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60. Warrior – Jerusalem
WARRIOR (1982)
Jerusalem
The very first time I ever saw the Swedish rock quartet Jerusalem live was at Calvary Chapel, Costa Mesa during one of their famous Saturday Night concerts. I remember being able to see from where I sat the Pastor for the evening steaming and freaking out back stage as the Ulf Christianson, lead singer and guitarist, walked up and down the aisles of the main sanctuary yelling “You are Sodom. America is Sodom. The Church is Sodom!”
I went to hundreds of Calvary concerts during my musical formative years and that remains one of the very few that I can remember nearly in its entirety, along with David Edwards, Resurrection Band, the debut of the Lifesavors and the 77′s concert that got the group banned from playing at the Saturday Night concerts. Jerusalem was touring to support their newest rock collection at that time, Warrior. Like the album itself, the night rocked!
The first two releases from Jerusalem, creatively titled Volume 1 and Volume 2, showed sparks of musical brilliance and powerful, heavy blues influenced rock, but nothing that could have prepared me for the onslaught that is Warrior. The first two releases were originally written in Swedish and then translated into English. This made for some odd, and nearly unforgivable lyrical expressions, where some things just didn’t translate well. It is said that Warrior was penned in English and it shows. the lyrics, though not overtly creative and original had a much better flow and rhyming scheme. But Warrior was more about package and message than creative content.
The albums kicks off with “Constantly Changing,” one the best rock anthems for its era. The riffs were more akin to something from Bad Company or Deep Purple with a monster hook filled guitar groove. Then comes some of the best drumming for the time. It is a non-stop lesson in how to write a memorable rock anthem. All hook, no dead spots and a great duel lead guitar solo.
One of the things I remember most from this album are the drums. Loud. Pounding. Relentless. Nearly every song seemed to have the drums up front and center in the mix. Again, for those unfamiliar with the history of Christian Music, drums were an inconvenience and best left to way back in the mix. Especially in 1981!
The other notable factor of Warrior is that there a lot of guitar solos and instrumentals. Most Christian music got right to the message and the musicianship and instrumentation was an afterthought. Not with Warrior. In fact, the title track has an over 3 minute instrumental introduction. And it, like the rest of the instrumentation on this album, is quite good. Loud guitars played with originality and passion.
Now it should be noted that Ulf’s voice can be an acquired taste. The thick accent trying to emphasize English words makes the voice sound strained at times, but never off key. But as for those who have seen Jerusalem live can attest, Ulf’s dialect struggles were made up for with the pure passion of a screaming evangelist with an electric guitar slung over his shoulder.
The title track follows with another three minutes minute or so instrumental introduction with a hard rock groove ala Bad Company or even touched of Rainbow. Like much of Jerusalem’s music on this album, songs are epic in scope and go through many time signature and musical expression changes. When the vocals kick in so does the music!
“Pilgrim” is short by the album’s standard at just over four minutes. It is also, in its own way, the mellowest cut on the album. The guitar is not as crunchy and the vocals significantly more restrained. The guitar solo has more in common with Dire Straits (as does the song itself musically) than Bad Company, Led Zeppelin or AC/DC.
The only misstep on the album is the quirky “It’s Mad.” What must have seemed like a good idea in the studio and was enjoyable the first few listens becomes childish and annoying with repeated listens. The retelling of the Biblical story of Jericho would have fit better on a children’s Bible story record. The introductory keyboards are out of place and the arrangement is just silly at times. But that one misstep does not deter from the rest of the album.
I will note that many people love the song and list it amongst their favorites from the album.
“Man of the World” returns to the heavier rock sound and if Christian radio had a real rock presence this would have worked well as a rock radio single. Again, the drum work here is tremendous and Ulf’s vocals are top notch. In fact, it is on songs like this that one can catch a glimpse of the live passion that band brought.
The centerpiece of the entire project is the epic (over 12 minute) Sodom. It is more like a mini-rock opera than a long song. It tells the story of a world that has rejected its creator and the results. Synthesizer and acoustic piano instrumentation starts the opus in something closer to Kansas than Bad Company. But that moves smoothly into a Blind Faith like bluesy rock. This then builds into straight ahead Robin Trower-like rock grooves with more intense and passionate vocals. Finally, after a blistering and pounding guitar work that compares favorably to Eric Clapton (circa the 1970′s) for several minutes, the song slows down as Ulf’s vocals take over to proclaim like a prophet, “Sodom in the world today/Sweden is Sodom,/Europe is Sodom/America is Sodom.” This continues and builds with emotive ferocity until a hymn-like arrangement overtakes the entire scene and brings the epic to a close.
“Ashes In Our Hands” takes quite a while to get going with a very long fade in instrumental, but once it arrives it is relentless and packs a powerful punch. I love the drum accompanied bridge before kicking back into full rock form.
The album closes with the token ballad that it appears was a prerequisite for getting an album released on a Christian label. “Farewell” has an altar call feel musically, lyrically and “length-wise” as over six minutes. Even here Ulf’s voice will not be tamed for too long as he nearly loses control near the song ends pleading with the listener to seek the Lord while he may be found.
Despite only having 8 songs the full album clocks in at over 50 minutes! The length of the songs is precisely what makes the album so incredible. When a band can actually play their instruments at the level at which Jerusalem does, there is no reason to edit the songs…let ‘em play!
11 Thru 500
Before starting the top 10 I thought some of the long time readers might appreciate, and some of the more recent inquirers would find helpful, a rundown of numbers 11 through 500.
