Category: Albums

Deliverance – Weapons Of Our Warfare – 1990

For their second album Deliverance turned up the thrash to 10. Upon reading reviews of this album it seems like this album is loved by the people who love this genre. A few even said this may be the best Christian trash album ever. Obviously I can’t really comment on this as I don’t like thrash and to me it all sounds the same. I did find the track “23” quite interesting as it makes a reference to Psalm 23. I just can’t get used to thrash metal making a reference to a Psalm. Anyway while I may not care for the album I can tell that it is a good album judging from the reviews. It’s history of re-releases, 2008, 2014, and twice in 2017 is a further testament to it’s popularity. So if you’re a metal head with a love of thrash this obviously is the album for you.

Tracklist
1 – Supplication – 1:48
2 – This Present Darkness – 2:47
3 – Weapons Of Our Warfare – 4:25
4 – Solitude – 6:05
5 – Flesh And Blood – 7:27
6 – Bought By Blood – 3:17
7 – 23 – 5:49
8 – Slay The Wicked – 4:03
9 – Greetings Of Death – 2:49
10 – If We Faint Not – 4:25

Credits
Art Direction – Ed McTaggart
Band [Deliverance Is], Bass – Brian Khairullah
Band [Deliverance Is], Drums – Chris Hyde
Band [Deliverance Is], Lead Guitar, Rhythm Guitar, Acoustic Guitar – George Ochoa
Band [Deliverance Is], Vocals [All Vocals], Rhythm Guitar, Lead Guitar – Jimmy P. Brown II
Co-producer [Co-produced By] – Jimmy P. Brown II
Design Concept [Cover Concept By] – Jimmy P. Brown II
Engineer [2nd Engineer] – Brian “Missing” Person
Engineer, Producer [Production Assistant] – Eric “Homefilth” Kibbe
Illustration [Cover Illustration By] – Joe Yakovetic
Layout – Joe Potter
Mixed By – Bill Metoyer
Photography By – Douglas Cloutier
Producer [Produced By] – George Ochoa

Companies, etc.
Phonographic Copyright (p) – Intense Records
Copyright (c) – Intense Records
Distributed By – The Benson Company, Inc.
Published By – Broken Songs
Published By – Carlotta Publishing
Glass Mastered At – Nimbus, Virginia

Billy Sprague – What A Way To Go – 1984

Billy Sprague got his start in the Christian music scene by being a member of Amy Grant’s band in the early 80’s. This work included a duet with Amy, “Singing A Love Song,” off Amy’s In Concert album. This relationship developed into his own record deal in 1984 with Reunion Records. Reunion brought in Michael W. Smith in to produce the album and the result of that is this album. It was a very successful release garnering 3 singles on the CCM charts. “Heavenly Father” climbed to #8, “What A Way To Go” to #22, and “Jude Doxology” to #30. I’m kind of surprised they released Jude Doxology as a single as personally I think it’s the weakest track on the album, but I never really got along with the CCM charts anyway. Obviously the album was very successful and I’m sure Reunion Records couldn’t get a second album out fast enough though it would have to wait until he was done his tour.

Tracklist
1 – What A Way To Go – 4:07
2 – Don’t Give Up – 3:55
3 – Heavenly Father – 3:31
4 – Never Be The Same – 4:59
5 – I Believe – 4:42
6 – Secret Heart – 4:29
7 – How Could You Say No – 3:28
8 – Take My Heart – 4:54
9 – Jude Doxology – 2:03

Credits
Art Direction, Design – Kent Hunter
Bass – Mike Brignardello
Drums – Mark Hammond
Engineer – Jeff Balding
Engineer [Additional] – Jim “J.B.” Baird
Engineer [Assistant] – Allen Henry, Chris Hammond, Sam Baily
Engineer, Mixed By – Brent King
Executive-Producer – Dan Harrell, Michael Blanton
Guitar, Electric Guitar – Jon Goin
Mastered By – Hank Williams
Mixed By [Assistant] – Phil Dihel
Photography By – Mark Tucker
Producer, Keyboards – Michael W. Smith

Companies, etc.
Phonographic Copyright (p) – Reunion Records
Copyright (c) – Reunion Records
Distributed By – Word, Inc.
Distributed By – Word Records Limited
Distributed By – Word (Uk) Ltd.
Designed At – Thomas Ryan Design
Recorded At – Goldmine Studio, Brentwood, TN
Recorded At – Bullet Recording
Recorded At – Center Stage Studio
Mixed At – Mastermix
Mastered At – Mastermix
Pressed By – Monarch Record Mfg. Co.

