This album was actually recorded in 1976 after the band split up but I am going to guess that the split was amicable. I say this because this concert was very tight. The band worked together well and didn’t miss a beat the whole concert. This indicates to me that they were well rehearsed. Bands that get back together for a concert that have hard feelings generally don’t rehearse much and often this is reflected in the concert. Generally I categorize Love Song as a worship band but this album does have a few pretty good 70’s rock tunes. Considering several members of the band went on to do Rock & Roll this shouldn’t be as much of a surprise as I found it to be. The album also included several Devotional moments which are all relevant to this day. I have chopped up this album a little different than the record company. I think it flows a little better my way.
Tracklist 1 – Intro/Front Seat, Back Seat 4:08 2 – Little Country Church 2:58 3 – The Cossack Song 4:14 4 – Manila Story (Devotional) 1:58 5 – A Love Song 2:49 6 – Two Hands 3:54 7 – Feel The Love 5:49 8 – So Thankful 3:28 9 – Since I Opened Up The Door 3:59 10 – Our Journey (Devotional) 5:00 11 – Freedom 4:15 12 – Let Us Be One 5:12 13 – Psalm 150 (Devotional) 1:19 14 – Drum Solo 8:46 15 – Jesus Puts The Song In Our Hearts 4:20 16 – Little Pilgrim 5:29 17 – The Path and the Prayer (Devotional)4:45 18 – Sometimes Alleluia 6:57 19 – Psalm 5 3:37
Credits Acoustic Guitar – Chuck Girard Bass – Jay Truax Drums – John Mehler Electric Guitar – Bob Wall, Tom Coomes Engineer – Bill Schnee Keyboards – Chuck Girard Lead Vocals – Chuck Girard, Tom Coomes Mixed By – Joe Bellamy Producer – Chuck Girard, Freddie Piro, Love Song Vocals – Bob Wall, Jay Truax, John Mehler
Companies, etc. Printed By – Garrod & Lofthouse Recorded At – Paramount Northwest Theatre Recorded At – San Jose Civic Auditorium Recorded At – Warnors Theatre Mixed At – Mama Jo’s Distributed By – Word Phonographic Copyright (p) – Good News Records Copyright (c) – Good News Records
This was Mike’s first album. Strangely I missed this one in the 80’s and just now listened to it. It was quite funny as I always think Mike is.
It should be noted that Warnke was revealed as a liar and fraudster in 1991 by Cornerstone magazine. This recording is offered as a historic record of what was being listened to in the Christian community in the late 70’s and early 80’s.
Tracklist 1 – Preacher Lessons And Cookie Cutters – 3:49 2 – Tennessee Home And Blankety-Blank – 3:00 3 – Catholics And Hell – 1:13 4 – Bible Stories And Jonah – 2:59 5 – Do’s And Don’ts – 2:37 6 – The Occult – 1:39 7 – The Jesus Freaks – 6:33 8 – Scuzball – 3:27 9 – Catholics And Heaven – 2:20 10 – Suicide And The Gospel Trio – 1:57 11 – The Navy’s Number One Grade A Fruitcake – Wow! – 6:18 12 – Three To A Cubicle – 7:01 13 – The Gideon Bible And The Mop Closet – 2:29 14 – Like Yourself – 2:23
Credits Engineer – Fred Cameron, John Mir Liner Notes – Honeytree Other [Introduction] – John Lloyd Photography By [Photographer] – 20-20 Photographics, Inc., Ron Pinter Producer – Paul Craig
Companies, etc. Record Company – Word, Inc. Phonographic Copyright ℗ – Word, Inc. Recorded At – Superior Sound Studios Mastered At – EMI
This is Phil’s second solo album. It is still very revered to this day partly because of the track “Love Broke Thru”. The track was actually written by Keith Green and Randy Stonehill for Keith Green. Strangely Keith Green wanted Keaggy to release it before he did and so it was. The track “Time” features Keaggy’s innovative guitar technique of “violin-like swelling” which I can honestly say I don’t like but it is very well liked by actual musicians which I am not. The track “As The Ruin Falls” is actually an arrangement of he C.S. Lewis poem of the same name. Guest appearances include Michael Omartian on keyboards, Annie Herring (2nd Chapter Of Acts), Matthew Ward, and Mylon LeFevre doing some background vocals.
