David Lowman – Page 9

Daniel Amos – Fearful Symmetry – 1986

It is amazing to consider that within a year the conclusion of the Alarma Chronicles will be celebrating its 25th anniversary. 25 years ago one of the most impressive, ambitious and amazing four album series came to an end with a work of sheer art. Each album was unique musically with Fearful Symmetry being the darkest, brooding and mysterious of the four. Following the significantly more new wave “pop” of Vox Humana, FS was shocking, intriguing and…well…fearful. The majority of the album deals with darker subjects like death, pain and loss and the musical soundscape of ethereal vocals and sweeping and weeping keyboards envelope the listener in the dark cloud of the content. That is not to say that the album is replete of hope or grace, but actually just the opposite. It is through the valley of this projects the light that does shine through appears that much brighter. Terry Scott Taylor’s admiration of and inspiration by William Blake is the strongest on this project. From the album title to the most haunting song, Sleep Silent Child, the album is filled with images and direct quotations from Blake. The album does close with the stunningly simple and beautiful lullaby or sorts, Beautiful One. This one hearkens back to Taylor’s solo projects with the sing-songy simplicity and lush keyboard strings and Taylor’s lilting higher register. It is the perfect ending to the “chronicles” as it’s message about the eternal hope of all Christians to find themselves in the arms of the Beautiful One upon their death. I remember when the album was released the number of complaints we received were almost exclusively related to the naked man (from the waist up) on the album cover. Those that complained obviously never listened to nor understood the content of the project or the complaints may have been drastically different. More keyboard driven and music less guitar oriented. the album reflected much of the European alternative music of the day like Depeche Mode, Alphaville, etc but also shows reflections of art rock music of Genesis and Pink Floyd. Not immediately accessible or as warmly received as the first four projects, the album eventually became regarded as one of the best of the Daniel Amos catalog.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – A Sigh For You – 3:58
2 – The Pool – 3:47
3 – Sleep Silent Child – 4:38
4 – Neverland Ballroom – 3:17
5 – Strong Points, Weak Points – 3:55
6 – Instruction Thru Film – 3:20
7 – When Moonlight Sleeps (On The Frosted Hill) – 3:55
8 – Sudden Heaven – 3:23
9 – Shadow Catcher – 4:32
10 – Beautiful One – 3:33

Credits
Arranged By [All Arrangements By] – DA
Art Direction, Layout – Mr. Ed (McTaggart)
Backing Vocals – Crystal Lewis (tracks: B2, B5), Jerry Chamberlain (tracks: A5, B5)
Design Concept [Cover Concept] – DA
Drums, Percussion, Synthesizer [Synthesizers] – Ed McTaggart
Electric Bass, Double Bass [Upright Bass], Bass [Electric Twelve-String Bass], Guitar [Guitars] – Tim Chandler
Keyboards, Snare [Snares] – Rob Watson (tracks: A3)
Lead Guitar [Lead Guitars], E-Bow [E-Bo], Synthesizer [Synthesizers], Organ [Pump Organ], Dulcimer, Mandolin – Greg Flesch
Mastered By – John Matousek
Narrator – Jerry Chamberlain (tracks: B1)
Percussion – Alex MacDougall (tracks: B2, B5)
Photography By [Band Photos By] – Linda Dillon Baley
Photography By [Photographics By] – Ken Baley
Photography By, Photography By [Photographics By] – Derrill Bazzy
Producer – DA, Terry Taylor
Recorded By, Mixed By – Dave Hackbarth, Doug Doyle, Terry Taylor
Synth [Synth Treatments] – Dave Hackbarth (tracks: A1, B3), Doug Doyle (tracks: A1, B3)
Text By [¡Alarma! Chronicles Text Volume 4 By] – Greg Flesch, Terry Taylor
Vocals, Guitar [Guitars], Harmonica, Synthesizer [Synthesizers] – Terry Taylor

Companies, etc.
Distributed By – The Benson Company
Distributed By – The Master’s Collection
Phonographic Copyright (p) – Frontline Records (3)
Copyright (c) – Frontline Records (3)
Published By – Broken Songs
Recorded At – 3-D Studios, Costa Mesa CA.
Mastered At – Hitsville

