This is Dana’s first solo album. It follows Eddie DeGarmo’s solo album in 1988. DeGarmo & Key were still a group but apparently the guys felt the need to do a solo effort. I listened to Eddie’s album back to back with this one and I gotta say I think this one is better. Dana is a far better vocalist and I think his songwriting is better. Looking at other reviews I think most people preferred Eddie’s album but not me sorry. The real highlight of the album is a cover of Larry Norman’s “The Outlaw” which was also released on the Larry Norman tribute album “One Way (The Songs Of Larry Norman)” and actually singled at #15 on the CCM charts. The album had 2 other singles, Up From The Dead made it to #7 and Pray For Peace to #6. This is another album I really liked and there’s a few cuts here that might end up in my regular rotation.
Tracklist 1 – We Need A Savior – 3:57 2 – The Outlaw – 4:27 3 – Bow Down – 3:58 4 – Sister (It’s A Mean World) – 2:52 5 – Come To Me – 3:23 6 – Live In The Light – 3:09 7 – Prelude: Here, There Or In The Air – 0:35 8 – Pray For Peace – 3:42 9 – Kingdom Of Grace – 4:10 10 – The Death – 1:49 11 – Up From The Dead – 3:41 12 – Here, There Or In The Air – 4:12
Credits Art Direction – Buddy Jackson Design – B. Middleworth, Jackson Design Engineer [Additional] – Billy Whittington (tracks: 11), Rusty McFarland (tracks: 6) Executive-Producer – Dan R. Brock Guitar, Lead Vocals – Dana Key Mastered By – Hank Williams Mixed By – John Hampton Photography By – Ken Crenshaw Producer, Recorded By, Mixed By – Ron W. Griffin
Companies, etc. Distributed By – The Benson Company, Inc. Produced For – The ForeFront Communications Group, Inc. Phonographic Copyright (p) – The ForeFront Communications Group, Inc. Copyright (c) – The ForeFront Communications Group, Inc. Published By – DKB Music Published By – Straw Bed Music Published By – Glenwood Music Corp. Recorded At – OmniSound Studios Recorded At – Crosstown Recorders Recorded At – Ardent Studios Mastered At – Mastermix
While managing Maranatha Village I would receive a phone call the beginning of each month from Charlie Peacock asking me if I needed anymore of the cassettes of West Coast Diaries Vol 1. That helped strike up a friendship. But there was often several years in between conversations. In fact, the most recent conversation I recall was after a Sunday Morning service in Colorado Springs where Charlie had performed the offertory for the Church I was attending. I obviously love a lot of different music and because of connections over the years with many, if not most, of the artist that fill up this countdown, I am not very starstruck. But when it comes to Charlie Peacock…I am a dumb fan! I just love what he does and will find buying albums that he produces even if I don’t care for the artist. When Exit was just starting out I was invited by label head Mary Neely to a concert in Hollywood with Steve Taylor and this new band Exit was releasing called Vector. What I remembered the most about that evening was this bouncy keyboardist that seemed to play with one hand while dancing with the other in that classic 80′s swinging of the arms sort of way. Mary gave me a copy of their album advance that night and I immediately noticed the unique vocals on the songs sung be that keyboardist. They would become my favorites. Not that much later Mary invited me out the LA one more time for a convert of Exit artists as they were looking to sign a mainstream distribution deal. The line-up included Robert Vaughan and the Shadows (discussed previously), the 77′s, a new, revamped Vector and that keyboardist, Charlie Peacock. I left that evening with a blank tape advanced copy of a record called “Lie Down in the Grass.” WOW! It was several years between the release of “Lie Down” and the Sparrow release on which we will focus, “The Secret of Time.” In between was a self titled album on Island records that still has two of my favorite Charlie Peacock songs, “Message Boy” and “Down in the Lowlands.” The latter would be covered by Russ Taff on his wonderful Russ Taff project. The “Charlie Peacock” seemed to come and go without even a notice, but the mainstream Christian debut, “Th Secret of Time” would make Charlie Peacock a mainstay in Christian music, whether the artist ever intended things to be that way. “The Secret of Time” combines reworking of several songs from the West Coast Diaries series along with new songs. It may end of being Peacocks most consistent project with jazz, funk and acoustic/alternative all performed with pop sensibilities and Charlie’s unforgettable, breathy vocals. Though the following album, Love Life, would contain Peacock’s biggest hit, “In the Light,” it was TSOT that contained his most memorable collection songs, though not his best overall effort (much later for that).