1 – Love Broke Thru – 3:30
2 – Take Me Closer – 4:57
3 – As The Ruin Falls – 4:31
4 – Wild Horse – 4:16
5 – Disappointment – 2:39
6 – Time – 6:47
7 – Portrait – 2:03
8 – Just The Same – 3:43
9 – Things I Will Do – 3:14
10 – Abraham – 3:32
Arranged By [String Arrangements] – Michael Omartian
Backing Vocals – Annie Herring, Matthew Ward, Mylon LeFevre
Bass – Leland Sklar
Contractor [String Contractor] – George Poole
Design – Linny Cobb
Drums – Jim Gordon
Engineer, Producer – Buck Herring
Executive Producer – Scott Ross
Flute – Don Menza
Guitar [All Guitars] – Phil Keaggy
Horns – Bill Baker, Marshall Cyr
Keyboards [Aarpvark] – Michael Omartian
Percussion – Herring, Hopper, Keaggy*
Photography [Back Cover, Label And Sleeve Photography] – Peter K. Hopper
Photography [Cover Photography] – Ted Len
Piano, Electric Piano [Fender Rhodes], Organ – Larry Knetchel*
Phonographic Copyright (p) – New Song Productions
Copyright (c) – New Song Productions
David Meece was a child prodigy piano player. He started touring at the age of 10 and at 14 he played with the Houston Chamber Orchestra. At sixteen he was a soloist with the Houston Symphony and was touring the world and received a full scholarship for the Peabody Conservatory in Baltimore, MD. Word records discovered David in 1976 and released this his first album. They may have discovered him but I don’t think they really understood what they had found. They gave David a group of no name studio musicians and a first time producer. Lucky for them the support band was excellent and David’s piano was unstoppable. Word got lucky on this one and has a storied relationship with David who without a doubt is one of the biggest CCM artists of all time.
1 – I’ll Sing This Song For You – 3:38
2 – Come Home America – 2:46
3 – Jesus – 3:16
4 – I Love The Way He Smiles At Me – 4:11
5 – I Love You, Lord – 3:26
6 – Touch My Hand – 3:30
7 – Take Me Together – 4:53
8 – Got To Know You’re There (Dave’s Prayer) – 3:41
9 – Imagine What It’d Be Like – 3:28
10 – I’ll Sing This Song For You (Reprise) (Instrumental) – 2:36
Acoustic Guitar – Bob Thomas, Mack Dougherty
Arranged By – Bob Piper
Bass – Lou Fischer
Conductor – Bob Piper
Drums – Paul Leim
Engineer – Dan Peterson
Guitar – Mack Dougherty
Photography – George J. Sevra Jr
Piano – David Meece
Producer – Paul Baker
Vocals – David Meece
Written-By – David Meece
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Copyright (c) – Word Music, Inc.
John Fischer is known for the quantity of quality albums he released. This 1976 release relied strongly on scripture. On this album five tracks directly quote scripture which was very well received by his audience. Many considered this a Jesus Music album but it is just too Easy Listening for me to categorize it that way. Bottom line, it’s an excellent album if you like this style of music. John truly is an excellent singer/songwriter.
