Kansas – Drastic Measures – 1983

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.

Tracklist
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

Credits
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)

Companies, etc.
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

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The Lifters – The Lifters – 1983

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.

Tracklist
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

Credits
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

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Resurrection Band – DMZ – 1982

All of the early Rez ablums were groundbreaking.

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.

Tracklist
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

Credits
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

Companies, etc.
Manufactured By – Word Records Limited

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Mylon Lefevre – Live Forever – 1983

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.

Tracklist
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

Credits
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

Companies, etc.
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


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Isaac Air Freight – My Kingdom Come Thy Kingdom Come – 1982

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.

Tracklist
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

Credits
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)

Companies, etc.
Distributed By – Word
Designed At – The Graphics Studio

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Larry Norman – In Another Land – 1976

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.

 

== 1 ==

The 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.

This 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.

== 2 ==

U.F.O. 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.

== 3 ==

I’ve Searched All Around

Larry 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.

== 4 ==

Righteous Rocker #3

Allegedly 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.

Listen 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.

== 5 ==

Deja Vu

One 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.

== 6 ==

I Am A Servant

“When you are lonely you’re the only one to blame.”

This 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.

Larry 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 his calling.

== 7 ==

The Sun Began To Rain

Larry 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.

== 8 ==

Shot Down

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.

== 9 ==

Six Sixty Six

Subtitled 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.

== 10 ==

Diamonds

Diamonds 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 our minds.

== 11 ==

One Way

The “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.

== 12 ==

Song For A Small Circle of Friends

Larry 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.

“Love 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.

“McCartney 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.”

== 13 ==

Hymn 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.

Tracklist
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
Bonus Tracks
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

CREDITS
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

Companies, etc.
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

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Billy Smiley – New Night – 1986

If you’re the kind of person who can judge a record by the album cover, then you’re on the money with this one.

Billy Smiley was part of White Heart and contributed to other cool projects, but this one is quite different. More of a 1980s jazz easy listening effort.

It’s all instrumental, lots of keyboards, and none of the sort of guitar riffs we expect from the wrote and sang on so many White Heart songs, and more recently, The Union of Sinners & Saints. Billy also produced a number of important CCM albums for other artists. This album seems to have been a vacation in a different place.

Interesting note on the cover art. I’m not sure, but maybe it went like this…
“What are we doing for the album cover?”
“Don’t worry I’ve got something, we’ll just change it around a bit.”
“Okay…”
Take a look here at Justo Almario’s jazz album, also released in 1985 on the same label, Meadowlark Records. Even the back cover is a dead match. The front has a little more variation but not much.

Tracklist
1 – All The Crying Eyes – 5:02
2 – Time Will Tell – 4:36
3 – Acappella In F Minor – 0:41
4 – Nouveau Nº. 1 – 5:10
5 – Spring In The Heart – 3:45
6 – The Awakening – 4:14
7 – Living With A Dream – 4:55
8 – Encounter – 4:06
9 – Image – 3:16
10 – Reflection – 3:05

Credits
Engineer [Second] – David Pierce
Engineer, Mixed By – Brent King, Jeff Balding, Mike Psanos
Flugelhorn, Trumpet, Synthesizer, Bass [Synth Bass] – Billy Smiley
Keyboards [Fairlight, Additional Keyboards] – Tommy Dorsey
Mastered By – Steve Hall
Percussion – Farrell Morris
Programmed By [Linn Drum Programming] – Gary Lunn
Programmed By [Synthesizer Programming] – Tommy Greer
Written-By, Producer – Billy Smiley

Companies, etc.
Distributed By – Word (UK) Ltd.
Printed By – Shorewood Packaging
Phonographic Copyright (p) – The Sparrow Corporation
Copyright (c) – The Sparrow Corporation
Copyright (c) – Word Music (UK)
Recorded At – Gold Mine Studio
Recorded At – Master’s Touch
Recorded At – Studio 19, Nashville
Recorded At – Center Stage Studio
Mixed At – Gold Mine Studio
Mixed At – Master’s Touch
Mixed At – Center Stage Studio
Mastered At – Future Disc

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Daniel Amos – ¡Alarma! – 1981

This record was one of the all time best things throughout my teenage years. It was radical, it was catchy, it was rock, it was new wave, it was rebellious, loud, subversive and all that.

