The second release from Jacob’s Trouble was also the one most clearly influenced by producer Terry Scott Taylor, and in a very good way. Of the three “retro” sounding albums in the JT catalog it remains the strongest and most consistent. Strong from start to finish and filled with very memorable hits. Wisely chosen covers, some help from a few legends and some brilliant original material combined for a wonderful project. The first two cuts (Look at U Now & Little Red Words) were co-written by Terry Scott Taylor and Randy Stonehill, respectively. Both received a good amount of Christian rock radio airplay. The cover of Bob Dylan’s “I Believe In You” is nicely paced not to sound too much like the original while keeping the strong contemplative feel of the original. These more straight ahead classic acoustic rock numbers are interspersed by great originals like Dreamaker, Further up & Further In (taken from CS Lewis’ The Final Battle), There Goes My Heart Again and the semi-controversial, “About Sex Part 2.” Taylor’s influence can be felt throughout both musically and creatively. The album’s closer should have been a hit. A huge it! And it was. Unfortunately for the band “These Thousand Hills” would become a hit for Third Day when the band covered it several years later.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Look At U Now – 3:04 2 – Little Red Words – 3:40 3 – Dreammaker – 4:20 4 – Further Up & Further In – 2:33 5 – Beggars And Kings – 3:43 6 – Is It True? – 2:58 7 – Islands, Buildings And Freeways – 2:50 8 – I Believe In You – 4:44 9 – There Goes My Heart Again – 3:18 10 – Bad Lick & Gun Shot – 0:06 11 – Mr. Hitler – 4:10 12 – I’m A Little World – 2:33 13 – About Sex (Part II) – 4:02 14 – Wounded World – 3:40 15 – These Thousand Hills – 3:07
Credits Art Direction – Ed McTaggart Backing Vocals – Jerry Chamberlain, Riki Michele, Sharon McCall, Terry Taylor Bass, Backing Vocals – Steve Atwell Cover [Cover Design] – Court Patton Drums, Percussion, Vocals, Backing Vocals – Jerry Davison Electric Guitar – Greg Flesch Electric Guitar [Electric Lead], Rhythm Guitar, Acoustic Guitar, Vocals, Backing Vocals – Mark Blackburn Harmony Vocals – Randy Stonehill (tracks: 4), Terry Taylor (tracks: 4) Keyboards, Backing Vocals – Rob Watson Mastered By – John Matousek Photography By – Jimi Stratton Piano – Ojo Taylor (tracks: 9) Producer, Directed By – Terry Taylor Recorded By – Gene Eugene Saxophone – Dan Michaels (tracks: 13) Written-By – Bob Dylan (tracks: 8), Jerry Davison (tracks: 1 to 7, 9 to 15), Mark Blackburn (2) (tracks: 2 to 4, 6, 11, 13 to 15), Randy Stonehill (tracks: 5), Steve Atwell (tracks: 2 to 4, 6, 11, 13 to 15), Terry Taylor (tracks: 1, 5, 7, 9, 12, 13)
Companies, etc. Record Company – Frontline Music Group Distributed By – The Benson Company, Inc. Copyright (c) – Broken Songs
Named after a poem by William Blake, The Echoing Green is a pop/synth/techno band that made great inroads into the world of Christian dance music and electronica with a decidedly more commercial and pop approach. That to say that band leader Joey Belville knew how to write a pop song and infuse it with modern technology without losing the song amongst the computers and synthesizers. The genre has also been noted for highly sexual and depressing themes. But Belville was one of the most positive songwriters in any genre, heavily influenced by his faith and the joy it creates. The purpose of this album was a call for christian to defend the gift of joy they are given and to walk by the Spirit. These same theme repeat over and over on this wonderful project. I was a sales rep for Frontline/Diamante in the 90’s and for a short while they needed someone to cover the New Mexico area for the company. It was a quick flight from LA to Albuquerque, so I added it to my territory. My first appointment was with some kid named Joey who knew everything about Christian music. I remember pitching him this album and he lit up and ordered a truck load. He saw the shock on my face and started to laugh – something he often would do. Laugh that is. I did not know that he was the same Joey that is the Joey of The Echoing Green. He remained one of my favorite accounts not because of his music knowledge or large orders, but because Bevlille has an infectious and joyful personality and it clearly permeates the music he creates. Even the melodies are upbeat with a clearly positive feel. 2nd Chance deals with God’s grace and forgiveness despite our failings and our penchant for being the prodigal.. Defend Your Joy, a Depeche Mode like tune, is a call to Christians to stand up for truth and not to let the world take their joy away. Riki Michele makes an uncredited appearance on the chorus. In every cutting edge genre someone will come along and claim the mantle of taking it to the masses by making it more palatable and accessible. The Echoing Green does just that with this release as melody remains front and center and the song remains the key.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Ocean Chorus – 1:21 2 – 2nd Chance – 4:10 3 – Son In My Eyes – 4:21 4 – Terra Firma (Stand) – 4:56 5 – Enter Love – 4:18 6 – Defend Your Joy – 4:24 7 – Pray – 5:08 8 – Brand New Day – 3:29 9 – Arrival – 3:53 10 – Stay Awake – 4:21 11 – Deep Inside Your Heart (Remyx) – 4:34 12 – Terra Firma (Stand) (Remyx) – 6:17