1 – Naphtali – 6:36
2 – We Are His Workmanship – 3:50
3 – Don’t Veil The Door – 3:36
4 – Work Out The Life – 2:48
5 – Naphtali Arise – 2:51
6 – Angel’s Song – 3:38
7 – Mary & Joseph – 4:25
8 – Song For The Good Times – 3:44
9 – Live In The Power – 4:53
10 – Arise My Beloved – 4:01
Arranged By – Clark Gassman
Artwork, Design – Jim Lamb
Backing Vocals – Dan Collins, Walt Harrah
Bass – Reinie Press
Drums – Hal Blaine, Ron Tutt
Engineer – Jerry Barnes
Guitar – Dean Parks, Jay Graydon
Guitar, Keyboards – John Fischer
Keyboards – Clark Gassman, Joe Sample
Percussion – Joe Piccaro
Producer – Dan Collins
Steel Guitar – Al Perkins
Record Company – Lexicon Music, Inc.
Phonographic Copyright (p) – Lexicon Music, Inc.
Recorded At – United Western Studios
This album was the one that changed everything for us. I don’t remember what year it was when we got it. Maybe 1980. Maybe 1978 even. After this we started seeking out music that was actually for us. This is part 3 of Larry’s Trilogy, but the first part we heard. Only Visiting This Planet and So Long Ago The Garden came later for us but when put all together, these 3 albums make the most famous parts of Larry’s body of work. There were many other albums released, but nearly all of them contained at least one song from the trilogy. Over the years there were several versions of this album released on CD. This version is the 93 version with 4 bonus tracks that we have included.
Rock That Doesn’t Roll starts out sounding like an alternate version
of Johnny B. Goode. Chuck Berry’s song came out in 1958. The fact
that we were listening to Larry’s album in the 80s made it a little
confusing and a little old-sounding to me, but the fact is these
songs had to have been written no later than the early 70s. Given
that perspective, I say the songs have great staying power.
considering that they didn’t get any “mainstream” attention
until much later.
version of I Love You is a completely different song than the one he
recorded at Capitol Records with People!. Interesting that he kept
the name, unlike with other songs where he went with Righteous Rocker
#3. Even when producing Daniel Amos’ Horrendous Disc album, he
managed to get their song called I Love You #19 to make it unique.
Another part of the enigma for me.
seems to be part of the 1970s fascination with aliens. There were
plenty of movies out at the time on the topic and so this tied in
well with popular culture. After Larry’s heart attack(s), his doctor
apparently told him he couldn’t play with the band any more but he
still played this song a lot. The guitar part fit well but when it
came to the electronic sound effects he did thouse with his voice and
it sounded funny, also very unexpected. The audience laughed and I
don’t know if that was bad form on his part or theirs.
Searched All Around
talked about end times a lot. He seemed to have the view that the
world was slowly decaying before our eyes, a popular Christian
worldview in the 60s, 70, and 80s. Songs like this one were about
building hope in Kingdom Come in spite of what we see going on around
us. His ability to put such a dark message into a rich musical
setting like this was perfect. The blues comes through often in
Larry’s songs, although during the Trilogy period it was never a
focus. This song comes across as a great upbeat blues tune if you
listen just right.
written in a stairwell while waiting to go onstage for a concert,
this song has a quick flow that makes it sound
stream-of-consciousness, just like he wrote it all in a quick rush
like that. Larry recorded various of it, but this a capella one is
the first one he put out there.
for Larry doing his own background vocals on this song. His
distinctive voice can’t hide. We hear this in a lot of his work,
suggesting he was alone a lot when he was in the studio.
of the things that made Larry a great songwriter is that he wrote
about things that were part of regular life. He starts out discussing
relationships between people, “brothers.” He compares it to
our relationship with God and draws parallels that are easy to
follow. Many of the Christian artists both then and now don’t have
this skill. The abliity to draw a comparison between heaven and Earth
is what Shakespeare described as poetry.