Tracklist 1 – Big Man’s Hat – 5:11 2 – The Way Of Love – 5:05 3 – One Thing – 4:18 4 – Put The Love Back Into Love – 5:11 5 – Almost Threw It All Away – 6:06 6 – The Secret Of Time – 3:39 7 – Dear Friend – 4:30 8 – Heaven Is A Real Place – 4:59 9 – Drowning Man – 3:04 10 – Experience – 5:23
Credits Acoustic Guitar – Jimmy A. Arranged By – Charlie Peacock Arranged By [Backing Vocals] – Annie Stocking, Vince Ebo Art Direction – Barbara Hearn Backing Vocals – Alexia Abegg (tracks: 7), Annie Stocking, Ellie Bannister (tracks: 7), Eric Volz (tracks: 7), Margaret Becker (tracks: 8), Molly Ashworth (tracks: 7), Sam Ashworth (tracks: 7), Vince Ebo, Wayne Kirkpatrick (tracks: 8) Bass – Tommy Sims Coordinator [Production] – Richard Headen Design – Larry Vigon Studio Drums – Chris McHugh Electric Guitar – Jerry McPherson, Jimmy A. Engineer [Assistant] – Graham Lewis, Mark Nevers, Roy Gamble, Shawn McLean, Steve Bishir, Todd Culros*\ Executive-Producer – Peter York Guitar [Les Paul And Marshall] – Rick Will Keyboards – Blair Masters, Charlie Peacock Keyboards [Hammond B-3] – Roger Smith Keyboards [Solo] – Roger Smith Lead Vocals – Charlie Peacock Mastered By – Doug Sax Mixed By – Jeff Balding Mixed By [Additional] – Rick Will (tracks: 3, 7, 8) Percussion – Trent Dean Percussion [Programming] – Charlie Peacock Photography – Mark Tucker Producer – Brown Bannister Programmed By [Fairlight] – Byron House Programmed By [Synclavier] – Jeff Boggs Recorded By – Brown Bannister (tracks: 6, 7), Jeff Balding Recorded By [Additional Overdubs] – Byron House, Daryl Zachman Recorded By [Overdubs] – Brown Bannister Sampler – Blair Masters Saxophone [Solo] – Michael Butera Trumpet [Solo] – George Tidwell
Companies, etc. Phonographic Copyright (p) – The Sparrow Corporation Copyright (c) – The Sparrow Corporation Distributed By – Canadian Christian Distributors, Inc. Mastered At – The Mastering Lab Glass Mastered At – Nimbus, Virginia
I really don’t know where to start with this “album”. I imagine that when I was 16 if you gave me a week of studio time and some musicians I would have thought this was a great idea. Unfortunately at 16 I knew nothing about the music industry. Now to be fair Terry Taylor was well versed in how the industry worked but I really don’t know what he was thinking for this album. The bulk of the album is a satirical look at faith based telethons that were popular in the 80’s. I don’t know if this was funny in the 90’s but it didn’t age well and it’s not funny to me now. That said other than that this album has some real gems. There are some new tracks, some remixes, and just some cool stuff. If I had control of this project the Telethon idea would have been it’s own release (that no one would have bought) and all the rest of the tracks (except Pretentious Poetry Readings) would have been their own release. Yes I know I’m being hard on this album but to be clear other than the attempts at humour this album has some great stuff and deserves to be listened to.