David Meece – Are You Ready? – 1980

The term “classic” gets thrown around a lot, both here and elsewhere, when trying to discuss the world of music. Often it’s a term meant to designate a song that’s just really good, but it should be used to describe something with true lasting value. A song the remains viable and important decades later. When one uses the latter, more significant definition, the number of truly “classic” songs becomes much more limited. Very few artists have ever truly written a “classic” song. But in 1980 one young singer-songwriter did just that. David Meece was a popular late comer to the Jesus Music movement and is more closely associated with the burgeoning CCM world. His high pitched voice (think a Gibb brother) and stylized pop (think ABBA) made him a safe and family friendly CCM music star. Sometime after 1980’s “Are You Ready” the term would be superstar. After 9 very strong pop (disco even) songs and great and memorable ballads came the albums finale, “We Are The Reason.” The song would become on of the most popular songs in CCM history and would easily rank in the Top 5 of all time classic songs. There has yet to be a Christmas or Easter when the song is not reprised somewhere and some way. It really is a beautiful and well written song. Feeling a little like a Barry Manilow ballad with the key change and all, the song is dynamic and emotional. Starting slow and building into a great crescendo, it has struck a musical and emotional core for over three decades now. Great song and closes a great album, the best in Meece’s career.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Follow You – 2:55
2 – Peace In My Heart – 2:50
3 – Comin’ Back – 3:02
4 – Gospel Train – 2:48
5 – Love One Another – 5:18
6 – Are You Ready? – 3:59
7 – Just A Little More Time – 4:07
8 – Have A Little Talk – 3:39
9 – Satan, Just Leave Me Alone – 2:48
10 – We Are The Reason – 4:43

Credits
Brown Bannister – Producer
Kathleen E. Berk – Bagpipe
Michael Blanton – Executive Producer
Mike Brignardello – Bass
Clay Caire – Drum Overdubs
Eddie DeGarmo – Piano, Rhodes, Synthesizers
Diana DeWitt Hanna – Background Vocals
Becky Foster – Background Vocals
Leon Gaer – Bass
Bob Gelotte – Drums
Jon Goin – Electric Guitar
John Hampton – Drums
Ron Huff – String Arranger
Greg Huffman – Drum Corp
Shane Keister – Piano, Organ, Rhodes, Special Effects
Dana Key – Guitars
Patti Leatherwood – Background Vocals
Paul Leim – Drums
Terry McMillan – Percussion
David Meece – Songwriter, Keyboards, Percussion, Vocals
Gary Pigg – Background Vocals
Harlan Rogers – Piano, Synthesizers
Buddy Skipper – Horn Arranger
Denis Solee – Saxophone, Lyricon, Flute
Keith Thomas – Background Vocals
Billy Walker – Electric Guitar
Jack Williams – Bass

Companies, etc.
Published By – Word Music (2)
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Mastered At – Masterfonics
Pressed By – Monarch Record Mfg. Co.

Jon Gibson – Body & Soul – 1989

Jon Gibson would score higher sales (Jesus Loves Ya) and radio success (Forever Friends) elsewhere, but his true artistic triumph came on this sweet little record, Body & Soul. Combining an obvious Beatles influence with his Stevie Wonder grooves helped Gibson create an utterly unique and never duplicated release. The album would also feature Gibsonsd most transparent, thoughtful and poignant songwriting. The soulful crooning and Gospel infused Church Anthems still remain, but there is a distinct musical quality, a fresher, more earthy appeal, that sets the record apart. It also remains the finest production work in Bill Baumgart’s career. The sub-three minute Beatle’s directed “Heart of Gold” kicks off the album with a great Abbey Road era sound to the opening strings followed by Bill Baumgart’s great piano that would prove to be the central instrumentation for the whole project. “In the Name of the Lord” follows and remains one of Gibson’s biggest radio hits despite many stations rejecting the song based on the term “good God” used in the chorus. But it is with the ballads that Gibson becomes most personal and intimate. Whether biographical or not, many of the slower songs capture a hurting and striving artist. Most notably is “Merry-Go-‘Round.” The sense of loss and repentance found in the words of a father seeking redemption are at times chilling. “God Will Find Ya” has Gibson with a psuedo-falsetto vocal that whines through a hypnotic melody that never pushes the groove. Possibly the strongest ballad is “Father, Father.” Another song of repentance builds and builds as it moves to a great vocal climax, more emotional than many other Gibson ballads. Two last songs of note are the great cover of Stevie Wonders “Have a Talk With God,” that features a cameo by Wonder on harmonica and the killer closer, Everyone Needs the Lord.” The later is Black Gospel masterpiece that Smokie Norful really needs to cover. Starting slow and building up both the passion and pace as it moves, the song would become a moderate hit and great live experience. With it Gibson continued to prove he was easily the most soulful artist in CCM at the time, and maybe ever. the only criticism is that it is clearly 3 minutes too short!

