Paul Smith is probably best known for his time as an Imperial. He replaced Russ Taff in 1981 when Russ left to pursue a solo career. Paul would follow that same path in 1986 with this album. There has been much discussion as to why lead singers fled the Imperials. My best guess (and it’s only a guess) is that it was money. A solo album contract is always better than a group contract. That said as many album as the Imperials were selling I kind of doubt Paul made as much as a solo artist. That said I can guarantee Russ Taff made more money as a solo artist than he did with the Imperials. But really that’s all speculation. Anyway Paul released this album in 1986 on Dayspring Records and it did very well. It had 4 singles on the CCM charts with Never Be Another doing the best climbing to #2. The others didn’t do quite as well but 4 singles on a first solo album is pretty darn good. But keep in mind his musical pedigree guaranteed the album would get noticed. The album is a solid AOR pop album and while a little on the easy listening side for me I still quite enjoyed it.
Tracklist 1 – Everlasting Joy – 4:03 2 – Live And Learn – 4:32 3 – Never Be Another – 3:51 4 – Keep The Light On – 4:05 5 – So Good To Know – 4:11 6 – Let Love Happen To You – 4:43 7 – A Holy Nation – 3:39 8 – Praisemaker – 3:49 9 – Beautiful The Dreamer – 4:00
Credits Art Direction – Buddy Jackson Backing Vocals – David Martin, Denny Henson, Greg Guidry, Keith Thomas, Lisa Bevill, Patti Morris, Paul Smith Bass – Jimmie Lee Sloas Drum Programming – Keith Thomas, Mark Hammond Drums – Mark Hammond Executive Producer – Neal Joseph Guitar – Jon Goin Keyboards – Keith Thomas Percussion – Terry McMillan Photography – Ron Keith, Scott Bonner Producer – Keith Thomas Saxophone – Jim Horn Synthesizer [Additional Programming] – Brett Perry
I guess this album was the result of “if you can’t beat them, join them.” Constantly compared to Paul McCartney during his career, why not just do a Beatles album? What was actually supposed to be a possible semi-regular group, Phil Keaggy & Sunday’s Child only ever released this one album. But what an album they created! Making up the rest of “Sunday’s Child” are Rick Cua on bass, Mike Mead on drums and Lynn Nichols on guitar and vocals. It also may go down in CCM history as the single nicest group of musicians to record a record together. There is this one odd thing about many Keaggy albums. Those with great songs have a tendency to lack the guitar prowess that many clamor for, while those with great guitar work have tendency to lack quality songwriting throughout. This album is all about the songwriting and is clearly some of Keaggy’s finest work in the regard. And true to form the album is not filled with blazing and intricate guitar work, though many tasteful and enjoyable examples can be found. There album is also the most “band” sounding in his career outside of the Crimson and Blue recordings. But that band is supported by a Hall of fame list of musicians including Steve Taylor, Mark Heard, Randy Stonehill, Alwyn Wall, Derri Daugherty, Russ Taff and the always impressive and often overlooked James Hollihan on guitar. Many of the guests also provided songwriting help. The Beatles comparisons are not subtle. They were clearly the inspiration and that adds to the sheer joy of the album. In fact, according to the liner notes, Ringer Starr’s drum kit was used on the recording. Older amps, instruments and recording processes were employed to give the album the rich, analog sound.
