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
If there was one group that bridged the gap between the Jesus Music of the 1970’s and the introduction of what is known as CCM, it is the Sweet Comfort Band. Four immensely talented musicians, songwriters and a future superstar in the making in lead vocalists Bryan Duncan. Borrowing directly from the funk/soul sounds of the late 70’s without falling into the trap of disco, Sweet Comfort created an album for the ages with sharp production, killer grooves, monster vocals and some of the most stirring ballads for the day. The style was much more Chicago and Steely Dan than just about anything else. Kicking it off with a long time live favorite, Got to Believe, Duncan shares the lead vocal duties with guitarist Randy Thomas who really shines on guitar later in the song. And the horn section just takes the song to a level comparable to the aforementioned Chicago. At the time CCM was really lagging behind in the production quality world (this based more on minuscule budgets than musicianship) and the band really created a new standard here. The title track also shines with Thomas also taking on vocal duties and the horn section again driving the song. Other rockers that shine include: Melody, Harmony, Searchin’ For Love and possibly the best song song on the whole project, Good Feelin’. Good Feelin’ really shows Duncan’s range and Thomas’ guitar prowess. But I would be remiss to discount the strength of the ballads on this album. I Need You Love Again is a beautiful call to the Lord for His graciousness toward a fallen soul. But it’s the albums closer, I Love You With My Life, that remains a true classic and a song many believe (myself included) is the finest song the band ever performed. This beautiful reminder of Jesus’ final words to the disciples is comforting and inspiring. It also contains the trademark Duncan powerful ballad vocals. Breakin’ the Ice will not be the last of the Sweet Comfort albums listed as the band was incredibly important in the burgeoning CCM scene and made several exceptional albums. Breakin’ is simply one of them.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Got To Believe – 3:56 2 – Breakin’ The Ice – 3:40 3 – Young Girl – 3:15 4 – Melody, Harmony – 3:20 5 – I Need Your Love Again – 4:30 6 – Good Feelin’ – 4:00 7 – Searchin’ For Love – 4:06 8 – The Lord Is Calling – 3:56 9 – I Love You With My Life – 4:01
Credits Arranged By [Horns] – Kim Hutchcroft Bass – Kevin Thomson Design [Cover Design], Artwork – Kernie Erickson Drums, Vocals – Rick Thomson Engineer [Maranatha Studios] – Dan Willard Engineer [Martinsound Studio] – Jack Joseph Puig Engineer [Mastering] – Ken Perry Engineer [Mix Down] – Mike Stone Guitar, Vocals – Randy Thomas Horns – The Seawind Horns Horns [The “Seawind Horns”], Alto Saxophone, Organ [Flute Organ], Synthesizer [Oberheim Mini Moog], Synthesizer [Prophet 5 Synthesizers] – Larry Williams Horns [The “Seawind Horns”], Tenor Saxophone, Flute – Kim Hutchcroft Horns [The “Seawind Horns”], Trombone – Bill Reichenbach Horns [The “Seawind Horns”], Trumpet, Flugelhorn – Jerry Hey Keyboards, Vocals – Bryan Duncan Percussion – Steve Foreman* Photography By – Linda Dillon, Mark Worthington Producer, Arranged By [Horns] – Bob Wilson
Companies, etc. Phonographic Copyright (p) – Lexicon Music, Inc. Copyright (c) – Lexicon Music, Inc. Recorded At – Martinsound Recorded At – Maranatha! Studio Mastered At – Capitol Studios Published By – Lexicon Music, Inc. Published By – Sojourn Music
The best of all of Joe English’s contribution to the world of CCM was also his last. There was band name from The Joe English Band to just The English band and a decidedly much more contemporary sound than the previous albums that seemed dated, even by the standard of the day, despite having some wonderful songs and killer production attached to them. Joe English entered the Christian Music world with a bang with name recognition high as the drummer for the band Wings of Paul McCartney fame. After producing a few pop albums in a distinctly 70’s feel there was clear need for a change. That change came in the form of a new label, new musical direction as well as the previously mentioned band name change. More “modern” sounds with heavier guitars, bigger and glossier production, electronic drums (a thankfully short lived music experiment in the world of music) and more contemporary musical arrangements made the album a pretty big hit with several Top 10 radio hits. His back up band were an amazing group of musicians that also recorded a solo record of their own under the name Forerunner with former Petra member John Lawry handling the vocals. What You Need, The Master, Yield to the Spirit and Children of the Light are all stand outs. It may be difficult for some to listen to the album now is it was clearly impacted by the sound of the day and does not translate as well as other album. But for the time the album was a standard. The musical direction also impacted groups like the Imperials. English would return to do a solo album a few years later that did not make a dent. He then simply disappeared and was unable to continue drumming due to some physical ailments regarding his ankles. He has also recently been seen filming a video for a questionable and controversial Church in the south where he denounces his years in CCM as a fraud, claiming to have never been a Christian during those days.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – What You Need – 3:33 2 – The Master – 3:38 3 – Take the Cross – 4:05 4 – The First Stone – 3:10 5 – Easy Street – 3:13 6 – I Will Follow You – 3:51 7 – Yield to the Spirit – 3:52 8 – The Joy of the Lord – 4:12 9 – Children of the Light – 3:29 10 – Through the Veil – 2:22
Credits Kim Boyce – Background Vocals Paul Brannon – Songwriter, Bass, Guitar Steve Camp – Songwriter George Cocchini – Producer, Songwriter, Guitars, Bass Rick Crawford – Songwriter James Isaac Elliott – Songwriter Joe English – Producer, Songwriter, Drums, Vocals Glen Allen Green – Songwriter, Background Vocals Monroe Jones – Songwriter Chris McCollum – Songwriter Paul Mills – Songwriter, Keyboards, Synclavier Justin Peters – Songwriter Brian Tankersley – Producer, Engineer, Mixed, Background Vocals Becky Thurman – Songwriter Geoff Thurman – Songwriter David Zycheck – Background Vocals
Companies, etc. Phonographic Copyright (p) – Word, Inc. Copyright (c) – Word, Inc. Distributed By – GMB Distributed By – Nye Toner / Teovision Distributed By – Finngospel Distributed By – Sephora Diffusion Distributed By – Emmaul Distributed By – GMI Records Distributed By – Filadelfia Forlag Distributed By – La Sorgente Music Distributed By – Master Music Distributed By – Grace Music Distributed By – Master-Vision-S.A. Distributed By – Leon Music A.B. Distributed By – Kir Music Distributed By – Word (Uk) Ltd. Distributed By – Pila Music Engineered At – Rivendell Recorders Mixed At – Rivendell Recorders
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
