Kalhoun is the ninth album from Daniel Amos but it was actually released under their moniker dä. The band had taken a break for 4 years while working on other projects. The album was perceived as being rather anti government in the aftermath of the Gulf War but it’s not in your face, it’s rather subtle. Strangely the track “If You Want To” was later rerecorded by the Lost Dogs for their 2004 album MUTT. The album is true to their earlier rock sound and we don’t hear much new wave sounds on the album. I think that makes this album probably the best of their 90’s work.
Tracklist 1 – Big, Warm, Sweet, Interior Glowing – 3:36 2 – If You Want To – 3:58 3 – Kalhoun – 3:20 4 – I Will Return – 4:18 5 – Tracking The Amorous Man – 3:08 6 – Virgin Falls – 4:14 7 – Gloryhound – 4:40 8 – Prayer Wheel – 3:39 9 – Note To Anna – 2:41 10 – Father Explains – 4:32 11 – Gate Of The World – 4:11
Credits Art Direction – Court Patton, Terry Taylor, Tom Gulot Bass, Guitar [Additional] – Tim Chandler Cello – Miles Tackett Design, Layout – Patton Brothers Design Drums, Percussion – Ed McTaggart Engineer – G. Eugene Film Technician [Film Imaging] – Ed McTaggart Guitar, Accordion, Organ [B-3], Violin – Greg Flesch Illustration [Illustrations] – Court Patton Lead Vocals, Backing Vocals, Acoustic Guitar – Terry Taylor Mastered By – John Matousek Mixed By – G. Eugene, Terry Taylor Other [Organ Donor] – Travis Sheets Pedal Steel Guitar – Greg Kellogg Photography – Brian K. Tong Producer – Daniel Amos, Terry Taylor Technician [Drums] – Dave Raven Trumpet – Dave Hackbarth
This 1991 offering from D&K pretty well followed along form their previous studio album. I have a strange opinion of this album. I think It’s a really good album but I think it was hurt with poor production. Ron W. Griffin mixed and produced the album. He is a very good producer and has produced several excellent D&K albums but I think I actually dislike his mix. Several tracks fade in which is rather odd. I don’t think I know of ay other album that has this many tracks that fade in. All that aside the album was nominated for a Grammy but lost to Russ Taff. Like I said I think this is a great album but not Grammy nomination good. Perhaps if the production had been better I would think different. That said I rarely agree with Grammy decisions so my opinion is tainted. All that aside the best track on the album is no doubt “Ultimate Ruler”. The ZZTopish intro and great riffs make it a favorite rock tune that is on my regular rotation.
Tracklist 1 – I Believe – 1:20 2 – Go To The Top (At The Top Reprise) – 4:09 3 – Against The Night – 5:12 4 – Ultimate Ruler – 5:00 5 – Soul Mender – 4:06 6 – Family Reunion – 4:06 7 – Still At Work – 3:12 8 – Stand, Fight, Win – 3:51 9 – Victory – 4:16 10 – March On – 5:11 11 – The Rest Of My Life – 4:00
Credits Tommy Cathey – Bass, Bass Arranger, Background Vocals Eddie DeGarmo – Songwriter, Keyboards, Organ, Lead and Background Vocals Ron W. Griffin – Producer, Engineer, Mixed Howard Irving – Assistant Engineer Dana Key – Songwriter, Lead Guitar, Lead Vocals Carl Marsh – Orchestral Arranger, Keyboards, Programming Roscoe Meek – Rhythm and Lead Guitars, Acoustic Guitar Doug Nightwine – Assistant Engineer Ken Pennell – Executive Producer Mark Pogue – Background Vocals Kevin Rodell – Drum Arranger
This is the second album from Tourniquet. Now everyone should know by now I don’t care for Metal and or Thrash and I often get bashed for saying I don’t like a metal album. Now that said even though I don’t like the style I can still tell if an album is good or not. This album is good, not just a little good either, it is probably one of the best Thrash albums I have ever heard. It was produced by Bill Metoyer who has been producing some of the best secular music bands as well as the metal version of Deliverance. Anyway the album was very well received including two GMA Dove Award nominations for Metal Album of the Year and Metal Recorded Song of the Year. HM Magazine ranked Psycho Surgery #18 on its list of Top 100 Christian Rock Albums of All Time and the #2 album on its list of Top 100 Christian Metal Albums of All Time. I might agree with the Metal album spot but I think their being a little over the top on the #18 ranking on its list of Top 100 Christian Rock Albums of All Time. Anyway this is a great album and even if you’re not a big fan of Metal you should probably give it a listen at least once.