The album kicks off with the mid-tempo rocker, “Tell me How You Feel.” This tone setter reveals what will follow with the head side bopping beat and Keaggy’s higher end vocals at times reminiscent of McCartney with abandon. But there is also a clear nod to the Byrds here and throughout. The title track, co-written with Stonehill, was a hit, and for good reason. This song is memorable and smart at the same time. I believe I hear Stonehill’s vocals in there as well. The two released a wonderful album a year or so ago that employed some of the same musical stylings. A personal favorite, and one of the better rockers on the album is “I Always Do.” Starting slow before kicking halfway through the verse into a killer rocker that is more reminiscent of Glass Harp’s poppier side. The song also features one of the more upfront guitar solos and the best hook on the entire album. Without blazing fingers and extended riffs, Keaggy here shows the power of a well controlled, melodic and tasteful rock solo. It should be noted this is a Mark heard penned tune. “I’m Gonna Get You Now” is more early 70’s rock and sounds the least like the Beatles as any on the record, excepting the song that follows. But it should be noted that it also provides some of Keaggy’s best rock vocals. Co-written by Lynn Nichols, the songs edge gives Keaggy the change to explore some vocal styles he hadn’t previously. If someone mentioned that Steve Taylor co-wrote one of the songs, my guess would immediately be “Bless Be the Ties,” and that would be correct. More psychedelic than the rest of the album, this slower, dare I say darker (?) song remains one of the best as well. This Could Be the Moment” returns to the more fun rock and roll. This is a good old-fashioned, put the top down on the convertible and hit Pacific Highway. The chorus is a monster with some great harmonies. The instrumental break just pounds with Mead’s great driving beat and Keaggy’s subtle and building guitar work. Even Cua gets a short solo here! This was a great song live I should add as it was extended to include solos from everyone. Side Two kicks off with the loudest guitars and a song co-written by Stonehill called “Ain’t Got No.” But this Stonehill is Sandi, the then wife of Randy. Oddly enough, it sounds like something randy would have recorded himself. It’s hard to decide which song stands out as the “best” on such a great album, but “Somebody Loves You” would have to receive recognition. The acoustic driven rock song is pure Keaggy and one of the songs Keaggy penned entirely by himself. Keaggy here shows his guitar prowess is not just limited to electric and solo, but tasteful and smart acoustic rhythm work as well. This alone gives it more of a Byrds feel. Another of the darker feeling songs follows with “Big Eraser.” Another Nichols co-written tune, it is perfect fit for something on the Chagall Guevara debut. The vocals are clouded amongst a large rock vibe and huge drum sound. This would make sense given Nichols involvement with the group. The Mark Heard penned “Everything is Alright” is a true dichotomy. A dark and almost atmospheric verse structure followed by a pop and memorable hook driven chorus. This is also around the time of Ideola, and the style shows through. “I’ve Just Begun (Again)” brings the album back to the joyful musical expressions that dominate the vast majority of the album, while the following “Walk In Two Worlds” represents the darker, rougher edge. One would have hoped future releases would expand upon this sound as it worked so incredible well here. The album closes with a wonderful version of the traditional spiritual “Talk About Suffering.” Staring nearly in an acapella (drums only) before adding the band, this version is both beautiful and unforgettable. A fitting ending to a great album. This may be Keaggy’s finest hour as a songwriter, though another album of his will appear much later in the countdown, it is a real shame this ended up being only a one-off and no further collaborations between these men exists in this format.
Tracklist 1 – Tell Me How You Feel – 3:21 2 – Sunday’s Child – 3:57 3 – I Always Do – 4:50 4 – I’m Gonna Get You Now – 3:47 5 – Blessed Be the Ties – 3:56 6 – This Could Be the Moment – 3:48 7 – Ain’t Got No – 3:29 8 – Somebody Loves You – 4:05 9 – Big Eraser – 4:33 10 – Everything Is Alright – 4:19 11 – I’ve Just Begun (Again) – 3:00 12 – Walk In Two Worlds – 3:37 13 – Talk About Suffering – 4:50
Credits Robbie Buchanan – Organ B3 Lenny Castro – Percussion Rick Cua – Bass Derri Daugherty – Vocals Lance Demers – Songwriter Dave Hackbarth – Mixed Mark Heard – Songwriter, Engineer, Keyboards, Guitar, Vocals James Hollihan – Guitar Wade Jaynes – Mixed Eddie Keaggy – Mixed Phil Keaggy – Songwriter, Guitars, Bass, Percussion, Vocals Mike Mead – Drums Lynn Arthur Nichols – Producer, Songwriter, Guitar, Vocals A. Palladino – Songwriter Jack Joseph Puig – Mixed David Schober – Engineer Jimmie Lee Sloas – Vocals Bart Stevens – Mixed Randy Stonehill – Songwriter, Guitar, Vocals Sandi Stonehill – Songwriter Russ Taff – Vocals Brian Tankersley – Engineer Steve Taylor – Songwriter, Percussion Rudy Valentine – Vocals Alwyn Wall – Vocals
Freedom is the sixth studio album by White Heart and their last with Sparrow Records though Sparrow would continue distribution under an arrangement between the Sparrow Records and Star Song labels. This was also the last album for Tommy Sims, Gordon Kennedy and Chris McHugh. I guess you could say this album marked a end of a chapter for the band. I read a few reviews of this album and some reviewers thought this was one of their best if not their best album. I don’t really fall in that camp of reviewers. It’s a pretty good album and there’s a track or two that will make it into my rotation but their best? Not really. The album is a nice mix of CCM singles with 3 making it to the charts and “The River Will Flow” doing the best at #13 There’s also a couple power tracks that are more my style. So my final rating is pretty darn good and has enough different style to satisfy most listeners.
