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
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/
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
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
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 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
This was Greg’s second solo album and was well received but it wasn’t as strong as his first. I think Myrrh thought the same as he was dropped by the label after this album. The album did have 2 singles on the ACC charts. “Take Me To The End” and “Will You Take Me Back?”. Both only made it to #29 on the charts. That said I will make the point again that an albums representation on this chart has nothing to do with whether it was a good album or not but usually was closer connected to home many easy listening tracks the album had. All that aside I think this is a pretty good album. I like the Pop leaning Rock tracks but the slow tracks are probably the stronger part of the album.
Tracklist 1 – I Come Out Fighting – 3:34 2 – I Don’t Know Why – 4:01 3 – Take Me To The End – 4:51 4 – Let The Mountains Fall – 4:14 5 – Dream On – 5:11 6 – What Will Remain – 4:16 7 – Back Burner – 4:44 8 – Will You Take Me Back? – 4:11 9 – I Know You By Heart – 3:24 10 – Up To The Mountain – 3:34
Credits Arranged By [Track Arrangements] – George Atwell, Greg X. Volz, Michael Atwell, Mike Schmitz Arranged By [Vocal Arrangements] – Greg X. Volz Art Direction – Camille Engle Booking [Concert] – Jeff Roberts Design – Barbara Keller, Camille Engle Drums, Drum Programming – Michael Atwell Engineer – Andy de Ganhal, Dana W. Cornock, Jonathan David Brown Guitar – Kirk Henderson Keyboards – George Atwell, Michael Atwell Management [Personal] – Ron C. Volz Mastered By – Chris Bellman Other [Hair And Grooming] – Michelle Kebre Photography By, Illustration – Empire Studio Producer – George Atwell, Greg X. Volz, Michael Atwell Programmed By [Fairlight And Bass Programming] – Michael Atwell Programmed By [Synclavier Programming] – Michael Atwell, Rich Head Tape Op [Tape Transfers] – Gary Platt, Robert Knox Typography [Typesetting] – D&T Typesetting Vocals, Backing Vocals – Greg X. Volz
Companies, etc. Phonographic Copyright (p) – Word, Inc. Copyright (c) – Word, Inc. Manufactured By – Word, Inc. Recorded At – Rare Form Studio Recorded At – Wolf’s Head Studios Recorded At – Parc Studios Recorded At – Starke Lake Studios Overdubbed At – OmniSound Studios Overdubbed At – The Pond Mixed At – Parc Studios Mixed At – Criteria Recording Studios Mastered At – Bernie Grundman Mastering
Everything that was wrong about the Christian Music industry in the early 80’s rears its ugly head on the classic gem that is a legitimate AYSO. Take an impressive rock vocalist (who would later form the band Avion) have him record killer rock and progressive rock songs but hide the guts in the mix, put the guy a late 70’s leisure suit and put seat him on a throw rug in front of a glowing fire. Ugh! What should have been the North American introduction of a great rocker in the vein of The Eagles “Long Run” ended up being a forgotten and overlooked cut out bin regular. Find this album and get it! There are no mediocre songs and, in fact, some amazing tunes throughout. One of the songs that Avion would later cover is a more commercial version of “I Need You,” a song that should have been a Christian Rock hit. The nearly 6 minute “Lady of the Night” is a rare progressive rock delight in CCM. Even the ballads on this release are worthy of consideration, especially the mid-tempo “Cry From an Absent Friend.” Waller would later appear as a guest vocalist on a David Zaffiro (Bloodgood) solo project.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – I Need You – 4:25 2 – Cry From An Absent Friend – 4:30 3 – Midnight Fire – 2:50 4 – Lady Of The Night – 5:48 5 – Mum ‘N’ The Kids – 4:06 6 – Always Waiting – 3:56 7 – Made For Me – 2:58 8 – Morning Star – 6:05
Credits Co-producer, Guitar, Lead Vocals – Randall Waller Engineer – Joe Bellamy Engineer [Assistant] – Mark Heard, Tom Trafethan Engineer [Assitant] – Gary Bonar, Hal Sacks Mixed By – Joe Bellamy (tracks: 2-8), Tom Trafethan (tracks: 1) Producer – Jon Linn
When discussing the Southern California New wave/Punk scene of the 1980’s it is easy to refer to Undercover, the Lifesavors, Altar Boys and the Lifters, but 441 should not be forgotten. After recording only two albums (a later release featured two band members), the band disappeared. The eponymous debut made an immediate impact as I continued my pestering of the program director of KYMS to try new bands. I was often rebuffed because of the too rocky and edgy music, but with 441 there was an instant appreciation. More soulful new wave/new romantic styles like that of Duran Duran and Spandau Ballet on the softer side, the band was more polished, pop and accessible. As a result the bands singles charted heavily on the station and their popularity grew. But there second album was significantly better, both musically and lyrically as stronger production at the hands of John and Dino Elefante. The band also stood out because they were not afraid to write about the darker, more serious struggles young Christian faced including doubt, purity and self-steem issues. They would wonderfully mask these topics in unforgettable pop. Lead vocalist John McNamara had a cool swing and swagger that worked with the sound. The album cover should been seriously reconsidered. It was so “demo” and “rock’ looking that it should be considered false advertising. This was clearly before the days of image consultants. 