Altar Boys’ self titled debut album came out in 1984. This California style punk was typical of what punk was at the time, although now we seem to have a lot of splinters of types of punk – melodic, thrash, pop, hardcore, metalcore, screamo, and more. A lot of punk was poppy at the time, modelled after The Ramones, and sounding like a precursor to MXPX or Green Day. Starting to play together around 1978, musicians that would later form the bands Undercover, Lifesavors, and Altar Boys (in that order) all came out of the same scene. Mike Stand and Ric Alba ended up in Altar Boys along with Jeff Crandall and Steve Pannier, while Mike’s brother was in Undercover, and Ric had previously done some playing with Lifesavors. Ric also played with Undercover before Altar Boys. In the spirit of punk rock, these songs are all high energy and a lot of fun, a hallmark of Altar Boys from start to end.
1 – Alright! – 2:24
2 – I’m Into God – 2:52
3 – Have A Clue – 2:36
4 – Where’s It Gonna Lead You – 2:24
5 – You Found Me – 3:46
6 – Take In The Son – 2:44
7 – Well O.K. – 2:36
8 – Good Life – 3:31
9 – Oh, Oh Nancy – 1:33
10 – We Love Jesus – 2:40
11 – It’s Up To You – 3:07
Art Direction – Alex McDougal
Backing Vocals – Ojo
Backing Vocals, Drums, Vocals – Jeff Crandall
Backing Vocals, Lead Vocals, Guitar – Mike Stand
Bass, Keyboards – Rick Alba
Cover, Design – Debby Edwards
Engineer – Derald Daugherty
Engineer, Producer – Joey Taylor
Executive Producer – Bradley S. Hamilton
Guitar – Steve Pannier
Photography By – Oh Oh Nancy
Saxophone [Sax] – Bill Walden
Written-By – Annis
Phonographic Copyright (p) – Ministry Resource Center
Copyright (c) – Ministry Resource Center
Recorded At – Sound Affair
Recorded At – Whitefield Studios
Mixed At – Sound Affair
Mixed At – Whitefield Studios
Published By – Oh Oh Nancy Music
Published By – Maranatha! Music
This version is the Phydeaux CD from 1997, which includes several radio spot interviews and a bonus track of “What’s Wrong With This Body” with extra verses. Stop This Flight was around as early as 1984 with all the songs intact, however the major release of it was in 1986. The songs here are all new, except for “I Hope I’ll See You In Heaven.” That song has appeared as a live cut in several different versions, and a highly polished studio version is on “Down Under But Not Out.” Several tracks are recorded live rather than studio, so clearly they were floating around for a while before this release. This album contributed some classics to Larry’s repertoire. Woman of God and What’s Wrong With This Body stayed in his concert sets for a long time. “Messiah” is an epic piece, and was a show-ending, church-shaking finale for as long as Larry still performed with the band. Larry did a North American tour to support this album, with a full band, including Charly on bass. The 1997 version has a completely different album cover from the originals. The 1986 Phydeaux version had a few snapshots on the cover, later to be replaced by Larry posing with the spaceman on the moon. It seems likely that the change was due to his divorce from Sarah in 1995, since her picture was on the previous album cover. The radio spots here are another creative example by Larry to get his version of the story out. People always wanted to write stories about him, so he simply recorded one side of an interview, leaving the gaps for someone else to put questions in. Radio stations would have the ability to use these clips to make a faux interview, or just play some of the clips on their own.
Tracklist 1 – Finchian Etude / Stop This Flight 2 – A Woman Of God 3 – What’s Wrong With This Body 4 – Don’t You Wanna Talk About It 5 – And We Sing “The Tune” 6 – Out Of My System #1 7 – I Hope I’ll See You In Heaven 8 – Messiah 9 – Radio Interview 10 – What’s Wrong With This Body
Credits Arranged By – Larry Norman Performer – Charly, Sarah Producer – Larry Norman Written By – Larry Norman
Companies, etc. Produced For – Phydeaux Inc. Mastered At – Sheffield Lab Matrix – △ 10439 Copyright (c) – Six Blue Lions
Heed The Call is perhaps the Imperials most iconic album. You can see them decked out in suits that would make the Oak Ridge Boys envious on the back cover. Some memorable songs here like “Oh Buddha” and “Old Man’s Rubble” make this album the one that really represents their body of work well. The Imperials started out in 1964 and their lineup changed many times over the years, but this version of them in 1979 was when they were in their stride. These songs were a slightly modern take on some traditional styles and were very popular as contemporary music in churches in the 80s.