Adam Again – Homeboys – 1990

When a band with only five studio releases is able to have four placed on a list like this, it says something about the band that is beyond impressive. And the thing is, I am not a huge Adam Again fan stylistically, but utterly recognize the Gene Eugene Andrusco and crew created some of the most impressive music ever recorded over that very short five album career. And I don’t just mean the most impressive music ever recorded in CCM…but anywhere! The title track kicks off things with such an unforgettable groove and some impressive and memorable lyrics. Eugene’s is master storyteller here and anyone who remembers their youth and childhood will find something here to reflect upon. The loss of friendship and innocence is difficult and real. Obviously raised with a love for blues, R&B and cool funk/soul, Eugene was able to capture those grooves and place them firmly into the heart of alternative music. Often compared vocally to Michael Stipe and, in the early days, musically to The Talking Heads, on Homeboys there is more jazz, funk and heavier rock influences than either of those comparisons. Very few bands with the above comparisons and influences would be able to create a song like “Hide Away.” Mellow without ever being soft there is something more Van Morrison like here and it is utterly brilliant with a perfectly included violin accompaniment. The vocal passion in the album’s closer, No Regrets, again points to why this band was so amazing. Eugene and then wife, Riki Michelle, join forces here to bring the message home. The most auto-biographical record for Eugene, Homeboys is a classic along with two more that will follow.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Homeboys – 3:41
2 – The Fine Line – 4:32
3 – Hide Away – 2:51
4 – Bad News On The Radio – 3:52
5 – Inner City Blues – 5:44
6 – Dance Around In Circles – 2:39
7 – This Band Is Our House – 5:56
8 – Save Me – 4:11
9 – Occam’s Razor – 3:35
10 – No Regrets – 5:24

Credits
Art Direction, Layout, Photography By – Bruce Heavin
Assemblage [Assembled By] – Dave Collins
Bass – Paul Valadex
Drums – Jon Knox
Engineer [Additional] – Greg Lawless, Ojo Taylor, Paul Valadez, Super C
Keyboards – James Werning
Lead Guitar – Greg Lawless
Mixed By – G. Eugene
Mixed By [With] – Greg Lawless (tracks: 1, 2, 5 to 10), Jeff Simmons (tracks: 3, 4), Paul Valadez (tracks: 1, 2, 5 to 10)
Producer [Produced By] – Gene Eugene
Recorded By – G. Eugene
Saxophone – Dan Michaels
Vocals – Riki Michele
Vocals, Guitar, Electric Piano [Rhodes], Organ [B-3] – G. Eugene
Voice [Preaching] – Rev. Howard Finster, Man Of Visions

Companies, etc.
Copyright (c) – Brainstorm Artists International
Manufactured By – Word, Inc.
Distributed By – Word, Inc.
Recorded At – The Mixing Lab
Recorded At – Neverland
Recorded At – Winetree Recording
Recorded At – Pakaderm West Studios
Mixed At – The Mixing Lab
Mixed At – Pakaderm Studios
Engineered At – Icehouse, Upland, CA
Engineered At – A&M Studios
Mastered At – Bernie Grundman Mastering
Published By – Chenka, Chenka Music
Published By – Jobete Music
Manufactured By – JVC

The Call – Modern Romans – 1983

This was the second album from The Call and is probably the one that introduced most people to the band. Their first album was not very well received but I guess was well enough received that Mercury Records went ahead with a second album. The single “The Walls Came Down” was a rather odd single. It only reached #74 on the Billboard Top 100 Chart though did make it to #17 on the mainstream rock chart. What was odd is that it was hugely popular on MTV. The video was very well received which I find odd because it is the just the band playing the song in what looks like a warehouse. Remember that often first singles followed this style on the thought we would learn who the band was. A strategy I always thought was stupid as these videos were notoriously boring. But as boring as it was (and it is) it was on heavy rotation. The song is actually referring to the cold war between the U.S. and Russia but there is the obvious suggestion of the biblical story of Battle of Jericho. Now I will toss in a personal opinion. I actually preferred their initial self titled album, but this album did solidify me as a permanent fan.

