You might be listening to this thinking you don’t know Keith Thomas but I can guarantee you’ve heard him or his songs. Keith was/is a prolific studio musician and song writer. He has worked for hundreds (yes I do mean hundreds). I’d offer some names here but there really are just too many but in the Christian market they include Amy Grant, Sandi Patty, and Carman plus many many more. This was his second and last album. Like so many high end studio musicians and writers they find great success right up until they try to release their own album. That said in this case Keith really should have had greater success. This album is fantastic and the quality is there through all 8 tracks. The album did have a CCM single with “It’s Only Natural” making it to #4 which is pretty darn good. The album is very synth heavy and at time has a cool funk feel. This is another one that if you missed it in the 80’s you need to give this one a listen now.
Tracklist 1 – Te Deum – 4:18 2 – It’s Only Natural – 3:54 3 – Pinwheel – 5:07 4 – Imagine – 4:31 5 – Home Away From Home – 3:58 6 – Arms Of Love – 4:04 7 – Suspicious Heart – 3:54 8 – Kaleidoscope – 5:55
Credits Art Direction, Design – Bill Brunt Backing Vocals – Donna McElroy, BeBe Winans, Greg Guidry, Lisa Bevill Bass – Mike Brignardello, Jimmie Lee Sloas Drum Programming – Mark Hammond Featuring – BeBe Winans, Donna McElroy, Greg Guidry Guitar – Jon Goin, Tom Hemby, James Hollihan Illustration – Jim Osborn Keyboards [Programming] – Brett Perry Lyrics By – Paul Smith, BeBe Winans, Brett Perry, Wayne Kirkpatrick, Greg Guidry, Keith Thomas Music By – Keith Thomas Photography By – Dean Dixon Producer – Keith Thomas Recorded By, Mixed By – Jeff Balding Saxophone – Mark Douthit Synthesizer – Keith Thomas Written-by – Keith Thomas
Paul Smith is probably best known for his time as an Imperial. He replaced Russ Taff in 1981 when Russ left to pursue a solo career. Paul would follow that same path in 1986 with this album. There has been much discussion as to why lead singers fled the Imperials. My best guess (and it’s only a guess) is that it was money. A solo album contract is always better than a group contract. That said as many album as the Imperials were selling I kind of doubt Paul made as much as a solo artist. That said I can guarantee Russ Taff made more money as a solo artist than he did with the Imperials. But really that’s all speculation. Anyway Paul released this album in 1986 on Dayspring Records and it did very well. It had 4 singles on the CCM charts with Never Be Another doing the best climbing to #2. The others didn’t do quite as well but 4 singles on a first solo album is pretty darn good. But keep in mind his musical pedigree guaranteed the album would get noticed. The album is a solid AOR pop album and while a little on the easy listening side for me I still quite enjoyed it.