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Heart Of Gold – 3:02
2 – In The Name Of The Lord – 4:38
3 – Merry-Go-Round – 4:46
4 – God Will Find Ya – 4:36
5 – Father, Father – 3:52
6 – Have A Talk With God – 3:28
7 – Long Ago – 4:32
8 – Us Now – 3:07
9 – Everyone Needs The Lord – 3:56

Credits
Art Direction – Ed McTaggart
Backing Vocals – Belinda Stewart (tracks: 2,6), Beverly Williams (tracks: 2,6), Crystal Blake (tracks: 3), Francine Williams (tracks: 2,6), Jon Gibson, Lisa Russo Judd (tracks: 2,6)
Choir – The Friendship Baptist Choir
Co-producer – Jon Gibson
Engineer – Bill Wolfer
Engineer [Assistant] – Eric Kibbe, Jon Gibson
Executive Producer – Brian K. Tong
Guitar – Jon Gibson, Kit Charlton
Harmonica – Stevie Wonder (tracks: 6)
Keyboards, Drum Programming, Synthesizer [Bass Synth] – Bill Wolfer
Keyboards, Guitar, Lead Vocals – Jon Gibson
Keyboards, Programmed By – Paul Gottschalk
Lead Vocals – Cubby Ingram (tracks: 8), Jon Gibson
Mixed By – Bill Wolfer
Percussion [African Drums], Cuica, Djembe – Vinx
Photography By – Ken Kloster
Producer – Bill Wolfer

Companies, etc.
Recorded At – Mixing Lab B
Mixed At – 7th Street Sound

Michael W. Smith – The Big Picture – 1986

It has been said here and elsewhere (and quite often) that a CCM album’s depth, quality and creativity will be inversely proportionate to its sales success. Meaning; the better the album the fewer the people that will purchase it. This appears to remain true even for CCM’s golden boy and most popular and prolific male artist, Michael W Smith. The Big Picture, Smith’s artistic triumph remains his weakest selling album and the only album in his career not to reach even gold status. After a strong debut and the utterly forgettable argyle sock of a sophomore release (aptly titled “2”), Smith grabbed the CCM world by the throat with an album that was sonically, creatively and musically miles ahead of the rest of the Nashville pablum for the time. From the dark purple and gold hues of the artwork to the tasteful technological advances and superior production, the Big Picture is great from start to finish. What keeps the album from falling off the tracks in a travesty of technological traps is that the songs themselves are very organic and real. Taking themes from the culture and wrapping them in modern sounds with a clear and poignant response to the baggage those theme bring along makes the album the one worthy release from Smith in the Top 100. Producer John Potoker had worked with Brian Eno, Madonna and a host of others and had a huge influence on the musical direction and big production sound. Many will obviously find the music and production technique dated, but one of this lists presuppositions was to judge albums based on the time they were recorded and what was happening musically. And for that, this album is the most “current” album of Smith’s career. He would record about 10 more albums in a row that are completely indistinguishable from one another. But the strength here lies not in the production (or over-production) but in the strength of a songwriter album to have his songs outlast even the dated production technique.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Lamu – 5:55
2 – Wired For Sound – 6:00
3 – Old Enough To Know – 4:47
4 – Pursuit Of The Dream – 5:00
5 – Rocketown – 4:32
6 – Voices – 5:50
7 – The Last Letter – 4:37
8 – Goin’ Thru The Motions – 4:55
9 – Tearin’ Down The Wall – 3:35
10 – You’re Alright – 4:36

