks: 10), Leonard Ahlstrom (tracks: 6), Margaret Becker (tracks: 1 to 9), Mike Demus (tracks: 6)
Companies, etc. Recorded At – Studio D Recorded At – Moon Studios, Sacramento Recorded At – Gold Mine Studio Recorded At – Studio 55, Los Angeles Mastered At – The Mastering Lab Phonographic Copyright (p) – The Sparrow Corporation Copyright (c) – The Sparrow Corporation Published By – His Eyes Music Published By – SBK Blackwood Music Inc. Published By – Andi Beat Goes On Music Published By – Paragon Music Corp. Published By – Sunday Shoes Music Published By – Warner-Tamerlane Publishing Corp. Glass Mastered At – Nimbus, Virginia
Ten years removed from Love Song and ten light years removed musically, Bow and Arrow was an original artistic revelation in 1982. I had just begun working for a small buy relatively aggressive Christian Bookstore in orange, CA called The Pink Lady. The store with odd name was kind of a crazy combination of ice cream shop, Bible bookstore, Hallmark store and music store. Half of the music department was dedicated choral and instrumental music with instruments, cantatas and several rooms for private instrument instruction. Yet, at the same time, the music department carried Bruce Cockburn, U2 and Bill Mason band along with Amy, Michael and Larnelle. One of my first days working there the owners daughter was training me and had put a brand new album from Maranatha Music on the in store turntable. After several songs I mentioned that I thought this was, by far, the best Phil Keaggy album I had ever heard! The album was “Bow and Arrow” by former Love Song drummer John Mehler and I bought the album that night. The album was produced by Mehler with help from Bill Batstone who also played bass on the album. The musical direction will always find comparison to Phil Keaggy because of Mehler’s voice having such an uncanny resemblance to the guitar virtuoso. Keaggy’s providing some of his best recorded guitar work helped to add luster to the comparison. But there are to be found touched of early 80’s new wave and a dash of the Police. And within the framework of the 9 songs one will find nine brilliantly written, produced and performed songs. As pioneering Love Song was for the early Jesus Music days, Mehler’s Bow and Arrow was just as captivating, original and significant. The album received very limited promotional and radio support as it was at this time that Maranatha Music decided to no longer do artist oriented releases and focus exclusively on worship and children’s albums. This is one of the great travesties in the history of the industry that the album was never picked up by another label and was left to disappear into many a cut out bin. That same album now fetches a pretty penny on the open market as audiophiles and fans recognize what a great album it was. In fact, a recent HM Magazine countdown of the Top 100 Rock albums in CCM history listed Bow and Arrow amongst many of the great releases. It should be noted here that this is sonically one of the best albums of its day. The production quality is tremendous and is easily one of those albums that deserves a CD release. I really wish I owned it on CD. The sound is worthy and the album is more than worthy! Mehler would go on to record another project five years later and a live album. In between there would also be two great instrumental jazz albums (I can’t recommend “Light the Night” enough), countless studio sessions, ministry opportunities, concerts, teaching, etc. But for one all too brief moment in CCM history, one of the truly great albums found a home on my turntable and remains “one of the greatest Phil Keaggy albums ever!”
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Trust In The Lord – 3:57 2 – Just Like You – 2:55 3 – His Love For You – 5:19 4 – Bow And Arrow – 3:39 5 – Be Strong In The Lord – 5:55 6 – Alright – 4:08 7 – Little Drummer Boy – 4:00 8 – The Seventh Seal – 2:32 9 – My Strength – 4:10
Credits Bill Batstone – Songwriter, Arrangements, Bass Wayne Brasel – Guitar Bill Cobb – Engineer Katherine Davis – Songwriter Steve Hall – Mastered Phil Keaggy – Guitars Jim Lacefield – Bass John Mehler – Producer, Songwriter, Arrangements, Drums, Percussion, Vocals Lynda Mehler – Songwriter Randy Mitchell – Guitar Henry Onorati – Songwriter Harry Simeone – Songwriter Chuck Smith – Executive Producer John Vestman – Co-Producer, Engineer, Mixed, Percusion, Violin, Guitar, Background Vocals Rob Watson – Keyboards Dan Willard – Mastered
Companies, etc. Distributed By – Word, Inc. Phonographic Copyright (p) – Maranatha! Music Copyright (c) – Maranatha! Music Engineered At – Trianon Studios Mastered At – MCA Whitney Recording Studios Mixed At – Trianon Studios Published By – Maranatha! Music