Tracklist 1 – The Pool (1990 Version) – 3:38 2 – Riders In The Sky – 4:26 3 – I’m On Your Team – 2:24 4 – The Miracle Faith Prickly Heat Telethon Of Love – 1:49 5 – Hide The Beer, The Pastor’s Here (Party Version) – 3:15 6 – Young Peoples Ethnic Ministry – 0:55 7 – Don’t Hate Yourself/Pulpit Masters (Extended Undanceable Remix) – 1:40 8 – Fruit O’ Ministry – 1:35 9 – Sprinkler Head – 2:57 10 – That Large Family We Always Wanted – 0:30 11 – Untitled (Lost Eddies Instrumental) – 2:15 12 – All Things To All Men – 0:51 13 – Big Guns 1990 – 2:58 14 – Little Dumbo – 1:48 15 – What A World, What A World (‘Mellow’ Version) – 3:50 16 – Beyond The Wall Of Sleep – 3:09 17 – Changeless – 3:28 18 – A Briefing For The Ascent – 3:54 19 – Only One – 3:12 20 – The Unattainable Earth (Remix) – 3:42 21 – Catch That Angel (Remix) – 4:15 22 – Sudden Heaven (Remix) – 3:20 23 – Soon! – 4:34 24 – Pretentious Poetry Readings – 3:15
Credits Accordion – G. Eugene (tracks: 21) Art Direction – Ed McTaggart Autoharp – G. Eugene (tracks: 21) Backing Vocals – Crystal Lewis, Jerry Chamberlain, Kenny Samuels, Mike Knott, Riki Michele, Rob Watson, Sharon Croghan, Sharon McCall, Terry Taylor, Tim Chandler, Tom Howard Bass – Tim Chandler Cover – T. Taylor Directed By – Terry Taylor Drums – Dave Raven* (tracks: 5, 11, 21), Ed McTaggart, Steve Hindalong (tracks: 16 to 18) Engineer – G. (Oooops!) Eugene Guitar – Greg Flesch, Terry Taylor, Tim Chandler (tracks: 1, 5) Guitar [Backing] – Jerry Chamberlain (tracks: 2) Guitar [Wah Wah] – G. Eugene (tracks: 7) Illustration – Amy L. Wasserman Keyboards – Greg Flesch (tracks: 13, 15 to 18), Rob Watson (tracks: 15,19,22,23) Layout – Joe Potter Lead Guitar – Ed McTaggart (tracks: 9), Jerry Chamberlain (tracks: 3) Lead Vocals – Jerry Chamberlain (tracks: 7) Liner Notes – Brian Quincy Mixed By – Gene, Terry Organ – G. Eugene (tracks: 4) Percussion – Alex MacDougall (tracks: 16 to 19), Ed McTaggart Producer – Terry Taylor Recorded By – Gene, Terry Rhythm Guitar – Jerry Chamberlain (tracks: 3) Vocals – Terry Taylor
Companies, etc. Phonographic Copyright (p) – Alarma Records Copyright (c) – Alarma Records Record Company – Frontline Music Group Distributed By – The Benson Company, Inc. Recorded At – Mixing Lab B Mixed At – Mixing Lab A Recorded At – 3-D Studios, Costa Mesa CA. Glass Mastered At – Nimbus, Virginia
Has it seriously been over 20 years since this amazing album was first released? It feels and sounds just like it was yesterday. It is really both staggering and sad to consider the amount of time that has passed and how, in some ways, things have stayed the same despite the changes going on around us.
After a popular response to The Choir’s more pop laden “Wide -Eyed Wonder,” the band returned with what many consider their finest outing. I am in the camp that believes “Chase the Kangaroo” is the bands finest moment and that album will appear much later, but I leave not doubt to the fact that “Circle Slide” is a brilliant masterpiece and one of the finest the industry has ever produced.
After the more upbeat and positive approach taken on “Wide-Eyed Wonder” (having a child will do that to you). Circle Slide returns to a darker, foreboding and introspective approach, both musically and lyrically. The struggles, difficulties and depression that were relatively absent from the previous album return here with an album full of real problems and pains.