Credits
Artwork By [Art Direction And Design] – Kent Hunter, Thomas Ryan Design
Backing Vocals – Chris Harris, Wayne Kirkpatrick
Bass, Chapman Stick – Tony Levin
Bass, Drum Programming – Gary Lunn
Drum Programming – Frank Doyle, Tokes, Mark Kovac
Drums – Steve Ferrone
Drums, Drum Programming – David Huff
Engineer [Additional] – Bill Heath, Bob Vogt, Clark Schleicher, Ed Goodreau, JB, Jeffrey Dovner, Jon Goldberger, Keith Odle, Ken Criblez, Mike Clute, Nick Deire, Rob Feaster, Spencer Chrislu, Tim Hatfield, Tony Volante
Executive-Producer – Brown Bannister, Dan Harrell, Michael Blanton
Guitar – Dann Huff, Eddie Martinez, Nick Moroch
Guitar, Backing Vocals – Chris Rodrigues
Horns – Jim Pugh, Michael Brecker, Randy Brecker
Keyboards, Drum Programming, Backing Vocals – Michael W. Smith
Keyboards, Programmed By [Fairlight], Drum Programming – Shane Keister
Mastered By – Ted Jensen
Other [Child] – Christopher Copeland
Other [Grooming] – Jody Morlock, Julie Miller Overstreet
Other [Production Coordinator] – Kimberly Smith
Other [Styling] – Beverly Ann Moore
Percussion – Bashiri Johnson
Photography By – Dean Dixon, Larry Williams
Producer – John Potoker, Michael W. Smith
Programmed By [Synclavier] – Steve Schaffer

Companies, etc.
Phonographic Copyright (p) – Reunion Records – 1986
Copyright (c) – Reunion Records – 1986
Manufactured By – Word, Inc.
Distributed By – Word, Inc.
Recorded At – Power Station
Recorded At – Mediasound
Recorded At – Sigma Sound Studios, New York
Recorded At – Soundtrack Studios
Recorded At – Bullet Recording
Recorded At – The Bennett House
Recorded At – Emerald Sound Studios
Recorded At – The Castle Recording Studios
Recorded At – Blue Jay Studios
Mixed At – Blue Jay Studios
Mastered At – Sterling Sound

Avion – Avion – 1983

A few decades before he would grace the stage nightly with country mega-star Shania Twain, guitarist and vocalist Randall Waller lead his band Avion with amazing guitars and vocals. The band would release two albums and Waller would release a solo project under the “Larry Norman Presents” banner on Tunesmith Records. In 1983 the band would release its first album on 1983 and despite great songs, top notch production and radio friendly image and music, the album just didn’t go anywhere. There are so many great songs here produced so incredibly well it becomes another one of those great frustrations in the music world. Several songs also appear on Waller’s “Midnight Fire.” Straight ahead early 80’s rock with a touch of southern rock thrown in for fans of the Eagles (Long Run), Aerosmith, Loverboy and 38 Special. I Need You, Lady of the Night and Always waiting are those that also appear on Waller’s solo album, but appear here with slightly different arrangements and significantly better production. “Once Bitten, Twice Shy” remains a favorite some 30 years later with it’s great rhythm guitar riff and sexy vocals. Waller commands the vocal stage so well it’s really amazing he never broke into the mainstream. The album can be a tough find but well worth the effort.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – I Need You – 3:51
2 – Diamond Eyes – 4:17
3 – Lady Of The Night – 2:58
4 – We Can Try – 3:24
5 – Warrior – 4:34
6 – Never Let Me Go – 4:27
7 – Where Do We Go From Here – 3:40
8 – Always Waiting – 3:32
9 – Who’s Crying Now – 3:06
10 – Once Bitten, Twice Shy – 3:19

Credits
Bass, Backing Vocals – Kendall Waller
Drums, Backing Vocals – John Waller
Guitar – Martyn Toole
Keyboards – Evan Murray
Producer – Chris Gilbey
Vocals, Electric Guitar, Acoustic Guitar – Randall Waller

Companies, etc.
Phonographic Copyright (p) – RCA Records
Copyright (c) – RCA Inc.
Distributed By – RCA Inc.
Manufactured By – RCA Inc.