- The 77’s All Fall Down
- Phil Keaggy Love Broke Thru
- Leslie Phillips The Turning
- Tonio K Romeo Unchained
- The Altar Boys GLM (Gut Level Music)
- David Edwards David Edwards
- Bob Bennett Matters of the Heart
- The Swirling Eddies Outdoor Elvis
- Bob Dylan Slow Train Comin’
- Amy Grant Lead Me On
- DC Talk Jesus Freak
- Love Song Love Song
- Chagall Guevara Chagall Guevara
- DeGarmo & Key Straight On
- Larry Norman In Another Land
- Rick Elias Rick Elias and the Confessions
- Rich Mullins A Liturgy, A Legacy & a Ragamuffin Band
- Daniel Amos Doppelganger
- Bruce Cockburn Dancing in the Dragon’s Jaws
- The Call Reconciled
- Barry McGuire Lighten Up
- Lost Dogs Scenic Routes
- Mustard Seed Faith Sail on Sailor
- Switchfoot The Beautiful Letdown
- U2 War
- Undercover Branded
- Adam Again Dig
- Benny Hester Nobody Knows Me Like You
- The Choir Chase the Kangaroo
- Russ Taff Russ Taff
- LSU Shaded Pain
- The Front The Front
- Prodigal Electric Eye
- Caedmon’s Call 40 Acres
- Andy McCarroll & Moral Support Zionic Bonds
- Stryper To Hell With the Devil
- Daniel Amos Horrendous Disc
- Kerry Livgren Seeds of Change
- Burlap to Cashmere Anybody Out There
- Paul Clark Hand to the Plow
- Sweet Comfort Band Hearts of Fire
- Vigilantes of Love Jugular
- Michael Omartian Adam Again
- The Violet Burning Strength
- Sixpence None the Richer Sixpence None the Richer
- Ideola Tribal Opera
- Daniel Amos Shotgun Angel
- Charlie Peacock The Secret of Time
- After the Fire CBS Recordings
- Jerusalem Warrior
- The Alarm Declaration
- T-Bone Burnett Trap Door
- Michael Anderson Sound Alarm
- Tonio K Notes from the Lost Civilization
- Steve Taylor I Predict 1990
- Gospel Gangstas Gang Affiliated
- Mute Math Mute Math
- Alice Cooper The Last Temptation of Alice Cooper
- Edin Adahl Alibi
- Jars of Clay Jars of Clay
- Vector Mannequin Virtue
- Bruce Cockburn Humans
- Phil Keaggy Sunday’s Child
- Lifesavers Kiss of Life
- Matthew Ward Toward Eternity
- The Prayer Chain Shawl
- Daniel Amos Darn Floor, Big Bite
- Randy Stonehill Between the Glory and the Flame
- Mark Heard Satellite Sky
- The Innocence Mission The Innocence Mission
- Julie Miller Meet Julie Miller
- Bebo Norman Ten Thousand days
- Benny Hester Benny Hester
- 2nd Chapter of Acts/Phil Keaggy How the West Was One
- Andrae Crouch & the Disciples This Is Another Day
- Mat Kearney Nothing Left to Lose
- Sweet Comfort Band Cutting Edge
- Gentle Faith Gentle Faith
- Charlie Peacock Love Life
- Erick Nelson & Michelle Pillar The Misfit
- The 77’s Pray Naked
- Children of the Day Come to the Water
- The Choir Circle Slide
- Roby Duke Not the Same
- Johnny Lang Turn Around
- Ishmael United If You Can’t Shout Saved, You’ll Have to…
- Malcolm and Alwyn Fools Wisdom
- Undercover Forum
- Michael W Smith The Big Picture
- John Mehler Bow and Arrow
- MxPx Life in General
- Chuck Girard Chuck Girard
- Jennifer Knapp Kansas
- Sam Phillips The Indescribable Wow
- Darrell Mansfield Higher Power
- Arkangel Warrior
- Kerry Livgren/AD Timeline
- Various Artists At the Foot of the Cross
- Neal Morse Testimony
- Steve Scott Love In the Western World
- Randy Stonehill Return to Paradise
- Steve Camp Fire and Ice
- Petra More Power To Ya
- Scaterd Few Sin Disease
- Pat Terry Humanity Gangsters
- Stavesacre Friction
- Hothouse Flowers People
- John Fischer Dark Horse
- The Imperials Priority
- Rich Mullins Winds of Heaven, Stuff of Earth
- LYRIX Songs From the Earth
- Jon Gibson Body and Soul
- 2nd Chapter of Acts With Footnotes
- POD Satellite
- Iona The Book of Kells
- Rick Elias Ten Stories
- T-Bone Burnett Truth Decay
- Pierce Pettis Chase the Buffalo
- Margaret Becker Immigrants Daughter
- Lone Justice Shelter
- DC Talk Free at Last
- Dashboard Confessional Alter the Ending
- Syn A Matter of Time
- Resurrection Band Awaiting Your Reply
- King’s X Faith, Hope, Love
- Plank Eye The One and Only
- Amy Grant Age to Age
- Adam Again 10 Songs
- Various Artists Orphans of God – Mark Heard Tribute
- Toby Mac Diverse City
- Daniel Amos Mr. Beuchner’s Dream
- Vigilantes of Love Audible Sigh
- Lifesavers Us Kids
- Poor Old Lu Mindsize
- The Violent Femmes Hallowed Ground
- Kansas Vinyl Confessions
- Kemper Crabb The Vigil
- U2 Achtung Baby
- Crystal Lewis The Bride
- Whitecross Whitecross
- Newsboys Going Public
- Barry McGuire Seeds
- Lost Dogs Little Red Riding Hood
- Mark Heard Second Hand
- Waterboys Pagan Place
- Various Artists City on a Hill
- Avion Avion
- David Meece Are You Ready
- Flyleaf Flyleaf
- White Heart Redemption
- Fleming and John Delusions of Grandeur
- Tourniquet Psycho Surgery
- Jennifer Knapp Lay It Down
- Vigilantes of Love Killing Floor
- Randy Stonehill Equator
- Margaret Becker Never For Nothing
- Magdallan Big Bang
- Deliverance Weapons of Our Warfare
- Aunt Bettys Aunt Bettys
- Terry Taylor Knowledge and innocence
- David Mullen Revival
- Jacob’s Trouble Knock Breathe Shine
- Van Morrison Avalon Sunset
- Russ Taff Medals
- Daughtry Daughtry
- Servant Rockin’ Revival
- Petra Never Say Die
- The Imperials One More Song for You
- Ashley Cleveland Big Town
- David Edwards Get the Picture
- Phil Keaggy Ph’lip Side
- Cliff Richard Now You See, Now You Don’t
- Keith Green No Compromise
- Charlie Peacock Charlie Peacock
- Derek Webb She Must and Shall Go Free
- Resurrection Band Lament
- FM Static What Are You Waiting For
- Over the Rhine Eve
- Take 6 Take 6
- Living Sacrifice Reborn
- 4-4-1 Mourning Into Dancing
- 2nd Chapter of Acts Mansion Builder
- Phil Keaggy Crimson & Blue
- Neal Morse Lifeline
- Newsboys Love Liberty Disco
- Creed Human Clay
- The Throes All the Flowers
- White Heart Don’t Wait for the Movie
- Plumb candycoatedwaterdrops
- Various Artists Brow Beat
- Audio Adrenaline Underdog
- Prodigal Just Like Real Life
- Steve Taylor Squint
- Fireworks Shatter the Darkness
- Lecrae Rebel
- Bryan Duncan Have Yourself Committed
- Jon Gibson Jesus Love Ya
- Bloodgood Detonation
- Jimmy Hotz Beyond the Crystal Sea
- Jeff Johnson Icons
- DeGarmo and Key This Time Thru
- House of Heroes Suburbia
- Black Rebel Motorcycle Club Beat the devil’s tattoo