Credits Art Direction – Ed McTaggart Bass, Vocals – Victor Macias Concept By [Illustration Concept] – Jim Martin Design – Joe Potter Drums, Lead Guitar [Additional], Rhythm Guitar [Additional] – Ted Kirkpatrick Engineer, Mixed By – Bill (G. Shumway) Metoyer Illustration [Cover Illustration] – Ken Taufer Keyboards, Lead Vocals, Effects, Engineer – Guy Ritter Lead Guitar, Rhythm Guitar – Erik Mendez Lead Guitar, Rhythm Guitar, Lead Vocals – Gary Lenaire Lead Vocals [On Verse One Of Vitals Fading And All Verses Of “Psycho”] – Gary Lenaire Musical Assistance [Theological Review] – George Bryson Photography By – Jim Muth Producer – Bill Metoyer Producer, Concept By [Illustration Concept] – Tourniquet Vocals [Spanish Vocals on Vitals Fading] – Victor Macias
Greg describes this album as “A loosely-bound concept album beckoning the listener ‘out of Egypt'”. I can hear that the album has a “concept” kind of flow but I struggled to hear the message he is trying to portray. I really have no idea how well this album was received but I’ll be honest, I’m just not feeling this album. I’m not saying it’s a bad album just not one of his best but maybe I’m just being picky. There are a couple really good tracks but I’m missing that Rock & Roll feel of his previous solo albums. But I’m just thinking now that perhaps that’s what Greg was aiming for. Anyway the album definitely does deserve to be listened to and individually there are some real good tracks.
Tracklist 1 – What Then – 5:24 2 – Set Up (To Take A Fall) – 4:08 3 – Man Overboard – 3:23 4 – In The Course Of Time – 5:48 5 – Marching On – 4:35 6 – Freedom Train – 4:41 7 – The Exodus – 4:38 8 – On Bended Knees – 5:07 9 – Come To Me – 4:37 10 – Standin’ – 3:51
Credits Acoustic Guitar – Chris Rodriguez Arranged By – Carl Marsh Backing Vocals – Dan Keen, GXV, John Hodge Bass – Gary Lunn, Jimmy Lee Sloas Co-producer – Greg X Volz Design [Cover Design & Logo] – Jolly Design Drums – Marvin Steinberg Guitar – Chris Rodriguez, Jerry McPherson Guitar [Guitar Solo] – J. R. McNeely Keyboards – Carl Marsh, Gary Lunn Layout – Becky Volz Mastered By – Ken Love Producer, Recorded By, Mixed By – Jonathan David Brown
This may be the most successful CCM album of all time. It made it to #10 on the Billboard 200 chart and #1 on the Christian albums chart for 32 weeks. It also went 5 times platinum in the United States, selling over five million copies. Her biggest hit “Baby Baby” reached #1 on the Billboard Hot 100. It also received a nomination for the Grammy Awards of Album of the Year but lost out to Unforgettable… with Love by Natalie Cole. I’m not the biggest Amy Grant fan but she was robbed of that Grammy and I personally feel there was some internal politics in play. But aside from maybe the numbers you knew this was a very successful album already. So as I struggle to write something about this album that others haven’t covered all I could find was some interesting names on the credits. Dann Huff played some guitar and as usual Michael Omartian was heavily involved in the album. The credits actually appear to include just about everyone in the Nashville music scene. Obviously Myrrh and A&M Records pulled out all the stops for this album and I shudder to think of the production costs. But as it went 5 times platinum and sure those costs were well covered.
