Lasting Impressions is the third album from the Janz Brothers and it is the epitome of 70’s Funk. I was listening to it today and thinking this may be the “funkiest” Christian album of all time. I’m sure it’s not but it felt that way today. At this point in their careers/ministry the brothers were playing bars and coffee shops so this album has a very secular feel. The lyrics are still positive but the JPM was relatively low. Apparently the album did receive airplay in the U.S. and Europe but I can’t really find any proof of it.
1 – Deliverance – 5:17
2 – Such A Fool – 4:08
3 – Anytime You Feel It – 3:42
4 – Need You So Bad – 3:47
5 – Feel The Music – 2:58
6 – Lasting Impressions – 5:36
7 – Tender Love – 4:49
8 – Vanity – 3:53
9 – I Thank You – 3:46
10 – No Time To Waste – 0:53
Arranged By – Deliverance
Engineer – Brille, Will Roper, Zeke Lund
Producer, Mixed By – Horst Müller
Written-By – Herb Rempel (tracks: B5), Ken Janz (tracks: B1)
Written-By, Mixed By – Paul Janz (tracks: A1-A5, B1-B4)
This 1978 debut album from DeGarmo & Key is one of their best. It has a range of styles, but for 1978, it was all right in the zone of 70s rock that was still more influenced by country music at the time, and the “Southern rock” that everyone wanted more of.
These guys came from the South and they brought just the right mix to launch a career in CCM, and help spark the genre.
On their later live album, he says “We tried country music, we really did. But nobody could recognize what country it was from.” Funny, but those country tones fit perfectly here even though the band really became known as a modern pure rock band later on.
The songs on this album had great longevity for the band and 3 of them made it onto the live album in 1982.
1 – Emmanuel – 3:03
2 – Addey – 4:11
3 – Only The Meek Survive – 3:03
4 – (Gone, Gone, Gone) Too Far, Too Long – 4:29
5 – Alleyways Of Strife – 3:10
6 – Sleeper – 2:45
7 – Wayfaring Stranger – 3:38
8 – In The Days Of Thy Youth – 1:26
9 – Chase The Wind – 5:21
10 – This Time Thru – 4:52
Art Direction, Management – Steve Lawhead
Backing Vocals – Joe Hardy, Phyliss Duncan, William C. Brown III
Backing Vocals, Keyboards, Synthesizer, Electric Piano, Grand Piano, Organ [Hammond] – Edward DeGarmo
Bass, Percussion – Ken Porter
Design [Album] – Stan Evenson
Drums – David Spain, Max Richardson
Lead Vocals, Backing Vocals, Electric Guitar, Acoustic Guitar, Classical Guitar, Harmonica, Percussion – Dana Key
Mastered By – Larry Nix
Producer, Engineer – Ron Capone
Programmed By [Arp], Backing Vocals – Carl Marsh
Copyright (c) – Lamb & Lion Records
Phonographic Copyright (p) – Lamb & Lion Records
Recorded At – Ardent Studios
Remixed At – Ardent Studios
Mastered At – Ardent Mastering
I was not able to find a lot of information about Phil Johnson. What I do know is that he performed with both Dallas Holm and Tim Sheppard in the 80’s and headed a group called The Phil Johnson Singers who performed on the Jimmy Swaggert show and were on albums released by The Jimmy Swaggart ministries. There also appears to be an album with the Phil Johnson Singers with the Imperials which was also a Jimmy Swaggart release. This album is decidedly easy listening/praise music with some tracks having a Jesus Music feel which makes sense given its release date.