This album is so old and so cross-genre it was released on 8-track as well as cassette and vinyl.

Plus it was great art. It was a fold-out album with a fascinating scene presented in the inner part. The front cover and the back cover had images that corresponded. They went together to make a message. It had liner notes that were a story written to go along with the songs on the album.

In 1981 I’m sure I sat and read the whole thing. Then my friend read it and after we talked about it I read it again. And then I read it again.

Now I have this beautiful piece of art and I feel guilty for not taking the time to read the whole thing right now, to complete my experience. But I’ll do that again soon, I promise, I just have a few things to do for work first…

This is Daniel Amos’ second attempt at becoming a New Wave band after releasing 2 legit California style country albums. Those were good but they were not this. Horrendous Disc was recorded years before its release, and so technically came out in the same year as ¡Alarma!

This album changed the band forever by launching them as a completely restyled product. Terry Taylor guided DA all the way through and the New Wave years were cutting edge.

Tracklist
1 – Central Theme – 3:18
2 – ¡Alarma! – 3:21
3 – Big Time/Big Deal – 3:04
4 – Props – 1:58
5 – My Room – 3:25
6 – Faces To The Window – 2:31
7 – Cloak & Dagger – 2:16
8 – Colored By – 2:58
9 – C&D Reprise – 0:43
10 – Through The Speakers – 2:42
11 – Hit Them – 2:28
12 – Baby Game – 2:43
13 – Shedding The Mortal Coil – 1:20
14 – Endless Summer – 2:52
15 – Walls Of Doubt – 3:57
16 – Ghost Of The Heart – 2:36

Credits
Artwork [Airbrushing] – Stephen Nicol Price
Band [Members Of Daniel Amos], Bass Guitar, Keyboards – Marty Dieckmeyer
Band [Members Of Daniel Amos], Drums, Percussion, Backing Vocals – Ed McTaggart
Band [Members Of Daniel Amos], Lead Guitar [Lead Guitars], Backing Vocals – Jerry Chamberlain
Band [Members Of Daniel Amos], Rhythm Guitar [Rhythm Guitars], Lead Vocals, Backing Vocals – Terry Taylor
Congas – Alex MacDougall (tracks: A5)
Design Concept [Cover Concept] – Daniel Amos
Engineer [Engineered By] – Thom Roy
Engineer [Live Sound], Coordinator [Road Coordination] – Wes Leathers
Graphic Design – Karen Knecht
Lead Vocals [Reluctant Lead Vocal] – Marty Dieckmeyer (tracks: A4)
Marimba – Alex MacDougall (tracks: A2)
Mastered By – Steve Hall
Percussion – Jerry Chamberlain (tracks: A5), Marty Dieckmeyer (tracks: A5)
Photography By [Photography] – Scott Lockwood
Producer [Produced By] – Daniel Amos, Thom Roy
Songwriter [All Songs Written By] – Terry Taylor (tracks: A1 to A6, A8 to B4, B7, B8)
Text By [‘Alarama Chronicles’ Book Text Written By] – Terry Taylor
Vocals [Female Vocal] – Karen Benson (tracks: B8)

Companies, etc.
Produced For – Rebel Base Productions
Phonographic Copyright (p) – Newpax Records
Copyright (c) – Newpax Records
Distributed By – The Benson Company, Inc.
Recorded At – Whitefield Studios
Mixed At – Whitefield Studios
Mastered At – MCA Whitney Recording Studios
Recorded At – Rebel Base Studio
Pressed By – PRC Recording Company, Richmond, IN
Published By – Paragon Music Corp.

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Pat Terry – Film At Eleven – 1983

Mark Heard produced this Pat Terry album, and if you like Mark’s own albums then you’ll probably like this one too. The harmonies and chorus work is very reminiscent of Mark’s Stop The Dominoes album.

Having said that, Pat Terry has his own contribution to the CCM genre here. He is a witty lyricist and a good musician.