Leslie Phillips – Beyond Saturday Night – 1983

Along with Julie Miller, Leslie (Sam) Phillips is the only female artist to have four albums included on this list. It was very close to five but Powder Room Politics was a deal breaker. Phillips began her career singing backing vocals for other LA based Myrrh artists like Randy Stonehill, David Edwards and Mark Heard. It was while singing backing vocals on Mark Heards classic “Victims of the Age” album that she heard the song “Heart of Hearts” that she would cover on this album and would become her first of several career hits. As much as the label would push her as the Christian Cyndi Lauper, only a few cuts from Dancing With Danger would really qualify. The only comparison was the high pitched, young girl sounding voice (similar to Julie Miller in many ways), for Leslie was more rock than pop and more lyricist than entertainer. BSN is filled with so many amazing and lasting songs that there actually no real forgettable songs. Michael Landua’s impressive guitar work (similar to Dann Huff and Steve Lukather) was unfortunately lost often in Jack Joseph Puig’s mixes. I have often wondered if the record company requested that the album be softened in the mix as it has been a constant frustration just how such impressive guitar work would be so stifled in the production. Songs like Hourglass, Heart in Me, Bring Me Through and He’s Gonna Hear You Crying deliver the rock goods that deserve a remix and remastering at some point. Phillips also proved early that she could bring a ballad with passion and transparency sorely lacking from female artists at the time. I’m Finding became a huge radio hit while the title track and Heart of Hearts show the strength of an artists that is rarely seen on a debut project. Phillips would go one to be one of the important, prominent and perplexing artist in CCM history,

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Hourglass – 3:28
2 – Gina – 3:24
3 – Put Your Heart In Me – 4:00
4 – I’m Finding – 3:23
5 – Beyond Saturday Night – 4:27
6 – Bring Me Through – 4:43
7 – Heart Of Hearts – 3:14
8 – Will They Love Him – 4:31
9 – He’s Gonna Hear You Cryin’ – 3:10
10 – Let Me Give – 3:42

Credits
Backing Vocals – Bob Carlisle, Brian Duncan, Leslie Phillips
Bass – Leland Sklar, Nathan East
Coordinator [Production Coordinator] – Susan Pyron
Design [Album Design] – Paradise Graphics, Paul Gross, Steve Elowe
Drums – Carlos Vega
Executive-Producer – Doug Corbin
Guitar – Michael Landau, Randy Thomas
Keyboards – John Schreiner, John Hobbs, Robbie Buchanan
Liner Notes – Davin Seay, Leslie
Mastered By – Doug Sax, Mike Reese
Photography By – Aaron Rapoport
Producer, Recorded By – Jack Joseph Puig
Synthesizer – John Schreiner, John Hobbs

Companies, etc.
Record Company – Myrrh Records
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Pressed By – Monarch Record Mfg. Co. – Δ25989
Published By – Word Music (2)
Published By – Cutting Edge Music
Published By – Maranatha! Music
Published By – Bug & Bear Music
Recorded At – Bill Schnee Studios
Recorded At – Goldmine West
Recorded At – Mama Jo’s
Mastered At – The Mastering Lab

