This follow-up to 1980’s The Sky Is Falling was a much more refined studio approach. Randy recruited a lot of top CCM artists to help out.
Producer Terry Taylor (of Daniel Amos) recruited his entire band to play on the album along with, Tom Howard, another Larry Norman and Solid Rock Records protege.
The result is a tight band performing Randy’s songs in the studio, giving a much more polished sound than we were used to getting from him up to this point.
The song “Die Young” is an example of Randy’s cynical but honest approach, calling out the typical Western lifestyle centered around short term thinking. His combination of humour and truth-telling was present throughout his career.
“Christine” is one of Randy’s reaches out to a lonely and desperate person. It has a significant parallel to the song Christmas at Denny’s, which we get many years later on the Return To Paradise album.
This album established Randy’s ability to move beyond performing as a singer-songwriter.
Tracklist
1 – The Glory And The Flame – 3:10
2 – Die Young – 3:15
3 – Fifth Avenue Breakdown – 2:50
4 – Granfather’s Song – 3:24
5 – Find Your Way To Me – 3:42
6 – Christine – 3:29
7 – Rainbow – 3:49
8 – Givin’ It Up For Love – 4:13
9 – Letter To My Family – 4:58
10 – Farther On – 2:56
Companies, etc.
Record Company – Word, Inc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Produced For – Rebel Base Productions
Recorded At – Whitefield Studios
Mixed At – Whitefield Studios
Published By – Prime Cut Publishing
Published By – CanaanLand Music
Published By – Tong Songs Music
Published By – Joyful Road Music
Credits
Guitars, Background Vocals – Jerry Chamberlain
Bass – Marty Dieckmeyer
Background Vocals, Songwriter, Synthesizer String Arranger, Piano, Harmonium, Acoustic Guitar – Tom Howard
Percussion – Alex MacDougall
Drums, Percussion – Ed McTaggart
Engineer – Thom Roy
Producer, Songwriter, Guitars, Percussion, Vocals – Randy Stonehill
Producer, Slide Guitar – Terry Scott Taylor
Phil had released a number of albums by this point, and with this one he switched to a new label, New Song Records. It’s all instrumental and has a pleasant jazz sound emanating from his intricate guitar work.
The album comes with a story in the liner notes, and it is a must-read while you listen to this album. Press play and keep reading.
Side One
Music, especially instrumental music, evokes many images in the mind of an attentive listener. I have set below an account of the images which have been called up for me by The Master and the Musician, not as any final word on meaning or intent, but as a vantage point, if you will – a place from which you may consider this series of musical pieces before you do some exploration on your own.
We begin by listening to a dream, for at first the sounds are clearer than the sights. A young man’s voice, distinct and persistent. Then that of an older man, measured, balanced tones. Now they come into view: The seated old man leans against his high-backed chair, listening attentively. His eyes crinkle with hidden amusement at the young man’s insistence. Heavy, white eyebrows are occasionally raised as his eyes widen, echoing his initial surprise at the young man’s visit. A slender, long-fingered hand is brought to the side of his face. His fingers frame an eye, as one hand rests against his cheek, his clear eyes never straying from the face of the man across from him.
His younger visitor leans forward again, intent on explaining a request he barely understands himself. He is a young musician, and yet he shows the strain and wear of travelling, pressed by that fame which demands strenuous performance. The old man smiles, and for a brief moment glances at the worn wooden surface of an instrument hung upon his wall. Sensing a rapport which he had never though could exist, the young man leans forward and repeats his request:
Pilgrim’s Flight
“Teach me,” said the young musician. “Old man, you have seen much. You were Master Musician in your time, playing in the great halls. Your fingers, once young and lithe, filled the hearts of kings with music which changes the soul. Where did you learn music? It is said that you have even played before He who is not to be named. Teach me,” said the young man, his eyes intent upon purpose, “I want to know that music.”
