With a gift of $900 four young “hippy” converts went into a studio with friend Buck Herring and recorded what many claim is the first “group” album in CCM history and the Jesus Movement and Music in Southern California was born. Predating Love Song’s classic debut by nearly a year, Come to the Waters by Children of the Day birthed a genre and a “scene” in Southern California that would not be duplicated. And before the band finished their decade long career, they would also be a part of CCM’s first great scandal. Four friends from Calvary Chapel, Costa Mesa joined forces to create a tight harmony driven folk quartet and called themselves, Children of the day. The name of the band also comes from a line in one of the songs on the debut album. The album would also contain one of the true classic anthems of the generation and possibly the most popular worship song of the Jesus Music era. Leader and songwriter Marsha Carter and sister Wendy along with friends Peter Jacobs and Russ Stevens joined forces to create an American folk band that was even recognized and received critical acclaim from those outside the tine Jesus Music movement. Carter and Steven would marry soon after the albums release. They began performing regularly at coffee shops, Calvary Chapel Churches and elsewhere throughout the southern California region. Immediately requests for their music poured in and the quartet approached Pastor Chuck Smith about borrowing some money to record their debut album. That album would be the first on Maranatha Music, though its catalog number would be 777. The Everlasting Living Jesus Music Concert would actually be released first as this album was held up until the compilation album was released, though the finishing of the album was several months before the compilation. Come to the Waters starts with a beautiful acoustic mid-tempo ballad called “New Life” and would serve as the definitive sound for the project and the group. Acoustic piano and limited electric instruments support brilliantly tight harmonies with all four members sharing lead vocals throughout. Buck Herring would recreate a similar sound with 2nd Chapter of Acts. The acoustic piano solo is wonderful when one considers the limited budget and the fact that their use of the piano was limited by Larry Norman breaking the same piano during his recording session at the same studio.
“As a Child” sports a classical intro and a contemplative, worshipful sound throughout. The six-minute song shows the diversity that is found throughout the album with its more classical approach both musically and vocally. While the following track, “Children of the Day,” has a more acoustic folk rock sound similar to The Seekers or even the Monkees. Interestingly one would expect a Mamas and the papa sound, but it really isn’t there as the vocals are more classical sounding than “California cool.” The vocal bridge on this song is a great evidence of this. The male vocals take front and center stage on “The Search.” Written at a time and for a generation that was constantly searching for truth or the next high, the song is perfect snapshot of that generation. Here again Herrings piano arrangement is just perfect. “Two Hands” is a Tommy Coomes/Chuck Butler composition that would also be later recorded by Love Song on their debut. The arrangement is similar on both versions. The rockiest (and nearly progressive) “Jesus Lives” is a real standout both musically and vocally. I can only imagine how “radical” this must have sounded in 1970. There are even a few vocal “issues” left in that are actually endearing and creates more of a live sound. A little Bach follows with the a capella “All Breathing Life.” Again the groups musical and vocal versatility shines through here. Imagine all those rock music critics confused by some classical a capella vocals. Brilliant. Especially considering the two sisters were still in High School. “Jesus” would have worked perfectly on a Love song album as well. The arrangement and vocals just sound like Love Song, especially the transition at the two-minute mark. Even vocally Peter Jacobs sounds a bit like Tommy Coomes on this one. The album closes with a song that would be covered by more artists during the 70’s than just about any other song outside of “Easter Song.” It is also the song from which the album receives its name and was used at countless seaside baptisms over the years. Yet the song has had several critics because of the questionable theology it contains. The song, “For Those Tears I Died,” became an anthem for an entire generation though it was written by Carter when she was just 16. It is a very sentimental ballad that has Jesus proclaiming that He died for the tears accompanying repentance. The song contains the line “Come to the waters,” and that has made it such a popular baptism hymn.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist
1 – New Life – 4:18
2 – As A Child – 6:03
3 – Children Of The Day – 2:23
4 – The Search – 5:27
5 – Two Hands – 3:59
6 – Jesus Lives – 3:51
7 – All Breathing Life – 2:14
8 – Jesus – 3:58
9 – For Those Tears I Died – 5:10
Credits
Design – Kernie/Malone
Drums – John Mehler
Engineer – Buck Herring
Flute – Linda Conner
Musician – Bill Keene, Frank Chavez, Larry Oppenheim
Performer – Marsha Carter, Pete Jacobs, Russ Stevens, Wendy Carter
Photography By – Gary Conniff
Producer – Holy Spirit