Tracklist 1 – Everlasting Joy – 4:03 2 – Live And Learn – 4:32 3 – Never Be Another – 3:51 4 – Keep The Light On – 4:05 5 – So Good To Know – 4:11 6 – Let Love Happen To You – 4:43 7 – A Holy Nation – 3:39 8 – Praisemaker – 3:49 9 – Beautiful The Dreamer – 4:00
Credits Art Direction – Buddy Jackson Backing Vocals – David Martin, Denny Henson, Greg Guidry, Keith Thomas, Lisa Bevill, Patti Morris, Paul Smith Bass – Jimmie Lee Sloas Drum Programming – Keith Thomas, Mark Hammond Drums – Mark Hammond Executive Producer – Neal Joseph Guitar – Jon Goin Keyboards – Keith Thomas Percussion – Terry McMillan Photography – Ron Keith, Scott Bonner Producer – Keith Thomas Saxophone – Jim Horn Synthesizer [Additional Programming] – Brett Perry
Damn that Maria McKee can really sing. That may be the single greatest understatement in the first 370 post on this list. But really, if anyone can find a better way to express the sheer power, passion and presence of McKee’s vocal virtuosity, have at it. It was said co-Producer Little Steve (E Street Band) remarked that McKees vocal performance on “Inspiration” was the most powerful and passionate vocal he had heard since Bruce Springsteens “Adam Raised a Cain.” Mighty high praise indeed. And well deserved. More commercially appealing than the debut, Shelter infused a little more country rock and significantly less cow punk. It is better produced (in some spots a bit over-produced) and the songwriting is more accessible with superior ballads and a more consistent sound. It should have been the record to make Lone Justice rock stars. Rather, it became their swan song. I Found Love and Shelter were both that singles that just never broke through, though they ended being covered by a few CCM artists including Geoff Moore. But the real strength on this album is on the deeper cuts and ballads. Beacon, Belfry and Dreams Come True all rock with great guitar work and McKe’s emotive presence. And as mentioned earlier, Inspiration is just an emotional vocal tour de force with a once in a lifetime performance. The two side-ending ballads should also be noted. Wheels is a beautiful country song that should be covered by a more modern country female vocalist. The album closer, Dixie Storms, is just haunting and would point to the direction McKee would follow in her solo career.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – I Found Love – 4:15 2 – Shelter – 4:37 3 – Reflected (On My Side) – 4:57 4 – Beacon – 4:18 5 – Wheels – 5:05 6 – Belfry – 5:03 7 – Dreams Come True (Stand Up And Take It) – 4:06 8 – The Gift – 4:16 9 – Inspiration – 3:49 10 – Dixie Storms – 3:37
Credits Acoustic Guitar [Additional], Rhythm Guitar [Additional] – Little Steven Bass, Vocals – Gregg Sutton Coordinator [Production Coordinator] – Janet Weber Cover – Cooper Edens Design – Kim Champagne Drums – Rudy Richman Engineer [Additional] – Bruce Lampcov, Don Smith, Greg Edward, Joe Borja, Nikko Bolas, Scott Litt, Shelly Yakus, Steven Rinkoff Engineer [Assistant] – Craig Engel, Marc De Sisto, Michael Bowman, Rob Jacobs, Ross Stein Guitar – Ryan Hedgecock, Shane Fontayne Keyboards – Bruce Brody Keyboards [Additional] – Benmont Tench, Charles Judge, Tommy Mandel Lacquer Cut By – J. Webster Management – Ice Cream Management Management [Associate] – Tony Ferguson Mastered By – Stephen Marcussen Mixed By – Greg Edward (tracks: A4, A5, B1, B3, B4), Humberto Gatica (tracks: B2), Joe Chiccarelli (tracks: A2), Mike Shipley (tracks: A1, A3), Shelly Yakus (tracks: B5) Photography By – Melanie Nissen Producer – Jimmy Iovine, Little Steven, Lone Justice Production Manager – Chuck Reed Recorded By – Joe Chiccarelli, Robert de la Garza Vocals, Guitar, Piano – Maria McKee
In 1986 Apartheid was popular news in Canada and other Western countries. It wasn’t a new thing, but it was being talked about openly for the first time. African Sonrise is a group that was formed as a result of the opening up of South Africa. Here’s the explanation from the back of the album:
Rising out of the depression and sorrow of Africa comes a crisp, dynamic sound…
AFRICAN SONRISE
Diverse yet sharing common roots, the men of African Sonrise bring to you a special fusion of unique ethnic rhythms and Hot, contemporary instrumentation. You’ll sense many musical styles from pop to reggae, but find none that clearly defines the vibrant harmonies recorded here. Founder Henry Louw, son of a Capetown minister, first visited the U.S. in 1980. At the end of his singing tour he was encouraged to return with other performers. After achieving much success in South Africa where their ministry was greatly annointed and used of God, he and three other men are now based in Canada to share their special blend of music with the world.
The current team includes Peter Ecksteen, Daniel Visagie, and Christian Absolom. Each member has suffered under the apartheid system, yet together they sing of an answer above political struggles and military force.