Credits Art Direction – MSB, Thom Roy Backing Vocals [Uncredited] – Riki Michele Cover, Illustration – Chris Howland, Kristy Anderberg Design – Kristy Anderberg Engineer – Drew Aldridge Executive-Producer – Michael Sean Black Mastered By – Doug Doyle Mixed By – Drew Aldridge (tracks: 1, 3 to 5, 10), MSB (tracks: 2, 6 to 9), Thom Roy (tracks: 2, 6 to 9) Mixed By [Assistance] – Joey B* (tracks: 1, 3 to 5, 10) Photography – David Dobson Producer – Joey Belville, Ronnie Martin Written-By – Joey Belville (tracks: 1 to 6, 8 to 12)
Companies, etc. Mastered At – Digital Brothers Phonographic Copyright (p) – Myx Records Copyright (c) – Myx Records Distributed By – Diamante Distribution Pressed By – Disctronics USA – 128750
It is with “Jesus Loves Ya” that many believe Jon Gibson found his artistic center. Though it may not be his best album it remains his most consistent and completely Jon Gibson. Longer and more progressive songs without fear of needing to create three minute radio friendly singles, Gibson here explores more musical diversity and allows the songs to be rather than editing them for record company suits. The result was the longest running number one single in CCM history clocking in at over 6 minutes with no “radio edit” ever released by the record company. The single stayed at number one despite its length and the album also hit number one on the CCM sales charts. Too bad more record companies and radio stations never learned this lesson in artistic freedom and the listeners’ desire for real good songs no matter the length. The album remains Gibson’s “grittiest” and most “street sounding of his career. The quiet soulfulness of Body and Soul is gone and the slick pop of the follow-up Forever Friends had not yet surfaced. Here Gibson’s penchant for scat, improvisation and “vamping” is given free reign and results are stellar. As the song continues and builds Gibsons’ passionate soul draws the listener in. The album also contains more rap than any other album with several guest appearances as well as Gibson’s own blue-eyed rap style. But the most important influence on this album is clearly the late Gene Eugene (Adam Again) whose production help and funk grooves gave Gibson more a polished platform to perform. The drum and bass sounds are unmistakably Eugene. Along with title tracks claim to fame, Love Come Down also reached Number one and Preacher Man made it to the Top 5. The latter really stands out as something wonderful from Gibson with the rousing brass section and sounds like something off of “Songs in the Key of Life.” This album may not be Gibson’s best or most popular but it clearly may be the most important album in his career.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Enough Is Enough – 4:32 2 – Love Come Down – 5:45 3 – Jesus Loves Ya Intro – 0:10 4 – Jesus Loves Ya – 6:26 5 – From Heaven – 5:34 6 – Call On My Love – 4:59 7 – Everlasting – 6:08 8 – Straight On – 3:09 9 – Preacher Man – 3:26 10 – In Too Deep – 4:25 11 – Forever Now – 4:32 12 – His Love Is Strong – 5:08 13 – Watching All My Days Go By – 6:51
Credits Bass [5 String Bass] – Myron Dove Clavinet – G. Eugene Lead Vocals, Backing Vocals, Electronic Drums, Programmed By – Jon Gibson Organ [B-3], Strings – Rob Watson Rap – Jon Gibson, M.C. Peace Lead Guitar, Rhythm Guitar, Lead Guitar – Dave Koval Drums, Congas – Cubby Ingram Rhythm Guitar – Rick Zunigar Saxophone – Doug Webb Vocals (Kids) – Kumari Lewis, Vivian Lewis Backing Vocals – Ray Sidney, Shelly Penir, Vivian Lewis Lead Guitar – Tony Palacios Arranged By [Clavinet] – Gene Eugene Arranged By [Drum, Piano, Synth And String] – Jon Gibson Arranged By [Horns] – Rob Watson Arranged By [Rhythm Guitar] – Rick Zunigar Arranged By [Saxophone] – Doug Webb Art Direction, Design – Ed McTaggart Mixed By – G. Eugene Photography By – Michael Seeley Recorded By – G. Eugene Written-By – Jon Gibson
Companies, etc. Recorded At – The Mixing Lab Mixed At – The Mixing Lab
In early 1981 I got my first job at a Christian bookstore in Orange, CA. Before the days of computerized listening centers or even tape decks with headsets you had to listen to something on the stores overhead system. Suffice it to say, considering the age and demographic of the average Christian bookstore shopper, there were few chances to hear anything like the Bill Mason Band album. In fact, the demo album had never been opened and the store owner let me buy it for a buck! That one dollar bought an album that has been played more often over the years than any LP I own except maybe Zionic Bonds. Though it has been released on CD I have yet to get a copy. I sometimes wonder if the pops and clicks that are son ingrained in my mind will disrupt the listening of a pristine CD version. As for the album itself, it is clearly an AYSO! Punk rock