This album may be all too real for many readers and, in some cases, make the listener very uncomfortable. For those married and struggling with the inter-personal relationship demands, this album is both a refuge and a rebuke. All the while the band was also suffering turmoil. Just one album after the much heralded arrival of female bassist Robyn Spurs, she left in the midst of recording this album. Daugherty replaced her in the studio while former bassist, Mike Sauerbrey, makes an appearance on the album’s closer. David Miner also makes a guest appearance.
This internal tension coupled with songwriter and drummer Steve Hindalong’s apparent personal strife’s make the album what it is. Stark, real and ever so inviting. These songs of loss, pain and struggle are so universal that the album remains one of the most personal and honest albums in CCM history.
I don’t know if the tensions lead to the more experimental sounds that fill the album, but one must consider how a musician may find solace in their instrument and guitarist and vocalist Derri Daugherty is at his most expansive and atmospheric on this release. The 7 minute opening title track is evidence of this while the more aggressive sounds found on “If I Had a Yard” also illuminate this possibility, especially having saxophonist Dan Michaels play through a wah-wah pedal to create an utterly unique musical expression.
The title track opens the album with over seven swirling and whirling minutes. Daugherty’s guitar not only creates a melody, but a mood, feeling and image. Michael’s subtle sax found way back in the mix, then brought forward later to build the mood, adds to the imagery that matches the album artwork perfectly. The song just sounds like Fall. But it’s here we find some of Hindalong’s most pointed lyrics where we find a golden crown the savior wore. Yet there is a sense of detachment between those who claim the name of Christ in their most personal and intimate relationships.
“If I Had a Yard” looks at the struggles within marriage by using the metaphor (even reality) of desiring something more of our residence. Money is tight and one can only afford what they can afford, but that does not keep us from believing that our relationship would improve if only our circumstances were different or, seemingly, better. Anyone who is married and struggling with finances can understand the rift and pressure these type of situations place on a relationship.
Yet with “Sentimental song” we find a man who truly loves with an earnest and forthright love the one God has given him. Hindalong not only writes a great song here but also plays some of his best drums on the album.
“Merciful Eyes” is one of the most beautiful attempts to reconcile the eternal struggle within man to understand how a righteous and perfect God can loves a wretched and sinful man and why He puts up with us. His mercy knows no bounds and this song attempts to describe this great mystery.
“Tear for Tear” is the much too short (a complaint about the whole album by many) love song that blends directly into the more commercial rock sounding “About Love.” This may be the happiest song on the album. The recognition that it is God that provides the love we desire through human relationships (especially within marriage) is matched by Daugherty’s more pop musical expression. there are love songs and songs about love; this is both.
“Blue Skies” returns to a more brooding and introspective content and musical expression. A combination of dreamlike images and stark realities created a song with layered textures message wise. This starkness is matched by the limited instrumentation during many parts of the song, with some moments possessing only drums.
The album closes with “Restore My Soul,” easily one of the best songs by The Choir. This Psalmists lament is a stunning display of combining a message and the musical medium it is swaddled within. The pain and ache for the restoring work of God is so universally real that it is inescapable. The longing and desire for fulfillment is so beautifully portrayed and is the perfect closing for this amazing project.