Am A Servant
you are lonely you’re the only one to blame.”
is both misunderstood and a double-entendre. Larry was too savvy with
words to put something like this out unintentionally. Read the
sentence twice. If you are lonely, it’s your fault. If you are
lonely, there is no-one for you to take it out on but yourself.
does seem to have been lonely a lot. He had some famous fallings out
with other people in the community, and he faced a lot of accusations
from Christian media accusing him of being “secular.” Like
Shot Down, this is him reflecting and telling us that he is following
Sun Began To Rain
was a poet as well as a songwriter. He even had the title of Poet
Laureate at one point, and that was a point of pride for him. He
really seemed to enjoy laying on thick layers of metaphor like he
does in this song, and he was a master at it.
seems like he had critics throughout all of his career. In this song
he responds to criticism from Christians who questioned his faith and
his motives. That questioning never went away as far as I can tell,
but at the same time his contribution seems to be huge. If we didn’t
know anything about Larry’s personal life then he seems to have given
us a lot. Maybe the enigma is best left that way to some extent.
Rosemary’s Baby on some records. This is the original release version
and it was just called Six Sixty Six. End times fascination was a big
thing in the churches in the 70s and 80s. I remmeber the movie “A
Thief In the Night.” It was super scary and really an earlier
version of those “Left Behind” movies that came out much
later. This song plays into that narrative quite deeply and gives a
great insight into the mood of the Church at the time. Side note:
Larry’s song “I Wish We’d All Been Ready” was a staple of
this movie genre. Larry also appeared in the movie The Blob in the
60s, wearing a cross and warning people. This was obviously a big
topic on his mind.
and One Way were two songs on this record that seemed like one song,
but clearly two. He could have labelled it either way. The two short
pieces turn into one but there is a clear transition between them. As
the title suggests, this is a commentary on materialism. Its position
in the album works out perfectly to take all the things he has been
telling us in the past ten songs and remind us what ought to be on
“One Way” sign was something in the 1960s Jesus Movement.
Larry may or may not have been the origin of this, but it was simply
one index finger pointed upward. The two finger peace sign was a sign
of the times, and Larry’s typical fashion was to respond to current
culture with something compatible but different, and clearly tied to
his message and calling. Imagine Larry holding up one hand with his
index finger pointed up, eyes closed, singing this song.
For A Small Circle of Friends
mentions a few people by name and by inference here. “Dear Bobby
watch your fears all hide” refers to Bob Dylan. On this
recording you hear the harmonica at that point to make it clearer,
but in live versions he sang “Dear Dylan” sometimes, and he
did the voice impersonation.
to you Sir Stonehill” was sometimes “Love to Randy
Stonehill” in live versions. They had a complicated relationship
that I don’t think I can explain but obviously he wanted to reach out
for some reason.
on the Hoffner bass” is obviously Paul. Larry told the story
live about meeting Paul McCartney at Capital Records while they were
both on the label. Apparrently Paul said “I like your music.”
to the Last Generation
Larry closes the album with an altar call. He could talk about earthly problems and relationships all through his work, but he always wanted to leave the right message. His concerts did not have altar calls, but at the end of his concerts, which tended to be relatively small when I saw him, he would tell a hall full of hundreds of people that after the concert they could come backstage and talk to him if they wanted to. He would offer to help people and pray with them, in person. I went back there. He meant it.
1 – The Rock That Doesn’t Roll – 3:33
2 – I Love You – 3:03
3 – U.F.O. – 2:48
4 – I’ve Searched All Around – 3:19
5 – Righteous Rocker #3 – 0:47
6 – Deja Vu: (If God Is My Father) – 1:21
7 – Deja Vu-Continued: (Why Don’t You Look Into Jesus) – 2:38
8 – I Am A Servant – 3:09
9 – The Sun Began To Rain – 1:15
10 – Shot Down – 1:59
11 – Six Sixty Six – 2:30
12 – Diamonds – 1:37
13 – One Way – 2:20
14 – Song For A Small Circle Of Friends – 3:43
15 – Hymn To The Last Generation – 1:48
16 – Looking For The Footprints – 2:33
17 – Strong Love, Strange Peace – 3:58
18 – Dreams On A Grey Afternoon – 1:00
19 – Let That Tape Keep Rolling (Live From Greenbelt) – 6:19
Larry Norman – vocals, harmonies, guitar, percussion, piano, producer,
Randy Stonehill – guitar and backing vocals
Jon Linn – guitars
Dudley Moore – piano
Mark Walker – drums
Tim Ayres – bass guitar
John Michael Talbot – banjo
Andy Johns – engineer
Tom Trefethen – assistant engineer
Solid Rock studios – pre-production recording location
Mama Jo’s – recording location
Sunset Sound – recording location
A&M, Studio 3 – mastering location
Phonographic Copyright (p) – Solid Rock Records
Copyright (c) – Solid Rock Records
Recorded At – Solid Rock Recording Studios
Recorded At – Mama Jo’s
Recorded At – Sunset Sound
Mastered At – A&M Mastering Studios
Record Company – Solid Rock Productions, Inc.