Tracklist 1 – Bye Bye Babylon – 4:06 2 – Sing Your Freedom – 4:59 3 – Let the Kingdom Come – 5:04 4 – Over Me – 5:19 5 – Eighth Wonder – 4:25 6 – Power Tools – 4:20 7 – Invitation – 4:53 8 – The River Will Flow – 6:55 9 – Set the Bridge on Fire – 4:31 10 – Let It Go – 4:15 11 – I’ll Meet You There – 4:22
Credits Art Direction – Barbara Catanzaro-Hearn, Larry Vigon Backing Vocals – White Heart Band [White Heart Is] – Billy Smiley, Chris McHugh, Gordon Kennedy, Mark Gersmehl, Rikk Florian, Tommy Sims Design – Larry Vigon Studio Engineer [Additional Engineer] – Byron House Engineer [Assistant Engineers] – Carry Summers, Kevin Twit, Mark Nevers, Paula Montondo, Shawn McLean, Steve Bishir, Todd Moore Executive-Producer – Peter York Lead Vocals – Rikk Florian (tracks: 1, 2, 5, 6, 9 to 11) Mastered By – Bob Ludwig Photography By – Mark Tucker Producer [Produced By] – Brown Bannister Recorded By, Mixed By – Jeff Balding
Occasionally I just take a day and root through a record company library to see what I find. This is one I found while rooting through the Refuge library. I’d never heard of the artist though actually he’s relatively well known for the period. Ben claims to have grown up as a child soldier in Nigeria. These stories don’t usually end well but his does as he was able to immigrate to the U.K. He was actually a well known artist in the anti apartheid movement and shared the stage with several prominent artists at that time. He has continued on with his somewhat unique style today. As for that style I would best describe it as pop oriented folk reggae. The industry refers to it as Afrikanese reggae but I don’t care for that description so I’ll go with mine.
Tracklist 1 – Wake Up – 4:38 2 – Got Me Running – 4:56 3 – Oke Na Ngwele – 2:55 4 – Man Of Sorrow – 4:28 5 – I Need Love – 5:17 6 – Raise Your Conscience – 5:10 7 – Filippino – 3:33 8 – World Gone Crazy – 3:57 9 – No Matter What It Is – 4:27 10 – Look Out – 2:34
Ordained Fate is odd in that 3 or the 4 members are female. The three girls started out the band in the mid 80’s under the name Cryptic Axe in Zion, IL. They started out as a secular metal band and even recorded a demo. The band became Christians in the late 80’s and went into the studio in 1989 to record a demo as Ordained Fate. The demo did fairly well and they recorded a second one in 1990. They were subsequently signed to a one album contract with Wonderland which was a sub label of Word. The album was well received but not widely available unfortunately. Wonderland/Word didn’t bring the band back in for a second album. They did however do a self produced effort in 1995 but of course with no distribution it was not widely available. This album is refreshing as it’s nice to hear some fairly hard metal from a female band. While not my style I was really surprised at the high quality of this release and I’m a little surprised it didn’t do better. I am guessing that it may not have been well promoted as Word really shouldn’t have been meddling in the Metal market as they knew nothing about it.
Tracklist 1 – Let’s Make A Deal – 4:33 2 – Gethsemane – 6:13 3 – Holy Wars – 4:45 4 – Wonderful Love – 4:15 5 – Gold Cross – 4:33 6 – Tame The Tongue – 5:23 7 – The Election – 3:53 8 – One Of The Insane – 5:19 9 – No Death – 4:26
Credits Bass, Vocals – Marge Curtner Design [Sleeve Design], Photography By – Lark Drums, Vocals – Terry Cvengros Engineer [2nd Engineer], Keyboards – Christopher Mosher Executive-Producer – Caesar Kalinowski, Peter Gavin Morkel Lead Guitar, Vocals – Anette Cvengros Lead Vocals, Guitar – Pam Scott Producer, Engineer – Caesar Kalinowski
This was John’s last album with Light though Light did release a Greatest hits album in the mid 80’s. Light threw a lot of money at this album including hiring an entire horn section. Though recorded in 1978 it wasn’t released until Mar of 1979. I suspect this was partly due to ongoing production as at times it’s over produced. To be clear let me say right away that I enjoyed this album but I have some criticism. First of all the horn section adds nothing to the album and really should have been left off and money saved. My other complaint is the varying styles. At time it’s disco, at time 70’s Jesus Music, and at times classic rock. Not a good flow. That said all the tracks are well done and I like each of them individually but I just don’t feel they should be stuffed onto the same album. I do love the title track and it will be going in my regular rotation.