Kansas – Audio-Visions – 1980

The last album to feature the original (at least recorded version) members of Kansas. It is also the first “post-conversion” Kansas album for band leader Kerry Livgren. Lead singer Steve Walsh would soon leave the band to pursue solo ventures. It was also considered that his departure was influenced by the increasing Christian content presented by Livgren and supported by two other recent Christian converts in the band. The album shows a disjointed vision with Livgren’s distinctly Christian content and Walsh’s decidedly worldly lyrical influence. But Walsh was a very special vocalist and hearing him sing Livgren’s work is compelling. He also stayed around long enough to work on the demos for the follow-up album (Vinyl Confessions) and I do have copies of those demos. AV has all the trademarks and trappings of Kansas with progressive, classically influenced rock epics filled with progressive time signature changes, creative arrangements, violin interludes and thought provoking lyrical images. It also contains what could be Livgren’s finest Christian song on a Kansas project, No One Together. Clocking in at nearly seven minutes this song should rank along with Portrait (He Knew), Song For America, Journey from Mariabronn and Magnum Opus in Kansas “epic” lore.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Relentless – 4:55
2 – Anything For You – 3:56
3 – Hold On – 3:45
4 – Loner – 2:26
5 – Curtain Of Iron – 6:08
6 – Got To Rock On – 3:19
7 – Don’t Open Your Eyes – 4:03
8 – No One Together – 6:54
9 – No Room For A Stranger – 2:55
10 – Back Door – 4:20

Credits
A&R [Correspondence] – Brad Lentz
Bass, Vocals – Dave Hope
Co-producer, Engineer – Brad Aaron, Davy Moire
Crew – Clay Schell, Jerry Gilleland, Merle McLain, Steve “The Count” Venezia
Design [Album], Art Direction, Illustration [Additional] – Tom Drennon
Design Concept [Album] – Kansas
Drums, Percussion, Vocals – Phil Ehart
Engineer [Assistant] – Greg Webster
Guitar, Keyboards, Percussion, Vocals – Kerry Livgren
Guitar, Percussion, Vocals – Rich Williams
Illustration – Peter Lloyd
Keyboards, Vibraphone [Vibes], Percussion, Lead Vocals – Steve Walsh
Management – Budd Carr
Mastered By – George Marino
Photography By [Inner Sleeve] – Exley
Producer – Kansas
Technician [Studio Assistance] – Jerry Gilleland, Count Venezia
Violin, Viola, Lead Vocals – Robby Steinhardt
Voice [Additional], Sounds – Donna Williams, Joey Jelf, Lisa White, Terry Ehart, The Four Bassmen, Vicci Livgren
Written-By – Hope (tracks: B2), Livgren (tracks: A1, A3, A5, B2, B3), Ehart (tracks: B2), Williams (tracks: B2, B4), Walsh (tracks: A2, A4, B1, B2, B4, B5)

Companies, etc.
Recorded At – Axis Sound Studio
Mixed At – Axis Sound Studio
Mastered At – Sterling Sound
Pressed By – Columbia Records Pressing Plant, Pitman
Record Company – Don Kirshner Entertainment Corp.
Distributed By – CBS Records
Distributed By – CBS Inc.
Published By – Don Kirshner Music
Published By – Blackwood Music Publishing
Published By – CBS Music Publishing
Phonographic Copyright (p) – CBS Inc.
Copyright (c) – Corn & Blood, Inc.

Vision – Vision – 1985

Though promoted heavily as a band featuring two members of the classic Southern Rock band, Lynard Skynard, Vision was really driven by the guitar and vocals of Rocco Marshall. Lynard Skynard pianist Billy Powell lends both credibility and chops as the piano is a central force and Powell delivers. The comparisons to Skynard are not quite as accurate as is something more akin to 38 Special and even Kansas as there are some very progressive moments included. More pop infused than Skynard Southern funk, Vision was unfortunately short lived. Heartland records did not survive very long and seemed unable to introduce the band to the CCM world at large. This should not keep the reader from doing whatever possible to track down a copy of the CD which has been recently released. This is another AYSO!

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Dynamos – 4:10
2 – Lord Is My Joy – 3:45
3 – Old Man – 3:19
4 – Dedicated – 3:40
5 – Soldiers Song – 3:40
6 – Standing On The Rock – 4:25
7 – Don’t Say It’s Over – 3:54
8 – Psalm 23 – 3:52
9 – You Are My Only Lord – 3:24
10 – You’re The One – 3:17

Credits
Bass – Greg McNeily (tracks: A5, B3), Martin Tomlinson
Design – Stephen Wells
Drums, Vocals – Mike Maple
Engineer [Assistant] – Andy Deganahl, Chuck Kjergaard, Shawn Hurley
Mastered By – Mike Fuller
Photography By – John Petrey
Piano – Billy Powell
Producer, Engineer – Greg McNeily
Saxophone – Keith Holmes
Synthesizer – David Jinright
Synthesizer [Additional] – George Atwell
Vocals, Guitar – Rocco Marshall
Vocals, Guitar, Violin – Leonard Jones

