Sometimes these Sparrow samplers bewildered me and this one is one of them. How you can have Rez Band, Steve Taylor, and John Michael Talbot on the same sampler? I well remember us buying these samplers for 1 or 2 tracks and I bet a lot of people bought this one with the same intent. Anyway below I have listed all the tracks and their associated albums;
1 – Steve Camp – Help Is On The Way – Shake Me To Wake Me 2 – Connie Scott – Spirit Mover – Spirit Mover 3 – Silverwind – I’m Gonna Follow You – I’m Gonna Follow You 4 – Rick Cua – You’ve Only Got One Life – You’re My Road 5 – Steve Taylor – I Just Wanna Know – On The Fritz 6 – Michael Card – Come To The Table – Known By The Scars 7 – Terry Talbot – Mighty Rushing Wind – Face To Face 8 – AD – The Only Way To Have A Friend – Art Of The State 9 – Debby Boone – Teach Me How To Love – Choose Life 10 – Phil Driscoll – Jesus I Love You – Power Of Praise 11 – Wendy & Mary – Around The Walls – Battle Of The Heart 12 – Sheila Walsh – Light Across The World – Don’t Hide Your Heart 13 – Rez Band – Souls For Hire – Hostage 14 – Michele Pillar – Look Who Loves You Now – Look Who Loves You Now 15 – Steve Green – Praise To The King – He Holds The Keys 16 – John Michael Talbot – Lord Every Nation On Earth Shall Adore You
Tracklist 1 – Steve Camp – Help Is On The Way – 4:03 2 – Connie Scott – Spirit Mover – 3:20 3 – Silverwind – I’m Gonna Follow You – 2:59 4 – Rick Cua – You’ve Only Got One Life – 3:37 5 – Steve Taylor – I Just Wanna Know – 4:37 6 – Michael Card – Come To The Table – 3:48 7 – Terry Talbot – Mighty Rushing Wind – 4:11 8 – AD – The Only Way To Have A Friend – 4:15 9 – Debby Boone – Teach Me How To Love – 4:15 10 – Phil Driscoll – Jesus I Love You – 4:36 11 – Wendy & Mary – Around The Walls – 3:17 12 – Sheila Walsh – Light Across The World – 3:23 13 – Rez Band – Souls For Hire – 3:30 14 – Michele Pillar – Look Who Loves You Now – 3:18 15 – Steve Green – Praise To The King – 2:31 16 – John Michael Talbot – Lord Every Nation On Earth Shall Adore You (Psalm 72) – 4:14
Steve Taylor followed up his masterpiece, Meltdown, with 1985’s “On the Fritz,” a substantially more refined and mature rock album that was great, but did not seem to match what came before or after. Produced by Ian McDonald of Foreigner and King Crimson fame, Fritz was wider and deeper musically then Meltdown, but seems to lack the more memorable touches and possessed a few too many novelties that don’t bear repeating nearly as often. The great offender on the album was Lifeboat, a song (or mini-musical sketch as it were) that must have sounded great on paper and worked well in video format, but simply is not musical enough to bear consistent repeat listening. “Drive, He Said” comes close, but is interesting enough and has enough of a Bowie type feel that it does not quite as much as the former. But when the album does take musical swings it hits way more often then misses and also contains some of Taylor’s finest and most personal songs. “This Disco (Used to be a Cute Cathedral)” is based on the true story of the Limelight Club in NY that was once an Episcopal Church. Musically more in line with Meltdowns manic, dance driven style, even stations adverse to playing more “upbeat” music added the song to their playlist. The Ian McDonald guitar influence can be heard on the wonder title track. The song looks at a pop star that once confessed Christ but has turned his back in the faith to maintain his stature in the mainstream world. “It’s a Personal Thing” actually sounds like something that would have worked well on the following “I Predict 1990” album with the bass and keyboard driven approach and the political commentary and