that is still so very cool to listen to. Touches of ska are here and there, but for the most part it is a Clash like rock version of punk with Elvis Costello’s pop sensibilities. Completely British, raw and irresistible. Produced, surprisingly, by John Pantry, the album had a cup of coffee in the US through a limited release on Star Song. The band stands out on the faster cuts like Billy and the Rotas, Stand Up and Be Counted and radio. The latter is a personal favorite and some 30 years later there still “ain’t no God on that radio.” Another favorite is “Get Inside,” a longer song at nearly 5 minutes that builds and builds into a raucous finish. I always wanted to hear Mike Roe cover the song. The album is actually pretty well produced, especially for the time and sounds great today. It is the definitive punk classic for Christian music from the 70’s. The reader must remember this preceded Undercover, Lifesavors and the Altar Boys by a few years. There was literally nothing else like it.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Billy & The Rota’s – 3:27 2 – Detectives – 3:45 3 – Out On The Streets – 2:00 4 – I Don’t Want You – 3:24 5 – Stand Up And Be Counted – 2:57 6 – Radio – 2:19 7 – I Got The Answers – 2:21 8 – Mr. G – 3:41 9 – Get Inside – 4:41 10 – Lost Years – 6:36
Credits Backing Vocals – Paula Holmes Bass Guitar, Backing Vocals – Iain Beeston Congas, Noises [Whale Noises] – Steve Gilbert Drums, Percussion – Dave Rawding Electric Piano [Fender Rhodes], Synth [Korg Synth], Piano [Acoustic Piano], Vocals – Phil Holmes Engineer – Steve Foely Guitar, Backing Vocals, Written-By – Si Hawthorne Lead Vocals, Percussion, Written-By – Bill Mason Producer – John Pantry
Companies, etc. Recorded At – Smile Studios Published By – ThankYou Music
I have heard from different sources that Matthew Ward’s “Toward Eternity” is either the last Jesus Music album or the first CCM album. Released right around the turn of the decade that many define as the historical marker for the two genres. Produced and written by many that were the founder and stalwarts of the Jesus Music era (Randy Stonehill, Phil Keaggy, Keith Green, Michael Omartian), but decidedly more polished, rock and pop driven than anything released previously.
I simply call it a classic that is clearly the center of a musical paradigm shirt in CCM. Production was stellar, performances spotless and Ward’s vocals soar. This is not a solo project from 1/3 of 2nd Chapter of Acts, it is a brilliant rock album conceived and released by an utterly unique and engaging artist in his own right. These are not left-overs from his group, but rather songs that far exceed much of what his siblings were releasing at the time.
Musicians on the album included those mentioned above along with Abraham Laboriel, David Kemper, Ray Parker Jr. and many more studio pros. The album is nearly flawless and many aficionados will list it in their all time Top 10. It was also released at a time when many Christian Music buffs were cutting their teeth on the genre and this album proved to be a revelation to many. I would not be surprised to find many of the “older” readers complaining on its placement in the countdown, and I will not disagree; I understand their reasoning.
Oddly enough, even fans of hard rock love the album despite its general lack of anything leaning in that direction. Much has to do with the great songs and Keaggy’s outrageous guitar work. It is always odd that Keaggy will often lend some of his best work on projects for other artists. But ultimately it comes down to the fact that Ward possesses one of the greatest voices on the planet. Period!
The album kicks off with the funky rock number “It’s Alright” lead by Keaggy’s great guitar work. This is a fearless rock groove with a monster bass line driving the low-end. The song is built around a particular end times expectation complete with money system, beast and mark. That notwithstanding, the song is just so good. The great vocal bridge leads to Keaggy’s driving rhythm guitar work.
Limited breaks between songs leads the starter right into a great Keith green piano driven song, “Soft Spot.” The Beatlesque (Penny Lane) sound of the chorus complete with a great string arrangement softens what could have been a much heavier song, and it actually works in the artists favor given the content of the song.
The acoustic “Noah” immediately sounds like a Phil Keaggy song. And it is. Written by Keaggy, Ward recorded it and someone once mentioned that Keaggy didn’t want to record it after hearing Ward’s masterful vocals. I don’t know if it’s one of those popular urban legends as Keaggy eventually would record his own version.
A personal favorite is the rocker, “Till the Walls Come Down.” Like the lead track, the song is one of the heavier musically and features Keaggy’s awesome guitar work, especially the solo. Written by Ward, Keaggy and Green (wow, just think about that for a moment), the song is most noted for the Michael Omartian lead “killer bees.” One must listen to truly understand the bees reference.
