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
Tonio K released two albums for the Christian market in the mid 80’s on What? Records. Both of them reach the Top 100 on this list. Both a must own album and truly brilliant works. Both are completely different musically and differ greatly in topic and theme. More will be said about Tonio K in a future post, but it should be noted here that for nearly three decades he released some of the most important releases that no one knows about. Before embracing the Christian faith Tonio K released several critically lauded and publicly ignored masterpieces. The same rang true in Christian music circles. I believe “Notes” was the last release for What? Records, a brilliant label whose imprint was the kiss of death in the CCM world. I cannot confirm this right now, but I believe every What? Records release appears on this countdown. The label was a joint effort between Word Records and A&M with the intent to bring Christian music to the masses with artists that had the chops and integrity to pull off the crossover. Where Tonio’s CCM debut (Romeo Unchained) was driven by technology and “new wave” rhythms and production, “Notes” was organic, blues and country influenced Americana rock and roll set in the heart of city life and suburban nightmares. There are two versions of the album with the Word released version not containing a song that will be discussed later. No one should own the Word version and I refused to carry that version in my store at the time.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Without Love – 3:33 2 – Children’s Crusade – 4:56 3 – Stay – 4:14 4 – City Life – 4:07 5 – You Were There – 4:46 6 – The Executioner’s Song – 6:27 7 – I Can’t Stand It – 4:08 8 – What Women Want – 4:27 9 – I Can’t Stop – 3:19 10 – Where Is That Place? – 3:59
Credits A&R [Productive A&R] – Aaron Jacoves, Tom Willett Arranged By – David Miner, T Bone Burnett, Tonio K. Art Direction, Photography By, Design – Linda Myers-Krikorian Bass – James Jamerson, Jr. (tracks: 7 to 10) Bass, Double Bass [String Bass], Harmonium, Marimba – David Miner Drum Programming – Ralph Forbes Drums – Raymond Pounds (tracks: 7 to 10) Drums, Synthesizer [Dynacord] – Jim Keltner Electric Guitar – Jack Sherman Electric Guitar [12-string, Gut String, National], Acoustic Guitar – T Bone Burnett Engineer [Assistant Engineering] – Barry Conley, Bob Loftus, Brian Soucy, Dave “The Blade” Knight, Duncan Aldrich, Ira Rubnitz, Tom Banghart Executive-Producer – T Bone Burnett Graphic Design, Layout – Karl Shields, Susan Shields Mastered By – Tony Dawsey Mixed By – Tchad Blake Organ [Farfisa] – Rick Neigher Organ [Hammond] – Booker T. Jones Percussion – Alex Acuña Piano – John Keller Producer [Produced By] – David Miner, Tonio K. Recorded By – Larry Hirsch Recorded By [Additional Recording By] – Larold Rebhun (tracks: 8) Rhythm Guitar [Occasional], Vocals – Tonio K.
Companies, etc. Phonographic Copyright (p) – What? Records Copyright (c) – What? Records Manufactured By – A&M Records, Inc. Distributed By – A&M Records, Inc. Recorded At – The Sound Factory Recorded At – American Recorders Recorded At – Ocean Way Recording Recorded At – Mad Hatter Studios Recorded At – A&M Studios Mixed At – The Sound Factory Mastered At – Masterdisk Published By – Bibo Music Publishers Published By – N.Y.M. Published By – Warner-Tamerlane Publishing Corp. Published By – Safespace Music Published By – Unicity Music Published By – Tea Time Tunes Published By – Yellow Brick Road Music Published By – VALEVISTA Music