Tracklist 1 – Good For Me – 3:59 2 – Baby Baby – 3:57 3 – Every Heartbeat – 3:32 4 – That’s What Love Is For – 4:17 5 – Ask Me – 3:51 6 – Galileo – 4:19 7 – You’re Not Alone – 3:49 8 – Hats – 4:09 9 – I Will Remember You – 5:00 10 – How Can We See That Far – 4:26 11 – Hope Set High – 2:48
Credits Amy Grant – Executive Producer, Songwriter, Vocals David Ahlert – Engineer Jeff Balding – Mixed Brown Bannister – Producer Steven Bishir – Engineer Michael Blanton – Executive Producer Robbie Buchanan – Keyboards Gary Chapman – Songwriter, Background Vocals Terry Christian – Engineer, Mixed Simon Climie – Songwriter Gardner Cole – Songwriter Todd Culros – Engineer Bill Deaton – Engineer Diana DeWitt Hanna – Background Vocals Mark Douthit – Saxophone Chris Eaton – Songwriter, Background Vocals Rob Fisher – Songwriter Kim Fleming – Background Vocals Barry Green – Trombone Jay Gruska – Songwriter Mark Hammond – Drums, Percussion Programming Vicki Hampton – Background Vocals Mike Haynes – Trumpet Ron Hemby – Background Vocals Tom Hemby – Songwriter, Background Vocals Kurt Howell – Background Vocals Dann Huff – Guitars Gordon Kennedy – Guitars Don Kirkpatrick – Guitars Wayne Kirkpatrick – Songwriter Sam Levine – Baritone Saxophone Laura Livingston – Engineer Bob Loftus – Engineer Chris MacDonald – Horns Arranger Pat MacDougall – Mixed Brian Malouf – Mixed Blair Masters – Keyboards Chris McDonald – Horn Arranger Donna McElroy – Background Vocals Chris McHugh – Drums Jerry McPherson – Guitars Todd Moore – Production Assistance, Engineer Dennis Morgan – Songwriter Cliff Norrell – Mixed Michael Omartian – Producer, Songwriter, Keyboards, Drum Sequencing Charlie Peacock – Songwriter, Horns Arranger, Keyboards, Programming Kelly Pribble – Engineer David Raven – Drums Chris Rodriguez – Background Vocals Susanne Schwartz – Background Vocals Tommy Sims – Bass Tom Snow – Songwriter Brian Tankersley – Synth Programming Keith Thomas – Producer, Songwriter, Synthesizers, Bass, Drums, Percussion Programming, Background Vocals Mimi Verner – Songwriter Bill Whittington – Engineer Rick Will – Engineer
This is the third album from Vengeance Rising and at this point the only original member left in the band was Roger Martinez who apparently was very difficult to work with. Joining him on this album are Derek Sean who worked with Mortification, and Chris Hyde the former drummer of Deliverance and Holy Soldier. Neither of them made it onto the next album almost confirming that Martinez was in fact nuts. I will cover his bizarre behaviour in the late 90’sd when I review their next and last album. As for the album it’s a rather typical thrash album. Other reviewers have panned it as having poor production but I’ll be honest I have no idea how you can tell as it all sounds like screaming and strumming to me.
Tracklist 1 – You Can’t Stop It – 3:13 2 – The Rising – 5:11 3 – Before The Time – 2:57 4 – The Sword – 3:15 5 – He Don’t Own Nothing – 3:07 6 – Countless Corpses – 5:31 7 – Thanatos – 5:04 8 – You Will Bow – 4:09 9 – Hyde Under Pressure – 1:08 10 – Raegoul – 6:51
Credits Bass – Roger Martinez Drums – Chris Hyde Engineer [Assistant] – Brandon Harris, Craig Brock Engineer [Tracking] – Doug Beiden Engineer, Mixed By – Gil Morales Guitar – Derek Sean, Roger Martinez Mastered By – Eddie Schryer Producer, Mixed By – Roger Martinez Synthesizer – Roger Martinez Vocals – Roger Martinez
The 3rd album from Xalt really turns up the production value. I was actually surprised at the quality of production on this album. When I checked to see who produced it I discovered that he (Tony Miceli) is an unknown in the industry. This in fact was his first production job and he only had a few more after this. He is best known as a vibraphone artist though he did help on keyboards on this album. This album has a very commercial metal sound that I’m sure took some of their fans by surprise. My fav track is “Unconditional Love” which is a rock ballad in the feel of the mid 80’s. It has a real Bon Jovi feel but I do think the vocals are a little weak. That said I believe the talent was there, it just needed a few more takes and a little more effort. All in all a pretty good album here but a little late as it has a mid 80’s feel to me.