1 – He Can Hear You – 3:07
2 – It’ll Be All Right (In The Morning) – 3:42
3 – He Didn’t Lift Us Up To Let Us Down – 3:20
4 – The Day He Wore My Crown – 4:57
5 – Somebody Like You – 3:23
6 – Don’t Take Your Love Away! – 3:23
7 – I’ve Never Been Out Of His Care – 3:11
8 – Never Be – 3:32
9 – I’m Simply Lost For Words – 3:34
10 – Here He Is Again – 3:30
Bass – Jack Williams
Design [Cover] – Bob McConnell
Drums – Kenny Malone, Larrie London
Engineer – Bob Clark, Travis Turk
Guitar – Joe Huffman, Reggie Young
Keyboards – Lari Goss, Phil Johnson, Shane Keister
Mastered By – Glenn Meadows
Percussion – Farrell Morris
Photography By [Cover] – Dill Beaty
Photography By [Sleeve] – Tom Haggerty
Producer – Phil Johnson
Producer [Vocals] – Bob Clark
Phonographic Copyright (p) – Greentree Records
Copyright (c) – Greentree Records
Recorded At – Great Circle Sound
Mastered At – Masterfonics
This was 1 of 2 releases in 1978 by Truth with the other being a Christmas album which you will likely hear come Christmas time. Truth were so dedicated to getting albums out that it is difficult for me to really characterize one album as being different from the rest. There’s a little 70’s Funk, a little Jazz, and even a Reggae sounding song. If you’re already a fan of this band / choir you’ll love this album.
1 – Love, It Comes In All Colors – 2:25
2 – The World Didn’t Give It To Me (And THe World Can’t Take It Away) – 2:45
3 – Miracle Of Jesus – 2:40
4 – Jesus Is Lord Of The Way I Feel – 3:14
5 – He Is The Music – 3:26
6 – Perfect Peace – 3:52
7 – Ordinary People – 3:45
8 – Countin’ The Days – 3:26
9 – I Just Feel Like Something Good Is About To Happen – 3:19
10 – Revived – 3:11
Artwork By [Cover], Illustration [Inside] – Jim Lee
Design Concept – Greg Golden
Drums – Bob Nickerson
Electric Bass – Eddie Anders
Engineer – Warren Peterson
Engineer [Assistant] – Brent King
Guitar – Tim Frantz
Keyboards – Benny Key
Layout – Kimberly Williams
Management [Business Manager] – Nancy Anders
Mastered By – Glenn Meadows, Mack Evans
Percussion – Garner Fielding
Photography By – Spottswood Studios
Producer – Bob MacKenzie
Technician [Sound] – Mark Young
Trombone – Don Wolf
Trumpet – Craig Garrett, Larry Meregillano
Vocals – Art Ortiz, Bob VanderMaten, Ginger Nickerson, Joleen VanderMaten, Lily Helm, Steve Green
Woodwind – Paul Stewart
Phonographic Copyright (p) – Paragon Records
Distributed By – Word, Inc.
Recorded At – Sound Stage Studios
Mastered At – Masterfonics
Phil had released a number of albums by this point, and with this one he switched to a new label, New Song Records. It’s all instrumental and has a pleasant jazz sound emanating from his intricate guitar work.
The album comes with a story in the liner notes, and it is a must-read while you listen to this album. Press play and keep reading.
Music, especially instrumental music, evokes many images in the mind of an attentive listener. I have set below an account of the images which have been called up for me by The Master and the Musician, not as any final word on meaning or intent, but as a vantage point, if you will – a place from which you may consider this series of musical pieces before you do some exploration on your own.
We begin by listening to a dream, for at first the sounds are clearer than the sights. A young man’s voice, distinct and persistent. Then that of an older man, measured, balanced tones. Now they come into view: The seated old man leans against his high-backed chair, listening attentively. His eyes crinkle with hidden amusement at the young man’s insistence. Heavy, white eyebrows are occasionally raised as his eyes widen, echoing his initial surprise at the young man’s visit. A slender, long-fingered hand is brought to the side of his face. His fingers frame an eye, as one hand rests against his cheek, his clear eyes never straying from the face of the man across from him.
His younger visitor leans forward again, intent on explaining a request he barely understands himself. He is a young musician, and yet he shows the strain and wear of travelling, pressed by that fame which demands strenuous performance. The old man smiles, and for a brief moment glances at the worn wooden surface of an instrument hung upon his wall. Sensing a rapport which he had never though could exist, the young man leans forward and repeats his request:
“Teach me,” said the young musician. “Old man, you have seen much. You were Master Musician in your time, playing in the great halls. Your fingers, once young and lithe, filled the hearts of kings with music which changes the soul. Where did you learn music? It is said that you have even played before He who is not to be named. Teach me,” said the young man, his eyes intent upon purpose, “I want to know that music.”