Kim was that “girl next door” artist CCM was looking for. That is, if you lived next door to a really attractive girl who appeared to live on a farm and possessed nothing but jeans and an acoustic guitar who drove a 1950’s era puck up truck. Yeah…that next door. After a decent debut that showed glimmers of hope for originality and artistic merit, Kim Hill’s sophomore release, Talk About Life, revealed those possibilities. Less Nashville pop and more female singer-songwriter. Less AC pop and more rock, country and folk. Hill was Christian music answer to the Melissa Etheridge/Meredith Brooks. jean wearing female rocker/songwriter. Hill’s husky alto voice (think Chistine McVie, KT Tunstall)) was great fit to the earthy, acoustic rock on the album. What also worked is a strong lyrical content that went beyond the normal CCM categories, even if the themes remained similar. There is a passion in the content as well as in the performance. “Snakes in the Grass” is one of the great songs in the history of CCM female artists. Her vocal flexibility and range mixed with a stark and edgy production makes this a stand out on so many levels. It’s a song Maria McKee would do, but with no guarantee of better results. The acoustic guitar accentuated by an incredible “rock” string arrangement is pure studio magic. Brown Bannister, more noted for his AC pop, outdid himself on this album. The title track and Closer to a Broken Heart continue the great rock sound in the vein of The Pretenders and Tom Petty. In fact, there are really no weak moments on the albums and has remained her strongest effort, though her follow up also contained similar quality work. Hill would later move in a more worship direction and an involvement with Women of faith type ministries. She has yet to return to this type of music and that is true loss for Christian Music. But even some 20 years later this album sound fantastic and not dated in any way.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Inside Of You – 4:22 2 – Stop, Watch And Listen – 5:14 3 – Secret Place – 4:45 4 – Snake In The Grass – 4:08 5 – Let’s Talk About Life – 2:01 6 – Closer To A Broken Heart – 3:37 7 – Turning – 3:50 8 – Testimony – 3:33 9 – Charm Is Deceitful – 2:21
Credits Art Direction, Design – Jackson Design Coordinator [Production Coordinator] – Richard Headen Cover [Cover Coordinator] – D.L. Rhodes Executive-Producer – Michael Blanton, Terry Hemmings Mastered By – Doug Sax Mixed By – Jeff Balding Photography By – Russ Harrington Producer [Associate Producer] – Wayne Kirkpatrick Producer [Produced By] – Brown Bannister Recorded By [Additional Recording] – Splash Headen, Smash Kirkpatrick Recorded By [Assisted By] – Carry Summers, Steve Bishir Recorded By [Overdubs Recorded By] – Slash Bannister Recorded By [Tracks Recorded By] – Jeff Balding
Companies, etc. Phonographic Copyright (p) – Reunion Records Copyright (c) – Reunion Records Phonographic Copyright (p) – Word Records Limited Copyright (c) – Word Records Limited Phonographic Copyright (p) – Word (Uk) Ltd. Copyright (c) – Word (Uk) Ltd. Manufactured By – Word, Inc. Distributed By – Word, Inc. Recorded At – OmniSound Studios Overdubbed At – Home Groan Studio Mastered At – The Mastering Lab Published By – Pupfish Music Published By – Knightsville Music Published By – Edward Grant, Inc. Published By – Birdwing Music Published By – Songs Of PolyGram International, Inc. Published By – Yellow Jacket Music, Inc. Published By – Emily Boothe, Inc. Published By – Word Music (2) Published By – Riverstone Music, Inc. Pressed By – DADC – DIDX-006789
Here is another example of the different presuppositions between this list and the previous blogs list for determining placement. Though significantly more important to the overall progression of the CCM market, the album does not fair as well when compared to multiple releases per artist and exclusive artistic achievement guidelines. That is not so say this is not a great record, God Forbid. This is ana amazing record and no serious collector should have it missing. “Winds of Heaven” is a lighter, sweeter, sometimes melancholy project that is punctuated with worship and promise. But ultimately it came down to impact and lasting impressions and nothing on “A Liturgy” (or too many other albums for that matter) can match what “Awesome God” has meant to a generation of believers despite being an overall stronger project. If the reader is only familiar with the classic worship tune then they are missing a truly great project. On this album Mullins would change how many people approach the Lord every Sunday morning all across the globe. What started out as a quickly penned worship song for a Youth gathering in Michigan became the single