441 was band for their time. Caught squarely in the 1980’s new wave sound, the record sound dated, or better yet, nostalgic. The reason is because they were authentic for the time. They were not behind of ahead of the times, they were squarely rooted in the day. And within that framework they created some wonderful music and one very fine record.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Mourning Into Dancing – 3:56 2 – In The Night – 4:12 3 – Is It Enough? – 4:57 4 – In His Presence – 4:43 5 – Take Their Toll – 3:19 6 – New Land – 3:59 7 – On The Run – 4:09 8 – Jordan – 3:05 9 – Say It Right – 3:51
Credits Backing Vocals – Bob Loux, Greg Velasco, John Stothers, Laura Hale, Sylvia Bronson Bass, Keyboards – Glenn Holland Drums – John Elefante (tracks: 9) Drums, Cymbal – Steve Giali Electric Guitar, Acoustic Guitar, E-Bow – John Giali Guitar – Dino Elefante (tracks: 5,9) Guitar [Solo] – John Gaudesi (tracks: 2) Mastered By – Wally Trautgott Percussion – Kurt Rasmussen Saxophone [Solo] – Scott Martin (tracks: 3) Vocals – John McNamara
Companies, etc. Recorded At – Pakaderm Studios Mastered At – Capitol Records
This is the second independent release from Solid Rock. Their first album was well received and even got airplay on Christian Radio. This album was even better received and also received play on Christian Radio. This was no small feat for an independent release. The band were from Weatherford, Oklahoma and attended Trinity Baptist Church. As I said this was the second of three albums and they were all Indy releases. I am a little amazed that a band from Oklahoma with an independent release gained such a large following. I would normal describe this situation as having a cult following but in this case the band was very well known. I really like this album but honestly it’s a little confusing at ties. Sometimes I’m hearing 70’s Pink Floyd and on other tracks 80’s synth. But this really isn’t a criticism as the album flows well and I love their version of Rock & Roll. If you missed this one in the 80’s give it a listen.
Tracklist 1 – Intro – 1:30 2 – Carry On – 4:19 3 – Two-Thirds Of A Man – 3:51 4 – Make A Change – 3:29 5 – Just This Side Of Darkness – 4:17 6 – Sidekick – 3:05 7 – Wisdom Of Men – 4:40 8 – Live Your Life Alone – 3:56 9 – Fly Away – 5:14
Credits Drums, Vocals – Larry Percy Guitar, Synthesizer – Stan Mathis Bass, Vocals – Kevin Bartel Keyboards, Lead Vocals, Album Design – Jerry Johnson Engineer – Gary Duggan Producer – Larry Benson Concert Sound Enginer – Kurt Abercrombie
Companies Studio – Benson Sound Mastered – Kendun Recorders
This was the final album from Joshua and it was probably their best. It is reported that the album took a better part of a year to record with a $700,000 budget. Strangely after RCA invested this time and money they actually dropped the band reportedly because they included the phrase “This album is dedicated to the Glory of God” in the liner notes. I have no idea how the album went over but wow is that a dumb reason to drop a band but that’s record companies for you. They do some really stupid things. Unfortunately this silliness probably played a part in the band splitting up. Rob Rock, Greg Shultz, and Emil Lech went on to form the band Driver and Joshua Perahia changed the name of the band to Jaguar. Unfortunately neither band had any commercial success. Back to the album though, it is a very good Hard Rock/Metal album and you can hear the dollars spent in the production and engineering. This album absolutely sounds as good as anything released commercially at the time and it’s a pity it was not better received in North America because it really deserved to be.
Tracklist 1 – Reach Up – 4:43 2 – I’ve Been Waiting – 4:27 3 – Only Yesterday – 3:38 4 – Crying Out For Love – 4:16 5 – Living On The Edge – 4:10 6 – Tearing At My Heart – 3:47 7 – Remembering You – 5:06 8 – Look To The Sky – 4:21 9 – Don’t You Know – 4:09 10 – Stand Alone – 5:02
Credits Arranged By – Frank Mono, Joshua Perahia Bass – Emil Lech Cover [Illustration] – Norbert Lösche Drums – Tim Gehrt Engineer [Additional Engineering] – Uli Baronowsky Guitar, Backing Vocals – Joshua Perahia Keyboards [Programming] – Jimmy Waldo Keyboards, Backing Vocals – Greg Shultz Lead Vocals, Backing Vocals – Rob Rock (tracks: 3 to 10) Mixed By – Pete Woodroffe Mixed By [Mix Assited By] – Uwe Sabirowsky Producer, Engineer – Frank Mono Programmed By – Al Topo, Uwe Sabirowsky Vocals [Uncredited] – Ken Tamplin (tracks: 1, 2)
Companies, etc. Phonographic Copyright (p) – BMG Ariola Hamburg GmbH Copyright (c) – BMG Ariola Hamburg GmbH Produced For – Breeze Music GmbH Recorded At – Dierks Studios Mixed At – Dierks Studios Mastered At – Townhouse 3 Pressed By – Sonopress – C-4181 Published By – Breeze Music GmbH