pre-dated Bill Clinton by nearly a decade. “To Forgive” remains one of Taylor’s finest and most personal songs. The Big Country sounding E-Bow guitar creates a very Euro sounding power pop song. The story telling here is Taylor at his best.”I Manipulate” and “You Don’t Own Me Nothing” are great songs and show a progression of the artist as a songwriter out of the novelty realm. But Taylor’s very best may have been saved for the last song on the album. “I Just Wanna Know” remains Taylor’s most personal and confessional song in his tenure. The self-doubt and internal questioning of motives for his art are examined in full sight of the listener. It is also musically captivating and a perfect ending to a very strong album.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – This Disco (Used To Be A Cute Cathedral) – 4:06 2 – On The Fritz – 3:56 3 – It’s A Personal Thing – 2:58 4 – To Forgive – 3:54 5 – You’ve Been Bought – 2:45 6 – You Don’t Owe Me Nothing – 3:22 7 – I Manipulate – 5:07 8 – Lifeboat – 4:35 9 – Drive, He Said – 4:30 10 – I Just Wanna Know – 4:40
Credits Backing Vocals – Beverly Slade, Kitty Markham, Mary Davis Bass – Carmine Rojas Cover [and Everything Artsy] – The Graphics Studio Drums – Alan Childs Drums [Simmons], Finger Snaps, Percussion – Cactus Moser Engineer [Assistant] – Jay Healy, Joey Flamingo Engineer, Mixed By – Alan Douches Finger Snaps – Debbie Taylor Guitar – Hugh McCracken, Tony Davilio Guitar [Solo] – John McCurry Keyboards, Synthesizer [Programming], Synthesizer – George Small Mastered By – Greg Calbi Producer, Mixed By, Guitar, Alto Saxophone, Percussion – Ian McDonald Synthesizer [Programming], Synthesizer – Larry Fast Tenor Saxophone, Alto Saxophone – Dave Thrush Written-By, Producer, Vocals – Steve Taylor
Companies, etc. Phonographic Copyright (p) – The Sparrow Corporation Copyright (c) – C.A. Music Copyright (c) – Birdwing Music Recorded At – Grand Slam Studios Mixed At – Grand Slam Studios Mastered At – Sterling Sound
This is/was a fascinating little surprise that appeared in 1985. I’m not really too sure what transpired for this little gem to be recorded/mixed but it’s one of my favourite EP’s from the 80’s. It only has three tracks. The first track is a duet with Steve Taylor & Sheila Walsh covering the David Edwards song “Not Going To Fall Away”. Full disclaimer this is one of my all time favourite songs and this version is fantastic. If I had to make a list of my favourite songs from the 80’s this would be in the top 10. In fact it would probably be #1 or #2. It would have to fight it out with Dylan’s “Saved”. The second track is a remix of Sheila Walsh’s “We’re All One”. Michael Omartian did the remix and did a darn good job. This came off of what I think was Sheila’s best album “Don’t Hide Your Heart” and this remix of “We’re All One” is just excellent. Finally we get a remix of the Steve Taylor favourite “This Disco (Used To Be A Cute Cathedral)”. Another great tune and an excellent remix. This EP was a real treat and I still remember the first time we dropped the needle on it many years ago.
Tracklist
1 – Not Going To Fall Away – 8:05
2 – We’re All One (Extended Version) – 5:48
3 – This Disco (Used To Be A Cute Cathedral) (Extended Version) – 5:15
Steve Taylor returned to the studio in 2014 with a new band. Joining him was John Painter (Fleming & John), Peter Furler (Newsboys), Jimmy Abegg (A Ragamuffin Band) and, Danny Seim. The album was very well received by critics and fans. It sounds Like Steve picked up right where he left off in the 80’s and is far better than his work in the 90’s. If you loved his 80’s stuff you’ll love this album as It is perfectly produced and mixed (Bob Ludwig).