1 – Overcomer – 3:37
2 – Praise The Lord – 3:35
3 – Oh Buddha – 3:28
4 – Old Man’s Rubble – 3:15
5 – Heed The Call – 3:01
6 – Let Jesus Do It – 3:27
7 – Growing Stronger – 3:29
8 – First Morning In Heaven – 2:41
9 – Whenever I Speak His Name – 4:33
10 – My Mind Forgets A Million Things – 3:48
11 – He Didn’t Lift Us Up To Let Us Down – 3:21
Cover, Illustration – Dave Gaadt
Engineer – Brown Bannister
Executive-Producer – Buddy Huey
Mastered By – Glenn Meadows
Photography By [Back Cover] – Goss Photography
Producer – Chris Christian
Record Company – Word, Inc.
Phonographic Copyright (p) – Word, Inc.
Recorded At – Gold Mine Studio
Remixed At – Gold Mine Studio
Mastered At – Masterfonics
Designed At – The Graphic Truth
Manufactured By – Prim
Distributed By – Prim
The metal decade gave us a lot of gems and Barnabas is one of them. This is the band’s second album, much more refined than their first. From day one the band showed potential, and with this release the production quality shot up dramatically. Nancy Jo Mann’s solid vocals shout out over some hard marching guitar riffs and a tight band. Even on “If Love Brings Love” with a piano part that would be Layla’s little cousin, the driving guitars won’t let you forget where you are and what decade this is.
This is the 2000 remaster by Rev Hillstrom at Creation Station Studios, Robinsdale, Minnesota. It includes a bonus track “All Alone” which was originally recorded for this album but record company politics kept it off the album at the time.
Tracklist 1 – No Freedom – 4:37 2 – Stormclouds – 4:43 3 – If Love Brings Love – 4:12 4 – Waiting For The Aliens – 6:21 5 – Warrior – 4:01 6 – Never Felt Better – 3:26 7 – Subterfuge – 5:59 8 – Crucifixion – 5:52 9 – All Alone – 5:45
Credits Bass, Keyboards – Gary Mann Cover [Cover Art] – Kernie Erickson Drums, Percussion – Kris Klingensmith Engineer – Tom Tucker Engineer [Additional Technical Assistance] – John Hurst Guitar – Brian Belew Photography By – Dennis Mabie Producer – Barnabas, Tom Tucker Vocals – Nancy Jo Mann Remaster- Rev Hillstrom
When it became public that Kerry Livgren of Kansas had been “born again” nobody knew what was next for the iconic 70s band. Drastic Measures is their first recording after that and it is a stellar album by any measure. The sound on Drastic Measures is harder than the sound that Kansas was known for due to songs like Dust in the Wind. The 80s demanded a little more modern and hard rock sound, and they delivered, but not without bringing in the softer sounds needed to bring the lyrics home, or the mood of a song like “Andi.” The opening track “Fire With Fire” lets you know they mean business right away. Even though it’s at a slower pace, “Going Through The Motions” still carries a strong rock vibe with a strong rhythm in it. After this album, Kerry put his efforts into his new band “AD” which was mostly new members, other than Dave Hope.
1 – Fight Fire With Fire – 3:40
2 – Everybody’s My Friend – 4:09
3 – Mainstream – 6:36
4 – Andi – 4:15
5 – Going Through The Motions – 5:43
6 – Get Rich – 3:43
7 – Don’t Take Your Love Away – 3:44
8 – End Of The Age – 4:33
9 – Incident On A Bridge – 5:37
Art Direction – Drennon Studio
Backing Vocals – David Pack, Kyle Henderson, Terry Brock
Backing Vocals [Additional] – Boxcar PeeWee And The Megapeople (tracks: A3), The Gang Of Men (tracks: B1, B2), Women At Work (tracks: B1)
Bass – Dave Hope
Crew [Kansas Crew] – Buren Fowler, Clay Schell, Davy Moire*, Jerry Gilleland, John Thompson (15), Merle McLain
Drums – Phil Ehart
Engineer [Recording Engineer Assistance – Bullet Recording] – Danny Mundhenk
Engineer [Recording Engineer Assistance – Le Mobile] – Cliff Bonnell, Guy Charbonneau
Guitar – Rich Williams
Keyboards [Additional] – Neil Kernon (tracks: A2)
Keyboards, Guitar – Kerry Livgren
Keyboards, Vocals – John Elefante
Lacquer Cut By – HW*
Management – Budd Carr, The Carr Company
Mastered By – Howie Weinberg
Photography By – Glen Wexler
Producer – Kansas (2), Neil Kernon
Recorded By, Mixed By – Neil Kernon
Steel Guitar – Jim Vest (tracks: A4, B3)
Words By, Music By – Dino Elefante (tracks: A1, A2, B1 to B3), John Elefante (tracks: A1, A2, A4 to B3), Kerry Livgren (tracks: A3, B4, B5)
Copyright (c) – Corn & Blood, Inc.