Film At Eleven features a solid collection of songs that can stick with you, starting from catchy, quirky tunes like “Cats and Dogs” and “Yard Sale” to contemplative pieces like “Growing Up and Growing Old.”

Every song on this album is a thoughtful piece if you’re listening.

The style is a little more rock than what the typical country music sound was at the time, but a little less rock than the popular hits. I think this in-between status probably held this album back from broader success.

Pat is an accomplished songwriter, having had songs recorded by Mark Heard, Mylon Lefevre, The Oak Ridge Boys, Tanya Tucker, Kenny Chesney, Travis Tritt, B. J. Thomas and many others.

Pat released seven albums under “The Pat Terry Group” in the 1970s before doing three solo albums in the 1980s.

You can also hear Pat on the Mark Heard tribute album from 1993 “Strong Hand of Love.”

Still going strong, Pat’s most recent album was released in 2018.

Tracklist
1 – Cats And Dogs – 3:18
2 – Yard Sale – 4:20
3 – The World Around Us – 2:58
4 – Change Takes Time – 3:15
5 – In My Dream – 4:32
6 – Common Bond – 3:17
7 – Shadows – 5:12
8 – Growing Up And Growing Old – 3:52
9 – Christ Alone Will Wear The Crown – 4:40

Credits
Acoustic Guitar – Pat Terry
Backing Vocals – Mark Heard (tracks: A3,B2,B4)
Bass – Billy Batstone
Drums [And “Giant Hamster Cage Drums”] – John Mehler
Electric Guitar – Pat Terry
Engineer – Mark Heard
Engineer [Assisting] – Mike Ross, Wally Grant
Guitar – Mark Heard (tracks: B1)
Handclaps – Mark Heard, Pat Terry
Harmonica – Pat Terry
Mastered By – Steve Hall
Mixed By – Mark Heard
Musician [Assorted Techno-Musical Contributions] – Mark Heard
Organ [Hammond] – Carl Pickhardt (tracks: B1,B3)
Percussion – Harry Stinson
Piano – Pat Terry
Producer – Mark Heard, Pat Terry
Programmed By [E-mu Systems Emulator, Voice Programming And Arrangements For Emulator] – Tom Howard
Slide Guitar – Pat Terry
Snare [Marching] – John Mehler (tracks: B2)
Synthesizer [Korg Polysix] – Pat Terry
Vocals – Pat Terry

Companies, etc.
Record Company – Word, Inc.
Recorded At – Weddington Studios
Mixed At – Weddington Studios
Mastered At – Future Disc
Pressed By – Monarch Record Mfg. Co. – △25998
Copyright (c) – Word, Inc.
Phonographic Copyright (p) – Word, Inc.
Published By – Word Music (2)
Published By – Bug & Bear Music

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Undercover – Undercover – 1982

This is the debut album from Undercover, one of the early and influential pop punk bands to come out of California in the early 80s. Incubating alongside Altar Boys and Lifesavors.

I consider Undercover to be the forerunner to MXPX, although not their sole influence. MXPX managed to merge Green Day, Ramones, Undercover and other ideas into a cohesive, long standing package.

The style of this album is now referred to as pop-punk, or even California-punk. In 1982 though, it seemed like the division of punk styles wasn’t so defined and it just was what it was.

This was a great alternative, or at least an addition to the musical diet for anyone addicted to The Ramones at the time.

Note the names. Joey Taylor on subsequent albums becomes Ojo Taylor, and Jim Nicholson becomes Gym Nicholson.

From the 1988 CD release “Volume 1” we receive this explanation in the liner notes:

Once upon a time, a long time ago in the 1970’s, there were two bands aimlessly wandering around a small town in Southern California called Yorba Linda. The name of one of those groups was J.C. Rose and the name of the other, Boaz. Jim Nicholson and myself, best friends since high school, were members of J. C. Rose along with Dave Hackbarth, who has been a priceless catalyst to a great many records and Artists since. The members of Boaz were Chris Winber, Danny Pavlis, Ray Hersom and Rick Alba among a few others. After a year or two of fruitless effots, the two groups disbanded, to form two new groups. Jim and I sayted together and added Danny Pavlis on Drums and Rick Alba on bass and started Undercover. Chris Winber and Ray Hersom went on to form Lifesavors. Undercover started rehearsing in a greenhouse owned by Danny’s parents and after a couple of months, had our first concert along with The Lifesavors (also their first concert) and another group, The Chosen Ones, consisting of Chris Pavlis (Danny’s brother) and Brian Doidge (who would later join The Lifesavors).