“Young man, what have you to do with me? Your gift is in the marketplace, not playing in royal halls.” The old man smiled and shook his head. “How they dance when you play! The young women sway, and their eyes dart with fiery love at your tones. To play where I have, you must leave the marketplace behind, you must cease to play in the palaces of pleasure, and find your joy in other pursuits. Are you willing? Are you able to leave all of that behind?” The young man’s lips tightened. His eyes held the old man in unwavering gaze as he softly nodded his head.
The Castle’s Call
Deep in a sun-flooded valley it stood. Beyond the outcroppings of bare rock at the summit, the wind-blown trees along the steep slope, in the midst of the small forest on the valley floor. Open ground swelled up to meet its moat. White stone, hewn long ago from the valley itself, washed by aeons of the water of pre-history, formed its battlements and towers topped with dark green slate. The early afternoon sun bathed its walls in yellow brilliance. The drawbridge was down, and smoke curled from the chimneys of the great hall.
Hidden, yet apparent, the castle in his mind’s eye drew the young musician to its entrance, and called him to an as yet uncontemplated fate.
Wedding in the Country Manor
Wedding day! The village has been polished clean. Clear summer sun and unsullied sky. Who has seen a groom like this, strong and silent, dark and light? Clear eyes flash with joy, anticipating his lady’s gentle appearance.
She walks upright and unafraid, her lace veil blowing in the summer breeze.
Her gaze is neither timid nor bold, yet it holds the strength of her lord’s without wavering.
They kiss… A brilliant jewel between them sparkles, showering the guests with light and laughter. Then silence, as the meaning makes its home.
The children, unaware of grownup solemnity, dance out joy with unencumbered feet, whirling and giggling, giggling, and whirling away their summer joy. One by one, the grownups join them, bride, groom, and guests, until all fall from exhaustion, laughing at dignity and foolishness alike.
Suite – of Reflections
“This is the room where we must begin,” the old man said, “sit down – over there. Hold your instrument so. A thousand have sat as you have. Listen.” The old man played out the story of the room, asking all the age-old questions of the entrance.
The young man sat in silence. Then answered his every question one by one – considered, unwavering, sure of what he would find. His heart soared as each question was answered, anticipating the fulfillment of the promise each one held. Now tears of joy are flowing from his cheeks. He holds his instrument away so as not to spoil the strings. The old man smiles. The younger weeps: All I have lived for is here. The joy of new beginnings settles in his mind, as the old man sets down his instrument and opens up the door: “You must meet the King,” he said, “you must meet Him face to face. No, no -” the old man answered the unasked question: “You must go alone. You won’t come to harm; I will even meet you along the way. But – for now – you must go alone.”
Golden halls to walk down; flowing, gentle gold. Everything exudes yellow light. The young man looks at himself in a mirror. The hard creases etching the lines of his worry have been smoothed over. His cheeks fill with the youth of his years – once made long from the marketplace. Forever, he thought. I have never known its meaning. I shall live here forever, in golden light.
Now that the hot lights of the pleasure palace stage glare into his eyes, He steps up to the roar of a crowd bent upon his music, and all that it has brought to them. Then silence. He sings – no, soars with joy. The crowd no longer presses forward, but holds itsbreath at music it has never heard. His fellow players stand mute.
Follow Me Up
“Follow me up,” he cries, as they begin to understand. The marketplace reverberates with music of life. The young women, no longer dancing, cry with joy at the truth they have always known but were seeking to hide. Young men look for the source of his strength. “Follow me up,” he cries, again and again. They will remember this night forever, and never know why.
Along the castle’s golden halls, the sight of a long and narrow passage has stopped him. At the end, a single door gleams in green light: The stage door of the pleasure palace. It was unmistakable, and jarringly out of place. What music drew him down to open the door and gaze into his own face, bathed with sweat and green light, playing out the pleasures for adoring admirers? The young man in the room swayed and bent, his instrument playing out in twisted genius the stories of his lusts. The young man gazing at him drew back in disgust and horror of the truth. He slammed the door and ran back to the golden hall, his heart racing him to a finish.