- The Rocket Summer Do You Feel
- Third Day Third Day
- Russ Taff The Way Home
- Glass Harp Glass Harp
- Daniel Band On Rock
- In 3D No Glasses Needed
- Bob Dylan Infidels
- Amy Grant Behind The Eyes
- Vengeance Rising Human Sacrifice
- Bill Mason Band No Sham
- Michael W Smith The Michael W Smith Project
- Twila Paris The Warrior is a Child
- Larry Norman So Long Ago the Garden
- Michael Omartian White Horse
- The All Saved Freak Band My Poor Generation
- Benny Hester Benny From Here
- Sheila Walsh Future Eyes
- Ark The Angels Come
- Randy Matthews Son of Dust
- U2 October
- The 77’s Sticks and Stones
- Bourgeois Tagg Bourgeois Tagg
- Robert Vaughn & the Shadows Love and War
- Mad at the World Flowers in the Rain
- Sweet Comfort band Sweet Comfort Band
- MC Hammer Hammer, Please Don’t Hurt ‘Em
- Oden Fong Come for the Children
- World Party Private Revolution
- Caedmon’s Call Caedmon’s Call
- Tom Howard Danger in Loving You
- Sufjan Stevens Illinoise
- Adam Again Homeboys
- Stavesacre Speakeasy
- Edin Adahl X-Factor
- Julie Miller Blue Pony
- Out of the Grey Out of the Grey
- Wayne Watson Watercolour ponies
- Larry Norman Something New Under the Son
- Mark Heard Ashes and Light
- The Swirling Eddies Zoom Daddy
- Shai Linne Atonement
- Midnight Oil Dust and Deisel
- Denny Correll Standing in the Light
- Robin Lane & the Chartbusters Imitation Life
- TobyMac Tonight
- Bruce Cockburn Stealing Fire
- Barnabas Hear the Light
- Undercover Balance of Power
- The Silencers A Letter From St. Paul
- Dave Kelly Crowning of a Simple Man
- Bride Snakes in the Playground
- Giantkiller Valley of Decision
- Precious Death Southpaw
- Ginny Owens Without Condition
- Mortal Lusis
- The Crucified Pillars of Humanity
- Atomic Opera Gospel Cola
- Earthsuit Kaleidoscope
- Galactic Cowboys Galactic Cowboys
- The Call Let the Day Begin
- Daniel Amos Fearful Symmetry
- Five Iron Frenzy Upbeats and Beatdowns
- Vigilantes of Love Driving the Nails
- The Alarm Strength
- Saviour Machine Saviour Machine I
- Owl City Ocean Eyes
- The Winans The Return
- Kyle Henderson More Than the Look of Love
- The Archers Fresh Surrender
- Fred Field and Friends Fred Field and Friends
- Plank Eye Commonwealth
- Mortification Scrolls of the Megilloth
- Steve Taylor On the Fritz
- Brainchild Mindwarp
- 16 Horsepower Secret South
- Larry Norman So Long Ago the Garden
- Charlie Peacock Everything That’s On My Mind
- Starflyer 59 Silver
- Saving Jane Girl Next Door
- Stryper Soldiers Under Command
- Bob Bennett Songs From Bright Avenue
- Paramore Brand New Eyes
- Mason Profitt I Had a dream
- Glad Beyond a Star
- Holy Soldier Holy Soldier
- Jacob’s Trouble Jacob’s Trouble
- Kerry Livgren/AD Art of the State
- Leon Patillo The Sky’s the Limit
- Bruce Hibbard Never Turnin’ Back
- Evanescence Fallen
- MxPx Teenage Politics
- Allies Allies
- The Predators Social Decay
- Skillet Comatose
- Kenny Marks Right Where You Are
- The 77s Ping Pong Over the Abyss
- Resurrection Band Mommy Don’t Love Daddy Anymore
- The Waterboys This Is The Sea
- Sacred Warrior Obsessions
- Evie Mirror
- Third Day Time
- Robin Lane & The Chartbusters Robin Lane & the Chartbusters
- Darrell Mansfield Get Ready
- John Michael & Terry Talbot The Painter
- Annie Herring Through a Child’s Eyes
- Phil Keaggy Town to Town
- Mute Math Armistice
- Youth Choir Voices in Shadows
- Michael Card Legacy
- Underoath They’re Only Chasing Safety
- Bruce Cockburn In the Falling Dark
- Guardian Fire and Love
- Bethlehem Bethlehem
- First Strike First Strike
- Semaja No Burning Out
- Third Day Third Day (Tunesmith)
- Idle Cure Idle Cure
- Shawn Groves Invitation to Eavesdrop
- Kim Hill Talk About Life
- Dave Perkins The Innocence
- North Bound North Bound
- Simple Minds New Gold Dream
- What If What If
- Servant World of Sand
- Dan Peek All Things Are Possible
- Relient K mmhmm
- Elim Hall Things Break
- The Alpha Band Spark in the Dark
- 5 O’clock People The Nothing Venture
- Shout It Won’t Be Long
- Randy Stonehill Thirst
- Daniel Amos Vox Humana
- Adam Again Perfecta
- Michael Roe The Boat Ashore
- Mark Heard Stop the Dominos
- Andy Pratt Fun in the First World
- Altar Boys Against the Grain
- Parable Illustrations
- Veil of Ashes Pain
- Mr. Mister Welcome to the Real World
- Kevin Max The Blood
- The Elms Big Surprise
- Various Artists Streams
- Dion I Put Away My Idols
- DeGarmo & Key Mission of Mercy
- Alwyn Wall Band The Prize
- Los Lobos By The Light of the Moon
- Mylon LeFevere/Broken Heart Sheep in Wolves Clothing
- The Echoing Green Defend Your Joy
- Steve Archer Through His Eyes of Love
- Good News Good News
- Grits Art of Translation
- Havalina Rail Co Havalina Rail Co
- The Way Can It Be
- Starflyer 59 Leave Here a Stranger
- The English band What You Need
- Ernie and Debbie Rettino More Than Friends
- Dig Hay Zoose Magenta Manta Love Tree
- Farrell and Farrell Choices
- Steve Curtis Chapman Beauty Will Rise
- Leslie Phillips Beyond Saturday Night
- 12 Stones 12 Stones
- Barnabas Approaching Light Speed
- Michael Knott Rocket and a Bomb
- POD Fundamental Elements of Southtown
- Dead Artist Syndrome Prints of Darkness
- Kaja Crazy People’s Right to Speak
- Julie Miller Invisible Girl
- Stronghold Fortress Rock
- Nichole Nordeman Woven and Spun
- Barren Cross Atomic Arena
- Sarah Laughing Sun and Moon
- James Vincent Waiting for the Rain
- Pat Terry Film at Eleven
- Bob Bennett First Things First
- Crumbacher-Duke World’s Away
- Crystal Lewis Beauty For Ashes
- Donna Summer She Works Hard for the Money
- JC Power Outlet Forgiven
- Vince Ebo Love is the Better Way
- In 3D Barrage
- T-Bone Burnett Proof Through the Night
- Scott Wesley Brown I’m Not Religious
- Judson Spence Judson Spence
- Curious Fools Curious Fools
- Two Pound Planet Songs From the Hydrogen Jukebox
- PFR Great Lengths
- Walk on Water WOW
- Prodigal Prodigal
- OC Supertones The Adventures of the OC Supertones
- Tim Miner A True Story
- John Fowler & Harpoon Live
- Chris Taylor Worthless Pursuit of Things on the Earth
- Parchment Shamblejam
- Keith Green So You Wanna Go Back to Egypt