The Choir remains one of those bands that seemingly can do no wrong. They have been a model of consistency and artistic integrity for nearly 30 years! They have few equals and if there is ever to be a real CCM Hall of fame they would and should be amongst those included in its freshman class of inductees.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Circle Slide – 7:23 2 – If I Had A Yard – 4:16 3 – A Sentimental Song – 5:01 4 – Merciful Eyes – 4:55 5 – Tear For Tear – 1:22 6 – About Love – 4:04 7 – Blue Skies – 4:05 8 – Laugh Loop – 1:45 9 – Restore My Soul – 6:23
Credits Art Direction [Associate Art Director] – Roz Roos Art Direction, Design – John Flynn Co-producer [Co-produced By], Recorded By – David Hackbarth Executive-Producer – Tom Willett Lyrics By – S. Hindalong Management – Snyder & Emery Mastered By – Steve Hall Mixed By – Steve Griffith Music By – D. Daugherty, S. Hindalong Photography By – Susan Goines Producer [Produced By] – Derri Daugherty, Steve Hindalong
Companies, etc. Phonographic Copyright (p) – Word, Inc. Copyright (c) – Word, Inc. Manufactured By – Word, Inc. Recorded At – Neverland Studios Mastered At – Future Disc Published By – Never Say Never Songs Published By – Word Music
Matthew Wards 4th solo album actually turns up the Rock factor compared to previous work. I discovered why on Ward’s website where he says this about the album. “Normally, I write around keyboards. This was the first, and only, CD I have recorded that was written and arranged mostly on and for the electric guitar. I simply did what I wanted and let it rock.” He left that guitar work to James Dillingham who is a relatively little known guitarist but he handled the duties very well. I wouldn’t say this album is Rock & Roll gold but it’s definitely worth a listen. The one thing about Matthew Ward that has always kind of surprised me is that normally I wouldn’t really like his style of music but I always enjoy his albums and several of his songs are in my regular rotation. Of interest on this album is that he closes it out with a guitar heavy Rock version of Martin Luther’s “A Mighty Fortress Is Our God”. I’ve heard several rock versions of this song and this one ranks right up there in terms of quality, especially the guitar work.
Tracklist 1 – Warrior – 4:13 2 – Heaven Is Calling – 4:09 3 – Since I Found You – 4:18 4 – Faithful And True – 4:10 5 – Psalm 33:3 – 4:18 6 – You – 3:51 7 – Indecision – 4:26 8 – God Of All – 3:35 9 – Mixed Emotions – 3:26 10 – Fortress – 5:02
Credit Arranged By [Arrangements] – Gary Leach, Matthew Ward Art Direction [Assistant] – David Reid Art Direction, Design – Bradley Grose Backing Vocals [All Background Vocals] – Matthew Ward Bass – Bob Gentry Drums – Dean Castronovo Engineer – Greg Hunt Engineer [Second Engineer] – Gary Leach Guitar – James Dillingham Jew’s Harp – Greg Hunt Keyboards – Gary Leach Lyrics By [All Lyrics By] – Matthew Ward (tracks: 1 to 9) Mastered By – Doug Sax Music By [All Music Written By] – Gary Leach (tracks: 1 to 6, 8, 9), Matthew Ward (tracks: 1 to 6, 8, 9) Other [Make Up/Hair] – Susan Grose Photography By – Alan Dockery Producer [Produced By] – Matthew Ward Programmed By [Synth Programming] – Gary Leach
Companies, etc. Phonographic Copyright (p) – Matthew Ward Productions Copyright (c) – Matthew Ward Productions Distributed By – Benson Music Group Distributed By – R.G. Mitchell Family Books, Inc. Recorded At – Rosewood Studio Mastered At – The Mastering Lab Published By – Megan’s College Fund Music