This is fresh, Dynamic music. There’s incredible variety in the tunes. Both American and Canadian musicians sense the power and light that flows from the group.
The title cut, Children of Africa will move you deeply. The peaceful sounds of the jungle clash with souns of war. But shining through the strife of Africa is power and hope in following Jesus Christ. In “Tswana,” a native African language, the group sings…
Dumela, dumela, Fela (you have only to believe)
He (Jesus) will make ALL things right!
Here is power mightier than any weapon, a force above political struggle. It is the power of the Lord Jesus. These songs are the heartcry and the heartsong of Africa. May these songs encourage every listener to stand strong in Christ.
Tracklist 1 – More Like You – 3:44 2 – This Time – 4:35 3 – Just One Touch – 3:40 4 – So Much More In Jesus – 4:25 5 – Children Of Africa – 4:36 6 – Dumela Fela – 4:35 7 – Commitment – 4:04 8 – Too Good Not To Be True – 3:41 9 – So Tired And True – 3:45 10 – Together As One – 4:47
Credits Drums – Daryl Bennet Bass – Brian Newcombe, Rob Bailey Guitars – Dane DeViller Keyboards – Duncan Meiklejohn, Morry Stearns Percussion – Daryl Bennet, Darren McGrath Trumpet – Paul Baron Sax – Bill Runge Producer – Duncan Meiklejohn
This is Pam’s 4th and most successful album. It continued the pop sound she adopted earlier in the decade as opposed to her folk sound in the 70’s. I believe this album was produced with the goal of hitting the CCM charts and in this aspect it succeeded with 3 singles. “Unexpected Places” made it to #11, What Can I Do to #15, and Jordan to #27. That’s a pretty successful album. As usual the singles are just a little too worship oriented for my liking but there are some very good pop tracks on this album and that’s what makes the album worth listening for me.
Tracklist 1 – This Is A Test – 3:19 2 – Jesus In The Street – 3:48 3 – Unexpected Places – 2:50 4 – Never Trade My Love – 4:13 5 – Keeper Of The Vision – 4:40 6 – What Can I Do – 3:30 7 – Jordan – 3:42 8 – Determined – 3:09 9 – The Longing – 4:24 10 – Love Conquers Everything – 3:45
Credits Acoustic Guitar – Craig Bickhardt (tracks: 5) Bass – Michael Rhodes Drums, Percussion – Harry Stinson Engineer – John Wiles Executive Producer – Dan Harrell, Michael Blanton Guitar – Kenny Greenberg Keyboards – Gary Primm Producer – Wendy Waldman Rhythm Guitar – Wendy Waldman (tracks: 9) Saxophone, Recorder – Jim Horn
Companies, etc. Phonographic Copyright (p) – Reunion Records Copyright (c) – Reunion Records Recorded At – Ten Thirty Studio, Nashville Mixed At – Georgetown Masters
It is amazing to consider that within a year the conclusion of the Alarma Chronicles will be celebrating its 25th anniversary. 25 years ago one of the most impressive, ambitious and amazing four album series came to an end with a work of sheer art. Each album was unique musically with Fearful Symmetry being the darkest, brooding and mysterious of the four. Following the significantly more new wave “pop” of Vox Humana, FS was shocking, intriguing and…well…fearful. The majority of the album deals with darker subjects like death, pain and loss and the musical soundscape of ethereal vocals and sweeping and weeping keyboards envelope the listener in the dark cloud of the content. That is not to say that the album is replete of hope or grace, but actually just the opposite. It is through the valley of this projects the light that does shine through appears that much brighter. Terry Scott Taylor’s admiration of and inspiration by William Blake is the strongest on this project. From the album title to the most haunting song, Sleep Silent Child, the album is filled