Phonographic Copyright (p) – CBS Inc.
Manufactured By – CBS Records
Distributed By – CBS Records
Recorded At – Lakewood Fairgrounds
Recorded By – Le Mobile
Recorded At – Bullet Recording
Mixed At – Bullet Recording
Recorded At – Son Of Other Room
Mastered At – Masterdisk
Pressed By – Columbia Records Pressing Plant, Carrollton, GA
Published By – Full Grown Man Music
Published By – Mastodon Music
Published By – Don Kirshner Music
Published By – Blackwood Music Publishing
This EP came out in 1983 from another great group of guys from the MRC group over at the Calvary Chapel in Costa Mesa, California. Their Rockabilly style was like nothing else in CCM at the time. In an era where the Stray Cats were popular this album filled a gap in Christian music. These 6 short fun tracks will leave you tapping your foot and even singing along. I have a love of the rockabilly style so I have to admit I was pretty excited when I saw this album. I knew from the cover it was something I was gonna like. The EP must have been popular as the Band came out with a full album (also great) in 1985. Point of trivia is that Darrell Mansfield supplied the harmonica track for “Bucket of Blues”. Also trivia worthy is Ojo Taylor also played some piano and assisted with song writing.
1 – Living Water – 1:51
2 – Baby Left Me – 2:20
3 – Bucket of Blues – 3:10
4 – Eternity Bop – 1:41
5 – I’m Yours – 2:52
6 – He’s My Lord – 2:07
Antwan Adams – Horns
Chris Brigandi – Songwriter, Guitars, Lead Vocals
Eddie Espinosa – Songwriter, Guitars
Dave Hackbarth – Horns
Kass – Bass Fiddle, Electric Bass, Background Vocals
Mark Kirschak – Songwriter
Michael Knott – Songwriter
Darrell Mansfield – Harmonica
Brian Ray – Songwriter, Drums, Percussion, Background Vocals
Ojo Taylor – Songwriter, Piano
Bill Walden – Horns
Dan Willard – Producer
This was their fifth release, and their third and final for Light Records. D.M.Z. was the hardest rock that they had given us yet, and it fit the early 80s metal age perfectly.
Opening with a high energy track, Military Man, and pulling out a relentless guitar solo intro on White Noise, they sounded exactly like rock was supposed to in 1982.
The CCM industry at the time couldn’t figure this out but Resurrection band could.
== 1 == Military Man Military Man was the opening track and it became a signature piece for their live shows and a central part of their ceatalogue. The era was still post-Viet Nam. The movie First Blood came out in 1982, Missing in Action in 1984, and Rambo in 1985. Sympathy for soldiers was strong and Glenn’s writing reflected that. A call for pacifism was not the mainstream, but that’s what was different about the CCM world.
== 2 == Reluctance Wendi takes the lead on this song, as she does with three of the ten tracks on this album. She brought energy to the band that Glenn’s vocals, for all their intensity, could not. There were a few critics of Wendi’s vocal style, but there is no doubt she was an integral part of Rez.
== 3 == Babylon Typical Rez fashion was a hard sound like this paired with Glenn’s lyrics about human suffering. In Bablyon his desire to reach lost souls comes through again. The band had a ministry that always returned to the needs of the people, and the desire to share the gospel. At the same time, this is another great rock song from the earliest, hardest Christian rock band of substance.
== 4 == I Need Your Love A rough voice streaming out smooth vocals over a guitar ringing with a mean-streets tone is exactly what we expect from Rez Band. There is energy in the playing, the singing and the writing. This didn’t become one of their most popular tracks but it is just as strong, and a great part of the structure of this album.
== 5 == Area 312 Area 312 is the area code for Chicago’s core, in case you didn’t know. Kids that are born there, grow up there, and need to find hope there are what Rez was about. JPUSA was the birthplace of Rez, and JPUSA was essentially a commune in a needy part of Chicago.