Agora
“Young man, what have you to do with me? Your gift is in the marketplace, not playing in royal halls.” The old man smiled and shook his head. “How they dance when you play! The young women sway, and their eyes dart with fiery love at your tones. To play where I have, you must leave the marketplace behind, you must cease to play in the palaces of pleasure, and find your joy in other pursuits. Are you willing? Are you able to leave all of that behind?” The young man’s lips tightened. His eyes held the old man in unwavering gaze as he softly nodded his head.
The Castle’s Call
Deep in a sun-flooded valley it stood. Beyond the outcroppings of bare rock at the summit, the wind-blown trees along the steep slope, in the midst of the small forest on the valley floor. Open ground swelled up to meet its moat. White stone, hewn long ago from the valley itself, washed by aeons of the water of pre-history, formed its battlements and towers topped with dark green slate. The early afternoon sun bathed its walls in yellow brilliance. The drawbridge was down, and smoke curled from the chimneys of the great hall.
Hidden, yet apparent, the castle in his mind’s eye drew the young musician to its entrance, and called him to an as yet uncontemplated fate.
Wedding in the Country Manor
Wedding day! The village has been polished clean. Clear summer sun and unsullied sky. Who has seen a groom like this, strong and silent, dark and light? Clear eyes flash with joy, anticipating his lady’s gentle appearance.
She walks upright and unafraid, her lace veil blowing in the summer breeze.
Her gaze is neither timid nor bold, yet it holds the strength of her lord’s without wavering.
They kiss… A brilliant jewel between them sparkles, showering the guests with light and laughter. Then silence, as the meaning makes its home.
The children, unaware of grownup solemnity, dance out joy with unencumbered feet, whirling and giggling, giggling, and whirling away their summer joy. One by one, the grownups join them, bride, groom, and guests, until all fall from exhaustion, laughing at dignity and foolishness alike.
Suite – of Reflections
“This is the room where we must begin,” the old man said, “sit down – over there. Hold your instrument so. A thousand have sat as you have. Listen.” The old man played out the story of the room, asking all the age-old questions of the entrance.
The young man sat in silence. Then answered his every question one by one – considered, unwavering, sure of what he would find. His heart soared as each question was answered, anticipating the fulfillment of the promise each one held. Now tears of joy are flowing from his cheeks. He holds his instrument away so as not to spoil the strings. The old man smiles. The younger weeps: All I have lived for is here. The joy of new beginnings settles in his mind, as the old man sets down his instrument and opens up the door: “You must meet the King,” he said, “you must meet Him face to face. No, no -” the old man answered the unasked question: “You must go alone. You won’t come to harm; I will even meet you along the way. But – for now – you must go alone.”
Golden Halls
Golden halls to walk down; flowing, gentle gold. Everything exudes yellow light. The young man looks at himself in a mirror. The hard creases etching the lines of his worry have been smoothed over. His cheeks fill with the youth of his years – once made long from the marketplace. Forever, he thought. I have never known its meaning. I shall live here forever, in golden light.
Side Two
Mouthpiece
Now that the hot lights of the pleasure palace stage glare into his eyes, He steps up to the roar of a crowd bent upon his music, and all that it has brought to them. Then silence. He sings – no, soars with joy. The crowd no longer presses forward, but holds itsbreath at music it has never heard. His fellow players stand mute.
Follow Me Up
“Follow me up,” he cries, as they begin to understand. The marketplace reverberates with music of life. The young women, no longer dancing, cry with joy at the truth they have always known but were seeking to hide. Young men look for the source of his strength. “Follow me up,” he cries, again and again. They will remember this night forever, and never know why.
Jungle Pleasures
Along the castle’s golden halls, the sight of a long and narrow passage has stopped him. At the end, a single door gleams in green light: The stage door of the pleasure palace. It was unmistakable, and jarringly out of place. What music drew him down to open the door and gaze into his own face, bathed with sweat and green light, playing out the pleasures for adoring admirers? The young man in the room swayed and bent, his instrument playing out in twisted genius the stories of his lusts. The young man gazing at him drew back in disgust and horror of the truth. He slammed the door and ran back to the golden hall, his heart racing him to a finish.