Companies, etc.
Distributed By – The Benson Company, Inc.
Recorded At – New Covenant Ministries
Overdubbed At – Starke Lake Studios
Mastered At – Criteria Recording Studios
Mixed At – The Full Sail Dream Machine

Farrell And Farrell – Choices – 1984

Bob and Jane Farrell, the married couple that make up Farrell & Farrell were responsible for some of the most memorable and successful pop music in CCM history. For two decades they toured the world and consistently released top selling albums, moving in many different musical direction while never leaving the safety net of worshipful tunes set to very accessible pop arrangements. Choices was the first of several very technologically driven pop albums where synthesizer and techno dance beat reigned supreme. Earlier works were more traditional 70’s and 80’s acoustic pop music with an occasional rock edge. After a live album the duo returned in 1984 with a new look and decidedly new sound. Influenced by the technology of the day and desire to reach a wider and younger audience, the couple embraced the new technology with abandon. The album starts off with what is probably the couple’s most recognizable song and biggest hit, Hosanna Gloria. An upbeat worship tune with electronic drums and keyboard string arrangement, the song became a long time favorite on Christian radio. “He Reigns” duplicates the success of the former. The song the best seems to use the technology is the hit, Get Right or Get Left. The popular jingoist bumber sticker chorus about the popular rapture view uses an electronic recorded vocals as well as instrumentation. The duo has re-released this album along with all of their earlier works on CD, which none of the early releases had seen before. Bob has proven to be a great songwriter over the years and for ten years or so they were amongst the best selling and most popular groups in CCM.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Hosanna Gloria – 3:07
2 – He Will Always Make A Way – 3:55
3 – Get Right Or Get Left – 3:45
4 – Through Your Eyes – 3:46
5 – Ransome – 3:16
6 – He Reigns – 3:23
7 – The Greatest Of These – 3:08
8 – Choose To Love – 3:24
9 – Give Me The Words – 3:55
10 – He Is There – 3:24

Credits
Arranged By [Track Arrangements] – Carl Marsh (tracks: A1 to A4, B1 to B5)
Art Direction, Design – Joan Tankersley
Choir [Rock Choir] – Bob Farrell, Dana Key, David Mayo, Debbie Cathey, Jack Holder, Jayne Farrell, Jimi Jamison
Coordinator [Tour Coordination] – Pamela Muse
Drums [Acoustic And Simmons] – Chad Cromwell, John Hampton
Executive-Producer – Dan R. Brock
Keyboards – Carl Marsh, Ed DeGarmo, Keith Thomas
Layout – Lori Cooper
Lead Guitar [Electric], Rhythm Guitar [Electric] – Dana Key
Lead Vocals – Bob Farrell, Jayne Farrell
Management [Management / Direction] – Dan Brock Associates
Mastered By – Steve Hall
Mixed By – Ed DeGarmo (tracks: A1 to B2, B4, B5), Jonathan David Brown
Orchestrated By [Orchestration Conceived, Arranged And Performed By On The Fairlight CMI] – Carl Marsh
Photography By – Craig Stewart
Producer [Produced By] – Bob Farrell, Ed DeGarmo
Recorded By [Overdubs] – Brian Tankersley, Ed DeGarmo
Recorded By [Tracks] – John Hampton

Companies, etc.
Copyright (c) – Star Song Records
Phonographic Copyright (p) – Star Song Records
Produced For – Mint Productions
Distributed By – Word, Inc.
Recorded At – Ardent Studios
Recorded At – Rivendell Recorders
Mixed At – Rivendell Recorders
Mixed At – Weddington Studios
Mastered At – Future Disc
Published By – StraightWay Music
Published By – Warner Bros. Music
Published By – Bob Montgomery Music Inc.
Published By – Paragon Music Corp.
Published By – Yellow House Music
Pressed By – Monarch Record Mfg. Co. – △26434