- Collective Soul Hints, Allegations and Things Left Unsaid
- Mylon LeFevere Mylon
- The Choir Wide Eyed Wonder
- Paul Clark Good to Be Home
- Dime Store Prophets Love is Against the Grain
- KJ – 52 It’s Pronounced Five Two
- Rick Cua Koo-Ah
- Ed Raetzloff Drivin’ Wheels
- Randy Matthews Now Do You Understand
- Kim Boyce Kim Boyce
- Isaac Air Freight Fun in the Son
- Steve Soles Walk By Love
- Jamie Owens-Collins Growing Pains
- Tommy Coomes Love Is the Key
- Quickflight Decent Beat
- Pilgrim Outlets Do You Know Him
- Don Francisco Forgiven
- T-Bone The Hoodlum’s Testimony
- First Call Undivided
- Wish for Eden Pet the Fish
- Michael Been On the Verge of a Nervous Breakthrough
- Sweet Comfort Band Breakin the Ice
- Bob Dylan Saved
- Squad 5-0 What I Believe
- Jeff Johnson Fallen Splendor
- Sometime Sunday Stone
- Jimmy A Secrets
- Chris Eaton The Vision
- Carson Cole and RU4 Mainstreet
- Toby Mac Momentum
- Common Band Anger Into Passion
- LSU Grace Shaker
- Creed My Own Prison
- Thousand Foot Krutch Phenomenon
- Beau MacDougall This Side of Heaven
- David and the Giants David and the Giants
- Poor Old Lu Sin
- Lewis McVay Coming Attractions
- Jan Krist Decapitated Society
- Vector Please Stand By
- Mike Stand Do I Stand Alone
- Crumbacher Incandescent
- Imitators Once and For All
- Jeremy Camp Stay
- Scott Blackwell Walk on the Wildside
- Hawk Nelson Smile, It’s the End of the World
- Black Eyed Sceva Way Before the Flood
- Mad at the World MATW
- D-Boy The Lyrical Strength of One Street Poet
- Hokus Pick Snappy
- Rick Altizer Blue Plate Special
- Waterdeep Everyone’s Beautiful
- Silverwind A Song In the Air
- Steve Taylor I Want to Be a Clone
- Gary Chapman Sincerely Yours
- The Kry You
- Honeytree Evergreen
- Idle Lovell Idle Lovell
- Lights The Listening
- Jars of Clay Good Monsters
- Fireworks Sightseeing at Night
- Kathy Trocoli Stubborn Love
- Mike Warnke Hey Doc
- The Lifters The Lifters/That What Love’s About
- The Mercy Seat The Mercy Seat
- Karen Lafferty Bird in a Golden Sky
- Nobody Special Nobody Special
- Neal Morse ?
- Morgan Cryar Keep No Secrets
- Servant Light Maneuvers
- Jon Gibson Change of Heart
- Kansas Audio Visions
- Maranatha Singers Praise 1
- Paul Clark Songs for the Savior 1 & 2
- Mark Heard Eye of the Storm
- Mark Farner Just Another Injustice
- Randall Waller Midnight Fire
- Lifesavers Dreamlife
- Lone Justice Lone Justice
- Seven Day Jesus Hunger
- Sheila Walsh War of Love
- Undercover God Rules
- Vision Vision
- Various Artists The Everlasting Living Jesus Music Concert
- Petra Back to the Street
- PID The Chosen Ones
- Steve Camp Shake Me to Wake me
- Infinity Plus Three Setting Yesterday Free
- Stryper Yellow and Black Attack
- Paul Q Pek Touch the Ground
- Weber and the Buzztones Weber and the Buzztones
- Malcolm and the Mirrors Red Alert
24. Straight On – DeGarmo & Key
STRAIGHT ON
DeGarmo and Key
When it came to amazing blues informed, progressive rock nothing in Christian music has come close to this amazing release at the time. The album possesses some of Eddie DeGarmo and Dana Key’s finest lyrical content. They always possessed a strong musical presence, but some would argue that later albums would lack the lyrical depth of this release. I’m not sure I fully agree, but would state that ”Straight On’s” content, creativity and originality possesses both musically and lyrically were never matched.
DeGarmo and Key have never shied away from a direct lyrical approach and an unquestioned Gospel message. It is part of what made them such a phenomenal and successful band within the genre. But as we will see in the review of the album these same themes are couched in very creative, passionate and authentic contexts.
Friends from childhood, Eddie and Dana formed a friendship that has lasted decades and a musical partnership that has lasted nearly as long. They have been nominated for 7 Grammy’s and 17 Dove Awards. They created a string of hits in the 1980′s that is nearly unparalleled and their success within Christian rock was only rivaled by Petra and WhiteHeart. But it was with “Straight On” that the band created a timeless work with stellar songs and killer musicianship. The songs from this album would later be the highlight of their double LP live album, No Turning Back.
After becoming Christians in the mid-70′s the duo left the band they were in, Globe” and began writing music with a decidedly more Christin bent. They received interest from many different labels and ended up signing with Pat Boone’s “Lamb and Lion” label, which also was responsible for bring the Swedish hard rock band Jerusalem to the attention of Christians in the U.S.
I was introduced to DeGarmo and Key and a Knott’s Berry Farm Christian music night. At the time they only had one release and were pushing the upcoming “Straight On” with a coupon at the concert for the release. I sat with my brother-in-law in the “Cloud 9 Ballroom” and was simply blown away by what I witnessed. I was a fan of Darrell Mansfield and Resurrection Band at the time, but was more influenced by the musicianship of bands like Kansas, Genesis and Styx. That night I finally saw a band that I believed could compare with those bands.
DeGarmo and Key’s debut was “This Time Thru” and hinted at what was to come. Anthem driven rock with great blues tinged guitars similar to Robin Trower with the unmistakable vocals of Dana Key. Key’s vocals were similar to a more blues styled Michael McDonald. Other have compared his voice to another CCM and Jesus Music artist, Mylon LeFevere.
All of that was simply a precursor for “Straight On” as the band took production, songwriting and musicianship to a totally different level. Fans of Kansas, Foreigner, Bad Company and even Genesis will find something (actually, quite a bit) to like.
The album leads off with “Jericho,” a straight ahead rocker that shows a glimpse of Key’s killer blues guitar, though maybe not enough. Key takes the Old Testament story about Joshua and the Battle of Jericho and related it todays false idols and false sense of hope we place in money and other such similar idols.