== 6 == No Alibi Almost a hymn of confession, this connects with yet another part of the faith they professed. The process of confession is central to the Christian faith, and whether it is a formal part of your church service or not, here it is, right on your record player ready to bring you into it. Every Rez concert had an altar call where people came forward and members of the band would preach and pray with the people in small groups. This fits perfectly with their message.
== 7 == White Noise is a CCM guitar classic. I remember I was listenting to it and someone asked me, “Is this AC/DC?” I answered that no, it was Rez. “Reall? This isn’t Rez. This is For Those About To Rock.”
It wasn’t AC/DC, and I don’t think a music fan should be able to mix the two songs up, but you get the idea of what kind of music this is. It’s hard rock. It’s what the kids were doing in the 80s. Rez gave us an alternative to following the weird path of Ozzy Osborne, Iron Maiden, Motley Crue, all the way to Twisted Sister. We were proud of the music we listened to because it was different, it was ours, and it was better.
== 8 == Lonely Hearts Loneliness is part of living in a city of 2 million people. It’s a different kind of loneliness, where people are surrounded and alone. Once again bringing the inner city message, this song connects.
Looking back at it from 2018, we look at this as a Tinder attempt to connect with people and finding everything hollow. Emotions stay relevant forever regardless of technology.
== 9 == The Prisoner Rez did a lot of “cause” songs. This one is written from the perspective of a wheelchair bound human being, struggling to be seen as such. I don’t know the back story but it seems clear there is one, and Glenn connected with it. Rez made a big effort to humanize marginalized people, whether it was the poor, the Black South Africans, or the wheelchair-bound.
== 10 == So In Love With You In with everything else, Resurrection Band also wrote praise songs. The Psalms are more blues (lament) than praise, but the praise is there and they never forgot to incldue some of that on their albums. This is a joyful sound, created in the style of Rez.
1 – Military Man – 3:39
2 – Reluctance – 2:14
3 – Babylon – 2:36
4 – I Need Your Love – 3:24
5 – Area 312 – 3:56
6 – No Alibi – 4:39
7 – White Noise – 3:41
8 – Lonely Hearts – 3:00
9 – The Prisoner – 2:54
10 – So In Love With You – 3:38
Artwork By [Other Art & Layout] – JPUSA Graphics
Artwork, Cover – Dick Randall
Bass [Fretless Bass], Synthesizer, Backing Vocals – Jim Denton
Drums – John Herrin
Engineer – Roger Heiss
Guitar, Keyboards – Stu Heiss
Mastered By – Steve Hall
Photography By – Denise Omernick, Linda Dillon (2), Pat Peterson (2)
Producer – Resurrection Band
Saxophone – Steve Eisen
Vocals – Wendi Kaiser
Vocals, Guitar – Glenn Kaiser
Manufactured By – Word Records Limited
This live album was recorded in Mylon’s hometown of Atlanta, and it was a rock’n’roll homecoming. The crowd sounds great, and the band is working them. This is a great example of a live record. Interesting inclusion is the second track “It’s Alright” which appeared on Matthew Ward’s landmark album “Toward Eternity.” Mylon’s version is a different take and it works well for him.
1 – Introduction Jesus Is A Waymaker – 3:29
2 – It’s Alright – 5:14
3 – Free Rap & Freedom – 6:31
4 – Relationships Rap & Child Of The Father – 4:44
5 – Workin’ On A Building / Jesus Is The Rock – 13:42
6 – Jesus Loves Me – 1:58
7 – The Invitation – 7:20
8 – Coming Back Again – 1:43
Bass, Vocals – Kenny Bentley
Design – Mike McCarty
Drums, Percussion – Ben Hewitt
Engineer [Live] – Joe Neil, Larry Goode
Keyboards, Synthesizer, Vocals – Stan Coates
Lead Guitar, Vocals, Photography By [Inner Sleeve] – Dean Harrington
Mastered By – Larry Nix
Producer, Engineer [Live], Mixed By – Joe Hardy
Producer, Vocals, Guitar – Mylon LeFevre
Rhythm Guitar, Vocals – Scott Allen
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Produced For – Broken Heart Productions
Published By – Angel Band Music
Published By – Dayspring Music
Published By – Latter Rain Music
Published By – Rainy Now Music
Published By – Cherry Lane Music Publishing Company Inc.
Mastered At – Ardent Mastering
Presented without any theological commentary, as usual. These albums were a lot of fun to listen to, and hearing the jokes again, and the great comedic performances is a great trip down memory lane.Still fun to listen to now.