Tracklist
1 – The Walls Came Down – 3:35
2 – Turn A Blind Eye – 3:48
3 – Time Of Your Life – 3:27
4 – Modern Romans – 3:24
5 – Back From The Front – 4:02
6 – Destination – 4:32
7 – Violent Times – 4:28
8 – Face To Face – 4:05
9 – All About You – 4:20

Credits
Bass – Greg Freeman
Drums, Percussion, Vocals – Scott Musick
Engineer – Richard Kaplan
Engineer [Assistant] – Chuck Johnson, David Spritz
Guitar, Vocals – Tom Ferrier
Guitar, Vocals [Lead] – Michael Been
Producer – Michael Been, The Call
Synthesizer, Cornet – Steve Huddleston
Synthesizer, Saxophone – Garth Hudson
Written-By – Michael Been

Companies, etc.
Published By – Neeb Music
Published By – Tarka Music
Phonographic Copyright (p) – PolyGram Records, Inc.
Manufactured By – PolyGram Records, Inc.
Marketed By – PolyGram Records, Inc.
Pressed By – PRC Recording Company, Compton, CA
Recorded At – Indigo Ranch Studios

T-Bone Burnett – Proof Through The Night – 1983

T-Bone Burnett may appear more often than any artist outside of Terry Scott Taylor if one includes solo projects, band projects and musician and production duties. From Bob Dylan and Tonio K to Leslie Phillips and Mark Heard T-Bone Burnett never had his own albums released into the CCM market, yet his presence is undeniable and, for the listener and fan, greatly appreciated. While working at Maranatha Village I was doing an in-store appearance with Leslie Phillips for her CCM swan song, The Turning, and she entered the store with a very tall and lanky gentleman in tow. Now, realize I had met Amy Grant, Bob Dylan, Bono and Michael Been by this time in my life, but I can tell you that I have never been so in awe or so utterly tongue tied as when I met T-Bone Burnett for the first time. Proof Through the Night is a haunting, dark and impressive album. Guests include Pete Townsend and Ry Cooder along with Burnett’s normal group of stellar friends and bandmates like David Mansfield and David Miner. The album sort of lulls you into experiencing what it has to offer. Burnett’s acoustically driven stark production is so compelling it is no surprise he continues to be one of the most sought after producers, and here it shines in its simplicity and authenticity. There are several wonderful songs to highlight on this album. “Stunned” is the most accessible and should have been a single if Burnett could ever really have a “single.” The chorus is memorable and stays with the listener. The same for “Fatally Beautiful.” ”Pressure” is true highlight with a great guitar driven 1-3 beat and incredible hook. Burnett also has a long standing trademark of talking through songs. There are a few examples on this album that make for compelling listening. “The Sixties” is hysterical, especially its comments regarding the use of the word “freak.” “Hefner and Disney” also employs the storytelling motif and creates and troubling mood musically which compliments the content as he reverses the roles of the two famous gentlemen. A great album worth tracking down that a few years ago was finally released on CD.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – The Murder Weapon – 4:29
2 – Fatally Beautiful – 4:21
3 – After All These Years – 3:11
4 – Baby Fall Down – 3:00
5 – The Sixties – 5:30
6 – Stunned – 3:50
7 – Pressure – 3:30
8 – Hula Hoop – 3:13
9 – When The Night Falls – 3:54
10 – Hefner And Disney – 3:47
11 – Shut It Tight – 3:56

Credits
Art Direction – Jeri McManus
Composed By – John Fleming (tracks: B3), Roscoe West (tracks: B3), T-Bone Burnett
Engineer [Assistant] – Jules Bowen, Tony Chiappa
Management [Direction] – Al Schlesinger, Nancy Clarke
Mastered By [Originally] – Bernie Grundman
Mixed By – Mark Ettel
Musician – David Mansfield, David Miner, Jerry Marotta, Masakazu Yoshizawa, Mick Ronson, Pete Townshend, Richard Thompson, Ry Cooder, Stan Lynch, T-Bone Burnett
Photography By – Frank Gargani
Producer – Jeff Eyrich
Producer [Associate] – The Chelew Bros. (tracks: B6)
Recorded By – Dennis Kirk
Vocals – T-Bone Burnett, The Williams Brothers