Your wall street idols won’t be here long
Form cinders to ashes and they are all gone
I begged you to run from your idols to Me
But blind by fools gold no you just couldn’t see
Next is what I believe is the best song DeGarmo and Key ever produced. Sounding every bit of Styx and Kansas, “Livin’ On the Edge of Dyin’” tells the story of conversion. After starting with a very progressive instrumental opening, the song slows down and, for one of his rare appearances, DeGarmo take the lead vocals.
We were all alone on a Saturday
When you preached that gospel creed
Sittin’ on the hood of my Chevrolet
My heart began to bleed
It cut like a bullet from a smokin’ revolver
Givin’ me that fatal blow
I was runnin’ like a thief from a law enforcer
With nowhere I could go
I was lyin on the edge of dying hearin’ your third degree
I was lyin on the edge of dying my soul had no relief
After the second chorus the band once again kicks into a great instrumental section lead by Key’s fine guitar work. Early reviews in CCM and Campus Life were very complimentary of the song as well with some calling it the groups finest work lyrically.
“Go Tell Them” continues the evangelical theme that DeGarmo and Key would always be noted for. Realizing that the vast majority of their audience were Christians they realized the need to remind the Church of their responsibility to the Great Commission.
One of the best progressive rock songs in Christian music follows with “Bad Livin’.” There is a great guitar and keyboard interplay between different sections of the verse and chorus before slowing it down drastically like something Kerry Livgren would arrange. In fact, the style employed here and on other songs would sound not unlike what Kansas would do on “Vinyl Confessions” and “Drastic Measures” with the inclusion of the saxophone and other brass instruments. The song then slowly works its way back up with string-like keyboard wall of sound that leads straight into a heavy blues lick.
Content wise the song simply addresses the impact of sin and serves as a warning against falling for its lies as well as offering an answer the questions sin creates.
Bad livin’, but I know I’ve been forgiven
‘Cause the price is much too high
Well there’s got to be a way to
And there ain’t no better day to
Tell these people why
Need your love Father and we need it right now
The keyboard lead instrumental “Enchidiron” leads directly into my personal favorite on the album, “Long Distance Runner.” Admittedly it may have more to do with the fact I ran cross-country in high school when the song came out then any specialness of the song itself. That being said it is great rock song borrowing from the Apostle Paul the concept that the Christian Life is like running a race, a race we need to win.
Key’s most subdued and pleasant vocals are found on “Let Him Help You Today.” But at the same time it may possess some of Key’s finest guitar work outside of the live album that would follow a few years later. the live version is historic! The song features a great D&K trademark where Key and DeGarmo would go back and forth in dueling instrument fashion.
“I Never Knew You” follows and again it’s Genesis and Kansas that come to mind with the progressive keyboard and guitar lick before moving directly into more of a pop vein with saxophone solo. Here Key addresses the issue of those that claim the name of Christ but never really know Him. This reminds the listener most obviously of Matthew 25 where Jesus claims to not know many that named His name.
You told everyone you knew
That you and I were best of friends
But mama, I got news for you
There is where the story ends
You’re talking fast and loud
But I can’t hear a thing you say
Too late now for acting proud
It’s time to go our separate ways
I never knew you
No I never knew you at all
The album closes with a classic track that would be a DeGarmo and Key staple for many years to follow. In fact, Key would rework the song on a later solo project. This beautiful acoustic guitar solo tells the story of Mary visiting the empty tomb sung from the point of view of the angel that greeted her there.
Mary, please don’t be afraid
There’s no man there where he did lay
Run now, run now, tell your friends
Jesus was dead but he lives again
He’s risen, raised up with our sins forgiven
Risen up from the dead
Oooh, oooh, oooh, He did what He said
I have often wondered how the song never became an Easter classic along the lines of Don Fransisco’s “He’s Alive” or “Easter Song” by 2nd Chapter of Acts. This timeless message works well as a finishing touch to the great album.
D&K would follow this album up with “This Ain’t Hollywood,” a significantly more pop oriented projects and the classic live album, before making the previously discussed paradigm shift to a more keyboard driven synth pop sound. I do not begrudge them making such a change as that was the musical direction of the time and allowed the band to reach a greater audience with the Gospel. It even allowed them a short entre onto MTV with a video called, “Six, Six, Six.”
But for a brief moment there was this amazing time when they were the very best at what they did in a genre that was sorely lacking in the Christian market. And in staying true to what they were very good at for one record they created a masterpiece worthy of being called one of the greatest albums in Christian music history.
25. In Another Land – Larry Norman
IN ANOTHER LAND (1976)
Larry Norman
“In Another Land” is the best selling Larry Norman album. It was also the first of Norman’s albums to released by a “Christian” record company. But it would was not the first, not would it be the last album in Norman’s career that faced censorship, delays, album cover controversies and bookstore blacklisting.
It is also many fans “favorite” album. I would argue it is clearly Norman’s most “commercial” release and is loaded with Norman “hits.” Actually hits is unfair since CCM radio avoided Norman like the plague during his entire five decade career. So, let’s just say it is filled with Norman “favorites.”
Like many Norman album the preceded and followed its release, “In Another land” contains songs that were also on other projects in similar or completely differing versions. Here, though, most songs receive a wonderful treatment and very high production standards. Jon Linn plays guitar and comedian Dudley Moore plays piano. Randy Stonehill makes his customary appearance and even John Michael Talbot serves as a guest musician.
many argue this is Norman’s most “Christian” album. As the third part of a trilogy that included “Only Visiting This Planet” (present) and “So Long Ago the Garden” (past), “In Another land” was Norman’s attempt to consider the future from a Biblical perspective. As a result Norman believes people understood the album’s material to be more “Christian” because he did not stray from his view of what the Bible says about the future. The album is, in a sense, an eschatological theological tract set to music.
Norman, like most musicians and modern evangelical churches at that, was directly influenced by the popular eschatological ideology of Dispensationalism. Hal Lindsey’s “The Late, Great Planet Earth” was immensely popular and the Jesus Movement was in full swing with a decidedly “rapture ready” point of view. This basic belief system would impact the albums content like no other single idea. Even the album cover of Norman standing on a hillside with an artistic rendering of Revelation’s “New Jerusalem” would serve as a backdrop for nearly every song on the project.
But leave it to Norman to kick off the album with a controversial defense of Christian rock with “The Rock That Doesn’t Roll.”. Though more subtle than “Why Should the Devil Have All the Good Music,” the songs reference to Jesus being a “rock” that doesn’t “roll” was obvious enough for several Christian bookstores to refuse to carry the album. That added with Norman’s obviously unGodly long blonde hair splashed across the cover didn’t help. One foolish “backward masking guru” even tried to argue that Norman’s thumbs were “reversed” on the album cover, a clear Satanic presence! (uh, serious!)