1 – King Me – The First Encounter – 5:24
2 – That’s Ridiculous – 6:48
3 – The Happy Family – 5:51
4 – P. & R. Lucre Tithe Service – 2:06
5 – King Me – The Second Encounter – 4:07
6 – Big George, Little “G” – 20:53
7 – King Me – The Third Encounter – 5:09
Artwork – David Schiedt, Herb Allison, Laurie Vette
Graphics – David Schiedt, Herb Allison, Laurie Vette
Photography – Eddie Holder
Producer – Dan Rupple, Dave Toole
Written-By – Dan Rupple (tracks: A1, A2, A3, A4, A5, B1), Dave Toole (tracks: B1)
Distributed By – Word
Designed At – The Graphics Studio
This album was the one that changed everything for us. I don’t remember what year it was when we got it. Maybe 1980. Maybe 1978 even. After this we started seeking out music that was actually for us. This is part 3 of Larry’s Trilogy, but the first part we heard. Only Visiting This Planet and So Long Ago The Garden came later for us but when put all together, these 3 albums make the most famous parts of Larry’s body of work. There were many other albums released, but nearly all of them contained at least one song from the trilogy. Over the years there were several versions of this album released on CD. This version is the 93 version with 4 bonus tracks that we have included.
Rock That Doesn’t Roll starts out sounding like an alternate version
of Johnny B. Goode. Chuck Berry’s song came out in 1958. The fact
that we were listening to Larry’s album in the 80s made it a little
confusing and a little old-sounding to me, but the fact is these
songs had to have been written no later than the early 70s. Given
that perspective, I say the songs have great staying power.
considering that they didn’t get any “mainstream” attention
until much later.
version of I Love You is a completely different song than the one he
recorded at Capitol Records with People!. Interesting that he kept
the name, unlike with other songs where he went with Righteous Rocker
#3. Even when producing Daniel Amos’ Horrendous Disc album, he
managed to get their song called I Love You #19 to make it unique.
Another part of the enigma for me.
seems to be part of the 1970s fascination with aliens. There were
plenty of movies out at the time on the topic and so this tied in
well with popular culture. After Larry’s heart attack(s), his doctor
apparently told him he couldn’t play with the band any more but he
still played this song a lot. The guitar part fit well but when it
came to the electronic sound effects he did thouse with his voice and
it sounded funny, also very unexpected. The audience laughed and I
don’t know if that was bad form on his part or theirs.
Searched All Around
talked about end times a lot. He seemed to have the view that the
world was slowly decaying before our eyes, a popular Christian
worldview in the 60s, 70, and 80s. Songs like this one were about
building hope in Kingdom Come in spite of what we see going on around
us. His ability to put such a dark message into a rich musical
setting like this was perfect. The blues comes through often in
Larry’s songs, although during the Trilogy period it was never a
focus. This song comes across as a great upbeat blues tune if you
listen just right.
written in a stairwell while waiting to go onstage for a concert,
this song has a quick flow that makes it sound
stream-of-consciousness, just like he wrote it all in a quick rush
like that. Larry recorded various of it, but this a capella one is
the first one he put out there.
for Larry doing his own background vocals on this song. His
distinctive voice can’t hide. We hear this in a lot of his work,
suggesting he was alone a lot when he was in the studio.
of the things that made Larry a great songwriter is that he wrote
about things that were part of regular life. He starts out discussing
relationships between people, “brothers.” He compares it to
our relationship with God and draws parallels that are easy to
follow. Many of the Christian artists both then and now don’t have
this skill. The abliity to draw a comparison between heaven and Earth
is what Shakespeare described as poetry.
Am A Servant
you are lonely you’re the only one to blame.”
is both misunderstood and a double-entendre. Larry was too savvy with
words to put something like this out unintentionally. Read the
sentence twice. If you are lonely, it’s your fault. If you are
lonely, there is no-one for you to take it out on but yourself.
does seem to have been lonely a lot. He had some famous fallings out
with other people in the community, and he faced a lot of accusations
from Christian media accusing him of being “secular.” Like
Shot Down, this is him reflecting and telling us that he is following
Sun Began To Rain
was a poet as well as a songwriter. He even had the title of Poet
Laureate at one point, and that was a point of pride for him. He
really seemed to enjoy laying on thick layers of metaphor like he
does in this song, and he was a master at it.
seems like he had critics throughout all of his career. In this song
he responds to criticism from Christians who questioned his faith and
his motives. That questioning never went away as far as I can tell,
but at the same time his contribution seems to be huge. If we didn’t
know anything about Larry’s personal life then he seems to have given
us a lot. Maybe the enigma is best left that way to some extent.