Copyright (c) – Beechwood Music Corp.
Copyright (c) – Glenwood Music Corp.
Published By – J. C. Love Publishing Co.
Published By – Strawbed Music
As the story goes there were 3 Resurrection Band “Demos”. “Music to Raise the Dead” and “All Your Life” were recorded in 1974 and sold at their concerts in cassette form. This release is supposed to be the actual Demo that was presented to the Record companies. It has a few remixed songs from those 2 “demos” and some new tracks. It sounds like Stu Heiss is on a few tracks so those tracks would have to have been recorded in 1976 or later. Of interest on this release is a very early version of “Broken Promises”. Other than that it is all unreleased stuff except for “Quite Enough” which appeared on the Bootleg Live album.
1 – There Will Be Fire – 4:17
2 – Free – 5:02
3 – Help Us – 3:55
4 – Jesus Is The Rock – 4:31
5 – Quite Enough – 5:50
6 – Ocean Of His Love – 6:11
7 – He Speaks To Me – 2:17
8 – Broken Promises – 7:36
Bass Guitar, Backing Vocals – Jim Denton
Drums – John Herrin
Harmonica – Tom Cameron
Lead Guitar, Piano – Stu Heiss
Lead Vocals – Wendi Kaiser
Lead Vocals, Guitar – Glenn Kaiser
This was an independent release from Jim Cole. It has a nice folk/Jesus Music feel to it and the quality is very high and it surprises me that a record label didn’t pick it up. That said Jim may not have been interested in a record deal we just don’t know. There was two different releases of this album, one with 10 tracks and one with 12. Jim reappeared in the music scene in the 90’s with several on label albums that essentially continued where this album left off. As I said this is a folk/Jesus music offering with the usual sound of the time. As was common with albums of the period there is a Rock tune, a country tune, and a blues tune, which is very good. Surprisingly there is no bluegrass tune. The guitar work is excellent and the vocals are strong so if folk is our thing this album is for you.
1 – Simple Song – 2:08
2 – Time Is Surely Running – 3:30
3 – Humble Yourself – 1:59
4 – Broken Hearts, Broken Dreams – 2:46
5 – The Messiah – 4:24
6 – Give Your Life To Jesus – 3:12
7 – Complete In Him – 2:58
8 – Name His Name – 2:59
9 – Goodbye Grey Days – 2:35
10 – It’s Jesus – 3:54
11 – New Man Tune – 3:47
12 – Your Invitation – 3:27
Adam Again is a solid example of 1970s pop with an overall easy listening approach reminiscent of 1970s radio. There are some sounds reminiscent of James Taylor and Billy Joel. This album has a smooth sound that foreshadows the polish he brought to artists like Christopher Cross.
Michael may be more famous for his work producing albums for stars like Christopher Cross, Michael Bolton, Whitney Houston, Rod Stewart, Donna Summer, Billy Joel, Jerry Garcia, John Lennon, Steely Dan, Shania Twain, Amy Grant, Vince Gill, Keith Urban, Quincy Jones, Tim McGraw, and a lot of others..
Michael Omartian had a few solo albums through the 70s and 80s as well as some with his wife billed as “Michael & Stormie Omartian.”