Returning to the most pop oriented piano sound with Green’s “Better Than This,” Ward let’s the vocals go on a few bright moments when he hits some unreal notes. The song has a great hook, but the same can be said for the entire album. I can go years in between listens and still never miss a note when singing along.
What would be initially the start of side two, “Your Love Came Over Me” is great Doobie Brothers (China Grove) type riff that never quits throughout. I know it may be hard for readers today to understand just how rare it was for a “safe” artist to deliver such a rock oriented album. The industry at the time would allow for the occasional pop rock riff, but rarely an album that rocked from start to finish.
The song was written by Keith Green and a gentlemen named Todd Fishkind. Fishkind may be one of the most important songwriters and musicians from the era that no one really knows about. He was very close to Green and they wrote quite a bit together, including the classic “Your Love Broke Through.” Fishkind would also wrote a book about Keith. He was also considered quite the musician.
“Hold On” follows and sounds like something off pop radio at the time. If not for Ward’s distinctive vocals I would swear it could have been a single off of Chicago 13. In fact, it would have been the best song off of Chicago 13.
The borderline “world music” influenced “Angels Unaware” is the only truly dated song from the project. The lyrics about guardian angels at times are silly (something about the “honkin’ flu”) but no more silly than what Amy Grant would record nearly a decade later.
The hiccup of “Angels Unaware” is immediately forgotten with the stunning and emotionally driving ballad, “Summer Snow.” The simple song of faith and God’s timing is exclusively driven by piano and strings. Tom Keene’s great string arrangement supports Green’s beautiful playing. Matthew shows the range both vocally and emotionally here. It ranks amongst the true classic from the era.
The “much too short” album closes with an Anne Herring tune, “The Vineyard.” It is all but an instrumental, as the only vocals are “ooh’s” playing the part of strings on top of Tom Keene’s beautiful piano work. It is a contemplative ending to an utterly brilliant and timeless classic album.
Whether it ended one or era or started another is not of consequence and the debate shall continue. What is of consequence is how truly revelatory and ground breaking the album was and how, over 30 years later, it is still a brilliant masterpiece by a wonderful artist.
Track Listing: 1 – It’s All Right – 2:34 2 – Soft Spot – 3:42 3 – Noah’s Song – 3:56 4 – Till The Walls Fall Down – 2:29 5 – Gotta Do Better Than This – 3:23 6 – Your Love Came Over Me – 4:07 7 – Hold On – 3:10 8 – Angels Unaware – 2:26 9 – Summer Snow – 3:36 10 – The Vineyard – 2:18
Credits: Scotty Edwards – Bass Todd Fishkind – Songwriter Jay Graydon – Guitars Keith Green – Songwriter, Piano Melody Green – Songwriter Annie Herring – Songwriter Buck Herring – Producer, Engineer, Songwriter Phil Keaggy – Songwriter, Guitars Tom Keene – String Arranger, Piano David Kemper – Drums Abraham Laboriel – Bass Michael Omartian – Horn Arranger, Songwriter, Synthesizer, Piano, Fender Rhodes, Percussion Ray Parker, Jr. – Guitars Matthew Ward – Songwriter, Vocal Arranger, Vocals
Companies, etc. Phonographic Copyright (p) – Sparrow Records, Inc. Recorded At – Buckskin Studio Recorded At – Sunwest Recording Studios
Throughout the history of CCM many artists made their way over from secular music to Christian Music. Barry McGuire, Joe English, Bonnie Bramlett and a host of others. But few ever reached the critical mass success as former Santana lead vocalist, Leon Patillo. Patillo got his start in the late 60’s as the focal point of the funk band, Creation. He would later work with Martha & the Vandellas as well as with George Clinton’s Funkadelic. His greatest success would come during an eight year stint with guitar god, Santana. Patillo would leave Santana in 1981 to begin a Christian music solo career. Each of his first three studio album would contain a few CCM classic, but were never stellar projects from beginning ’til end until the release of “The Sky’s the Limit.” Earlier releases would contain monster hits like Dance Children Dance, Flesh of My Flesh and Cornerstone, but here Patillo sparkles from beginning to end. The album contains several top hits including J.E.S.U.S., the title track, “I’ve Heard the Thunder, Love Calling and his second hugely popular wedding song, Security. Several of the more upbeat tunes were often “re-mixed” into extended dances versions that were immensely popular at the time. No Christian roller skate night was ever complete without the extended version of J.E.S.U.S.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – I’ve Heard The Thunder – 4:04 2 – Security – 4:04 3 – Life Is What You Make It – 3:57 4 – Come To Receive – 3:28 5 – J.E.S.U.S. – 3:58 6 – Love Calling – 4:30 7 – Fear Not – 4:07 8 – Sing Unto The Lord – 4:25 9 – The Sky’s The Limit – :43 10 – Small Still Voice – 4:27
Credits Art Direction – Dennis Hill Backing Vocals – Donn Thomas, Elisecia Wright, LaVoughn Thomas, Linda Evans Concept By [Album Cover] – Jackie Patillo Engineer [Assistant] – Biff Vincent Photography By, Concept By [Album Cover] – Alan Bergman Producer, Composed By, Drums, Bass, Piano, Electric Piano [Fender Rhodes], Synthesizer [Obx-a, Emulator, Dx7, Lynn Drum, Dmx, Simmons], Programmed By [Synthesizers], Lead Vocals – Leon Patillo Producer, Programmed By [Synthesizer], Engineer, Mixed By – Skip Konte
Companies, etc. Recorded At – Front Page Recorders Phonographic Copyright (p) – Word, Inc. Copyright (c) – Word, Inc.