Companies, etc.
Record Company – Warner Communications
Phonographic Copyright (p) – Warner Bros. Records Inc.
Copyright (c) – Warner Bros. Records Inc.
Pressed By – Allied Record Company – B-18376
Pressed By – Allied Record Company – B-18377
Published By – Arthur Buster Stahr Music
Published By – Black Tent Music
Published By – Bug
Recorded At – Eel Pie Studios
Recorded At – The Sound Factory
Recorded At – Ocean Way Recording
Mixed At – Ocean Way Recording
Mastered At – Sheffield Lab Matrix

Jay Beech – The Death of the Stickman – 1982

This is the first of 2 albums from Jay. The cover is fantastic but has no relation to the album. This was a rather odd album for me. I just told the other person here at Real 80’s CCM I didn’t like it. So I sat down to do a review for the album and upon listening to it for probably the 3rd time it actually started growing on me. In fact strangely I think I actually really like it now. I’m actually going to have a difficult time describing it. It’s somewhat jazzy but at times has a 70’s sound. You’re going to have to listen to it yourself because I can’t quite describe what I’m hearing. Do not prejudge this album by the cover, you will be disappointed. Give it a listen with an open mind and let me know how it felt to you.

Tracklist
1 – I’m All Right – 3:58
2 – Anchor Of My Soul – 4:02
3 – It Is Not Me – 3:37
4 – For Real – 3:40
5 – Forgiveness – 3:33
6 – God-Man – 4:20
7 – Watching The Sky – 3:57
8 – Broken People – 5:54
9 – Faith – 4:10
10 – Black & White – 2:37

Credits
Jay Beech – Guitar, Vocals, Producer
Curt Bartlett – Guitar
Don Harris – Bass
Doug Dimmel – Drums
Mark Isackson – Sax, Flute
Bill Busch – Keyboards
Amy Swartzendruber – Background Vocals
Lyndon Bartell – Background Vocals, Engineer
Steve Peterson – Engineer

Weber and the Buzztones – Weber and the Buzztones – 1984

This little gem would have ranked significantly higher if there were more than 4 songs. As a result this album (EP) is the shortest on the list. But one little unique oddity of the album is that the vinyl has all four songs on each side. The group started out as the Larry Weber Millennium and they released a 45 single under that moniker with Lamb Chops (also here) and the song “God Blessed America” that I have never heard and may be unfortunately lost to obscurity. Lamb Chops is straight up techno, keyboard pop with just a dash of Devo and talking Heads in the quirky vocal styling. A whole lot of keyboards and with touches of The Cars and Gary Numan, especially on Lamb Chops. But the second cut, “OK,” is not far removed from what Vector did on their “Please Stand By” album. This cut has a much more Missing Person’s vice and would have fit quite nicely on modern radio (KROQ) at the time. The guitar parts shine on this tune and sets it apart from the rest of the EP. I would venture to say that fans of Quickflight would also find quite a bit to like here. The final two cuts, “Run Away” and “Walk Away,” both fit into the overall pop, keyboard new wave, with the latter just being a little slower…which I guess makes sense. Where the former appears to be about running away from God, the latter encourages the listener to turn away from sin. I did get to see them once at the Anaheim Convention Center as part of a Calvary Chapel evangelistic event. Several different members flowed in and out of the band and I admit to having very limited knowledge about them outside of seeing them one other time with Steve Taylor. Like early Steve Taylor the music is quirky, fun and the lyrics dry and funny at times. I had always wished for more, but it was apparently never to be. In the previous blog several of the band members left comments. I hope they return here and that Larry will also be heard from.

Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/

Tracklist
1 – Lamb Chops – 2:50
2 – Ok – 3:50
3 – Runaway – 4:30
4 – Walk Away – 4:24

Credits
Cover – Paul Carstensen
Design – Paul Carstensen
Drum Programming [Linndrum] – Pat Craig
Drum Programming [Simmons] – Mike Tuuri
Engineer – David Denny, Jammie Bridges
Executive Producer – Brian Martin
Guitar – Larry Weber
Mastered By – George Horn
Percussion – Mike Tuuri
Producer – Larry Weber
Synthesizer – Glen Repoza, Larry Weber, Nelson DiMarco, Tim Watt
Vocals – Larry Weber
Written-By – Larry Weber