The song itself is pure Norman brilliance. Rollicking and fun, the song would have been a great addition to his follow up, “Something New Under the Son.” Jon Linn’s blistering guitar work once again here shows he was Christian music’s greatest unsung rock guitar god.
The countrified “I Love You” is more Southern Rock than cowboy music, but the slide guitar and harmonized vocals made the song especially appealing. Despite the emotional, business and relational woes that impacted Norman and Stonehill soon following this release, no two people ever harmonized as well that didn’t share the same last name. This shows wonderfully here. It also makes sense given that the song is actually a randy Stonehill song that appears on his “Born Twice” debut. The lyrics, though, are completely changed except for a handful.
“U.F.O.” is the first of several eschatological themed songs. Jesus is described as a UFO during His second coming (or third or fourth, I can never get it straight). Norman employs a great acoustic guitar backdrop and very progressive vocal production by the day’s standards. The song does contain one of Norman’s most famous lines in which he declares “If there’s life on other planets/I’m sure that he must/And has been there once already/And has died to save their souls.” The line is pure genius given the descriptive and “science fiction” allegory the song delivers.
One of Norman’s trademarks was limited breaks between songs and one song merging into the next. He does that here with a fade into “I’ve Searched All Around.” Linn’s funky riff is very reminiscent of The Rolling Stones as is Norman’s Jagger-like vocal. The songs message of a soon coming end to the world continues the theme. Here Norman warns that the world has no answers to the real questions.
“Righteous Rocker #3″ is the third (really second” version of the song that first appeared on “Only Visiting This Planet.” the second was supposed to be on “So Long Ago the garden,” but was scrapped, removed, never recorded (depends on who is telling the story). This time it is a very produced a capella version.
Again we have an immediate segue into “Why Don’t You Look Into Jesus.” This bluesy groove is Norman’s finest song ever. There may be some who disagree, but I have yet to find a Norman song any better or a Norman fan that dopes not list it among their Top 3. This is, once again, a cover of a previously released version from OVTP. This significantly more sanitized version played much better in Church circles with the removal of gonorrhea and “getting laid.” he kept the lines about smoking and drinking because blasting those two legal things were quite alright for the church.
Another merged segue moves the album into one of Norman’s greatest vocal performances. “I Am a Servant” is just plain stunning. Norman’s falsetto carries the entire song and Moore’s piano and the wonderful string arrangement that accompanies Norman’s stirring lyrics make this one a real classic. Youth groups ate it up. I remember hearing the song used regularly in Youth Groups and even Church settings as “special music.”
Literally recorded in less than two minutes live in the studio with Moore’s wonderful piano performance, “The Sun Began to Rain” (The Son Began to Reign). According to Norman, this was a “one take” afterthought. It was used to replace 4 songs that Word records reportedly removed for being too negative.
“Shot Down” remained a Norman staple until his death. I don’t recall ever seeing Norman without him performing the song. The great Stone-like groove is pure Norman magic. This would be one of several songs in Norman’s career where the topic would be how he fended off criticism and remained faithful to his mission despite the attacks.
The eschatological theme returns with “Six Sixty Six,” a treatment of the popular 666 theme of Revelation 13 and the Beast of Revelation who is represented by the number. The song features John Michael Talbot making a cameo on the banjo. It’s best if i do not comment on the song itself as to do so would require pounding my head against the nearest wall too many times. But suffice it to say that Norman was not alone in his use of the passage in question.
“Diamonds” is an often overlooked Norman song that could have been a classic and a radio hit if it was longer than a minute-thirty. The beautiful strings and piano make for a compelling and inviting piece. Just much too short. But the classical arrangement that ends the song flows directly into “One Way.” This song is just so good. If it’s possible to write a flawless song, this is quite possibly the finest example. The building arrangement that accompanies Norman’s finest vocal performance made the song a lasting classic.
Norman is credited with inventing the “one way” sign with the index finger pointing toward the sky. Like much in Norman lore it’s difficult to separate legend from fact. The story goes that when Norman would receive applause his goal was to deflect the praise and transfer it to god, so he would point to the sky. That single index finger would also be attached to the song “One Way” and a legend is born.
The next song is “Song for a Small Circle of Friends.” This unique songs starts as a tribute to Stonehill and moves into a prayer of sorts for Norman’s “idols” that he would hope to play with in heaven. named are Eric Clapton, Paul McCartney. Bob Dylan among others. It’s actually quite a beautiful little song.
The song closes with “Hymn to the Last generation.” The song closes the theme as well as serves as an altar call of sorts. In an obvious nod to the Beatles, this much too short “hymn” calls for his listeners to come to Jesus or to stand together to reach the world for Jesus. It is at the close of this song that we first here the line for which the album is named.
Some will claim the album is much too high while others will argue it deserves top 10 status. I believe the placement fair (obviously) as though it is not Norman’s finest, it remains one of the most compelling, interesting and listenable of Norman’s career.
69. Alibi – Edin Adahl
ALIBI (1982)
Edin – Adahl
The debut album from two sets of brothers from Sweden (Bertil and Lasse Edin and Simon and Frank Adahl) was like a breath of fresh air sweeping across the Christian Music scene. Though they share the same home country as the rock band Jerusalem, the musical styles they employed could not be any more different. Where Jerusalem stayed with powerful, guitar driven hard rock, Edin-Adahl was all about pop, rock, world music and new wave with an emphasis on melody and harmony. They even scored a moderate mainstream hit with the song, Like the Wind, later in their career.
They were one of several European acts that the fledgling label, Refuge, tried to bring to the United States. Of all of those artist it was Edin-Adahl that had the greatest impact. But still it was not enough to bring them to the forefront of most CCM fans at the time.
Alibi employs greater diversity in musical styles and is truly a ground breaking release. Despite the constant criticism of the bands simplistic lyrical content (language barriers notwithstanding), when this album was released most of Christian music would never venture into New Wave, reggae tinged or synth driven rock this album brought to the industry. Alibi did this and more so, all without sounding disjointed or scattered. It also did so with a production quality that was vastly superior to anything in the industry at the time.
As mentioned above there has been a pretty heavy level of criticism leveled against the bands lyrical content as trivial and jingoistic, but when one considers the language barrier and the content of much of CCM at the time, it is not too far out-of-place. Rhyme structures suffered the most because of the translation issues. This hampered early Jerusalem releases as well. Later, when the band began writing songs in English, the issues were resolved. But the music and vocals are so strong that the lyrical issues are often ignored by fans.
The opening track, Wake Up, kicks off with a solid funky groove similar to Squeeze or Steely Dan. The vocal harmonies of the brothers keeps the song from sounding ordinary and the production quality was so superior to nearly everything else in the christian market at the time. Lyrically the entire album was better than what Jerusalem provided, but were not all that more pedestrian than most of Christian music, and at least they had the excuse of translation issues.