Tracklist 1 – Johnny’s Cafe – 4:10 2 – One Lane Road – 4:02 3 – Nothin’ In This World – 3:32 4 – Circle Of Blessing – 3:50 5 – Talking Faces – 4:15 6 – Pawn In The Game – 3:36 7 – Right On Time – 3:05 8 – Hard Line – 3:55 9 – Blessed – 3:12 10 – Midnight On Main Street – 3:30
Credits John Fischer – Songwriter, Vocals Dan Collins – Producer, Background Vocals Dan Ferguson – Guitars Steve Forman – Percussion Leon Gaer – Bass Clark Gassman – Arrangements, Keyboards David Kemper – Drums Paul Leim – Drums Tim May – Guitars Don Menza – Saxophone Jack Joseph Puig – Engineer Tom Rotella – Guitars Rick Vito – Guitars
This is one of the early albums that set the stage for Steve Camp’s 1980’s popularity. His recording career spanned from 1978 through 2002. The track “Under His Love” was co-written by Steve Camp and Larry Norman. The two would cross paths many times over their respective careers and there are a few examples of them appearing on stage together and recording each other’s songs. In addition to working with Larry Norman, it seems to me that Steve has an uncanny vocal similarity. Not only the tone of his voice, but the way he expresses it has a strong similarity to the way Larry sounded. No wonder they were able to work together easily.
Tracklist 1 – The Feeling Is Happening – 6:02 2 – You Are The Rainbow – 3:12 3 – Under His Love – 3:35 4 – Easy Livin’ (Under The Sun) – 3:05 5 – Ambassador In Chains – 3:51 6 – Start Believin’ – 4:46 7 – Do They Have To Grow Up? – 3:56 8 – I’ll Always Need You Lord – 5:47 9 – Bobby – 5:19 10 – Psalm 131 – 2:10
Credits Steve Camp – Songwriter, Vocals, Production Assistant Jack I. Baron – Tenor Saxophone Big Foot – Feet Stomps Phillip Blum – Cello Sol A. Bobrov – Violin Phil Bonono – Additional Engineering Leonard Chausow – Cello Dale Clevenger – French Horn Gary Elghammer – Additional Engineering Richard Royce Ferrin – Viola Ronald Friedman – Trumpet Joseph Golan – Violin Tommy Hanson – Additional Engineering John W. Haynor – Trombone Tom Howell – French Horn Arthur Hoyle – Trumpet, Fluegel Horn Russell Iverson – Trumpet Harold D. Klatz – Viola Robert Lewis – Trumpet, Fluegel Horn Paul Libman – Production Assistant, Songwriter Arthur F. Linser – Trombone Samuel Magad – Violin Glenn Meadows – Mastered Rodger Moulton – Viola Hank Neuberger – Recorded and Mixed Larry Norman – Songwriter David Isaiah Radford – Songwriter Arnold Roth – Violin Kenneth G. Soderblom – Alto Saxophone, Tenor Saxophone Fred Spector – Violin Morris Butch Stewart – Producer, Songwriter The Chicago Hands – Hand claps and Finger Snaps Cyrill J. Touff – Trombone
“The Turning” is a fitting title for this album for several reasons. This 1987 release was Leslie Phillips’ last CCM recording. After this she signed with Virgin Records and released a few albums with then husband T Bone Burnett, whom she married after recording this album with him as producer. The Turning was the only one of her four CCM releases produced by T Bone and it has a very distinctively different sound. The acoustic sound familiar to T Bone’s work replaces all the the 80s glitz that Leslie had been doing an excellent job of until now. Leslie’s deep songwriting continued under the folk influence of the music on The Turning. However, she managed to squeeze out some pop sounding folk on a few songs, particularly “Libera Me”. In “Down”, Leslie addresses some of her “Turning” directly: “Shattered convictions I thought were offending you” suggests she has experienced a shift in her relationship with God, in a way that probably gives her more room as an individual. Bookended with two cheerfully haunting sounds at the lead track “River of Love” and the closer “God Is Watching You” this album brings a deep echoing sound that matches Her lyrics perfectly. It was an unexpected turn from the upstart who was hailed a few albums ago as the CCM version of Cyndi Lauper, but under T Bone’s influence, any artist seems to turn ahead of the curve.
