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
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
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
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.
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
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
Steve Camp’s debut album came out in 1978, at a time when Larry Norman seems to have been between record labels. Larry wrote two of the songs on this album, and co-wrote one with Steve. Had this been a couple of years earlier or later, it seems likely that it would have come out on Solid Rock Records or Phydeaux Records. Interestingly, “If I Were A Singer” is credited here as a co-write but on Larry’s own album (Gathered Moments, 1998), it is credited as a Larry Norman song and noted as previously unreleased. The version here has some differences, including significant lyrical differences but certainly it is another version of the same song. From Larry’s liner notes on Gathered Moments:
IF I WERE A SINGER – Originally penned for an aspiring young Steve Camp for his 1978 SAYING IT WITH LOVE lp, this 1977 live performance features Larry’s original lyrics.
Tracklist
1 – Sayin’ It With Love – 2:48
2 – Me – 3:22
3 – If I Were A Singer – 5:06
4 – Gather In His Name – 2:55
5 – Let Not Your Heart Be Troubled – 4:30
6 – God Loves You – 1:48
7 – Good News – 4:12
8 – Song For Mom – 4:55
9 – Lord Make Me Humble – 3:39
10 – Strong Love, Strange Peace With Diamonds – 4:56
11 – Tell Everybody – 1:57
Credits
Alto Saxophone – Steve Eisen
Arranged By [Background Vocal Arrangements] – Louis DuChane, Steven J. Camp*
Arranged By [Strings] – Paul Libman
Backing Vocals – Butch Patrini, Debby Wolgemuth, Frank Barbalace, Josi DeChristopher, Louis DuChane, Steven J. Camp, Steve Wyer, Vicki Hubbley*
Bass – Rusty Taylor, Sidney Sims
Co-producer [Production Assistance] – Paul Bogush, Jr.
Drums – Jackie Skalow, Ron Kapland, Tom Ratdke
Electric Piano, Synthesizer [Polymood, Minimoog], Organ – Pat Leonard*
Engineer – Alan Kubica, Hank Newberger
Engineer [Back-up] – Gary Elghammer, Tom Hansen*
Graphics [Lettering], Design – Martin Donald
Guitar – Bruce Gaitch, Danny Leek, Frank Barbalace
Lead Vocals – Steven J. Camp
Mastered By – Greg Calbi
Mixed By [Mix-Down Engineer] – Alan Kubica*
Percussion – Brenda Mitchell, Louis DuChane, Ron Kapland
Photography By – Jim Whitmer
Piano – Pat Leonard, Paul Libman
Producer, Arranged By – Steven J. Camp
Strings – Arnold Roth, Elliott M. Golub, Everett Zlatoff-Mirsky, Harold D. Klatz, Rodger Moulton, Sol A. Bobrov
Companies, etc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Recorded At – Chicago Recording Company
Mastered At – Sterling Sound
This recording was originally produced as a one hour radio show, and was released on vinyl as part of Mike’s catalogue.
There is a bunch of professionally produced intro and interlude stuff here, as well as a series of interview questions. Of course, there is also some good comedy material, taken from his Alive! album as well as Hey Doc!
The Halloween debate among Christians has been around for a long time, and this is one part of it. Maybe this interview was an influence when churches came up with alternative ideas like “Jesusween.” Not sure.
Mike weighs in as an expert occultist here. He certainly has researched occultism enough to talk about the subject, however this was recorded before he recanted his testimony about having been a Satanist.
Regardless, I find this a fascinating artifact of the time and it helps tell the story about how we arrived where we are now.
In 1984, Daniel Amos released their first album firmly branded under the name DA. The name Daniel Amos never went away, but with this one they went with the abbreviation in a big way. I even had a “DA” pin that matched the triangles appearing on this album cover.
Oh yeah, pins were a big thing then. All the best punk bands had lots of them out there. It was a measure of one’s cool in some circles.
Vox Humana was originally going to be called “Vox Robotica” before its release. The band had been talking about it during development, but when they got the final work done it sounded far less electronic than what they expected, so the title was changed to Vox Humana.
This is the third record in a trilogy known as “The ¡Alarma! Chronicles.” Each of the three records ended up being on a different label. Tim Chandler joined the band on the second of these as the new bass player, and would stay on for the duration.
Despite a lot of changes, DA kept artistic direction for the trilogy. The albums before and after these three don’t carry the same sound even if they carry equal genius.
Tracklist
1 – Travelog – 4:25
2 – (It’s The Eighties So Where’s Our) Rocket Packs – 3:35
3 – Home Permanant – 3:00
4 – It’s Sick – 2:18
5 – William Blake – 4:30
6 – Dance Stop – 2:43
7 – Live And Let Live – 3:40
8 – When Worlds Collide – 4:20
9 – As The World Turns – 3:47
10 – She’s All Heart – 3:00
11 – The Incredible Shrinking Man – 2:45
12 – Sanctuary – 5:45
Credits
Arranged By – The DA Boys*, T.T.*
Art Direction, Layout, Graphics – Ed McTaggart
Artwork [“Boot” Shadow By] – Gary DeLacy
Artwork [“Foot” Art By] – Phil Yea
Backing Vocals – Rob Watson, Terry Taylor, Tim Chandler
Bass [4 & 12 String] – Tim Chandler
Co-producer – Rob Watson (tracks: A2, A3, A5, B2, B3, B4), Terry Taylor (tracks: A2, A3, A5, B2, B3, B4)
Design Concept [Album Art Concept] – Terry Taylor
Directed By – Terry Taylor
Drums – Ed McTaggart
Engineer – Doug Doyle
Engineer [Second] – Rob Watson
Keyboards – Rob Watson
Keyboards [Occassional] – Terry Taylor
Lead Guitar – Tim Chandler
Lead Vocals – Terry Taylor
Mastered By – John Matouchek*
Percussion – Ed McTaggart, Rob Watson
Photography By [Photographics And Photography] – Ken Baley, Linda Dillion Baley*
Producer – Terry Taylor (tracks: A1, A4, A6, B1, B5, B6)
Rhythm Guitar – Terry Taylor
Synthesizer – Ed McTaggart, Rob Watson, Terry Taylor, Tim Chandler
Companies, etc.
Phonographic Copyright (p) – Refuge Records
Copyright (c) – Refuge Records
Distributed By – The Benson Company, Inc.
Recorded At – 3-D Studios, Costa Mesa CA.
Mixed At – 3-D Studios, Costa Mesa CA.
Mastered At – Motown Recording Studios
So Long Ago The garden was part 2 of Larry’s famous trilogy, set between Only Visiting This Planet and In Another Land.
In 1980, Phydeaux released something called “(almost) So Long Ago The Garden and the MGM singles”
This pressing has most of the same tracks as the original 1973 album, but there are a few differences: 1. “Up In Canada” is included, which was a radio single, but not part of the original album 2. “Christmastime” incldues a short intro by some sort of circus entertainer from the sound of it 3. The order of various tracks is changed. “Christmastime” leads of the album instead of “Fly Fly Fly” 3. “Peacepollutionrevolution” is included, which was not on the original album 4. “It’s The Same Old Story” is called “The Same Old Story” on this version 5. “The Same Old Story” is on both records, but with different lyrics 6. “Meet Me At The Airport (Fly Fly Fly)” is just called “Fly Fly Fly” on this version
Tracklist
1 – Christmastime
2 – Fly Fly Fly
3 – She’s A Dancer
4 – The Same Old Story
5 – Baroquen Spirits
6 – Up In Canada
7 – Be Careful What You Sign
8 – Lonely By Myself
9 – Peacepollutionrevolution
10 – Nightmare