Deep Calls Unto Deep
The old man sat in the great hall, his fingers resting lightly upon his instrument. One hand lifted, to silently indicate the young man’s own instrument, lying in the only other chair. The young man shook his head, no longer willing or able to play. He opened his mouth to explain, but could not speak. The old man began, as the younger stood before him in silence. The presence of He who cannot be named filled the hall. Never had he heard the old man play like this. His cheeks flamed crimson at his own inability. An unseen instrument answered the old musician, who raised his head slightly to acknowledge its presence. The younger walked as in a trance to his chair. He sat, and fingered the instrument. Unwillingly, he began to play, and himself was answered. His concentration was set upon his fingers, which played from some unrecognized but familiar depth. He never noticed the old man’s disappearance. The Presence lifted. Alone, the young man sang of a thirst quenched by water and salt.
Medley
The next room was lined in oak; leaded windows looked out over green forest at the setting sun. The young man sat in a window casement, and played down the sun to a half-remembered hymn. The sky became green and deep gold. Slowly, all turned cold – the stars came into a dark, black night. Since the old man’s disappearance, the young man had been incapable of calling back the Presence. The night turned darker, and the young one began to cry, not for loss, but lack. Oblivious to his surroundings, he bent his head and sobbed. His tears ran saltily upon his instrument, dripping from the strings. They can be spoiled now, he thought, what does it matter? I cannot play.
“I too was alone,” said a voice, “I too could no longer play the Music.” The young one bit his lip and looked up. The King was before him, not as a king, but as the young man himself, his heart empty. Royal robes hung over one arm. “Wear these,” said the king, “for they are yours.”
The King gazed at him as a bridegroom at his bride, and the young man played; joined, not by an instrument, but by the voice of the Presence itself. The King was lifted up and out of sight, golden walls illuminating His departure. Still the young man played, for the Presence was greater than ever. He sang with It, It sang with him. Voices called cross to one another; all led upward. A joy far deeper than his own emotions held him in its grasp. It would not let him go.
Epilogue
The high and exalted One
Who lives forever, whose Name is holy,
He dwells in a high and holy place
And with him are the lowly in spirit,
In order to revive their hearts.
Track Listing
A1 Pilgrim’s Flight 2:22
A2 Agora (The Markerplace) 3:26
A3 The Castle’s Call 0:47
A4 Wedding In The Country Manor 3:20
A5 Suite Of Reflections 5:45
A6 Golden Halls 5:13
B1 Mouthpiece 1:18
B2 Follow Me Up 4:05
B3 Jungle Pleasures 0:55
B4 Deep Calls Unto Deep 3:52
B5 Medley (7:05)
Evensong
Twilight
Forever Joy
B6 The High And Exalted One 1:48
Credits:
Classical Guitar, Acoustic Guitar, Electric Guitar, Acoustic Bass, Electric Bass, E-Bow, Synthesizer [Arp Bass], Drums, Percussion, Vocals, Producer, Arranged By, Mixed By, Composed By, Sleeve Notes – Phil Keaggy
Engineer – Gary Hedden
Engineer, Mixed By – Mal Davis
Illustration – Claude Schuyler
Lyrics By [Story Written By] – Stuart Scadron-Wattles
Photography By – Chris Maggio (3)
Vocals – Bernadette Keaggy
The first time I saw the cover of I Predict 1990, I didn’t know what to think. I didn’t know it (apparently) resembled a tarot card, or that Steve seemed to be making (apparently) some sort of weird hand signal. I did find it kind of unsettling, though. ‘Man, what is with that creepy expression…’ But, c’mon, this was Steve Taylor. I loved his music, his lyrics, his clever, skewering humour. Loved it so much that as a teenager I insisted my mom listen to the entire On The Fritz album in one sitting, while I explained every song in detail. And, sure – Steve was controversial. Challenging. Slightly possibly maybe verging on inappropriate, once in a while. (“Lifeboat”, anyone?)
So, I put on the album. And the first track hits me with:
Now I don’t care if it’s a baby or a tissue blob
but if we run out of youngsters
I’ll be out of a job, and so I
I did my duty cleaning up the neighborhood
I blew up the clinic real good
Steve, what the heck.