Tracklist
1 – Only A Ride – 2:23
2 – Double Negative – 3:37
3 – Goliath – 2:49
4 – Moonshot – 2:57
5 – Rubberneck – 2:49
6 – The Sympathy Vote – 2:53
7 – Standing In Line – 3:54
8 – In Layers – 3:51
9 – Happy Go Lazy – 3:34
10 – A Life Preserved – 3:59
11 – Comedian – 6:27
Credits Bass, Cello, Baritone Saxophone [Bari Sax], Tenor Saxophone [Tenor Sax], Alto Saxophone [Alto Sax], French Horn, Trumpet, Instruments [Anything Else Lying Around], Backing Vocals [BGVs] – John Mark Painter Booking – H2O Agency, Scott Huie Co-producer, Mixed By – Danny Seim Design [Album Design] – Jimmy Abegg Drums, Backing Vocals [BGVs] – Peter Furler Executive-Producer – Larry VanArendonk, Martin Turner (5), Nancy VanArendonk, Richard Bickersteth, Rick Law Guitar, Backing Vocals [BGVs] – Jimmy Abegg Illustration [Insert Illustration] – Buddy Jackson Keyboards [Additional Keyboard Flourishes], Effects [Miscellaneous Wizardry] – Danny Seim Lyrics By – ST Management – Nick Barre, Proper Management Mastered By – Bob Ludwig Music By – ST&TPF Other [Breathalyzer] – Brendan Jones Other [Condoleeza] – Steve Keller Other [Jenga] – Stephen Parolini Other [Turbinado] – Phillip Holmes Other [Vodaphone] – Tim And Val Hudson Other [Zeitgeist] – Sam Sacco Photography By – Frank Ockenfels III Producer – Steve Taylor & The Perfect Foil Recorded By – John Mark Painter Recorded By [Danny Seim Overdubs] – Danny Seim Vibraphone [Vibes] – Luke Yang Vocals, Piano [One Hand Piano] – Steve Taylor
Companies, etc.
Phonographic Copyright (p) – Splint Entertainment
Copyright (c) – Splint Entertainment
Mastered At – Gateway Mastering
Recorded At – IHOF Studio
Published By – Soylent Tunes
Published By – Foiler Music
Published By – Plaid Jams
Published By – Twin Angels Music
Glass Mastered At – The ADS Group
This debut album from Steve Taylor was considered to be one of the best new wave albums of the 80’s.
It was actually classed as punk by some pundits at the time but it was actually better described as new wave with an edge.
Steve wrote about some very touchy Christian issues at the time which are actually still issues today.
Though only 6 cuts (it was technically a mini LP) it provided many enjoyable hours of listening for owners at the time.
Tracklist
1 – Steeplechase – 1:25
2 – I Want To Be A Clone – 2:30
3 – Whatever Happened To Sin? – 3:07
4 – Written Guarantee – 2:36
5 – Bad Rap (Who You Tryinʼ To Kid, Kid?) – 3:00
6 – Whatcha Gonna Do When Your Numberʼs Up? – 4:12
Credits
Bass – Brian Tankersley
Drums – Cactus Moser
Guitar – Kerry Conner
Keyboards [Featuring The Mighty Farfisa] – Steve Taylor
Mastered By – Steve Hall
Producer, Engineer – Jonathan David Brown
Saxophone – Dave Thrush
Vocals – Steve Taylor
Vocals [Rights], Rap, Handclaps – The Screaming Chapalaires (tracks: 2, 4, 5)
Written-By, Arranged By – Steve Taylor
Companies, etc.
Mixed At – Weddington Studios
Mastered At – MCA Whitney Recording Studios
Phonographic Copyright (p) – Sparrow Records
Copyright (c) – Sparrow Records
Published By – Cherry Lane Music Publishing Company Inc.
Distributed By – Spotlight Music Pty Ltd
Distributed By – Concorde Productions (NZ)
Published By – Birdwing Music
In 1985 Steve Taylor appeared at the Greenbelt festival at Castle Ashby, England. An excellent sound track was recorded and select songs became this album. At this point Steve only had 3 albums out but they provided more than enough material to work with. Steve put together a pretty good band of studio musicians and game them credit as the “Some Band”. Most of the songs appear to have their album arrangements though there are a few things different but unfortunately no extended versions. The album is actually quite short and I’m disappointed they didn’t add a few more tracks which would have easily fit. The highlight of the album for me was his duet with Sheila Walsh covering David Edwards “Not Gonna Fall Away” which was originally from his studio EP “Trans-Atlantic Remixes”
Tracklist
1 – This Disco (Used To Be A Cute Cathedral)
2 – I Want To Be A Clone
3 – You Don’t Owe Me Nothing
4 – On The Fritz
5 – We Don’t Need No Colour Code
6 – Whatever Happened To Sin?