(the story is continued in the liner notes…)

The 1988 CD release “Volume 1” includes the two first albums from Undercover, plus an additional bonus track written by Taylor, and attributed to the debut album, “Dying In Love.”

Track Listing:
A1 Excuse Us Written-By – Walden, Alba 2:45
A2 Heal Me Written-By – Taylor 2:15
A3 I’ll Be A Fool Written-By – Taylor 1:15
A4 Francine Written-By – Alba 2:45
A5 It’s Official Written-By – Taylor 2:20
A6 Turn Your Head Written-By – Nicholson 2:45
A7 Look It Up Written-By – Taylor 2:40
B1 Read It In A Letter Written-By – Nicholson 2:05
B2 Daddy-O Written-By – Walden, Taylor 1:15
B3 Tonight Written-By – Nicholson 1:47
B4 Stop Written-By – Nicholson, Taylor 2:50
B5 He’s In Love With You Written-By – Alba 2:45
B6 I.C.U. Written-By – Taylor 2:40
B7 He Gives We Have Written-By – Taylor 2:25
Credits
Arranged By – Undercover
Artwork [Cover And Sleeve] – Milton R. Sue
Bass Guitar, Vocals – Rick Alba
Drums, Performer [Kindling], Vocals – Danny Pavlis
Engineer – Dan Willard, Thom Roy (tracks: A7), Tim Pinch (tracks: A1 to A6, B1 to B7)
Guitar [All Guitars], Vocals – Jim “Nuclear” Nicholson
Lead Vocals, Alto Saxophone – Bill Walden
Musician [Additional] – Giggles – Benjamin Taylor, Chris Pavlis, Dave Hackbarth Organ, Piano, Synthesizer, Vocals – Joey Taylor
Photography By [Cover] – George Zaferes
Producer – Dan Willard, Joey Taylor
Rhythm Guitar [After Tracks] – Ray Hersom

Tracklist
1 – Excuse Us – 2:45
2 – Heal Me – 2:15
3 – I’ll Be A Fool – 1:15
4 – Francine – 2:45
5 – It’s Official – 2:20
6 – Turn Your Head – 2:45
7 – Look It Up – 2:40
8 – Read It In A Letter – 2:05
9 – Daddy-O – 1:15
10 – Tonight – 1:47
11 – Stop – 2:50
12 – He’s In Love With You – 2:45
13 – I.C.U. – 2:40
14 – He Gives We Have – 2:25
Bonus Track
15 – Dying In Love – 4:29

Credits
Arranged By – Undercover
Artwork [Cover And Sleeve] – Milton R. Sue
Bass Guitar, Vocals – Rick Alba
Drums, Performer [Kindling], Vocals – Danny Pavlis
Engineer – Dan Willard, Thom Roy (tracks: A7), Tim Pinch (tracks: A1 to A6, B1 to B7)
Guitar [All Guitars], Vocals – Jim “Nuclear” Nicholson
Lead Vocals, Alto Saxophone – Bill Walden
Mastered By – KPG
Musician [Additional] – Giggles – Benjamin Taylor, Chris Pavlis, Dave Hackbarth
Organ, Piano, Synthesizer, Vocals – Joey Taylor
Photography By [Cover] – George Zaferes
Producer – Dan Willard, Joey Taylor
Rhythm Guitar [After Tracks] – Ray Hersom

Companies, etc.
Phonographic Copyright (p) – Ministry Resource Center
Copyright (c) – Ministry Resource Center
Copyright (c) – B-1 Music
Mastered At – The Cutting System, Inc.
Recorded at Rapture Repertory Theatre’s Warehouse and C.C.C.M. on Tim Pinch’s Mobile Recording Studio except for A7, recorded at Whitefield Studio

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