most often sung modern worship song in history. It was also listed as the Number One Christian song in history in CCM Magazine’s countdown of the greatest songs. Oddly enough the verse structure and content is nothing like any other worship song and, in fact, does not lend itself to corporate worship. But when the chorus kicks in there is nothing to compare it to. Memorable, large, boisterous, powerful and lasting. Generations later I am firmly convinced this chorus will still be a staple for God’s people in worship. “If I Stand” follows and may be the strongest song on the project. This song ultimately is about the recognition of man’s frailty and God’s loving compassion toward man. It is a story of reliance on the creator by that which is created. Mullins points to the ultimate relationship a man must have…greater than anything he can find on Earth. One other radio hit from the project is “Such a Thing as Glory.” A musical backdrop bordering on world music sets the stage for a lyrical expression devoted to recognizing the great work of Jesus. Other highlights from this album include “…and I Love You,” and “Home.” For those who may dismiss this album as a “one hit wonder” they have truly missed the heart of an artist that was just beginning to hit his stride. After two poorly received projects (though decent releases on their own), this project moved him into a whole new level of acceptance and the Church and music industry is the better for it. The only thing I have noticed in Mullins music is the lack of humor that he so often displayed in concert. In fact, I remember the first time I saw him was when he opened up for Steve Taylor and Amy Grant (seriously, they toured together). He sat down to polite applause and said; “Now, I know most of you don’t know who in the world I am…but, then again, I don’t know who you are either!” That broke the ice with the crowd and he then proceeded to perform a medley of songs he had written for other artist including Amy Grant’s “Sing Your Praise to the Lord.” That, for some reason, is etched in my memory as much as his memorable songs. He is missed.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – The Other Side Of The World – 2:43 2 – With The Wonder – 4:25 3 – Awesome God – 3:03 4 – If I Stand – 3:39 5 – Home – 4:01 6 – Such A Thing As Glory – 2:41 7 – . . . And I Love You – 3:46 8 – Ready For The Storm – 3:37 9 – One True Love – 4:03 10 – How Can I Keep Myself From Singing – 3:51
Credits Alan Arnett – Background Vocals Reed Arvin – Producer, String Arrangements, Keyboards, Synclavier Jeff Balding – Additional Mix Janis Broughton – Background Vocals Heidi Brown – Background Vocals Fred Carpenter – Fiddle Susan Coker – Background Vocals Scott Coupland – Background Vocals Steve Cudworth – Songwriter Lyn Curley – Background Vocals Keith Edwards – Drums Jennifer Farrar – Background Vocals Jon Goin – Guitar Allison Gordley – Background Vocals Chris Harris – Background Vocals Paul Harris – Background Vocals Mark Heimermann – Background Vocals Terry Hemmings – Executive Producer Kim Hill – Background Vocals Bonnie Keen – Background Vocals Brent King – Mixed Wayne Kirkpatrick – Background Vocals Bryan Lenox – Background Vocals Lori Loving – Background Vocals Gary Lunn – Bass Pam Mark Hall – Background Vocals Dougie McClain – Songwriter David McCracken – Background Vocals Jerry McPherson – Guitar Marita Meinerts – Background Vocals Carmen Minard – Background Vocals Jeff Moseley – Executive Producer Rich Mullins – Songwriter, Vocals Craig Nelson – Acoustic Bass Pam Ourada – Background Vocals Rafael Padilla – Percussion Cynthia Ratliff – Background Vocals Mark Ratliff – Background Vocals Chris Rodriguez – Background Vocals Melinda Scruggs – Background Vocals Billy Simon – Background Vocals Michael W. Smith – Piano Billy Sprague – Background Vocals Melodie Tunney – Background Vocals Hank Williams – Mastered
Companies, etc. Phonographic Copyright (p) – Reunion Records, Inc. Copyright (c) – Reunion Records, Inc. Manufactured By – Uni Distribution Corp. Distributed By – Uni Distribution Corp. Recorded At – Goldmine Recording Studios Recorded At – OmniSound Studios Recorded At – Spence Manor Mixed At – Mastermix Mastered At – Mastermix Published By – Edward Grant, Inc. Published By – Limetree Publishing, Inc. Manufactured By – DADC Glass Mastered At – DADC – DIDX-010100
