1990 – Page 7 – Real 80s CCM

Dr. Edward Daniel Taylor – The Miracle Faith Telethon – 1990

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

The Choir – Circle Slide – 1990

You can’t be serious!

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 Ward – Fortress – 1990

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

Jacob’s Trouble – Knock, Breathe, Shine – 1990

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

Jon Gibson – Jesus Loves Ya – 1990

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

Xalt – Under The Ruins – 1990

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

Imperials – Love’s Still Changing Hearts – 1990

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

Bloodgood – Shakin’ The World: Live Volume Two – 1990

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

David Zaffiro – In Scarlet Storm – 1990

Ex Bloodgood guitarist David Zaffiro is back wit his second solo album. I think he and Frontline were able to build on the first album and I feel this album is even better produced. Though David is best known for being a Metal guitarist this album leans more Rock than Metal though there is always a hint of David’s Metal past. Some do classify this album as Metal but it leans more Rock to me. What really surprised me about this album was David’s keyboard skills. Several tracks have a opening keyboard riff that set the feel for the track and that said there is strong keyboards on this album but it works with it’s Rock sound. This album is an excellent display of David’s musical skills and how diverse they are.

Tracklist
1 – Through His Eyes – 4:23
2 – Holding Fast – 4:07
3 – He’s Lying To Ya – 3:45
4 – In Scarlet Storm – 4:14
5 – I Wait Alone – 3:55
6 – Let It Go – 4:38
7 – Blue Ice – 4:22
8 – The Song – 3:40
9 – I Give This Life To You – 4:12

Credits
Art Direction – Ed McTaggart
Backing Vocals [Background Singers] – Eric Beaver
Backing Vocals [Background Singers], Drums – Joe Pollastrini
Engineer – Charles Meserole, Dave Van Liew
Illustration – Jeff Foster
Layout – Joe Potter
Lead Vocals – Eric Beaver, Joe Pollastrini
Mastered By – John Matousek
Mixed By – Dave Jahnsen
Producer [Additional Vocal Production], Engineer, Backing Vocals [Background Singers] – Doug Beiden
Producer, Engineer, Backing Vocals [Background Singers], Bass, Keyboards – Maverick Gibson
Producer, Guitar, Lead Vocals, Engineer, Bass, Keyboards – David Zaffiro
Vocals [Argument Singers] – Eric Beaver, Lary Melby
Written-By – Charles Meserole, David Zaffiro, Maverick Gibson

Companies, etc.
Phonographic Copyright (p) – Intense Records
Copyright (c) – Intense Records
Produced For – Zaffiro Productions
Glass Mastered At – Nimbus, Virginia
Recorded At – Full Voice Audio
Recorded At – Neverland Studios
Mixed At – Mixing Lab A
Mastered At – Soundworks West
Published By – Broken Songs

Julie Miller – Meet Julie Miller – 1990

Dear God, how I love this album! There is not one wasted note, riff or beat anywhere to be found. Some may find Miller’s quirky, child-like voice an acquired taste, but I rather consider it simply needing an educated palette. After a very short stint with the group Streetlight, which only recorded an EP, with her husband Buddy Miller, Julie was signed by Myrrh and immediately they began the horrific mistake of touting their Leslie Phillips replacement and their answer to Cyndi Lauper. What they actually had was a brilliant songwriter, singer and performer. Talent runs deep in the Miller household and CCM;s inability to grasp the fact and promote her properly left her looking to mainstream and independent channels for the majority of her fine career. But in 1990 a wonderful, melodic, accessible and utterly enjoyable album found a home in my CD rotation and has never left it. Rich in harmonies, memorable melodies and brilliant musicianship, Meet Julie Miller was a brilliant introduction to the artist.

The 30-second acapella blues number “Dogtown” starts the record before launching right into one of the radio hits from the album, “You Knew the Way to My Heart.” Melodic, pop-driven Americana rock with a hook of a chorus so large you could drive a truck through it. Miller’s ability to work her voice through whispering, soft moments to gravelly pop hooks is quite impressive. The use of her own voice in the backing vocals just works in creating the perfect harmonies in the bridge.

“Mystery Love” follows in the same vein with the bluesy, jangly rock (Mark Heard and T-Bone Burnett would be proud) style. This is one of the few songs that reminds me musically of Leslie Phillips, though one of the great ironies is that Phillips is said to be the one who passed along Miller’s demo to the execs at Myrrh in the first place.

We have mentioned “classics” and what qualifies as one several times on this blog. I firmly believe Miller has one here on this project and it remains her one biggest hit on Christian radio though clocking in at nearly 6 minutes (most stations played the edited version that leaves off the spoken word introduction), with “What Would Jesus Do.”