The second release from Jacob’s Trouble was also the one most clearly influenced by producer Terry Scott Taylor, and in a very good way. Of the three “retro” sounding albums in the JT catalog it remains the strongest and most consistent. Strong from start to finish and filled with very memorable hits. Wisely chosen covers, some help from a few legends and some brilliant original material combined for a wonderful project. The first two cuts (Look at U Now & Little Red Words) were co-written by Terry Scott Taylor and Randy Stonehill, respectively. Both received a good amount of Christian rock radio airplay. The cover of Bob Dylan’s “I Believe In You” is nicely paced not to sound too much like the original while keeping the strong contemplative feel of the original. These more straight ahead classic acoustic rock numbers are interspersed by great originals like Dreamaker, Further up & Further In (taken from CS Lewis’ The Final Battle), There Goes My Heart Again and the semi-controversial, “About Sex Part 2.” Taylor’s influence can be felt throughout both musically and creatively. The album’s closer should have been a hit. A huge it! And it was. Unfortunately for the band “These Thousand Hills” would become a hit for Third Day when the band covered it several years later.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Look At U Now – 3:04 2 – Little Red Words – 3:40 3 – Dreammaker – 4:20 4 – Further Up & Further In – 2:33 5 – Beggars And Kings – 3:43 6 – Is It True? – 2:58 7 – Islands, Buildings And Freeways – 2:50 8 – I Believe In You – 4:44 9 – There Goes My Heart Again – 3:18 10 – Bad Lick & Gun Shot – 0:06 11 – Mr. Hitler – 4:10 12 – I’m A Little World – 2:33 13 – About Sex (Part II) – 4:02 14 – Wounded World – 3:40 15 – These Thousand Hills – 3:07
Credits Art Direction – Ed McTaggart Backing Vocals – Jerry Chamberlain, Riki Michele, Sharon McCall, Terry Taylor Bass, Backing Vocals – Steve Atwell Cover [Cover Design] – Court Patton Drums, Percussion, Vocals, Backing Vocals – Jerry Davison Electric Guitar – Greg Flesch Electric Guitar [Electric Lead], Rhythm Guitar, Acoustic Guitar, Vocals, Backing Vocals – Mark Blackburn Harmony Vocals – Randy Stonehill (tracks: 4), Terry Taylor (tracks: 4) Keyboards, Backing Vocals – Rob Watson Mastered By – John Matousek Photography By – Jimi Stratton Piano – Ojo Taylor (tracks: 9) Producer, Directed By – Terry Taylor Recorded By – Gene Eugene Saxophone – Dan Michaels (tracks: 13) Written-By – Bob Dylan (tracks: 8), Jerry Davison (tracks: 1 to 7, 9 to 15), Mark Blackburn (2) (tracks: 2 to 4, 6, 11, 13 to 15), Randy Stonehill (tracks: 5), Steve Atwell (tracks: 2 to 4, 6, 11, 13 to 15), Terry Taylor (tracks: 1, 5, 7, 9, 12, 13)
Companies, etc. Record Company – Frontline Music Group Distributed By – The Benson Company, Inc. Copyright (c) – Broken Songs
It is with “Jesus Loves Ya” that many believe Jon Gibson found his artistic center. Though it may not be his best album it remains his most consistent and completely Jon Gibson. Longer and more progressive songs without fear of needing to create three minute radio friendly singles, Gibson here explores more musical diversity and allows the songs to be rather than editing them for record company suits. The result was the longest running number one single in CCM history clocking in at over 6 minutes with no “radio edit” ever released by the record company. The single stayed at number one despite its length and the album also hit number one on the CCM sales charts. Too bad more record companies and radio stations never learned this lesson in artistic freedom and the listeners’ desire for real good songs no matter the length. The album remains Gibson’s “grittiest” and most “street sounding of his career. The quiet soulfulness of Body and Soul is gone and the slick pop of the follow-up Forever Friends had not yet surfaced. Here Gibson’s penchant for scat, improvisation and “vamping” is given free reign and results are stellar. As the song continues and builds Gibsons’ passionate soul draws the listener in. The album also contains more rap than any other album with several guest appearances as well as Gibson’s own blue-eyed rap style. But the most important influence on this album is clearly the late Gene Eugene (Adam Again) whose production help and funk grooves gave Gibson more a polished platform to perform. The drum and bass sounds are unmistakably Eugene. Along with title tracks claim to fame, Love Come Down also reached Number one and Preacher Man made it to the Top 5. The latter really stands out as something wonderful from Gibson with the rousing brass section and sounds like something off of “Songs in the Key of Life.” This album may not be Gibson’s best or most popular but it clearly may be the most important album in his career.