Deep Calls Unto Deep
The old man sat in the great hall, his fingers resting lightly upon his instrument. One hand lifted, to silently indicate the young man’s own instrument, lying in the only other chair. The young man shook his head, no longer willing or able to play. He opened his mouth to explain, but could not speak. The old man began, as the younger stood before him in silence. The presence of He who cannot be named filled the hall. Never had he heard the old man play like this. His cheeks flamed crimson at his own inability. An unseen instrument answered the old musician, who raised his head slightly to acknowledge its presence. The younger walked as in a trance to his chair. He sat, and fingered the instrument. Unwillingly, he began to play, and himself was answered. His concentration was set upon his fingers, which played from some unrecognized but familiar depth. He never noticed the old man’s disappearance. The Presence lifted. Alone, the young man sang of a thirst quenched by water and salt.
The next room was lined in oak; leaded windows looked out over green forest at the setting sun. The young man sat in a window casement, and played down the sun to a half-remembered hymn. The sky became green and deep gold. Slowly, all turned cold – the stars came into a dark, black night. Since the old man’s disappearance, the young man had been incapable of calling back the Presence. The night turned darker, and the young one began to cry, not for loss, but lack. Oblivious to his surroundings, he bent his head and sobbed. His tears ran saltily upon his instrument, dripping from the strings. They can be spoiled now, he thought, what does it matter? I cannot play.
“I too was alone,” said a voice, “I too could no longer play the Music.” The young one bit his lip and looked up. The King was before him, not as a king, but as the young man himself, his heart empty. Royal robes hung over one arm. “Wear these,” said the king, “for they are yours.”
The King gazed at him as a bridegroom at his bride, and the young man played; joined, not by an instrument, but by the voice of the Presence itself. The King was lifted up and out of sight, golden walls illuminating His departure. Still the young man played, for the Presence was greater than ever. He sang with It, It sang with him. Voices called cross to one another; all led upward. A joy far deeper than his own emotions held him in its grasp. It would not let him go.
The high and exalted One
Who lives forever, whose Name is holy,
He dwells in a high and holy place
And with him are the lowly in spirit,
In order to revive their hearts.
A1 Pilgrim’s Flight 2:22
A2 Agora (The Markerplace) 3:26
A3 The Castle’s Call 0:47
A4 Wedding In The Country Manor 3:20
A5 Suite Of Reflections 5:45
A6 Golden Halls 5:13
B1 Mouthpiece 1:18
B2 Follow Me Up 4:05
B3 Jungle Pleasures 0:55
B4 Deep Calls Unto Deep 3:52
B5 Medley (7:05)
B6 The High And Exalted One 1:48
Classical Guitar, Acoustic Guitar, Electric Guitar, Acoustic Bass, Electric Bass, E-Bow, Synthesizer [Arp Bass], Drums, Percussion, Vocals, Producer, Arranged By, Mixed By, Composed By, Sleeve Notes – Phil Keaggy
Engineer – Gary Hedden
Engineer, Mixed By – Mal Davis
Illustration – Claude Schuyler
Lyrics By [Story Written By] – Stuart Scadron-Wattles
Photography By – Chris Maggio (3)
Vocals – Bernadette Keaggy
This 1978 album could have been recorded yesterday and what I mean by that is that the music is timeless.
I am not the biggest fan of worship music but for some reason this album is the exception. While preparing these videos I generally listen to an album three times. Generally this is a rather painful affair when it comes to albums in this genre but strangely I found myself listening to this album a fourth time.
I can’t really break down why I like it but I do. It’s a well arranged album and the choir and orchestra bring a stronger element to Talbot’s music. So even if Talbot’s music is not you’re preferred genre give this one a listen, you might be pleasantly surprised.