But I hung in there. And then came the line: “The end don’t justify the means anytime”
Okay. Okay. Phew. Steve hadn’t lost it completely. I got it.
But certainly, with this third studio album Steve pushed the ‘acceptable topics for CCM artists’ envelope to a pretty big tipping point. Or at least the ‘acceptable treatment of topics’. Listeners had come to expect his biting, uncomfortable-making lyrics; but people all along the conservative/liberal spectrum of Christian thought weren’t sure what to, well, think. Many simply closed the book on him after this album – some not making it past the first song.
And that was (and is) a real shame. Steve’s music asks listeners to really hear what’s being said in the lyrics – and to seriously consider that those lyrics might be holding a mirror up to stuff we might want to examine in ourselves. His stuff isn’t for lazy listeners. But when we let ourselves get so bound to tightly-held and well-reasoned opinions, we can lose our cool over a ‘shocking’ song like “Clinic” and miss the chance to engage in critical thinking and respectful debate. Do I agree with everything Steve Taylor says? Nope. (Some day I’d love to talk with him about “Jung and the Restless”…)
And hey – there’s a LOT of good stuff on this album. Some of my favourites are…no, that’s too many to list. But here are a few comments…
– “What Is The Measure of Your Success” – If you get a chance, watch the video – it’s pretty powerful. He nails the mood of a regretful, bitter, dying businessman.
– “Since I Gave Up Hope I Feel A Lot Better” – Another delightfully satirical lyric, having the opposite effect of making you smile (hopefully).
– “Jim Morrison’s Grave” – Fantastic song. Poetry and rock.
– “Innocence Lost” – Emotional piece about a visit to death row. Gets me every time.
– “Harder To Believe Than Not To” – A beautiful song, haunting and moving. Taking its title from the writings of Flannery O’Connor, an American writer, the song argues against the idea that Christianity is a crutch.
Tracks
1. I Blew Up the Clinic Real Good – 4:11
2. What is the Measure of Your Success? – 4:38
3. Since I Gave Up Hope I Feel A Lot Better – 3:25
4. Babylon – 4:48
5. Jim Morrison’s Grave – 4:29
6. Svengali – 4:28
7. Jung and the Restless – 4:32
8. Innocence Lost – 5:02
9. A Principled Man – 3:26
10 – Harder to Believe Than Not To – 4:31
Personnel
Some Band
Steve Taylor – vocals and backup percussion
Dave Thrush – saxophones
Jeff Stone – guitar
Glen Holmen – bass
Jack Kelly – drums
Steve Goomas – keyboards
Gym Nicholson – guitar
Additional musicians
Dave Perkins – additional guitar on all songs except “Jim Morrison’s Grave” and “Harder to Believe”
Greg Husted – assorted keyboard tracks and accordion
Papa John Creach – fiddle
Ashley Cleveland – vocal stylings on “Jim Morrison’s Grave”, “Svengali”, and “Babylon”
Annie McCaig – backing vocals on “Success” and “A Principled Man”
Nathan East: bass on “Clinic”
Gary Lunn – bass on “Hope”
Lisa Cates – percussion
Mike Mead – more percussion
Mary Bates – operatic vocal on “Harder to Believe”
Jim Horn – tenor sax on “Clinic”
Ross Holmen – French horn
John Andrew Schreiner – synth bass on “Svengali”
Janet Croninger – “Jung” woman
Fred Travalena – “Jung” doctor
Del Newman – orchestration on “Harder to Believe Than Not To”
Production notes
The Beaufort Twins (Dave Perkins and Steve Taylor) – producers and engineers
Dave Perkins – producer, engineer, mixing
Steve Taylor – producer, mixing
David Schober – engineer
Malcom Harper – engineer
Robert Wartinbee – assistant engineer
Michael Ross – engineer on “Harder To Believe”
Music Grinder, Los Angeles, California – recording location
Reelsound Bus, Nashville, Tennessee – recording location
Wayne Cook Studios, Los Angeles, California – recording location
CBS Studios, London – recording location
Reelsound truck, Austin, Texas (48 track) – mixing location
Bob Ludwig – mastering
Masterdisk, New York, New York – mastering location
Dave Perkins and Steve Taylor are listed as producers as “The Beaufort Twins.” A likely satire of the Mick Jagger & Keith Richards production/songwriting partnership billed as The Glimmer Twins
Truth are one of the stranger bands in CCM. They started in 1971 with 15 members malking thwm more of a choir than a band. Later the band expanded to 22 members but you can’t really tell as this album sounds like a typical 5 piece band. According to John Roger Breland the choir/band’s name stands for “Trust, Receive, Unchangeable, True Happiness [in Jesus]”. The band was active until 2001 and released 47 albums in their time.