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Enough Is Enough – 4:32 2 – Love Come Down – 5:45 3 – Jesus Loves Ya Intro – 0:10 4 – Jesus Loves Ya – 6:26 5 – From Heaven – 5:34 6 – Call On My Love – 4:59 7 – Everlasting – 6:08 8 – Straight On – 3:09 9 – Preacher Man – 3:26 10 – In Too Deep – 4:25 11 – Forever Now – 4:32 12 – His Love Is Strong – 5:08 13 – Watching All My Days Go By – 6:51
Credits Bass [5 String Bass] – Myron Dove Clavinet – G. Eugene Lead Vocals, Backing Vocals, Electronic Drums, Programmed By – Jon Gibson Organ [B-3], Strings – Rob Watson Rap – Jon Gibson, M.C. Peace Lead Guitar, Rhythm Guitar, Lead Guitar – Dave Koval Drums, Congas – Cubby Ingram Rhythm Guitar – Rick Zunigar Saxophone – Doug Webb Vocals (Kids) – Kumari Lewis, Vivian Lewis Backing Vocals – Ray Sidney, Shelly Penir, Vivian Lewis Lead Guitar – Tony Palacios Arranged By [Clavinet] – Gene Eugene Arranged By [Drum, Piano, Synth And String] – Jon Gibson Arranged By [Horns] – Rob Watson Arranged By [Rhythm Guitar] – Rick Zunigar Arranged By [Saxophone] – Doug Webb Art Direction, Design – Ed McTaggart Mixed By – G. Eugene Photography By – Michael Seeley Recorded By – G. Eugene Written-By – Jon Gibson
Companies, etc. Recorded At – The Mixing Lab Mixed At – The Mixing Lab
This is the second album from Xalt. The band had one lineup change between albums with Randy Carlson replaced Steve Davis on Bass. It’s another commercial sounding Metal album and falls right in line with their first album. The album was not well received however and all the reviews I read criticized the lyrics and engineering. I do agree the engineering was not great and I admit that I greatly enhanced it for our YouTube videos. As for the lyrics personally they sound like all the other metal lyrics of the era so I don’t understand that complaint. All in all sounds like a solid Metal effort. It was reissued in 2021 by Retroactive Records and included a bonus track which I have included with our YouTube playlist. Strangely the reissue also came with trading cards. I don’t remember seeing that before.
Tracklist 1 – Through The Night – 3:44 2 – Forgiven – 2:46 3 – Under The Ruins – 3:59 4 – Waste Your Life Away – 3:29 5 – Lost Without You – 4:05 6 – Piercing The Darkness – 4:47 7 – The Fortress – 2:45 8 – Wounded Heart – 4:45 9 – The Kingdom Within – 2:50 10 – Lift Him Up – 3:32 11 – Take A Look (2021 Bonus Track) – 2:25
Credits Randy Carlson – Bass Allan Chase – Engineer, Keyboards, Background Vocals Scott Doerfler – Lead and Background Vocals James Erdman – Producer, Guitars Todd Gleason – Drums Andie Leheay – Assistant Engineer Carolyn Neito – Background Vocals Joey Powers – Producer Kevin J. Wessner – Executive Producer
The Imperials entered the 90’s with some big changes. They left Myrrh records for Star Song records who actually had a distribution deal with Sparrow. This was a surprise in the industry as Star Song wasn’t considered a big dollar label but here’s the proof they were. Lineup changes continued with this album. David Robertson replaced Jimmie Lee Sloas who left for a solo career that never took off. David promptly left the band after this album also for a rather non spectacular solo career. They simply weren’t Russ Taff but I think that’s what they envisioned. Anyway drama aside the album was successful as usual. “It’s Raining Again” made it to #1, “I Will Follow You” to #3, “Come Into My Life” to #5, and “Original Love” made it to #9. Personally however I think the best track on the album is “It’s Gonna Be Alright” which personally I could have heard on a Blues Brothers album. Shout out to the horn section. Yes it’s that good a track and is in my regular rotation.