Tracklist 1 – River Of Love – 2:43 2 – Love Is Not Lost – 3:57 3 – The Turning – 3:36 4 – Libera Me – 3:09 5 – Carry You – 4:18 6 – Beating Heart – 2:56 7 – Expectations – 3:15 8 – Down – 3:25 9 – Answers Don’t Come Easy – 4:10 10 – God Is Watching You – 3:50
Credits Bass – Jerry Scheff Drum Programming – Ralph Forbes, Ralph Forbes, Leslie Phillips, T-Bone Burnett Drums – Mickey Curry Executive-Producer – Tom Willett Guitar, Producer – T-Bone Burnett Harmony Vocals – Dawn O’Hanlon, Peter Case, Leslie Phillips, T-Bone Burnett, Tonio K. Mixed By – Tchad Blake Percussion – Alex Acuña Recorded By – Bill Jackson, Bobby Hickey, Judy Klapp, Larry Hirsch, Stephen Shelton, Steve Ford, Tchad Blake Recorded By [Assisted By] – David Knight, Mike Kloster Remastered By – Steve Hoffman Synthesizer – John Schreiner, Leslie Phillips Written-By – Leslie Phillips, T-Bone Burnett
Dead Artist Syndrome is actually simply Brian Healy and a host of friends that over the year, records and concerts rotated in and out in support of their friend who is easily Christian Music most unheralded alternative artists. Too often pigeon holed as exclusively a “goth” artists, DAS was an alternative that presented a darker, gloomier and deeper perspective to the world than most in CCM. The label most obviously comes from Healy’s baritone and at time monotone vocals associated with goth rock. It is not a whole lot different from many Mike Knott (who makes in appearance here) created projects. On “Prints” Healy is joined by Undercover’s Ojo Taylor and Gym Nicholson and it shows. There is an atmospheric sound to the record that is reminiscent of Undercover as well the Psychedelic Furs, Echo and the Bunnymen and The Sisters of Mercy. Healy willfully uses satire, sarcasm and symbolism throughout and, as a result, often misunderstood. Healy is an ordained minister and infuses much of his lyrics with doctrinal ideologies. I was working for Frontline Records when the second album was released and met Brian on a few occasions as result. I always found him to be incredibly nice, very, very funny and quite intelligent and interesting. These virtues would appear within the content of all of DAS’s music and is most evident on this debut. The opening track, “Christmas” is a sly indictment on the commercialization of the “Winter Break” and the rejection of the truth of the season. “Red” appears to be inspired by the story of Hosea and the harlotry of God’s people over the generations. I love the album’s finale, “Reach,” which is a very simply expression of worship in a somber and powerful way. It reminds the listener of the need to reach out to God in glory and honor.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Christmas – 3:35 2 – Amy – 3:41 3 – Dancing Without Touching – 3:25 4 – Vision – 3:35 5 – Hope – 4:35 6 – Dance With Me – 4:04 7 – Think Of Me – 3:16 8 – Red – 3:40 9 – Reach – 3:30
Credits Backing Vocals – Annica Svensson, Brian Miller, Camille Miller Bass, Guitar [Acoustic] – Mike Knott Bass, Keyboards – Michael Saurerbrey Executive Producer – Thom Roy Guitar – Gym Nicholson Guitar [Rhythm & Acoustic] – Chris Harvey Keyboards – Jeff Sheets, Ojo Taylor Mixed By – Brian Healy, Ojo Taylor, Thom Roy Producer – Brian Healy Recorded By – Brad Jeffers, Dave Hackbarth, Ojo Taylor, Scott Macklin Synthesizer [Synclavier] – Whitney Quinn Vocals – Brian Healy
This was the first album from Philadelphia who were out of Shreveport, Louisiana. Apparently the band had been together for quite some time at this point (1984) and actually started in the late 70’s as a secular band. When I was researching this album I was surprised at the reviews. It seems like some people loved the album and some just liked it and a few definitely did not like it. I usually don’t see such a variety of opinions on an album. Well I fall in the like it to love it category. I know I would have loved this album in 1984 but I doubt it ever made it anywhere near Canada so I would never have heard it. Yes I agree with others that the production is thin but I can forgive that because I think the writing is excellent. There is an 8:43 song which I feel is a little over the top but it’s an OK listen. My favourite track is actually the one most people seem to hate. “No Time For Honey” definitely will make my regular rotation playlist, probably once a week.
Tracklist 1 – Tell The Truth – 4:53 2 – Livin’ In Love – 5:26 3 – No Time For Honey – 3:26 4 – No Compromise – 4:01 5 – Razor’s Edge – 5:01 6 – The Life Inside – 3:07 7 – New Jerusalem – 8:43
Credits Bass, Vocals – Brian Clark Drums – Brian Martini Executive Producer – Bill Bafford Guitar – Phil Scholling, Ronn Flowers Layout, Design – Scott Waters