Tracklist
1 – What Can I Do
2 – Wonderful Invention
3 – He Is Able
4 – The Spirit Of David
5 – Undivided
6 – Do What
7 – The Highest Call
8 – Have You Heard
9 – I’ll Remember You To The Father
10 – Lamb Of God
Credits
Arranged By [Vocals] – Steven V. Taylor
Bass – Mike Brignardello
Directed By – Roger Breland
Drums – Mark Hammond
Engineer [Additional Engineering] – Steve Fralick, Tom Harding
Executive-Producer – Dan Cleary
Guitar – Jon Goin
Horns – The Truth Brass
Keyboards – David Huntsinger
Mastered By – Hank Williams
Mixed By – Brent King, Steven V. Taylor
Percussion – Brent King, Steven V. Taylor, Terry McMillan
Performer [Member] – Alan Nowell, Berneé Tuttle, David Cleveland, Ed Seidenkranz, Gina Angiulli, Joy Young, Ken Reich, Kevin Newton, Lisa Pieper, Mark Harris, Mike Eldred, Mike Thomas, Mike Walker, Paul Glasgow, Phil Peters, Shari Beeman, Tim Marshall, Travis Laws, Wes Tuttle
Producer – Steven V. Taylor
Programmed By [DX-7 Programming], Keyboards [Additional] – John Slick
Recorded By – Brent King, Michael Psanos*
Strings [Played From Synclavier Digital System] – Reed Arvin
This is a fascinating sampler album (CD). It came out on Arrival Records, which is a Sublabel of K-Tel International. I had no idea until I found this album that K-Tel had distributed Christian albums. Even more of a surprise for me is that there were several of these albums. The quality of the CD is horrible, but I’ve cleaned up the recordings as best I could. K-Tel’s vinyl releases were well known for their horrible quality which was a result of cheap vinyl and cheap pressing. This album was released on CD so there was no need for the poor quality. I’ve always suspected that the licensing agreements for these songs included a stipulation that the quality be horrible in hopes people would buy the original album.
Include below is the info on which album the songs were released on
Tracklist
1 – Michael W. Smith – You’re Alright – 4:39 – The Big Picture
2 – Petra – Back To The Street – 4:17 – Back To The Street
3 – Leslie Phillips – Love Is Not Lost – 4:03 – Black And White In A Grey World
4 – White Heart – The Beat Of A Different Drum – 4:17 – Don’t Wait For The Movie
5 – David Meece – All Is God’s Creation – 3:48 – Candle In The Rain
6 – Kim Boyce – Love Resurrection – 4:11 – Kim Boyce
7 – Randy Stonehill – Defender – 3:02 – The Wild Frontier
8 – Mylon LeFevre & Broken Heart – Crack The Sky – 3:59 – Crack The Sky
9 – Rick Cua – This Raging Fire – 3:53 – Wear Your Colors
10 – Steve Camp – Cheap Grace – 5:11 – One On One
11 – David & The Giants – Cold Lonely Nights – 3:37 – Magnificat
12 – Margaret Becker – Fight For God – 4:06 – Never For Nothing
Companies, etc.
Copyright (c) – K-Tel International (USA), Inc.
Distributed By – K-Tel International (USA), Inc.
Phonographic Copyright (p) – K-Tel International (USA), Inc.