As the 70’s turned the corner into the 80’s, the “last band” of the Jesus Music era morphed from a funky, groovy and R&B driven unit into a full-fledged commercial and corporate rock quartet. And one of the very best CCM ever produced. With only six albums to their credit, the band will have landed four of those titles on this list when all is said and done. Two albums come from the first half of their career with the more R&B style while the final two on the list will come from the “rock trilogy” that closed out their career. Both of those two will be included in the Top 100. Those three albums would be noted not only for the obvious change in musical direction, but also for the fact that Bryan Duncan all but completely took over the lead vocals exclusively and played the part of front man in concert as well. This would be helped by the inclusion of the amazing John Andrew Schreiner on keyboards, both on the recording as well as in live concert support. One other difference were the fabulous brush art album cover artwork. The first two (Hearts of Fire, Cutting Edge) featured a “Spiritual Warfare” theme to the artwork with swords and battle appearance. Cutting Edge artwork shows a glistening sword with a warrior battling a serpent in the sward’s reflection. This warfare theme would also educate the lyrics at times as well. Cutting Edge is a really odd album in that, for some reason, even fans of hard rock and metal seem to like the album with several “heavy music” publications giving the album a great review. perhaps it was the artwork and themes, but no matter, the album is one for the ages.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Runnin’ To Win – 4:06 2 – What Have You Got? – 3:10 3 – Falling In Love With You – 3:34 4 – Haven’t Seen You – 4:47 5 – Breakdown Love – 3:12 6 – Valerie – 3:23 7 – Changed Hearts – 3:40 8 – Live It – 4:03 9 – What Did It Mean? – 3:31 10 – Armed And Ready – 4:47
Credits Bass – Kevin Thomson Drums, Vocals – Rick Thomson Engineer [Second @ Bill Schnee] – David Shober Engineer [Second @ Mama Jo’s] – Steve Ford Guitar, Vocals – Randy Thomas Illustration, Design – Kernie Erickson Keyboards – John Schreiner Keyboards, Vocals – Brian Duncan Management – David Bendett Artists, Inc. Mastered By – Doug Sax Percussion – Victor Feldman Photography By [Back Cover] – David Randle Producer – Jack Joseph Puig Soprano Saxophone – David Hlebo Tenor Saxophone – John Phillips Vocals – Bob Carlisle
Companies, etc. Record Company – Lexicon Music, Inc. Phonographic Copyright (p) – Lexicon Music, Inc. Copyright (c) – Lexicon Music, Inc. Recorded At – Bill Schnee Studios Recorded At – Mama Jo’s Mixed At – Mama Jo’s Mastered At – The Mastering Lab Pressed By – Electrosound Group Midwest, Inc.
Dear God, how I love this album! There is not one wasted note, riff or beat anywhere to be found. Some may find Miller’s quirky, child-like voice an acquired taste, but I rather consider it simply needing an educated palette. After a very short stint with the group Streetlight, which only recorded an EP, with her husband Buddy Miller, Julie was signed by Myrrh and immediately they began the horrific mistake of touting their Leslie Phillips replacement and their answer to Cyndi Lauper. What they actually had was a brilliant songwriter, singer and performer. Talent runs deep in the Miller household and CCM;s inability to grasp the fact and promote her properly left her looking to mainstream and independent channels for the majority of her fine career. But in 1990 a wonderful, melodic, accessible and utterly enjoyable album found a home in my CD rotation and has never left it. Rich in harmonies, memorable melodies and brilliant musicianship, Meet Julie Miller was a brilliant introduction to the artist.
The 30-second acapella blues number “Dogtown” starts the record before launching right into one of the radio hits from the album, “You Knew the Way to My Heart.” Melodic, pop-driven Americana rock with a hook of a chorus so large you could drive a truck through it. Miller’s ability to work her voice through whispering, soft moments to gravelly pop hooks is quite impressive. The use of her own voice in the backing vocals just works in creating the perfect harmonies in the bridge.