From Michael’s website bio:
Michael Omartian has contributed his talents to over 350,000,000 albums and CD’s sold worldwide as a producer, composer, arranger, artist or musician. He is the first record producer to chart #1 hits in three consecutive decades. With seventeen Grammy nominations including Producer of the Year, Album of the Year and Gospel Album of the Year, Omartian is a multiple Grammy Award winner. Additionally, Michael has been recognized by The Recording Academy (NARAS) as Keyboard Musician of the Year and is a Yamaha sponsored artist.
Topical for the 1970s, “Whatchersign” warns against the cultural obsession with the zodiac. “Annie The Poet” is a strong storytelling piece that would have fit very well on a Billy Joel album. “Alive and Well” is a high energy song reminding us that Satan is alive and well and offering us everything we think we want.
1 – Ain’t You Glad – 2:52
2 – No Matter What Shape You’re In – 3:16
3 – See This House – 3:53
4 – Whachersign – 3:30
5 – Annie The Poet – 3:58
6 – Telos Suite (Prelude) – 1:31
7 – Telos Suite (Alive And Well) – 4:44
8 – Telos Suite (Adam Again) – 4:59
9 – Telos Suite (Here He Comes) – 6:00
Alto Saxophone [Solo] – Ernie Watts (tracks: A3)
Backing Vocals – Ann White, Carolyn Willis
Bass – David Hungate (tracks: B2, B3), Lee Sklar (tracks: A5), Scott Edwards (2) (tracks: A2, A4), Wilton Felder (tracks: A1, B4)
Concertmaster – Sid Sharp & The “L.A. Super Strings”
Drums – David Kemper (tracks: A1, A5, B2 to B4), Ed Greene (2) (tracks: A2, A4), Michael Omartian (tracks: A3)
Engineer – Tommy Vicari
Guitar – Dean Parks (tracks: A1, A2, B4), Larry Carlton (tracks: B3), Lee Rittenaur (tracks: A2, A4, B2, B4), Richard Bennett (tracks: B2, B3)
Guitar [Solo] – Larry Carlton (tracks: B4)
Horns – David Duke, Don Menza, Ernie Watts, Paul Hubenon, Vince DeRosa
Lyrics By, Backing Vocals – Stormie Omartian
Percussion – Victor Feldman (tracks: B2, B3)
Photography By – Harry Langdon
Producer, Arranged By, Vocals, Keyboards, Percussion, Music By – Michael Omartian
Synthesizer – Michael Omartian (tracks: A3, B1)
Trumpet [Solo] – Paul Hubenon (tracks: B2)
Phonographic Copyright (p) – Word, Inc.
Recorded At – Sound Labs, Hollywood
Mastered At – The Mastering Lab
Published By – American Broadcasting Music, Inc.
Published By – Holicanthus Music
Published By – Landers-Roberts Music
Published By – April Music Inc.
Tim Sheppard was “discovered” by Dallas Holm in 1975. This album was the result of that moment. Though it’s a mid 80’s album I didn’t really get a Jesus Music feel. Instead it’s more easy listening 70’s pop. Tim released several other albums including a couple with Dallas Holm.
1 – Joy In The Morning – 4:57
2 – Would You Believe In Me? – 3:39
3 – Sweet Lovin’ Grace – 3:34
4 – Just Because He Loves You – 3:40
5 – “Till I Met The Christ” – 3:36
6 – Psalm 9 – 2:37
7 – Rain Fallin’ Down – 3:42
8 – Soliloquy – 5:00
9 – He’s Coming Back – 3:43
10 – Are You Ready? – 3:24
Art Direction – Bob McConnell
Bass – Jack Williams
Drums – Kenny Malone
Engineer [Recording And Remixing] – Bob Clark
Guitar – Bobby Thompson, Joe Huffman, Steve Gibson
Keyboards – Shane Keister
Photography By – Dill Beaty
Piano, Written-By – Tim Sheppard
Producer – Phil Johnson
Steel Guitar – Weldon Myrick