7 – Meltdown (At Madame Tussaud’s)
8 – Not Gonna Fall Away
Credits
Backing Vocals [At No Additional Charge] – Mr. Thrush, Mr. Holmen, Mr. Peters
Bass – Glen Holmen
Design – Peter Nomura, Stan Evenson Design, Inc.
Drums – Terl Bryant
Engineer – Keith Bessey
Guitar – Jeff Stone
Keyboards – Steve Peters
Mastered By – Herb Melton, Steve Hall
Mixed By – Ian Eales
Photography By – Tobi Corney
Producer – Keith Bessey, Steve Taylor
Saxophone – Dave Thrush
Companies, etc.
Phonographic Copyright (p) – Live At Greenbelt, Ltd.
Recorded At – Greenbelt, Castle Ashby, England
Engineered At – Gallery Studios
Mixed At – Weddington Studios
Mastered At – Future Disc
This has to be the worst sampler in the history of Christian music. It’s not the songs that are bad, they are great songs from great artists. It’s what they did with them that is the problem. Let me explain. This album is constructed as follows. The opening, ending, and all odd number songs are studio dance beats attributed to non existent bands. All of the even songs are well known songs by well known artists BUT they have been “remixed and extended”. Now first of all this album came out in 1989 and the secular music scene was done with cheesy two bit extended dance tracks. But for whatever reason Word Records chose at this late time to jump on a bandwagon that had already left the building. So here we go. Every song we have heard of before on this album is an “extended remix”. I use the term “extended remix” term loosely as these are without a doubt the worst remixes I have ever heard. So what we have here is the business idea of re releasing the same content over and over again only this time they pretended to dress it up as something new. What a disaster. OK listen to the album once and forget about it, that’s what I did.
Tracklist
1 – Rakim D. & The Garden Beats – Prologue – 2:03
2 – Imperials – Fallin’ – 4:18
3 – Bunny Whop And The Hip Hop – Baow Baow Baow – 1:06
4 – Philip Bailey – Thank You – 5:29
5 – Randy McNally & The Road Dogz – Rappin’ Detail – 1:12
6 – Amy Grant – Wise Up – 6:28
7 – Billy B. & The Beez Nees – No Bout Adoubt It – 1:11
8 – Steve Taylor – Svengali – 5:46
9 – Billy B. & The Beez Nees – Doutout – 0:57
10 – Kim Boyce – I Just Want To Celebrate – 5:16
11 – The Nerf Wilson Ensemble – Tee Vee Whiz – 0:51
12 – Ideola – Jericho – 4:28
13 – The Nerf Wilson Ensemble – Gee Tee Vee – 1:12
14 – Russ Taff – I’ve Come Too Far – 5:39
15 – Snappo Schultz – BBBBBeatitudinal – 1:16
16 – Sheila Walsh – Ship Of Love – 7:00
17 – Snappo Schultz – BBBBBeatitudinal – Part II – 1:01
18 – Randy Stonehill Cold Rock The Groove – 4:35
19 – Rakim D. & The Garden Beats – Epilogue – 0:42
Credits
Art Direction, Design – Bradley Grose
Compilation Producer – Leon Mulczk
Coordinator [Cover] – Laurie Fink (2)
Executive-Producer – Tom Willett
Music By [Link Music By] – Lee Cahuenga (tracks: 1, 3, 5, 7, 9, 11, 13, 15, 17, 19)
Remix [Re-mixes], Edited By [Edits] – Lee Cahuenga
Written-By [Links Written By], Producer [Links Produced By] – Linx, Inc. (tracks: 1, 3, 5, 7, 9, 11, 13, 15, 17, 19)
Companies, etc.
Record Company – Word, Inc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Distributed By – Word Records Limited
Distributed By – Word (UK) Ltd.
Manufactured By – Word, Inc.
The first time I saw the cover of I Predict 1990, I didn’t know what to think. I didn’t know it (apparently) resembled a tarot card, or that Steve seemed to be making (apparently) some sort of weird hand signal. I did find it kind of unsettling, though. ‘Man, what is with that creepy expression…’ But, c’mon, this was Steve Taylor. I loved his music, his lyrics, his clever, skewering humour. Loved it so much that as a teenager I insisted my mom listen to the entire On The Fritz album in one sitting, while I explained every song in detail. And, sure – Steve was controversial. Challenging. Slightly possibly maybe verging on inappropriate, once in a while. (“Lifeboat”, anyone?)