This debut album from Whitecross hit us in the peak of CCM’s metal heyday. The guitar sounds are unmistakably 80s metal, but Whitecross has a much more melodic sound to their songs than some of the other bands. It’s like a harder version of Bon Jovi and it’s fun to listen to.
Whitecross has the vocal harmonies are typical in this genre of music, and in addition to that, each song has a melody that the listener can follow along with. Some of the similar bands lack this distinction. All in all one of the better examples of this style of music.
Track Listing:
A1 Who Will You Follow
A2 Enough Is Enough
A3 He Is The Rock
A4 Lookin’ For A Reason
A5 You’re Mine
B1 No Way I’m Goin’ Down
B2 Seein’ Is Believin’
B3 All I Need
B4 Nagasake
B5 Signs Of The End
Companies, etc.:
Phonographic Copyright (p) – Pure Metal Records (3)
Copyright (c) – Pure Metal Records (3)
Distributed By – Refuge Music Group
Distributed By – Creative Music Canada
Recorded At – Opus Recording Studio
Mixed At – Opus Recording Studio
Published By – Girder Music
Credits:
Bass – Jon Sproule (The Human Harmonizer)*
Design, Graphics [Photo Tinting] – Jeff Spencer (2)
Drums – Mark Hedl
Engineer – Perry Miller
Executive-Producer – Gavin Morkel*
Guitar – Rex Carroll
Keyboards [Additional] – Joan Johnson (5), Kent Cantwell, Tonja Kataja
Photography By – Gary Trantafil
Producer – Caesar Kalinowski, Rex Carroll
Vocals – Scott Wenzel (Scottzilla!)*
It is difficult to write a review for each John Michael Talbot album. They are essentially all the same. Yes the songs are different but none of them really stand out to me. This album was actually a follow up for his 1985 book of the same name. Now just to be clear I am not faulting John Michael Talbot in any way. He does what he does very well. In fact as far as this style of worship music is concerned he really is the top dog.
Tracklist
1 – One Dark Night
2 – Where Have You Hidden
3 – I Found My Beloved
4 – Living Flame Of Love
5 – I Know A Well
6 – Adventure In God
7 – White Bird
8 – Beloved One
9 – Pass Through My Will
Credits
Art Direction – Barbara Catanzaro-Hearn
Design – Catherine Reishus McLaughlin
Engineer – Darrell Powell, Mike Ross-Trevor
Liner Notes – John Michael Talbot
Lyrics By – Sister Mary Anthony, St. John Of The Cross* (tracks: A1 to B2), Thomas Merton
Mastered By – Steve Hall
Music By – John Michael Talbot
Photography By [Front Cover] – Ken Slater (2)
Photography By [Portrait] – Mark Tucker (7)
Producer – John Michael Talbot, Phil Perkins
Vocals, Guitar – John Michael Talbot
Vox Dei is one of the top Spanish Christian bands of all time and this was their first release in 1990. Of course I can’t understand most of it however I find the music to be well done and while a little raw, typical for a first album, they are very talented musicians. The album has 3 Spanish covers of English CCM songs.
Joe English – Power of Prayer – “El Poder de la Oracion”
Resurrection Band – Lovin’ You – “Siempre Te Amare”
Darrell Mansfield – Bible Study (La Droga No Es Solucion – Drugs are Not the Solution)
The Darrell Mansfield cover apparently has the lyrics reworked into a anti drug song.
If you only listen to one Spanish Christian album this should probably be the one.
Tracklist
1 – Quitate la Máscara – (Take off the Mask)
2 – Libre de Egipto – (Free of Egypt)
3 – Amor Verdadero – (True Love)
4 – Salmo 23 – (Psalm 23)
5 – Gloria Al Señor – (Glory to the Lord)
6 – El Poder de la Oracion – (The Power of Prayer)
7 – La Droga No Es Solucion – (Drugs are Not the Solution)
8 – Salmo 150 – (Psalm 150)
9 – Vivo Está – (Live)
10 – Siempre Te Amare – (Lovin’ You)
A Moment In Time is was released on CD in 1994 and contains all new songs, which is something that Larry Norman fans had been waiting for for a while. Stop This Flight was ten years earlier in 1984, and there had been only two studio albums since then: Home At Last (1989) and Stranded In Babylon (1991).