“Mystery Love” follows in the same vein with the bluesy, jangly rock (Mark Heard and T-Bone Burnett would be proud) style. This is one of the few songs that reminds me musically of Leslie Phillips, though one of the great ironies is that Phillips is said to be the one who passed along Miller’s demo to the execs at Myrrh in the first place.
We have mentioned “classics” and what qualifies as one several times on this blog. I firmly believe Miller has one here on this project and it remains her one biggest hit on Christian radio though clocking in at nearly 6 minutes (most stations played the edited version that leaves off the spoken word introduction), with “What Would Jesus Do.”
The song is not the normal sweet and lovely “Jesus loves me” sort of content CCM radio has been known for. But rather, the song is pointed look at the churches lack of genuine Biblical and loving response to the “least of these.” This missional (before the word existed) song features an all-star chorus at the end that is genuinely inspirational in the good sense of the word, including Phillips, Buddy Miller, Russ Taff and a host of others.
“Don’t Cry for me” returns to the more acoustic Americana rock that populates the majority of the album. Dan Posthuma’s production may get occasionally heavy-handed, as a more stark, limited and earthy arrangement would have made this song more authentic. But Posthuma is much more hands off sounding than on some of the work he did a few years previous with Phillips.
Following somewhat in the vein of “What Would Jesus Do,” is the beautiful “How Could You Say No.” A stunningly simply acoustic ballad, the song is both poignant and powerful in its sheer simple faith. When presented with the truth of what Christ suffered on your behalf, how is it possible to reject His grace?
“King of My Heart” is another less than a minute number that moves directly into the one real “rocker” on the album. The funky and rollicking “Song to the Devil” is very reminiscent of the two “Devil” songs recorded by Keith Green over a decade previously. The possibly pretentious silliness of the song is overcome by the sheer joy and humor of the performance.
The completely different “world music” rhythm of “Who Owns Your heart” is so refreshing as sounds cool 20 years later. Reminds me of some of Bruce Cockburn’s music off of “Stealing Fire.”
Live the “devil” song, “My Psychiatrist” is a humorous novelty song that wins the listener over by the sheer joy of it all. Deep within the silliness, though, is a great message.
“Love Will Find You” remains my favorite song from the album and would give the listener a glimpse at what was to come from the artist. The light country/folk of the melody belies a deeper thought process within its message. Also, the song really shows Miller the singer and how she sounds harmonizing with Buddy. Really a pretty song that should and could have been a country hit in the right circumstance.
The darkest and most moving song on the album may be the abortion themed “Dangerous Place.” Here the womb is described as a dangerous place to many an unborn child. Melodically, the song is the darkest and most difficult. The fading refrain of “Jesus Loves Me” sung by a children’s choir at the songs close is quite moving.
The album closes with the traditional, “I Will Arise and Go to Jesus.” This simple reworking of the classic Gospel tune is a fitting finale to this amazing project that throughout tips its cap to the traditional music of Gospel while looking to the future of great artistic folk and rock music in Miller’s career.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Dogtown – 0:32 2 – You Knew The Way To My Heart – 3:00 3 – Mystery Love – 3:06 4 – What Would Jesus Do – 6:11 5 – Don’t Cry For Me – 3:49 6 – How Could You Say No – 3:27 7 – King Of My Heart – 0:55 8 – Song To The Devil (I’m Thru With You) – 2:38 9 – Who Owns Your Heart – 2:41 10 – My Psychiatrist – 2:09 11 – Love Will Find You – 3:52 12 – Dangerous Place – 2:58 13 – I Will Arise and Go To Jesus – 2:54
Credits Rose Banks – Background Vocals Mickey Cates – Songwriter Shawn Colvin – Background Vocals Craig Finley – Background Vocals Dan Garcia – Mixed Amy Grant – Background Vocals Amy Hargrave – Choir Vocals Katie Hargrave – Choir Vocals Jean Johnson – Background Vocals Ron Krueger – Keyboards Howard McCrary – Background Vocals Buddy Miller – Associate Producer, Engineer, Songwriter, Bass, Guitars, Keyboards, Drum Programming, Background Vocals Julie Miller – Songwriter, Guitars, Vocals Kathy Pinto – Background Vocals Dan Posthuma – Producer, Bass, Drum Programming Lee Trudy Posthuma – Choir Vocals Millard Posthuma – Violin Sara Posthuma – Choir Vocals Sara Richards – Choir Vocals Lincoln Schalifer – Bass John Andrew Schreiner – Keyboards, Accordion Leland Sklar – Bass Russ Taff – Background Vocals Carlos Vega – Percussion Billy Jo Walker – Guitars Kelly Willard – Background Vocals Victoria Williams – Background Vocals Robin Williamson – Hurdy-Gurdy
Companies, etc. Record Company – Word, Inc. Phonographic Copyright (p) – Word, Inc. Copyright (c) – Word, Inc. Manufactured By – Word, Inc. Published By – Word Music Published By – LCS Music Published By – StraightWay Music Manufactured By – JVC Designed At – OSS