Themes from the album were common Christian music fare, but this album was all about the music and vocals. Driving power pop rock drives “On the Cutting Edge” into a very timely sounding hit. The Chicago wall of vocals in the chorus are just huge. The sibling quality shines through with great harmonies here and throughout the entire project.
A true stand out is the reggae driven title track with steel drums and old school organ laced keyboards and slow groovin’ vocal lines. The song also possesses some of the albums best lyrics. This was musically so authentic and out-of-place in CCM, the pop band was labeled a new wave band.
“Bring Back the Joy” starts out with a Genesis type progressive sound with a great keyboard instrumental intro before the drums and guitars add to a fuller, blues driven rock sound. It’s nearly 2 minutes before the vocals are introduced. The progressive verse structure switches to a Supertramp like melodic chorus before returning to the darker and heavier feel. All the while there are touches of world music rhythms throughout.
The rock/worship anthem “Let All the Earth Proclaim” driven by intense harmonies and surprisingly edgy and loud guitars. In fact, I was always surprised someone like Petra never bothered to cover this gem.This was a modern rock worship a decade before anyone else ever ventured into the genre. The vocals really shine here.
What would have been Side Two opens like side one with a Steely Dan type jazz influence pop rock hit song, “Saviour.” Again, Petra or White Heart could have rocked this number without any hesitation, except those bands wouldn’t have put the killer horn section into the chorus.
“For the Rain In Your Heart” sound more ska than reggae and preceded the Supertones by 20 years. Fun, energetic and a glimpse as to what the follow-up release, “X-Factor” would provide. Edin Adahl was always one of those bands I wanted to see in concert and this song is one of the reasons why.
After the “Rain In Your Heart,” there comes a “Storm in My Heart.” This returns the band to the Steely Dan cool jazz sound, especially in the chorus. In fact, the chorus is a full Steely Dan rip…but it works!
“Send Me” is a new wave keyboard driven song that sounds a lot like what would appear later on Simon Adahl’s solo work.The final chorus fade is such a hook that the verse structure can be forgiven. I even like the “spoken word” repeat as it fades.
The album closes with the great ballad (the only one on the album), “Your Heart is in His Hands.” Straight from the era this a simple power ballad Bryan Duncan would have thrilled to sing. Like the trend was at the time, a ballad must always finish an album and be released as the single. CCM radio never really touched anything from the album though KYMS was all over several of the songs making them local hits.
Edin-Adahl never received the recognition their quality works deserved and that is real shame. The first two releases deserved their day on CD, but as far as I have been able to ascertain they never made it. That is a true travesty especially when one considers the true high quality production.
88. Gentle Faith – Gentle Faith
GENTLE FAITH (1976)
Gentle Faith
Formed in 1974 and using the name “Jubal,” by the time the band got around to working out a record deal with Calvary Chapel’s Maranatha Music it was discovered that another local band had a similar name, Jubal’s Last Band. In order not to confuse listeners it was decided that actually both bands would change their name. The Darrel Mansfield lead Jubal would become Gentle Faith while the other band would choose the moniker, Daniel Amos.
The later would go on to record a library filled with amazing music while the former would release just one, self-titled, album. But what a great album that one was. Lead by vocalist Darrell Mansfield, guitarist and vocalist Henry Cutrona joined Don Gerber, Paul Angers and Steve Kara to form Gentle Faith.
Musical styles range from rock to country with the latter being dominate. This was not unusual as many Jesus Music bands merged to the genres, perhaps to be a bit more palatable to the Church at large. But there is plenty of rock here, mixed with great banjo and fiddle driven county and Dixie. Ultimately this album would launch Mansfield’s 30 plus year career.
Many consider the album one of the definitive Jesus Music albums with its unbelievably strong production given its unbelievably small budget and its combination of Jesus People themes and evangelical zeal.
The album starts with an acoustic and string driven ballad, “Simple Song,” that sounds quite a bit like something from Love Song’s debut. Cutrona even sounds a little like a cross between John Mehler and Chuck Girard. This soft opener set the lyrical theme of of the album as it contains simple, up front messages regarding the Gospel in a very listenable setting.
The musical sound shift immediately, though, with “Living in the Sunshine.” This is a rollicking rocker voiced by Mansfield and sounds like something from his debut release. Mansfield was already an accomplished singer, performer and harmonica player at this time and the harmonica takes center stage here. But there is also a small brass section creating a fuller sound than many of the albums released at the same time. It would also be here that the Rapture would be mentioned the first of several times on the album, continuing a popular Jesus Music theme.
A more “southern” banjo driven country rocker follows with “The Whole Lump of Dough.” The style is not too far removed from what was also heard on the first two Daniel Amos releases, especially “Meal.” The problem of expanding sin is the theme here.
Mansfield returns to the lead vocals on the mid-tempo rocker “It’s So Good to Know.” Not as country oriented, the song does have an Eagles vibe to it. The song describes God’s faithfulness in light of our faithlessness.
The highlight of the album – and one of the ten best Jesus Music songs of all time – is “Jerusalem.” Mansfield would cover this on a solo album several years later. Starting as a slow, acoustic rocker, the song builds and builds into a great blues based rocker with an amazing guitar solo. Every verse builds with added instrumentation and Mansfield’s voice is just flawless. The song is call for Israel to repent and embrace their long-awaited Messiah. The song should have been about twice as long (which it was live when Mansfield later performed it). If any song could have been Jesus Music’s “Stairway to Heaven” it was this amazing song.
“Noah” is a song for its time and now sounds a little more like something that could have been on the first Psalty the Singing Songbook album. The song is a banjo driven toe-tapper that does not stand the test of time as much as the rest of the release.
The pop rocker “My Love For You” also can be compared to the better rockers on “Shotgun Angel,” but with a touch of jazz. Perhaps David and the Giants is a better comparison.
The best of the country rockers is the great “Goin’ Back Home.” Here is the perfect blend of fun and funky southern rock. Mansfield sounds uncannily like BJ Thomas on this song for some reason. This would have fit right in with what Mylon LeFevere was recording at the time. It also became a popular youth group sing-a-long at the time.
Cutrona and Mansfield vocal duties on “Turnaround,” a great rocker more akin with ELO, Alan Parsons and Supertramp than anything resembling country. It may also be why I find it to be one of the two best songs on the album. The diversity never bothered me (and still doesn’t) I only wish there were more songs like this one given just how good of a song it is.
The album closes with “Home,” a great power ballad, before they were called that. Seriously, it a bit more like The Eagles than anything on the album and would have fit perfectly on Desperado or On the Border. The song deals with the internal struggle to find a resting place (home) and the idea one can only find that in Christ. This is actually a compelling theme from Hebrews 4. It also worked as a great song before or during an altar call, a common evangelical practice in certain circles.
Easily one of the best and most important “Jesus Music” albums of all time, Gentle Faith provides a great glimpse into both the simplicity and power of the music being created at the time and an important landmark in the history of Christian music.