The song is not the normal sweet and lovely “Jesus loves me” sort of content CCM radio has been known for. But rather, the song is pointed look at the churches lack of genuine Biblical and loving response to the “least of these.” This missional (before the word existed) song features an all-star chorus at the end that is genuinely inspirational in the good sense of the word, including Phillips, Buddy Miller, Russ Taff and a host of others.

“Don’t Cry for me” returns to the more acoustic Americana rock that populates the majority of the album. Dan Posthuma’s production may get occasionally heavy-handed, as a more stark, limited and earthy arrangement would have made this song more authentic. But Posthuma is much more hands off sounding than on some of the work he did a few years previous with Phillips.

Following somewhat in the vein of “What Would Jesus Do,” is the beautiful “How Could You Say No.” A stunningly simply acoustic ballad, the song is both poignant and powerful in its sheer simple faith. When presented with the truth of what Christ suffered on your behalf, how is it possible to reject His grace?

“King of My Heart” is another less than a minute number that moves directly into the one real “rocker” on the album. The funky and rollicking “Song to the Devil” is very reminiscent of the two “Devil” songs recorded by Keith Green over a decade previously. The possibly pretentious silliness of the song is overcome by the sheer joy and humor of the performance.

The completely different “world music” rhythm of “Who Owns Your heart” is so refreshing as sounds cool 20 years later. Reminds me of some of Bruce Cockburn’s music off of “Stealing Fire.”

Live the “devil” song, “My Psychiatrist” is a humorous novelty song that wins the listener over by the sheer joy of it all. Deep within the silliness, though, is a great message.

“Love Will Find You” remains my favorite song from the album and would give the listener a glimpse at what was to come from the artist. The light country/folk of the melody belies a deeper thought process within its message. Also, the song really shows Miller the singer and how she sounds harmonizing with Buddy. Really a pretty song that should and could have been a country hit in the right circumstance.

The darkest and most moving song on the album may be the abortion themed “Dangerous Place.” Here the womb is described as a dangerous place to many an unborn child. Melodically, the song is the darkest and most difficult. The fading refrain of “Jesus Loves Me” sung by a children’s choir at the songs close is quite moving.

The album closes with the traditional, “I Will Arise and Go to Jesus.” This simple reworking of the classic Gospel tune is a fitting finale to this amazing project that throughout tips its cap to the traditional music of Gospel while looking to the future of great artistic folk and rock music in Miller’s career.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Dogtown – 0:32
2 – You Knew The Way To My Heart – 3:00
3 – Mystery Love – 3:06
4 – What Would Jesus Do – 6:11
5 – Don’t Cry For Me – 3:49
6 – How Could You Say No – 3:27
7 – King Of My Heart – 0:55
8 – Song To The Devil (I’m Thru With You) – 2:38
9 – Who Owns Your Heart – 2:41
10 – My Psychiatrist – 2:09
11 – Love Will Find You – 3:52
12 – Dangerous Place – 2:58
13 – I Will Arise and Go To Jesus – 2:54

Credits
Rose Banks – Background Vocals
Mickey Cates – Songwriter
Shawn Colvin – Background Vocals
Craig Finley – Background Vocals
Dan Garcia – Mixed
Amy Grant – Background Vocals
Amy Hargrave – Choir Vocals
Katie Hargrave – Choir Vocals
Jean Johnson – Background Vocals
Ron Krueger – Keyboards
Howard McCrary – Background Vocals
Buddy Miller – Associate Producer, Engineer, Songwriter, Bass, Guitars, Keyboards, Drum Programming, Background Vocals
Julie Miller – Songwriter, Guitars, Vocals
Kathy Pinto – Background Vocals
Dan Posthuma – Producer, Bass, Drum Programming
Lee Trudy Posthuma – Choir Vocals
Millard Posthuma – Violin
Sara Posthuma – Choir Vocals
Sara Richards – Choir Vocals
Lincoln Schalifer – Bass
John Andrew Schreiner – Keyboards, Accordion
Leland Sklar – Bass
Russ Taff – Background Vocals
Carlos Vega – Percussion
Billy Jo Walker – Guitars
Kelly Willard – Background Vocals
Victoria Williams – Background Vocals
Robin Williamson – Hurdy-Gurdy

Companies, etc.
Record Company – Word, Inc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Manufactured By – Word, Inc.
Published By – Word Music
Published By – LCS Music
Published By – StraightWay Music
Manufactured By – JVC
Designed At – OSS