David Mullen – Revival – 1989

In the summer of 1988, the year I was married and would also move to Maryland to begin working for the Benson Company I attended the Christian Artists event known as Estes Park in the Rocky Mountains of Colorado. Somehow I ended up meeting and hanging out with a new artists who was in the midst of recording his debut project. He would perform during the week and I became an instant fan. Less than a year later David Mullen’s debut, “Revival” hit the stores and went beyond anything i had imagined from meeting and spending time with him. That amazing, razor edged and strained voice, the pounding rock and blues were only outdone by some amazing songwriting. Mullen would record only three albums but would win a shelf full of songwriting awards for his wife, Nicole C Mullen (aka Nicole on two Frontline released projects), as well as a who’s who list of CCM artists. When Nicole was an artist on Frontline David came with her to a Frontline sales conference and we played a game of softball. I played shortstop and robbed him of a sure double by stabbing a smoking line drive (that’s just a reminder to David in case he ever reads this). The title track rocks in a real Mellencamp, Americana fashion. His voice gravels through and killer hook in the chorus. “Sho’ Love You” keeps the same theme of true American rock with a phenomenal backing band. “Heaven’s to Betsy” takes the popular phrase and twists the meaning and turned it into a radio hit. The real centerpiece of the album is “Backstreet.” The Springsteenesque song builds from a quiet, nearly whispering introduction into a huge chorus that drives the point home both musically and lyrically. This is Mullen’s best vocal performance on this or any of his albums. the emotional ferocity that builds is the stuff spine tingling is made from. It is not just the voice but the attitude with which the voice derives. Empathetic and prophetic simultaneously where the words both exhort and condemn, mainly because they are to be believed. Later albums would no longer feature the same rock and passion, but for fans of Rick Elias, Carson Cole, John Mellencamp and Bruce Springsteen this album was a sheer delight.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Revival – 5:20
2 – Sho’ Love You – 3:56
3 – Heaven’s To Betsy – 4:34
4 – Backstreet – 4:56
5 – Somebody Say Amen – 3:29
6 – Fallen World – 4:48
7 – Still Here – 2:15
8 – Live So God Can Use You – 3:43
9 – The Blood – 4:46
10 – Hang My Head And Cry – 5:31

Credits
A&R [A&R Direction] – Danny Kee, Mark Maxwell
Art Direction, Design – Laura LiPuma
Backing Vocals – Ashley Cleveland, Kim Fleming, Vicki Hampton
Engineer [Assistant Engineers] – Barry Dixon, Carry Summers, Kevin Twit, Steve Bishir
Mastered By – Doug Sax
Mixed By – Jeff Balding
Mixed By [Assisted By] – Ken Allardyce
Musician [The Players], Bass – Tommy Sims (tracks: 1 to 5, 8, 10)
Musician [The Players], Drums, Percussion – Chris McHugh (tracks: 1 to 5, 8, 10)
Musician [The Players], Electric Guitar, Acoustic Guitar, Classical Guitar, Dobro – Gordon Kennedy (tracks: 1 to 5, 8, 10)
Musician [The Players], Electric Guitar, Acoustic Guitar, Mandolin, Slide Guitar – Tom Hemby (tracks: 1 to 5, 8, 10)
Overdubbed By [Overdubs Recorded By] – Bill Deaton, Brent King, Lee Groitzsch, Lynn Fuston, Ronnie Brookshire
Photography By – Mark Tucker
Producer [Produced By] – Chris McHugh, Mark Gersmehl
Recorded By [Additional Tracks Recorded By] – Ronnie Brookshire
Recorded By [Basic Tracks Recorded By] – Jeff Balding

Companies, etc.
Record Company – Warner Communications
Copyright (c) – Warner Bros. Records Inc.
Phonographic Copyright (p) – Warner Bros. Records Inc.
Manufactured By – WEA Manufacturing
Recorded At – OmniSound Studios
Recorded At – Digital Recorders
Overdubbed At – Hummingbird Studio, Nashville, TN
Overdubbed At – OmniSound Studios
Mixed At – Bill Schnee Studios
Mastered At – The Mastering Lab
Published By – Word Music
Published By – Kutable Music