The definitive and original Christian progressive rock album, Beyond the Crystal Sea is the masterpiece of an artist that may be one of the most important people in the history of all of rock music that very few may even be aware of.Musicians around the world have been indebted to Hotz’s work and may not even realize it. He is the inventor of the Hotz Box, Midi Vest, Atari Hotz Box, MIDI Translator and host of other commonly used and creatively important electronic advances. In fact, Hotz is also responsible for integrating 3D Graphics and manipulating their movement through computer technology. Hidden amongst his technological achievements is also a brilliant composer, arranger, instrumentalist and songwriter. his musical vision met his technological genius ion 1980’s brilliant Gospel themed “Beyond the crystal Sea.” Like much or progressive rock Hotz borrows from fantasy literature and themes and infuses them into clear Biblical messages. This album is “Art Rock” at its finest. Fans of early Genesis and experimental rock fans of Yes, King Crimson and Pink Floyd will love what Hotz creates here. Songs are complex, with intricate changes and musical instrumental breaks interspersed with more commercial rock vocal influences. But one great joy is Hotz ability to remain accessible with this album and not alienate those outside of the limited “art rock” fan base. There are layers of vocals, keyboards and guitars creating a much larger than life wall of sound. There is no doubt that modern Progressive Rock legends like Dream Theatre and Neal Morse were heavily influenced and inspired by Hotz’s work. It should also be noted that Hotz also had a hand in producing the classic Ark Angel album to be discussed later.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Observations Of A Larger Reality – 8:32 2 – Night Passage – 2:12 3 – Vision Ship – 5:35 4 – Teton – 3:18 5 – Beyond The Blues – 4:53 6 – Alpine Magic – 1:42 7 – From Love Life Did Begin – 4:37 8 – Long, Long Ago – 5:47 9 – The Gates Of Time – 3:45
Credits Artwork By [Front Cover Art By] – Bruce Eagle Backing Vocals [Vocals (Backup)] – Bob Farrell, Carol Chambers Bass – Brian Tankersley, Wayne Six Concept By [Cover Concept By] – Jimmy Hotz Drums – Gary Ingram, Rocky Mountain, Russell Dunlap Engineer [Assistant Engineer] – Brian Tankersley Keyboards – Paul Mills, Phil Huston Layout – Lex Zachary Producer, Engineer – Jimmy Hotz Recorder – Kemper Crabb Remastered By – J. Powell Vocals, Bass, Guitar, Keyboards – Jimmy Hotz
Companies, etc. Remastered At – Steinhaus Recorded At – Rivendell Sound Recorders Mixed At – Rivendell Sound Recorders
In 1982 I was a Junior in High School and had a subscription to Campus Life Magazine. One day I saw an ad for a brand new band called Prodigal that sported a very cool cover, which was a take off on Escher’s famous painting. But what was even better was that there was a pull out single for the band attached to the center of the magazine. These were all the rage during the 1970’s and often found included inside cereal boxes or even attached to the cardboard of those same cereal boxes. You had to take the very flimsy plastic disc, place it on top of a solid LP and then you could play the single. That was the first of three Prodigal releases, and all three made this list. That band was that damned good. probably better than we even realize. Prodigal is easily the most overlooked and unsung band in CCM history…PERIOD! The type of innovation already noted was what fans could expect from the band Prodigal during their short-lived three record existence. Their innovations also included being the first recipient of the Dove Award for “Video of the Year.” They were one of the few bands that continued to invest in the fledgling video marketing promotional support creating several videos per release. And even for the album in question there was what is called a “stop groove” at the end of the side 2 and a “hidden bonus track” of sorts which contained a computer code for the old Commodore 64 computer. Using a cassette drive a person could get bonus information about the album along with photos and lyrics. This may have become common with the invent of compact discs, but this was totally revolutionary in 1984. All three of their album covers were spectacular. But it was the content, both musically and lyrically, that set Prodigal above their peers for the time. Where other artist bemoaned the struggles, pain and realities of life on this spinning globe, Prodigal placed themselves within that reality and expressed those struggles from one who is intimately aware and experienced with those struggles. Where the first album stayed along the musical lines of Steely Dan and the Eagles, it was with “Electric Eye” the band became very current, and dare I say, cutting edge. Guitar driven rock and new wave synth pop merged to create a sound that was uniquely Prodigal while immediately familiar and memorable. Driving keyboard and bass that for some reason reminds me of the music from the “St. Elmo’s Fire” soundtrack. Also another unique feature is the use of three different lead singers with duties distributed according to musical style. The content on “Electric Eye” is beautifully portrayed on the album cover shown above. We have surrounded ourselves with so much to entertain us and consume our time that the difference between reality and artificial are not just blurred but rather the artificial begins to be more “real.” Note how the actual lightning through the window is faded and bland while the same lightning shown on the television set is vibrant and exiting. This is expressed in different ways on the album along with a host of other topics that are both poignant and eternal. Even the recording process was experimental. The album was recorded in an abandoned Catholic Girls school in Cincinnati using a mobile recording system built into a motor home. Band members would move from room to room to create a different acoustic sound to discover the best fit for a particular song. Lead vocalist and band leader Loyd Boldman told me that at the time the band (especially himself) was listening a lot to Springsteen’s “Born to Run” and “The River” as well as Daniel Amos and Michael Omartian. These influences shade and nuance much of what makes this record so amazing. With the knowledge guitar parts, vocal styles and overall production results make sense. The goal was to create a larger, less polished and precise studio album that the debut was. In that area the band succeeded with flying colors.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Scene Of The Crime – 4:44 2 – Fast Forward – 4:43 3 – Masks – 4:05 4 – Just What I Need – 3:08 5 – Emerald City – 3:23 6 – Electric Eye – 5:00 7 – Bobby – 3:18 8 – Shout It Out – 3:25 9 – Neon – 5:15 10 – Boxes – 3:35
Credits Arranged By – Prodigal Artwork [Additional] – A.I.R. Studio Bass – Mike Wilson Design [Cover] – Dave Workman, Loyd Boldman Design Concept [Cover] – Loyd Boldman Drums, Vocals – Dave Workman Effects [Special Sound FX] – Gary (Platinum) Platt Engineer [Assistants] – Brad Kuenning, Paul Thompson, Rytt Hershberg Graphics [Additional] – The Malone Group Guitar, Vocals – Rick Fields Keyboards, Vocals – Loyd Boldman Mastered By – Mike Fuller Mixed By [Additional Overdubs, Final Mixdown] – Gary Platt Photography By [Back Cover] – Luther Blue Photography By [Cover] – Gary Kessler Producer – Jon Phelps Recorded By – Greg McNeily Sounds, Engineer [Concert Sound] – Paul Thompson Written-By – Workman (tracks: A4, B5), Boldman (tracks: A1 to A3, A5 to B4)
Companies, etc. Recorded By – The Full Sail Dream Machine Mixed At – The Full Sail Dream Machine Engineered At – Moonlight Sound Mastered At – Criteria Recording Studios Pressed By – Electrosound Group Midwest, Inc. Distributed By – The Benson Company, Inc. Published By – Between The Lines Music Phonographic Copyright (p) – Heartland Records Company Copyright (c) – Heartland Records Company
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
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
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
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
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.
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
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.
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