So, I put on the album. And the first track hits me with:
Now I don’t care if it’s a baby or a tissue blob
but if we run out of youngsters
I’ll be out of a job, and so I
I did my duty cleaning up the neighborhood
I blew up the clinic real good
Steve, what the heck.
But I hung in there. And then came the line: “The end don’t justify the means anytime”
Okay. Okay. Phew. Steve hadn’t lost it completely. I got it.
But certainly, with this third studio album Steve pushed the ‘acceptable topics for CCM artists’ envelope to a pretty big tipping point. Or at least the ‘acceptable treatment of topics’. Listeners had come to expect his biting, uncomfortable-making lyrics; but people all along the conservative/liberal spectrum of Christian thought weren’t sure what to, well, think. Many simply closed the book on him after this album – some not making it past the first song.
And that was (and is) a real shame. Steve’s music asks listeners to really hear what’s being said in the lyrics – and to seriously consider that those lyrics might be holding a mirror up to stuff we might want to examine in ourselves. His stuff isn’t for lazy listeners. But when we let ourselves get so bound to tightly-held and well-reasoned opinions, we can lose our cool over a ‘shocking’ song like “Clinic” and miss the chance to engage in critical thinking and respectful debate. Do I agree with everything Steve Taylor says? Nope. (Some day I’d love to talk with him about “Jung and the Restless”…)
And hey – there’s a LOT of good stuff on this album. Some of my favourites are…no, that’s too many to list. But here are a few comments…
– “What Is The Measure of Your Success” – If you get a chance, watch the video – it’s pretty powerful. He nails the mood of a regretful, bitter, dying businessman.
– “Since I Gave Up Hope I Feel A Lot Better” – Another delightfully satirical lyric, having the opposite effect of making you smile (hopefully).
– “Jim Morrison’s Grave” – Fantastic song. Poetry and rock.
– “Innocence Lost” – Emotional piece about a visit to death row. Gets me every time.
– “Harder To Believe Than Not To” – A beautiful song, haunting and moving. Taking its title from the writings of Flannery O’Connor, an American writer, the song argues against the idea that Christianity is a crutch.
Tracks
1. I Blew Up the Clinic Real Good – 4:11
2. What is the Measure of Your Success? – 4:38
3. Since I Gave Up Hope I Feel A Lot Better – 3:25
4. Babylon – 4:48
5. Jim Morrison’s Grave – 4:29
6. Svengali – 4:28
7. Jung and the Restless – 4:32
8. Innocence Lost – 5:02
9. A Principled Man – 3:26
10 – Harder to Believe Than Not To – 4:31
Personnel
Some Band
Steve Taylor – vocals and backup percussion
Dave Thrush – saxophones
Jeff Stone – guitar
Glen Holmen – bass
Jack Kelly – drums
Steve Goomas – keyboards
Gym Nicholson – guitar
Additional musicians
Dave Perkins – additional guitar on all songs except “Jim Morrison’s Grave” and “Harder to Believe”
Greg Husted – assorted keyboard tracks and accordion
Papa John Creach – fiddle
Ashley Cleveland – vocal stylings on “Jim Morrison’s Grave”, “Svengali”, and “Babylon”
Annie McCaig – backing vocals on “Success” and “A Principled Man”
Nathan East: bass on “Clinic”
Gary Lunn – bass on “Hope”
Lisa Cates – percussion
Mike Mead – more percussion
Mary Bates – operatic vocal on “Harder to Believe”
Jim Horn – tenor sax on “Clinic”
Ross Holmen – French horn
John Andrew Schreiner – synth bass on “Svengali”
Janet Croninger – “Jung” woman
Fred Travalena – “Jung” doctor
Del Newman – orchestration on “Harder to Believe Than Not To”
Production notes
The Beaufort Twins (Dave Perkins and Steve Taylor) – producers and engineers
Dave Perkins – producer, engineer, mixing
Steve Taylor – producer, mixing
David Schober – engineer
Malcom Harper – engineer
Robert Wartinbee – assistant engineer
Michael Ross – engineer on “Harder To Believe”
Music Grinder, Los Angeles, California – recording location
Reelsound Bus, Nashville, Tennessee – recording location
Wayne Cook Studios, Los Angeles, California – recording location
CBS Studios, London – recording location
Reelsound truck, Austin, Texas (48 track) – mixing location
Bob Ludwig – mastering
Masterdisk, New York, New York – mastering location
Dave Perkins and Steve Taylor are listed as producers as “The Beaufort Twins.” A likely satire of the Mick Jagger & Keith Richards production/songwriting partnership billed as The Glimmer Twins
This 1987 release by Dave Perkins was his only album in the 80’s. Don’t think you haven’t heard him though. He has worked with some of the best including Mark heard, Steve Taylor, Randy Stonehill, Steve Camp, Phil Keaggy, and many many more. His fingerprints are all over CCM music in the 80’s. His personal effort here is a solid Rock Pop effort and utilizes the wall of sound style. Among the names helping him on this album were Rick Cua and Steve Taylor. The real highlight of the album is a cover of the Byrds’ Turn, Turn, Turn where Perkins sounds like Elvis Costello and it works! It works good!