with images and direct quotations from Blake. The album does close with the stunningly simple and beautiful lullaby or sorts, Beautiful One. This one hearkens back to Taylor’s solo projects with the sing-songy simplicity and lush keyboard strings and Taylor’s lilting higher register. It is the perfect ending to the “chronicles” as it’s message about the eternal hope of all Christians to find themselves in the arms of the Beautiful One upon their death. I remember when the album was released the number of complaints we received were almost exclusively related to the naked man (from the waist up) on the album cover. Those that complained obviously never listened to nor understood the content of the project or the complaints may have been drastically different. More keyboard driven and music less guitar oriented. the album reflected much of the European alternative music of the day like Depeche Mode, Alphaville, etc but also shows reflections of art rock music of Genesis and Pink Floyd. Not immediately accessible or as warmly received as the first four projects, the album eventually became regarded as one of the best of the Daniel Amos catalog.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – A Sigh For You – 3:58 2 – The Pool – 3:47 3 – Sleep Silent Child – 4:38 4 – Neverland Ballroom – 3:17 5 – Strong Points, Weak Points – 3:55 6 – Instruction Thru Film – 3:20 7 – When Moonlight Sleeps (On The Frosted Hill) – 3:55 8 – Sudden Heaven – 3:23 9 – Shadow Catcher – 4:32 10 – Beautiful One – 3:33
Credits Arranged By [All Arrangements By] – DA Art Direction, Layout – Mr. Ed (McTaggart) Backing Vocals – Crystal Lewis (tracks: B2, B5), Jerry Chamberlain (tracks: A5, B5) Design Concept [Cover Concept] – DA Drums, Percussion, Synthesizer [Synthesizers] – Ed McTaggart Electric Bass, Double Bass [Upright Bass], Bass [Electric Twelve-String Bass], Guitar [Guitars] – Tim Chandler Keyboards, Snare [Snares] – Rob Watson (tracks: A3) Lead Guitar [Lead Guitars], E-Bow [E-Bo], Synthesizer [Synthesizers], Organ [Pump Organ], Dulcimer, Mandolin – Greg Flesch Mastered By – John Matousek Narrator – Jerry Chamberlain (tracks: B1) Percussion – Alex MacDougall (tracks: B2, B5) Photography By [Band Photos By] – Linda Dillon Baley Photography By [Photographics By] – Ken Baley Photography By, Photography By [Photographics By] – Derrill Bazzy Producer – DA, Terry Taylor Recorded By, Mixed By – Dave Hackbarth, Doug Doyle, Terry Taylor Synth [Synth Treatments] – Dave Hackbarth (tracks: A1, B3), Doug Doyle (tracks: A1, B3) Text By [¡Alarma! Chronicles Text Volume 4 By] – Greg Flesch, Terry Taylor Vocals, Guitar [Guitars], Harmonica, Synthesizer [Synthesizers] – Terry Taylor
Companies, etc. Distributed By – The Benson Company Distributed By – The Master’s Collection Phonographic Copyright (p) – Frontline Records (3) Copyright (c) – Frontline Records (3) Published By – Broken Songs Recorded At – 3-D Studios, Costa Mesa CA. Mastered At – Hitsville
This was Koinonia’s 4th release and as with their other albums it wasn’t very successful in North America but was a big hit in Europe. This album is almost entirely instrumental except for “Making Room” and “Señor”. I am guessing this is a result of the jazz style but the vocals are so good it’s too bad they didn’t do more. As with their previous albums this album has a strong Jazz Fusion sound and they were probably the best Christian artists in this style. That said I don’t think their were many CCM bands doing this style. Their next album was far more mainstream so this is the end of an era for their listeners and fans. This is one I missed in the 80’s so I’m glad I got a chance now to enjoy it.