Companies, etc.
Recorded At – Starlight Sound
Mastered At – Fantasy Studios

Stryper – Soldiers Under Command – 1985

With the strong success of the initial EP Stryper was poised to make a major impact on the music world with their first full length album, Soldiers Under command. It was also at this time that televangelist and youth speakers were voicing disapproval on the world of CCM with loud and venemous attacks against artists like Amy Grant, Petra and even Sandy Patti. The perfect storm of glam rock and God’s music critics created a furor not seen ever since. The more the TBN crowd railed against the “Devil’s Music” (Stryper) the larger the bands fan base grew. The growth of Stryper’s impact was directly related to an amazing full length debut. the album rocked from the very beginning and did not disappoint. The war-like image on the album cover was lived out in the militant, evangelistic approach lyrically on the album. The title track rocked with heavy, HEAVY DRUMS and a great dual guitar attack. It was also on this album that the world was introduced to the power ballad in a big way. Fearless radio programmers at KYMS (with some constant encouragement from a certain young wannabe deejay) added “Together As One” to the normal format of Amy Grant, Petra and Michael W. Smith. The phones lit up every time it was played with listeners asking who was performing this great new wedding song. The band did show great improvement and maturity, both in their musical skills and in their songwriting. There was still plenty of “Jesus is the rock that makes us roll” pablum the genre was noted for, but there was also a sense of a beginning community that Strpyer would be spearheading as their loyal fans would take the message behind the music to their friends. It is in this setting that a song like “Reach Out” becomes more a communal anthem rather than just an evangelistic propaganda slogan. There would also be social and personal issues dealt with on this album like personal piety (First Love) and sexual purity (A Love That’s Real). The title track deals with the reality of spiritual warfare. It was also on this album the use of keyboards were introduced. This accentuated the normal big hair, big guitar attack, and showed the heavy influence bands like Styx and REP Speedwagon actually had on the band. Critics, especially the self anointed protectors of definers of “Godly” music continued to miss the point. The Stryper phenomenon had much more to do with the sense of belonging and community fostered and promoted by the band. Kids wore Stryper paraphernalia not only because they were fans, but also because they were belonging to something bigger than themselves. It is also why even several years beyond the highest popularity and artistic zeniths their fan base remained loyal and supportive and there is a continuing respect for the band.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Track Listing:
1 – Soldiers Under Command – 5:03
2 – Makes Me Wanna Sing – 2:51
3 – Together Forever – 4:03
4 – First Love – 5:43
5 – The Rock That Makes Me Roll – 4:56
6 – Reach Out – 5:21
7 – (Waiting For) A Love That’s Real – 4:36
8 – Together As One – 5:01
9 – Surrender – 4:28
10 – Battle Hymn Of The Republic – 2:36

Credits:
Bass, Piano, Keyboards – Tim Gaines
Drums – Robert Sweet “The Visual Timekeeper”
Other [Make Up] – Kyle Rae Tucy
Other [Stage Clothes] – Tina Henderson
Photography – Scarpati
Producer, Engineer – Michael Wagener
Rhythm Guitar, Lead Guitar, Backing Vocals – Michael Sweet, Oz Fox
Written-By – Robert Sweet (tracks: A1, B1)
Written-By, Lead Vocals – Michael Sweet

Companies, etc.
Produced For – Double Trouble Productions, Inc.
Phonographic Copyright (p) – Enigma Records
Copyright (c) – Enigma Records
Published By – Sweet Family Music

Walt Harrah – On The Rock – 1983

This Walt Harrah album is subtitled on the cover with “A Musical Odyssey on Kingdom Living Based on the Sermon on the Mount”. This album was also available as a Chorus book with a cassette or Reel to Reel with the vocals removed. I’m not really too sure what that makes this project but I don’t know anyone who had the album or any of the other items so I don’t know how popular it was. Strangely in all the biographies I read on Walt this album is never even mentioned. The album itself is an easy listening synth oriented album and if you’re in the right mood this is an excellent album. That said it does have a very distinct sound so it may take a bit for it to grow on you. It did grow on me and I quite like it now.