The story goes that while Roger Rose, the taller and older Rose brother that makes up the band, Mad At The World, was working as a mailman he dropped of a demo tape int he mailbox of Jimmy Kempner, owner of Frontline Records. The tape was passed along and the Rose brothers were eventaully signed by Frontline and in 1987 they released their first of several very successful projects, the self-titled Mad at the World. Completely programmed and synthesized techno music with aggressive 80’s dance beats and a very European vocal styling, the very well produced debut became an instant hit in many Christian circles. Mainstream music was filled with bands like Depeche Mode and Tears for Fears but Christian music’s edgier sounds were usually punk bands of long hair glam rockers like Stryper and Shout. MATW filled a huge void as Christian “dance clubs” were also starting to spring up and techno music was very limited. The lyrics were very “Christian” thematically but dealt with the darker side of life and some people initially struggled with the more dark sounding content. Kids, though, flocked to the album and their reputation spread quickly, especially in Southern California. They were invited to play a New Year’s Eve event at Knott’s Berry Farm, a popular theme park in Orange County. The set consisted primarily of older brother Roger on guitar and keyboards and 15 year old Randy on a bizarre looking electronic percussive contraption. The cool factor was high and their outside show drew huge crowds. Styles would change to darker and heavier rock and eventually to a more Beatlesque pop sound, but it is the first two albums that the band is most remembered for.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Track Listing:
1 – Living Dead – 3:28
2 – All The Lonely Sheep – 5:50
3 – I Want To See Heaven – 4:25
4 – No Room Left – 4:05
5 – Easy Way Out – 3:50
6 – Bad Motives – 4:20
7 – No More Innocence – 5:00
8 – It Can’t Rain Forever – 5:00
9 – Here We Go Again – 3:28
10 – Dry Your Tears – 4:10
11 – Mad At The World – 3:55
12 – Change Of Luck – 3:42
Credits
Arranged By – Roger Rose
Art Direction – Brian Kay, Ed McTaggart
Artwork [Photographics] – Ken Baley
Backing Vocals, Electronic Drums, Percussion – Randy Rose
Engineer – Roger Rose (tracks: B1)
Engineer [Basic Tracks] – Dave Hackbarth (tracks: A1 to A5, B2 to B5)
Engineer [Vocal Tracks] – Dave Jahnsen (tracks: A1 to A5, B2 to B5)
Guitar, Keyboards – Mike Pendleton
Lead Vocals, Keyboards, Guitar, Synthesizer, Electronic Drums, Percussion – Roger Rose
Mastered By – Bernie Grundman
Photography By – Linda Dillon Baley
Producer – Roger Rose
Companies, etc.
Phonographic Copyright (p) – Frontline Records
Copyright (c) – Frontline Records
Distributed By – The Benson Company, Inc.
Recorded At – 3-D Studios, Costa Mesa CA.
Recorded At – Asylomar Studios
Recorded At – MATW Studios
Mastered At – Bernie Grundman Mastering
Pressed By – Record Technology Incorporated – 23329
Pressed By – Record Technology Incorporated – 23330
Hot off the world renowned success of 1976’s “Space Traveler” James Vincert embrace Christianity and set a distinctly different course than the one he had previously been on. Considered one of the best jazz guitarists of his generation James Vincent would record two very directly Christian album, the first being the one in question. Because of the immense success of the previous album “Waiting for the Rain” received a very strong distribution (normally lacking for CCM artists) through his mainstream record company. Filled with some amazing jazz and rock tunes with the emphasis on jazz and Vincent’s brilliant guitar work and the Seawind horn section. Musically in the vein of George Benson or the mellower side of Earth, Wind and Fire with a soulful and rich voice and stellar guitar work. There are two strong radio songs in “What Does It Profit a Man” and “People of the World.” I remember working at KYMS radio some five to 10 years later and still playing these two songs. But really it is the more obscure and less commercial songs that make the album so amazing. Resistance is a progressive jazz piece with limited vocal and several changes throughout while the guitar in Daniel, Daniel will remind many of Keaggy’s guitar styling. How Can I Thank You is a pure delight as Vincent scats over the top of his guitar solo. Though the follow up release, Enter In, may have contained some better and more mature lyrics there is a simplicity and joy to this release that makes it such a treasure.