Rosemary’s Baby on some records. This is the original release version
and it was just called Six Sixty Six. End times fascination was a big
thing in the churches in the 70s and 80s. I remmeber the movie “A
Thief In the Night.” It was super scary and really an earlier
version of those “Left Behind” movies that came out much
later. This song plays into that narrative quite deeply and gives a
great insight into the mood of the Church at the time. Side note:
Larry’s song “I Wish We’d All Been Ready” was a staple of
this movie genre. Larry also appeared in the movie The Blob in the
60s, wearing a cross and warning people. This was obviously a big
topic on his mind.
and One Way were two songs on this record that seemed like one song,
but clearly two. He could have labelled it either way. The two short
pieces turn into one but there is a clear transition between them. As
the title suggests, this is a commentary on materialism. Its position
in the album works out perfectly to take all the things he has been
telling us in the past ten songs and remind us what ought to be on
“One Way” sign was something in the 1960s Jesus Movement.
Larry may or may not have been the origin of this, but it was simply
one index finger pointed upward. The two finger peace sign was a sign
of the times, and Larry’s typical fashion was to respond to current
culture with something compatible but different, and clearly tied to
his message and calling. Imagine Larry holding up one hand with his
index finger pointed up, eyes closed, singing this song.
For A Small Circle of Friends
mentions a few people by name and by inference here. “Dear Bobby
watch your fears all hide” refers to Bob Dylan. On this
recording you hear the harmonica at that point to make it clearer,
but in live versions he sang “Dear Dylan” sometimes, and he
did the voice impersonation.
to you Sir Stonehill” was sometimes “Love to Randy
Stonehill” in live versions. They had a complicated relationship
that I don’t think I can explain but obviously he wanted to reach out
for some reason.
on the Hoffner bass” is obviously Paul. Larry told the story
live about meeting Paul McCartney at Capital Records while they were
both on the label. Apparrently Paul said “I like your music.”
to the Last Generation
Larry closes the album with an altar call. He could talk about earthly problems and relationships all through his work, but he always wanted to leave the right message. His concerts did not have altar calls, but at the end of his concerts, which tended to be relatively small when I saw him, he would tell a hall full of hundreds of people that after the concert they could come backstage and talk to him if they wanted to. He would offer to help people and pray with them, in person. I went back there. He meant it.
1 – The Rock That Doesn’t Roll – 3:33
2 – I Love You – 3:03
3 – U.F.O. – 2:48
4 – I’ve Searched All Around – 3:19
5 – Righteous Rocker #3 – 0:47
6 – Deja Vu: (If God Is My Father) – 1:21
7 – Deja Vu-Continued: (Why Don’t You Look Into Jesus) – 2:38
8 – I Am A Servant – 3:09
9 – The Sun Began To Rain – 1:15
10 – Shot Down – 1:59
11 – Six Sixty Six – 2:30
12 – Diamonds – 1:37
13 – One Way – 2:20
14 – Song For A Small Circle Of Friends – 3:43
15 – Hymn To The Last Generation – 1:48
16 – Looking For The Footprints – 2:33
17 – Strong Love, Strange Peace – 3:58
18 – Dreams On A Grey Afternoon – 1:00
19 – Let That Tape Keep Rolling (Live From Greenbelt) – 6:19
Larry Norman – vocals, harmonies, guitar, percussion, piano, producer,
Randy Stonehill – guitar and backing vocals
Jon Linn – guitars
Dudley Moore – piano
Mark Walker – drums
Tim Ayres – bass guitar
John Michael Talbot – banjo
Andy Johns – engineer
Tom Trefethen – assistant engineer
Solid Rock studios – pre-production recording location
Mama Jo’s – recording location
Sunset Sound – recording location
A&M, Studio 3 – mastering location
Phonographic Copyright (p) – Solid Rock Records
Copyright (c) – Solid Rock Records
Recorded At – Solid Rock Recording Studios
Recorded At – Mama Jo’s
Recorded At – Sunset Sound
Mastered At – A&M Mastering Studios
Record Company – Solid Rock Productions, Inc.
Copyright (c) – Beechwood Music Corp.
Copyright (c) – Glenwood Music Corp.
Published By – J. C. Love Publishing Co.
Published By – Strawbed Music