Tracklist 1 – Standing – 4:01 2 – Heart Of Stone – 4:31 3 – Babel Again – 3:44 4 – Walk Away – 3:06 5 – Unconditional Love – 5:01 6 – History – 2:57 7 – Build My World – 4:28 8 – The Tree – 4:29 9 – Reflection – 4:16 10 – Lord, Lord – 1:25
Credits Art Direction – Toni Thigpen Backing Vocals – John Heald, Scott Doerfler, Tony Miceli Bass – Randy Carlson Co-producer, Engineer – Paul Orofino Design – Dale Wehlacz Drums – Steve Luongo Executive-Producer – Dez Dickerson Guitar – James Erdman Keyboards – Tony Miceli Lead Vocals – Scott Doerfler Mastered By – Roger Seibel Photography By – Russ Harrington Producer – Tony Miceli
Companies, etc. Glass Mastered at – Nimbus, Virginia Recorded At – Millbrook Sound Studios Mixed At – Millbrook Sound Studios Mastered At – SAE Mastering
I first met Linda Elias at the Frontline Records offices some time in 1989 when Brian Tong (VP) and Mike MacLane (Marketing and A&R) asked me to come over and hear a new artist they had just signed. His name was Rick Elias. I was working for the Benson Company (Frontline’s distributor) and had just moved back from a year in the Washington DC area. Over the years I had grown accustomed to going by the office regularly (when working for Maranatha Village) and listening to the newest music. This was different. This time they called me. There must have been something very special about this new signee, Rick Elias. Much will be discussed regarding Rick as time goes on! And there was! It was there I first met Linda. She was one of the kindest people I had met and I instantly enjoyed talking to her and discovered that she was part of the Confessions (Rick’s band) and had this great, melodic pop voice that was very much in tune with what was happening in music at the time. A little Belinda Carlisle and a little Susanna Hoffs with a sweetness to the voice. I was very excited to hear Linda’s solo project, “The Meaning of Love,” and it did not disappoint. Immediately the album kicks off with a Belinda Carlisle like title track. Like most of the album the song was written by Linda and Rick. Most of the album stays within this same lane, except a real standout with “Your’s and Mine,” a duet with her esteemed singer songwriter husband, Rick. This tune should have been a legitimate mainstream radio hit. The juxtaposition of Linda’s sweet, at times lilty voice and Rick’s strained and edgy style worked so well together. The blatant Gospel message, though, most likely would have doomed it. Special kudos to great sax solo by Li’l Stevie Crum. Solid throughout, it unfortunately was the only release for Linda.
Contributor David Lowman – https://legacyccmsgreatestalbums.wordpress.com/
Tracklist 1 – The Meaning Of Love – 3:38 2 – Don’t Ever Stop – 3:22 3 – Miracle – 3:25 4 – Make My Heart Like Yours – 4:12 5 – My Only One – 3:27 6 – Don’t Take Your Love Away – 4:20 7 – All I Can Do – 4:06 8 – Your’s And Mine – 3:30 9 – Where There’s Love – 3:49 10 – I Believe In You – 3:17
Credits Acoustic Guitar – Rick Elias Backing Vocals – Dave Jahnsen, Julie Robbins, Linda Elias, Rick Elias Bass Guitar – Kelly Burns Design – Lark Drums – Doug Mathews Electric Guitar – Glenn Pearce Engineer – Dave Jahnsen Executive-Producer – Caesar Kalinowski, Gavin Morkel Keyboards – Linda Elias, Tim Elias Mastered By – Steve Hall Mixed By – Dave Jahnsen, Rick Elias Photography By – Kevin Break Piano – Michele Garcia Producer – Rick Elias Programmed By [Keyboards], Drum Programming – Tim Elias Soprano Saxophone – Lil Stevie Crum (tracks: 8) Vocals – Linda Elias
Companies, etc. Phonographic Copyright (p) – Wonderland Copyright (c) – Wonderland Manufactured By – Word, Inc. Distributed By – Word, Inc. Recorded At – McCrummy Music Studio Mixed At – Mixing Lab A Mastered At – Future Disc Manufactured By – JVC
The tenth studio album from Resurrection Band pretty well picks up where Innocent Blood left off. They continue their blues rock sound and the album is impeccable produced. Wendi is brought in for a few more vocals than usual on their albums and love her or hate her she does a great job on this album. The lyrics for the album seem to hit more on their social causes pattern with some strong evangelical themes. Lyrically I think this album has more in common with some of their early work but musically it is more of their late 80’s style. I had quit listening to Rez by the time this album came out which is too bad because this is a really good album and I’m glad I got a chance to listen to it all these years later.