I guess this album was the result of “if you can’t beat them, join them.” Constantly compared to Paul McCartney during his career, why not just do a Beatles album? What was actually supposed to be a possible semi-regular group, Phil Keaggy & Sunday’s Child only ever released this one album. But what an album they created! Making up the rest of “Sunday’s Child” are Rick Cua on bass, Mike Mead on drums and Lynn Nichols on guitar and vocals. It also may go down in CCM history as the single nicest group of musicians to record a record together. There is this one odd thing about many Keaggy albums. Those with great songs have a tendency to lack the guitar prowess that many clamor for, while those with great guitar work have tendency to lack quality songwriting throughout. This album is all about the songwriting and is clearly some of Keaggy’s finest work in the regard. And true to form the album is not filled with blazing and intricate guitar work, though many tasteful and enjoyable examples can be found. There album is also the most “band” sounding in his career outside of the Crimson and Blue recordings. But that band is supported by a Hall of fame list of musicians including Steve Taylor, Mark Heard, Randy Stonehill, Alwyn Wall, Derri Daugherty, Russ Taff and the always impressive and often overlooked James Hollihan on guitar. Many of the guests also provided songwriting help. The Beatles comparisons are not subtle. They were clearly the inspiration and that adds to the sheer joy of the album. In fact, according to the liner notes, Ringer Starr’s drum kit was used on the recording. Older amps, instruments and recording processes were employed to give the album the rich, analog sound.
The album kicks off with the mid-tempo rocker, “Tell me How You Feel.” This tone setter reveals what will follow with the head side bopping beat and Keaggy’s higher end vocals at times reminiscent of McCartney with abandon. But there is also a clear nod to the Byrds here and throughout. The title track, co-written with Stonehill, was a hit, and for good reason. This song is memorable and smart at the same time. I believe I hear Stonehill’s vocals in there as well. The two released a wonderful album a year or so ago that employed some of the same musical stylings. A personal favorite, and one of the better rockers on the album is “I Always Do.” Starting slow before kicking halfway through the verse into a killer rocker that is more reminiscent of Glass Harp’s poppier side. The song also features one of the more upfront guitar solos and the best hook on the entire album. Without blazing fingers and extended riffs, Keaggy here shows the power of a well controlled, melodic and tasteful rock solo. It should be noted this is a Mark heard penned tune. “I’m Gonna Get You Now” is more early 70’s rock and sounds the least like the Beatles as any on the record, excepting the song that follows. But it should be noted that it also provides some of Keaggy’s best rock vocals. Co-written by Lynn Nichols, the songs edge gives Keaggy the change to explore some vocal styles he hadn’t previously. If someone mentioned that Steve Taylor co-wrote one of the songs, my guess would immediately be “Bless Be the Ties,” and that would be correct. More psychedelic than the rest of the album, this slower, dare I say darker (?) song remains one of the best as well. This Could Be the Moment” returns to the more fun rock and roll. This is a good old-fashioned, put the top down on the convertible and hit Pacific Highway. The chorus is a monster with some great harmonies. The instrumental break just pounds with Mead’s great driving beat and Keaggy’s subtle and building guitar work. Even Cua gets a short solo here! This was a great song live I should add as it was extended to include solos from everyone. Side Two kicks off with the loudest guitars and a song co-written by Stonehill called “Ain’t Got No.” But this Stonehill is Sandi, the then wife of Randy. Oddly enough, it sounds like something randy would have recorded himself. It’s hard to decide which song stands out as the “best” on such a great album, but “Somebody Loves You” would have to receive recognition. The acoustic driven rock song is pure Keaggy and one of the songs Keaggy penned entirely by himself. Keaggy here shows his guitar prowess is not just limited to electric and solo, but tasteful and smart acoustic rhythm work as well. This alone gives it more of a Byrds feel. Another of the darker feeling songs follows with “Big Eraser.” Another Nichols co-written tune, it is perfect fit for something on the Chagall Guevara debut. The vocals are clouded amongst a large rock vibe and huge drum sound. This would make sense given Nichols involvement with the group. The Mark Heard penned “Everything is Alright” is a true dichotomy. A dark and almost atmospheric verse structure followed by a pop and memorable hook driven chorus. This is also around the time of Ideola, and the style shows through. “I’ve Just Begun (Again)” brings the album back to the joyful musical expressions that dominate the vast majority of the album, while the following “Walk In Two Worlds” represents the darker, rougher edge. One would have hoped future releases would expand upon this sound as it worked so incredible well here. The album closes with a wonderful version of the traditional spiritual “Talk About Suffering.” Staring nearly in an acapella (drums only) before adding the band, this version is both beautiful and unforgettable. A fitting ending to a great album. This may be Keaggy’s finest hour as a songwriter, though another album of his will appear much later in the countdown, it is a real shame this ended up being only a one-off and no further collaborations between these men exists in this format.