Credits Arranged By – Koinonia Bass – Abraham Laboriel Drums, Percussion – Alex Acuña, Bill Maxwell Engineer – Don Murray Executive-Producer, Producer – Greg Mathieson Guitar – Hadley Hockensmith Keyboards – Harlan Rogers Producer – Koinonia Saxophone, Flute – Justo Almario Synthesizer [Programming] – Greg Mathieson, Smitty Price Vocals – Abraham Laboriel (tracks: B1, B5), Alex Acuña (tracks: B1), Diana Neciosup-Acuña* (tracks: B1), Harlan Rogers (tracks: B1), Howard Smith (tracks: B1), Tata Vega (tracks: B1, B5)
Companies, etc. Distributed By – Sparrow Records Phonographic Copyright (p) – The Sparrow Corporation Copyright (c) – The Sparrow Corporation Recorded At – Sunset Sound Mixed At – Mama Jo’s Mastered At – Bernie Grundman Mastering
Wild Blue Yonder were a new incarnation of the CCM Rockabilly band The Lifters minus Rex Harvey and of course the addition of Crystal Lewis doing lead vocals. The album essentially came out on Crystal’s 17th birthday so ignore the “she was 15” stuff on the internet. The album was released September 9th 1986 and her birthday is September 11th 1969. Both Terry Taylor and Rob Watson from DA were involved in the project and they bring some quality production to the album. The album has a Rockabilly sound in places and is often referred to as Cow-punk but it’s not really Cow-punk in my opinion. It’s just a fun 80’s album with Rockabilly influences though Crystal’s vocals are so strong she really dominates the album almost making you forget about the rest of the band. The album was re-released in 1995 with 2 bonus tracks (this upload is that 1995 release) and is catalogued as being a Crystal Lewis album titled Wild Blue Yonder.
Tracklist 1 – Just One Look – 3:49 2 – You And Me – 3:07 3 – This Love’s For Real – 4:05 4 – Where Can I Go (Bonus Track) – 2:24 5 – Heart Beat – 2:34 6 – Over The Rainbow – 3:20 7 – Every Day (Bonus Track) – 3:23 8 – Only One – 3:42 9 – Revival Meeting – 2:35 10 – You’re My Love – 3:19 11 – Only You – 2:45 12 – Crying Eyes – 3:07 13 – If I Could Write A Poem – 5:01
Credits Art Direction, Layout [Original] – Phillip Kim Artwork By [Logo] – Dave Gibson Artwork, Design [New] – Timothy McCaig Backing Vocals – Terry Taylor Bass – Paul Martin Drums – Joey Mitchell Engineer – Doug Doyle Guitar – Chris Brigandi Pedal Steel Guitar – Garry Brandon Photography By – Brian Ray Piano, Organ, Backing Vocals – Rob Watson Producer – Terry Taylor Remastered By – Dave Hackbarth Remix – Chris Brigandi, Gene Eugene Vocals – Crystal Lewis
Companies, etc. Phonographic Copyright (p) – Metro One, Inc. Copyright (c) – Metro One, Inc. Distributed By – Diamante Distribution Glass Mastered At – Disctronics USA – 131230
This was an album in a series of instrumental albums released by Meadowlark Records in the 80’s. Amy is an excellent harp player and I will admit this is probably the only instrumental harp album I have ever listened to. I only discovered this series of albums recently and in a way I am glad because I would never have appreciated their quality in the 80’s when I was listening to Resurrection Band. That said I am enjoying the series now. Amy continues to release albums and tour with her ministry to this day. She successfully battled cancer in 2015 and attributes her healing to her faith. Her albums are available on her web page and if you enjoy her music I would urge you to visit her website. http://amyshreve.com/
Tracklist 1 – Invocation – 3:41 2 – Northern Lights – 3:30 3 – Crystal Night – 4:34 4 – Apogee – 4:05 5 – Hymn VII – 2:02 6 – Diamonds From Dust – 3:18 7 – Silent Partner – 2:28 8 – Peace In The Puzzle – 2:25 9 – Carol For Russia’s Children – 3:17 10 – Jester’s Lament – 4:06 11 – Twilight Pavan – 3:14
Credits Producer – Peter York
Companies, etc. Copyright (c) – Birdwing Music Phonographic Copyright (p) – The Sparrow Corporation