Credits Arranged By [All Songs Arranged By] – REZ Bass, Keyboards – Roy Montroy Drums – John Herrin Electric Guitar, Acoustic Guitar, Keyboards – Stu Heiss Vocals – Wendi Kaiser Vocals, Guitar, Harmonica – Glenn Kaiser Cover [Cover Art], Design – Dick Randall Engineer [Engineered By] – Roy Montroy Engineer [Engineered With] – Ed Bialach, Roger Heiss Lyrics By – Arlene Maass (tracks: 7), Dave Canfield (tracks: 1, 3, 6, 8, 9), Glenn Kaiser (tracks: 11), Jace Seavers (tracks: 2, 4, 10), Jon Trott (tracks: 5) Mastered By – Steve Hall Mixed By – Roger Heiss, Roy Montroy Music By [All Music By] – REZ, Roy Montroy Photography By – Mike Tabor Producer [Produced By] – REZ, Tom Cameron
Companies, etc. Phonographic Copyright (p) – Grrr Records Copyright (c) – Grrr Records Manufactured By – Word, Inc. Distributed By – Word, Inc. Mastered At – Future Disc Pressed By – Disctronics USA – 114435 Published By – Grrr Music Published By – Irving Music Co.
Ransom was started in the mid-eighties as First Aid by bassist Michael Ciado and vocalist Lisa Faxon. The band changed names and produced a 3 song demo in 1988 as Ransom. Shortly after that Intense Records signed them and this is the result. Ransom was one of the few Christian metal bands with a female singer so they stood out on that front. The album has a strong commercial metal sound and is actually quite heavy with ballads which was odd in this genre at the time. I believe that generally ballads were put on albums because that’s what you’re supposed to do. Ransom however actually seemed to like ballads and put more effort into them. As for the album it’s very well produced and all the instrumentation is really good. Songwriting is a little weak at times but this is a first album so that’s not uncommon. Personally I rank it a little better than most reviews of the time but I have always preferred my metal with a commercial slant. The album was re-mastered and re-issued on Intense Millennium Records in 2011 and they included the 3 tracks from their demo as a bonus. I have read that the drummer listed as Randy Kantor was actually Joseph Galletta from Shout but I can’t actually confirm this and there’s some confusion on the issue on different web sites.
Tracklist 1 – Lasting Love – 4:26 2 – Rumors – 4:22 3 – Memories Of You – 3:18 4 – Fool That I Am – 4:26 5 – Break Into Darkness – 3:01 6 – Tonight – 4:17 7 – Etched In Stone – 3:42 8 – Fallen Angel – 5:07 9 – Your Broken Heart – 3:56 10 – I’ll Never Leave You – 4:31 11 – When I Die – 2:44
Credits Art Direction, Design – Ed Mctaggart Backing Vocals [Additional] – J.J. Honeycutt, Michael Jolly, Steve Manning Backing Vocals [Additional], Engineer [Additional Engineering] – Doug Beiden Backing Vocals [Additional], Keyboards [Additional] – Jim Morris Bass, Backing Vocals – Michael Ciado Drums – Randy Kantor Guitar, Backing Vocals – Tony Ortiz Keyboards – Brent Jeffers (tracks: 6) Mastered By – John Matousek Photography By – Michael Seeley Producer, Engineer, Keyboards [Additional Musician] – Jim Morris Technician [Technical Director] – Tracy Henry Vocals, Backing Vocals – Lisa Faxon
Companies, etc. Phonographic Copyright (p) – Intense Records (10) Copyright (c) – Intense Records (10) Recorded At – Mixing Lab A Mixed At – Mixing Lab A Recorded At – Mixing Lab B Mixed At – Mixing Lab B Glass Mastered At – Nimbus, Virginia Mastered At – Soundworks West