Tracklist
1 – Revolution – 3:33
2 – (You Can) Make Me Feel – 3:44
3 – Harvest Home – 5:00
4 – Fathers And Sons – 4:14
5 – Catacombs – 4:38
6 – Turn, Turn, Turn – 3:37
7 – Every New Day – 5:15
8 – The Innocence – 4:27
9 – Oribt – 4:57
Credits
Art Direction – Joan Tankersley
Artwork By – Albert Loudin
Engineer – Brian Tankersley, Dave Perkins, Malcolm Harper, Mike Fraser
Engineer [Additional] – Gene Ford, Lynn Fuston
Executive Producer – Lynn Nichols
Musician – Ann Richards, Brian Butler, Gregary Husted, Hank Carter, Jackie Cusic, Lisa Cates, Mike Mead, Phil Naish, Richard Price, Rick Cua, Rob Frazier, Steve Taylor, Stevie Butler, Tommy Greer
Photography – Caroline Greyshock
Producer – Dave Perkins
Today’s offering is The Lost Demos, a bootleg of twelve classic Steve Taylor tunes. No-one’s sure where it came from, but I’m glad it surfaced.
I suggest listening to the demos back to-back with the officially-released versions. Listen for slight (or drastic) lyric variations, changes in instrumentation and tempo, and even differences in vocal delivery. Beyond the expected demo-to-pressing upticks in performance and production quality, some songs have a noticeably different feel.
Of particular note:
Hero – Compared to the Meltdown version, this is almost lullaby-like. The bell-like 80’s synth would become a harsher 80’s synth; the driving bass riffs aren’t here; and in the bridge, the ascending chord progression maintains the lighter, ‘major’ mood.
Bouquet – Starting out almost folks-y, it slides into 80’s elevator music territory – far more mellow than the officially released track (which ST has said he doesn’t much like, preferring Sixpence None The Richer’s acoustic version on the I Predict A Clone tribute album). Numerous lyric changes for this emotional story.
Whatever Happened To Sin – A faster tempo, and more lyric changes. The official version was controversial, but here we see that Steve had actually toned it down a bit.
Jenny – As with Hero, this has a different mood from the Meltdown version; slightly faster, more acoustic guitar – a lighter backing for a heavy lyric.
Lead Me – Written for the musical “Dreamer: What Really Happened To Joseph”. As far as I can tell, this version seems to have been released only on the album Jeremiah People: The Reunion.
—————————
Track Listing:
1 – I Want To Be A Clone – 2:40
2 – Written Guarantee – 2:44
3 – Steeplechase – 1:44
4 – Hero – 3:30
5 – Sin For A Season – 3:41
6 – Bad Rap (Who You Tryin’ To Kid, Kid?) – 2:57
7 – Whatcha Gonna Do When Your Number’s Up? – 4:07
8 – Guilty By Association – 3:27
9 – Bouquet – 3:04
10 – Whatever Happened To Sin? – 3:00
11 – Jenny – 3:48
12 – Lead Me – 2:45