It has been said here and elsewhere (and quite often) that a CCM album’s depth, quality and creativity will be inversely proportionate to its sales success. Meaning; the better the album the fewer the people that will purchase it. This appears to remain true even for CCM’s golden boy and most popular and prolific male artist, Michael W Smith. The Big Picture, Smith’s artistic triumph remains his weakest selling album and the only album in his career not to reach even gold status. After a strong debut and the utterly forgettable argyle sock of a sophomore release (aptly titled “2”), Smith grabbed the CCM world by the throat with an album that was sonically, creatively and musically miles ahead of the rest of the Nashville pablum for the time. From the dark purple and gold hues of the artwork to the tasteful technological advances and superior production, the Big Picture is great from start to finish. What keeps the album from falling off the tracks in a travesty of technological traps is that the songs themselves are very organic and real. Taking themes from the culture and wrapping them in modern sounds with a clear and poignant response to the baggage those theme bring along makes the album the one worthy release from Smith in the Top 100. Producer John Potoker had worked with Brian Eno, Madonna and a host of others and had a huge influence on the musical direction and big production sound. Many will obviously find the music and production technique dated, but one of this lists presuppositions was to judge albums based on the time they were recorded and what was happening musically. And for that, this album is the most “current” album of Smith’s career. He would record about 10 more albums in a row that are completely indistinguishable from one another. But the strength here lies not in the production (or over-production) but in the strength of a songwriter album to have his songs outlast even the dated production technique.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Lamu – 5:55 2 – Wired For Sound – 6:00 3 – Old Enough To Know – 4:47 4 – Pursuit Of The Dream – 5:00 5 – Rocketown – 4:32 6 – Voices – 5:50 7 – The Last Letter – 4:37 8 – Goin’ Thru The Motions – 4:55 9 – Tearin’ Down The Wall – 3:35 10 – You’re Alright – 4:36
Credits Artwork By [Art Direction And Design] – Kent Hunter, Thomas Ryan Design Backing Vocals – Chris Harris, Wayne Kirkpatrick Bass, Chapman Stick – Tony Levin Bass, Drum Programming – Gary Lunn Drum Programming – Frank Doyle, Tokes, Mark Kovac Drums – Steve Ferrone Drums, Drum Programming – David Huff Engineer [Additional] – Bill Heath, Bob Vogt, Clark Schleicher, Ed Goodreau, JB, Jeffrey Dovner, Jon Goldberger, Keith Odle, Ken Criblez, Mike Clute, Nick Deire, Rob Feaster, Spencer Chrislu, Tim Hatfield, Tony Volante Executive-Producer – Brown Bannister, Dan Harrell, Michael Blanton Guitar – Dann Huff, Eddie Martinez, Nick Moroch Guitar, Backing Vocals – Chris Rodrigues Horns – Jim Pugh, Michael Brecker, Randy Brecker Keyboards, Drum Programming, Backing Vocals – Michael W. Smith Keyboards, Programmed By [Fairlight], Drum Programming – Shane Keister Mastered By – Ted Jensen Other [Child] – Christopher Copeland Other [Grooming] – Jody Morlock, Julie Miller Overstreet Other [Production Coordinator] – Kimberly Smith Other [Styling] – Beverly Ann Moore Percussion – Bashiri Johnson Photography By – Dean Dixon, Larry Williams Producer – John Potoker, Michael W. Smith Programmed By [Synclavier] – Steve Schaffer
Companies, etc. Phonographic Copyright (p) – Reunion Records – 1986 Copyright (c) – Reunion Records – 1986 Manufactured By – Word, Inc. Distributed By – Word, Inc. Recorded At – Power Station Recorded At – Mediasound Recorded At – Sigma Sound Studios, New York Recorded At – Soundtrack Studios Recorded At – Bullet Recording Recorded At – The Bennett House Recorded At – Emerald Sound Studios Recorded At – The Castle Recording Studios Recorded At – Blue Jay Studios Mixed At – Blue Jay Studios Mastered At – Sterling Sound