1 – Prelude – 2:37
2 – We Shall Stand Forgiven – 4:08
3 – Glory To God – 2:57
4 – Creed I – 1:36
5 – Creed II – 3:56
6 – Holy, Holy, Holy – 2:22
7 – Communion Song – 4:25
8 – The Lord’s Prayer – 1:30
9 – Lamb Of God – 2:14
Arranged By [Orchestral Arrangements] – David Britton
Conductor [Orchestra Conductor] – Greg Nelson
Design [Cover Design] – Stan Evenson
Design Concept [Album Cover Concept] – Terry Talbot
Engineer [Assistant] – Gary Schatzlein, George E. Wilson
Engineer [Assistant], Vocals – Russ Moorman
Music By, Product Manager [Project Supervision] – John Michael Talbot
Photography By [Back Cover] – Greg Wigler
Photography By [Front Cover] – Larry Dupont
Producer, Engineer, Vocals – Mark Clevenger
Vocals – Bill Bruce, Craig Jensen, Dave Wey, Debby Meeks, Dennis Howe, Don Hock, Gary Myers, Janene Jensen, Jerry Wise, Kathy Jensen, Ken Jensen, Linda Allen, Lorrie Buckhorn, Mark Nauman, Patty Evans, Randy Evans, Tammy Rogers
Beakthrough Swedish rock reached North America in 1978 thanks to Jerusalem and the vision of Ulf Christiansson. At that time there was precious little rock’n’roll available in the CCM scene, as the metal breakout of the late 80s was still a decade away.
Jerusalem are the Swedish pioneers of hard rock that parallel what Resurrection Band were doing in Chicago, but with a European stamp.
Everything about this band and this debut album is pure fun, pure rock, and pure CCM. They could have been a Swedish April Wine or some other band. The fact that they chose record a separate English version of their albums was a bit of a struggle for them, but it was a choice that allowed them to become a worldwide sensation over the next few years.
1 – Noa – 3:30
2 – Jesus Is The Most Fantastic – 2:23
3 – Maybe – 4:22
4 – Daddy Who Has Made – 3:50
5 – Mr. Ego – 3:22
6 – Come To Me – 3:40
7 – If You Only Care To Listen – 4:08
8 – Neutral – 2:42
9 – Days Passing By – 4:54
10 – What If Jesus Is Right – 3:34
11 – High Tide – 5:26
The album Horrendous Disc by Daniel Amos was a very popular early 80’s CCM album.
While it was released in 1981 it has a strong mid 70’s sound. The reason for this is that it was actually recorded in 1978. It was rejected by Maranatha Music and ended up in the hands of Solid Rock Records.
For reasons only known to Larry Norman (owner of Solid Rock at the time) it was not released until 1981. It played a part in a messy situation that ended up with Daniel Amos at Newpax Records.
All that said it was a well received album with the single “I Love You #19” still very popular.
1 – I Love You #19 – 3:33
2 – Hound Of Heaven – 4:06
3 – (Near-Sighted Girl With Approaching) Tidal Wave – 3:05
4 – Sky King (Out Across The Sky) – 4:05
5 – On The Line – 5:20
6 – I Believe In You – 3:45
7 – Man In The Moon – 4:00
8 – Never Leave You – 3:08
9 – Horrendous Disc – 5:20
Bass [Uncredited], Backing Vocals [Uncredited] – Marty Dieckmeyer
Drums [Uncredited], Percussion [Uncredited], Backing Vocals [Uncredited] – Ed McTaggart
Guitar [Uncredited], Lead Vocals [Uncredited], Backing Vocals [Uncredited] – Jerry Chamberlain, Terry Taylor
Keyboards [Uncredited], Backing Vocals [Uncredited] – Mark Cook (2)
Percussion [Uncredited] – Alex MacDougal*
Producer [Uncredited] – Daniel Amos, Mike D. Stone
Awaiting Your Reply was the first commercial release of Resurrection Band.
The hard rock, blues sound would become the signature sound for Resurrection band. The album was controversial for its time and was often sold from under the counter.
Word of mouth, however made the album very popular and paved the way for future releases to be on the racks instead of being hidden.
Trivia point for the album is that it was recorded on a budget of $8000, a tiny amount given the quality of the recording.
1 – Waves
2 – Awaiting Your Reply
3 – Broken Promises
4 – Golden Road
5 – Lightshine
6 – Ananias & Sapphire
7 – The Death Of The Dying
8 – Irish Garden
9 – The Return
Bass – Jim Denton
Drums – John Herrin
Harmonica – Tom Cameron
Lead Guitar, Piano, Synthesizer – Stu Heiss
Percussion – Roger Heiss
Saxophone, Flute – Kenny Soderblom*
Vocals – Wendi Kaiser
Vocals, Rhythm Guitar, Dulcimer – Glenn Kaiser