Tracklist
1 – In The Kingdom – 3:22
2 – Kingdom Living – 3:07
3 – Poor In Spirit – 4:37
4 – Love Your Enemies Too – 2:22
5 – The Hypocrite – 3:00
6 – The Lord’s Prayer – 4:04
7 – What? Me Worry? – 2:20
8 – God, The Lilies N’ Me – 2:24
9 – All You’ve Gotta Do – 3:16
10 – On The Rock – 4:02
11 – Your Will Be Done – 5:15
12 – He Will Reign – 3:46

Credits
Drums – Dave Spurr
Keyboards, Programmed By – John Schreiner
Lead Vocals – Amick Byram
Synthesizer – Leon Gaer
Trumpet – Darrel Gardner
Vocals – Cozette Byrd
Vocals, Lead Vocals – Sandi Patty, Steve Green
Vocals, Lead Vocals, Producer, Arranged By – Walt Harrah

Steve Taylor – On The Fritz – 1985

Steve Taylor followed up his masterpiece, Meltdown, with 1985’s “On the Fritz,” a substantially more refined and mature rock album that was great, but did not seem to match what came before or after. Produced by Ian McDonald of Foreigner and King Crimson fame, Fritz was wider and deeper musically then Meltdown, but seems to lack the more memorable touches and possessed a few too many novelties that don’t bear repeating nearly as often. The great offender on the album was Lifeboat, a song (or mini-musical sketch as it were) that must have sounded great on paper and worked well in video format, but simply is not musical enough to bear consistent repeat listening. “Drive, He Said” comes close, but is interesting enough and has enough of a Bowie type feel that it does not quite as much as the former. But when the album does take musical swings it hits way more often then misses and also contains some of Taylor’s finest and most personal songs. “This Disco (Used to be a Cute Cathedral)” is based on the true story of the Limelight Club in NY that was once an Episcopal Church. Musically more in line with Meltdowns manic, dance driven style, even stations adverse to playing more “upbeat” music added the song to their playlist. The Ian McDonald guitar influence can be heard on the wonder title track. The song looks at a pop star that once confessed Christ but has turned his back in the faith to maintain his stature in the mainstream world. “It’s a Personal Thing” actually sounds like something that would have worked well on the following “I Predict 1990” album with the bass and keyboard driven approach and the political commentary and pre-dated Bill Clinton by nearly a decade. “To Forgive” remains one of Taylor’s finest and most personal songs. The Big Country sounding E-Bow guitar creates a very Euro sounding power pop song. The story telling here is Taylor at his best.”I Manipulate” and “You Don’t Own Me Nothing” are great songs and show a progression of the artist as a songwriter out of the novelty realm. But Taylor’s very best may have been saved for the last song on the album. “I Just Wanna Know” remains Taylor’s most personal and confessional song in his tenure. The self-doubt and internal questioning of motives for his art are examined in full sight of the listener. It is also musically captivating and a perfect ending to a very strong album.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – This Disco (Used To Be A Cute Cathedral) – 4:06
2 – On The Fritz – 3:56
3 – It’s A Personal Thing – 2:58
4 – To Forgive – 3:54
5 – You’ve Been Bought – 2:45
6 – You Don’t Owe Me Nothing – 3:22
7 – I Manipulate – 5:07
8 – Lifeboat – 4:35
9 – Drive, He Said – 4:30
10 – I Just Wanna Know – 4:40

Credits
Backing Vocals – Beverly Slade, Kitty Markham, Mary Davis
Bass – Carmine Rojas
Cover [and Everything Artsy] – The Graphics Studio
Drums – Alan Childs
Drums [Simmons], Finger Snaps, Percussion – Cactus Moser
Engineer [Assistant] – Jay Healy, Joey Flamingo
Engineer, Mixed By – Alan Douches
Finger Snaps – Debbie Taylor
Guitar – Hugh McCracken, Tony Davilio
Guitar [Solo] – John McCurry
Keyboards, Synthesizer [Programming], Synthesizer – George Small
Mastered By – Greg Calbi
Producer, Mixed By, Guitar, Alto Saxophone, Percussion – Ian McDonald
Synthesizer [Programming], Synthesizer – Larry Fast
Tenor Saxophone, Alto Saxophone – Dave Thrush
Written-By, Producer, Vocals – Steve Taylor

Companies, etc.
Phonographic Copyright (p) – The Sparrow Corporation
Copyright (c) – C.A. Music
Copyright (c) – Birdwing Music
Recorded At – Grand Slam Studios
Mixed At – Grand Slam Studios
Mastered At – Sterling Sound