176. Rockin’ Revival – Servant
ROCKIN’ REVIVAL (1981)
Servant
Counter-cultural and social justice oriented way before it was cool or even known within evangelical circles, Servant played an important role in the history of Christian rock, and many don’t even remember them. Juxtaposed against the progressive and theologically driven ideologies were loud guitars, smoke machines, laser light shows and fireworks on stage. Theatrical and original, Servant broke molds and practiced what they preached.
I was at Summer camp at Pine Summit in Big Bear, California in the summer of 1981 and walked into their bookstore. There I saw the cover shown above and laid down my $6.99 for the cassette. Scorn and ridicule from the Youth Pastor (and Music Director) at my Baptist church soon ensued. The devil’s music wrapped in Christian lamb costumes.
Screw that…this album rocked!
Actually in retrospect it didn’t rock nearly as heard as I thought it did at the time. it was no where the contemporaries of Styx, Foreigner, Boston…but it still had guitar solos and big drums. It also had great songs and reinforced my then nearly unending obsession with the rapture with several songs about the coming Tribulation and end of the world. My views have changed drastically over the years, but I still love this album and for more than just nostalgia’s sake.
Bob hardy was still the leading voice of the band on the album and I always saw him as an underrated rock vocalist. Sandy Brock is at her best on this album and Bruce Wright’s guitar work never sounded better. The album also contains the most consistent sound quality and strongest songwriting (Light Maneuvers is close). This was also before the kayboard sound began to take over the band.
But really it is about the songs and this record is filled with great ones. The almost 50’s influenced chorus of Look Out Babylon and the grinding, funky groove of the title track sound nothing alike yet work wonderfully back to back. More progressive and creative undertakings work well here like the disturbing “Isolated” and the brilliant “Jealousies.” Admittedly, songs like “Suburban Josephine” are great concert standards but tire after repeated listens.
When the band launches into the heavier experiments the results are exceptional. “Heidelberg Blues” and “Ad Man” work quite well as the guitar becomes the focal point. The album closer, “I’m Gonna Live,” the half spoken, half sung rocker pre-dates modern worship by over decade.
During this time the band was the biggest thing in Christian Rock and constantly allowed up and coming bands to open for them. At one time or another the lower half of the tour bill included Petra, DeGarmo & Key, Joe English, Jerusalem and a host of other soon to be household names.
247. X-Factor – Edin Adahl
X-FACTOR (1984)
Edin Adahl
It is really hard to express just how much I love this album. It was released at a great time in my life. It was released at a great time for Christian music. It sounded fresh, fun, legitimate and utterly perfect pure pop. Few artists ever captured the real art of crafting pure pop music like Edin Adahl.
The two sets of brothers (Bertil and Lasse Edin and Simon and Frank Adahl) released several good albums over the years but their first two albums were revelation. The debut will be discussed later and here we look at the sophomore release, X-Factor.
Rock, world music, new wave and commercially scintillating pop. Great harmonies, unforgettable hooks and stellar production created an album that still ranks amongst my all time favorites. The only really negative comment surround the simplistic and poorly translated lyrics. Much like Jerusalem this was a constant problem, but Edin Adahls overall songwriting quality and strong musicianship covered a multitude of lyrical sins. It is a shame this never made it onto CD given the high quality production.
The title track rocks in a mid-80’s new wave sound. Not punk, but heavier than the normal keyboard sounding new wave of the time. it’s actually not a whole lot different than something from Undercover, but with significant better pop sensibilities. “Like a Motion Picture” would also appear on Bertil Edin’s wonderful solo project (another album that just missed the countdown).
More mainstream sounding rock takes over with “I’m waiting For You.” Something akin to more pop side of Genesis with a monster hook chorus. “Closer and Closer” is a guilty pleasure with its horn section and 80’s dance groove that is all too reminiscent of Wham’s “Wake Me Up Before You Go-Go.” It is simply one of the “happiest” songs in CCM history.
Though the debut would be more artistically satisfying, X Factor is just too much fun and is an AYSO!
338. All Things are Possible – Dan Peek
ALL THINGS ARE POSSIBLE (1979)
Dan Peek
After spending most of the 1970’s as a member of one of the biggest bands in music, America, as well as years in recreational drug use, drinking, parting and living the rock and roll lifestyle, Dan Peek returned to the faith of his youth. In late 1977 Peek left America for a Christian lifestyle and, eventually, a solo career. This compelling story is chronicled in his autobiography, An American Band.
Peek signed with Pat Boone owned Lamb and Lion Records and released his first solo project which is the subject of the discussion here. I should note as a sidebar that Christian Rock fans are indebted to Pat Boone and Lamb and Lion Records. Though primarily a label for Church music and his family it was responsible for signing and releasing the debut albums from DeGarmo & Key, Jerusalem, Dogwood, James Ward, Ulf Christianson and Gary Chapman.
Peek released the album in 1979 and it was an immediate hit with the title track topping the CCM charts for several months. In fact, the song became such a hit that Billboard reporting station in the Adult Contemporary format started playing it and it charted there as well. The song was right in there with mid to late 70’s pop with lush string arrangements and big hooky chorus accentuated by Peek’s pristine falsetto. The song received a Grammy nomination as well and remains a classic in CCM history.
The album also contains the last recording with his band America on “Love Was Just Another Word.” Not surprisingly the song is also the most like America of any song on the album though “Lighthouse” and “Ready for Love” come close.. “Divine Lady” was also a hit and is the same vein but with more of a jazz feel and saxophone support. “One Way” is the one rocker on the album, a style Peek would not revisit much until his final Christian release, Electrovoice.
Unfortunately for Peek there would be a five year break between this smash debut and his follow-up album and all the momentum gained from this release was lost. Also, music seemed to pass him by on the second album, which sounds too much like the first but five years later.
401. Walk on Water – Walk on Water
WALK ON WATER (1990)
Walk on Water
I have always wanted to meet the one other person that bought this album.
Walk on Water was the first release on Frontline Record’s “Alarma” imprint, a label created to distribute imported album but was later used for more straight alternative releases. They actually were not Christians when the album began production, but as the recording process continued each band member became Christians and the lyrical content changed drastically for the Swedish based band.
Borrowing liberally from the sounds of Duran Duran, After the Fire and Kaja, this keyboard driven band was right at the heart of the Euro techno/new wave sound for the time. On the more acoustic rock driven tunes the listener may catch a glimpse of Crowded House and World Party. The lyrics are actually much better than most of the simplistic Christian music that came from Sweden like Jerusalem and Edin Adahl.
There is a stunning, atmospheric mid-tempo tune called “What’s the Noise” that continues to stand out every time I listen to the album. As I understand it there is a video for this song that won some big video competition in Europe. Beautiful and haunting.
CCM's 500 Best Albums Of All Time 