Tracklist 1 – Big Ball Turning – 5:17 2 – Love Can Make It Happen – 4:37 3 – Come Into My Life – 4:33 4 – Original Love – 4:36 5 – I Will Follow You – 4:51 6 – It’s Raining Again – 4:45 7 – It’s Gonna Be Alright – 4:47 8 – Love’s Still Changing Hearts – 4:26 9 – Come Let Us Worship – 4:40 10 – Goin’ Away – 3:40 11 – Platinum Medley – 8:46
Credits Acoustic Guitar – Billy Panda, David Barrett Alto Saxophone – James A. Perkins, Jr. Arranged By – Morris “Butch” Stewart Arranged By [Original] – Diane Louie Art Direction, Design – Jackson Design Backing Vocals – Jason Morales, Kim Fleming, Morris “Butch” Stewart, Tanya Goodman-Sykes, Vicky Hampton Baritone Saxophone – Steve Eisen Bass – Ronald Hall Drums – Wayne Stewart Electric Guitar – Peter Lerner, Richard Davis Engineer [2nd] – John David Parker, Scott Ahaus, Tom Russo Engineer [3rd] – Graham Lewis Executive-Producer – Armond Morales, Jeff Moseley Mixed By – Nick Froome Photography By – Russ Harrington Producer – Morris “Butch” Stewart Recorded By – Larry Millas, Paul Klingberg Sequenced By – “Kuk” Harrell, Morris “Butch” Stewart Synth, Organ [Hammond B-3] – Chris “Hambone” Cameron Synthesizer – Morris “Butch” Stewart, Neil Artwick Tenor Saxophone – James A. Perkins, Jr., Steve Eisen Trombone – Michael Halpin Trumpet – Grant Cramer, Mark Ohlsen Vocals [Guest] – Kim Fleming Vocals [The Imperials] – Armond Morales, David Robertson, David Will, Ron Hemby
Companies, etc. Phonographic Copyright (p) – Star Song Copyright (c) – Star Song Distributed By – Sparrow/Star Song Distribution Glass Mastered At – Nimbus, Virginia Recorded At – River North Studios Recorded At – Home Boy Studios, Evanston, IL Recorded At – Reflections Studio, Nashville, TN Mixed At – 16th Avenue Sound Mastered At – Georgetown Masters
Michael Bloodgood and the rest of the Bloodgood gang hit us with this excellent Live album recorded at Lincoln Auditorium In their hometown of Seattle, Washington. This album was also available in a video format and apparently it was quite the show. This is Volume 2 of a 2 part series of this concert. Michael really shines in the live environment and I think his vocals are actually better live then studio. The album is very well mixed which is usually pretty tricky on live albums but the engineer really pulled it off on this one. If you want your favorite Bloodood tunes turned up to 12 this is the album for you.
Tracklist 1 – Let My People Go – 4:22 2 – Mad Dog World – 4:33 3 – Top Of The Mountain – 5:59 4 – Awake! – 4:00 5 – Eat The Flesh – 3:57 6 – Holy Fire – 2:59 7 – Crucify – 5:04 8 – The Sixth Hour – 2:04 9 – The Messiah – 4:18 10 – Accept The Lamb – 0:19 11 – Seven – 6:51 12 – New Age Illusion – 4:24
Credits Eric Beaver – Background Vocals Marilyn Bloodgood – Background Vocals Michael Bloodgood – Producer, Songwriter, Bass, Background Vocals Joyce Carlsen – Songwriter, Background Vocals Les Carlsen – Producer, Songwriter, Vocals Craig Church – Rhythm Guitars Roger Cleven – Background Vocals Dan Grant – Background Vocals Tom Hall – Engineer, Mixed Paul Jackson – Songwriter, Guitars, Background Vocals Angel Kinssies – Background Vocals Brooke Lizotte – Keyboards Kara Murphy – Background Vocals Ed Robinson – Background Vocals David Schueller – Background Vocals Terry B. Shelton – Songwriter Grant Stott – Sound Effects Teri Tamas – Background Vocals Kevin Whistler – Drums Steve White – Executive Producer David Zaffiro – Songwriter