Larry had been hospitalized for his heart condition a couple of months before recording this, but he felt some urgency to do the project because he needed to keep some income going to pay for another operation. Most of the vocal tracks were done once with no retakes due to Larry’s health at the time.
The musicians who apparently donated their time for this project were Herb Manuputy, Dave Mansfield, The Dave Nicar Band, Keith Turbet, and Steve League.
Overall the sound is a bit of well paced boogie-woogie blues with a bit of country twang.
The radio spot is a pitch for signatures for an anti-child porn amendment for the state of Oregon. I don’t know how that turned out in the end.
“Down the Line” is a studio rough cut with a country twang. Larry’s commentary for the studio musicians is left in the mix rather than edited out. It makes it a little more fun, although the song probably could have stood on its own.
“Long Hard Road” is a wordy country/blues tune. It has a lot of “some people…” lines in it, lamenting how he feels he has been treated and viewed over the years. “Some people don’t know truth from lies so they just make it up” is the gist of it. It’s a nice smooth blues tune with a good guitar sound.
“Elvis Has Left the Building” is a tribute, a lament and an ode to Elvis Presley. It is a phrase that even has its own Wikipedia page now. “…often used by public address announcers at the conclusion of Elvis Presley concerts in order to disperse audiences”
The expression took on a meaning of its own but Larry had a genuine place in his heart for Elvis. He frequently mentioned him when talking about the evolution of rock’n’roll, and how popular music took the style used in Black churches to record love songs for the radio. Stylistically I think that Larry admired Elvis, but he always held a tone of concern for him.
There has been plenty of theological debate for several centuries over whether one can “lose their salvation” or not, but this seems to be part of the concern of this song. When Elvis “left the building” is Larry thinking about him leaving this world, or leaving his faith? A little of both most likely. However, the last words reported to be called out when Elvis died are perhaps words of faith.
The three bonus tracks are included here probably because this would have been a very short album without them, but they were not all part of the same studio sessions as the rest of the tracks. Most of them, with the exception of Right Here In America had not been previously released.
Track Listing:
01 Radio Spot
02 Down the Line
03 Long Hard Road
04 When the Son Comes Back
05 Elvis Has Left the Building
06 Lay My Burden Down
07 Toxic Tea and Toast
08 You Shall Be Saved
(Bonus Tracks)
09 The Children of Nimrod
10 The Solid Rock
11 Leave It Up to God to Handle
12 Right Here in America
Darrell’s first solo album was a good start to his blues and rock career. With songwriting by Denny Correll on “Children Don’t Run” and drums by John Mehler throughout, this is a solid work that stands the test of time well. Darrell’s signature harmonica sound is present on a lot of tracks here, but it’s just the tip of the iceberg that is his legendary harp playing.
Skip Konte (of Three Dog Night) plays keys and adds some percussion.
The song “That’s Alright” makes is debut on this record. It remained a signature track throughout his career and this original version is great to hear again.
Tracklist
1 – Children Don’t Run – 4:10
2 – The Prize – 4:57
3 – That’s All Right – 3:51
4 – He Has Overcome – 5:18
5 – No More Blues – 3:38
6 – Love Conquers All – 2:50
7 – Giver Of Life – 4:22
8 – Every Night Every Day – 4:09
9 – Higher Power – 3:47
Companies, etc.:
Distributed By – Word
Phonographic Copyright (p) – Maranatha! Music
Copyright (c) – Maranatha! Music
Recorded At – I.A.M. Studios, Irvine
Credits:
Acoustic Guitar – Don Gerber
Bass – Marc Levine
Drums – John Mehler
Electric Guitar – Anthony Dean, Steve Kara (tracks: A2)
Harmonica – Darrell Mansfield
Keyboards – Skip Konte
Percussion – Paul Angers (tracks: B2), Skip Konte