Tracklist 1 – Tell Me How You Feel – 3:21 2 – Sunday’s Child – 3:57 3 – I Always Do – 4:50 4 – I’m Gonna Get You Now – 3:47 5 – Blessed Be the Ties – 3:56 6 – This Could Be the Moment – 3:48 7 – Ain’t Got No – 3:29 8 – Somebody Loves You – 4:05 9 – Big Eraser – 4:33 10 – Everything Is Alright – 4:19 11 – I’ve Just Begun (Again) – 3:00 12 – Walk In Two Worlds – 3:37 13 – Talk About Suffering – 4:50
Credits Robbie Buchanan – Organ B3 Lenny Castro – Percussion Rick Cua – Bass Derri Daugherty – Vocals Lance Demers – Songwriter Dave Hackbarth – Mixed Mark Heard – Songwriter, Engineer, Keyboards, Guitar, Vocals James Hollihan – Guitar Wade Jaynes – Mixed Eddie Keaggy – Mixed Phil Keaggy – Songwriter, Guitars, Bass, Percussion, Vocals Mike Mead – Drums Lynn Arthur Nichols – Producer, Songwriter, Guitar, Vocals A. Palladino – Songwriter Jack Joseph Puig – Mixed David Schober – Engineer Jimmie Lee Sloas – Vocals Bart Stevens – Mixed Randy Stonehill – Songwriter, Guitar, Vocals Sandi Stonehill – Songwriter Russ Taff – Vocals Brian Tankersley – Engineer Steve Taylor – Songwriter, Percussion Rudy Valentine – Vocals Alwyn Wall – Vocals
Damn that Maria McKee can really sing. That may be the single greatest understatement in the first 370 post on this list. But really, if anyone can find a better way to express the sheer power, passion and presence of McKee’s vocal virtuosity, have at it. It was said co-Producer Little Steve (E Street Band) remarked that McKees vocal performance on “Inspiration” was the most powerful and passionate vocal he had heard since Bruce Springsteens “Adam Raised a Cain.” Mighty high praise indeed. And well deserved. More commercially appealing than the debut, Shelter infused a little more country rock and significantly less cow punk. It is better produced (in some spots a bit over-produced) and the songwriting is more accessible with superior ballads and a more consistent sound. It should have been the record to make Lone Justice rock stars. Rather, it became their swan song. I Found Love and Shelter were both that singles that just never broke through, though they ended being covered by a few CCM artists including Geoff Moore. But the real strength on this album is on the deeper cuts and ballads. Beacon, Belfry and Dreams Come True all rock with great guitar work and McKe’s emotive presence. And as mentioned earlier, Inspiration is just an emotional vocal tour de force with a once in a lifetime performance. The two side-ending ballads should also be noted. Wheels is a beautiful country song that should be covered by a more modern country female vocalist. The album closer, Dixie Storms, is just haunting and would point to the direction McKee would follow in her solo career.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – I Found Love – 4:15 2 – Shelter – 4:37 3 – Reflected (On My Side) – 4:57 4 – Beacon – 4:18 5 – Wheels – 5:05 6 – Belfry – 5:03 7 – Dreams Come True (Stand Up And Take It) – 4:06 8 – The Gift – 4:16 9 – Inspiration – 3:49 10 – Dixie Storms – 3:37
Credits Acoustic Guitar [Additional], Rhythm Guitar [Additional] – Little Steven Bass, Vocals – Gregg Sutton Coordinator [Production Coordinator] – Janet Weber Cover – Cooper Edens Design – Kim Champagne Drums – Rudy Richman Engineer [Additional] – Bruce Lampcov, Don Smith, Greg Edward, Joe Borja, Nikko Bolas, Scott Litt, Shelly Yakus, Steven Rinkoff Engineer [Assistant] – Craig Engel, Marc De Sisto, Michael Bowman, Rob Jacobs, Ross Stein Guitar – Ryan Hedgecock, Shane Fontayne Keyboards – Bruce Brody Keyboards [Additional] – Benmont Tench, Charles Judge, Tommy Mandel Lacquer Cut By – J. Webster Management – Ice Cream Management Management [Associate] – Tony Ferguson Mastered By – Stephen Marcussen Mixed By – Greg Edward (tracks: A4, A5, B1, B3, B4), Humberto Gatica (tracks: B2), Joe Chiccarelli (tracks: A2), Mike Shipley (tracks: A1, A3), Shelly Yakus (tracks: B5) Photography By – Melanie Nissen Producer – Jimmy Iovine, Little Steven, Lone Justice Production Manager – Chuck Reed Recorded By – Joe Chiccarelli, Robert de la Garza Vocals, Guitar, Piano – Maria McKee