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – What Does It Profit A Man? – 4:50 2 – Resistance – 4:52 3 – Etude #20 – 1:16 4 – Daniel, Daniel – 3:10 5 – People Of The World – 4:39 6 – How Can I Thank You Enough – 4:55 7 – Soon Comes The Son – 3:48 8 – Waiting For The Rain – 3:12 9 – The Seventh Day – 6:11 10 – Babylon Is Fallen – 3:09
Credits Arranged By [Horns] – Seawind Horns Backing Vocals – Carla Vincent (tracks: A5) Bass – Steve Evans Congas – Pat Murphy Drums [Hand & Trap] – Tom Donlinger Guitar – James Vincent Keyboards – Ron Stockert Marimba – Tom Donlinger Percussion – Pat Murphy Percussion, Congas – Carla Vincent (tracks: B5) Producer – James Vincent Saxophone – Kim Hutchcroft, Larry Williams Synthesizer [Roland Guitar, Roland 5h-5] – James Vincent Trombone – Bill Reichenbach Trumpet – Jerry Hey Vocals – James Vincent Whistling – Vincent Dondelinger (tracks: B3)
Companies, etc. Copyright (c) – CBS Inc. Phonographic Copyright (p) – CBS Inc. Published By – Big Elk Music Published By – Caleb Music Published By – Swinghouse Music
Is their a more powerful or intense female vocalist in the world than Lone Justice’s Maria McKee. If there is I have never heard her. Once the opening question, “Should I go North?” is belted out at full velocity this amazing record never loses ferocity and passion. All this is wrapped up in cowpunk like country rock the defies comparison. The first single “Ways to Be Wicked” penned by Tom Petty was sorely misunderstood by many in Christian market that ventured out and bought the project based on reviews in many Christian Music publications. But one cut from the album, the finale, “You Are the Light” found its way onto many Christian Rock radio shows as well as Orange County’s famous KYMS. The beautiful country tinged ballad is a stunning and memorable tune reminiscent of Patsy Cline. Stark, stunning and instantly emotional and authentic. They would follow this with the more commercial and “Christian” sounding album, “Shelter,” that will be discussed later.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – East Of Eden – 2:36 2 – After The Flood – 3:38 3 – Ways To Be Wicked – 3:26 4 – Don’t Toss Us Away – 4:19 5 – Working Late – 2:44 6 – Sweet, Sweet Baby (I’m Falling) – 4:10 7 – Pass It On – 3:38 8 – Wait ‘Til We Get Home – 3:17 9 – Soap, Soup And Salvation – 4:01 10 – You Are The Light – 3:59
Credits Art Direction – Jeffrey Kent Ayeroff, Paula Greif Bass – Marvin Etzioni Design – Jeri McManus Drums – Don Heffington Engineer – Shelly Yakus Guitar – Ryan Hedgecock Management – Carlyne Majer Mastered By – Stephen Marcussen Mixed By – David Thoener (tracks: B4), Don Smith (tracks: A1 to A3, A5, B2, B3), Greg Edward (tracks: A4, B1, B5), Shelly Yakus (tracks: A1 to A3, A5, B2, B3) Photography By – Deborah Turbeville Piano, Organ – Benmont Tench Producer – Jimmy Iovine Production Manager [Coordinator] – Janet Weber Recorded By – Greg Edward (tracks: A4, B1, B2), Joe Chiccarelli (tracks: A3, B3), Shelly Yakus (tracks: A1, A2, A5, B5), Thom Panunzio (tracks: B4) Vocals – Maria McKee
Companies, etc. Distributed By – WEA Music Of Canada, Ltd. Manufactured By – WEA Music Of Canada, Ltd. Recorded At – Power Station Recorded At – Sunset Sound Recorded At – Amigo Studios Recorded At – Rumbo Recorders Overdubbed At – Sunset Sound Overdubbed At – The Village Recorder Overdubbed At – Amigo Studios Overdubbed At – Rumbo Recorders Overdubbed At – Studio 55, Los Angeles Mastered At – Precision Lacquer Mixed At – The Village Recorder Mixed At – Rumbo Recorders Mixed At – Sound City Studios
