Christian Comedy « CCM's 500 Best Albums Of All Time

The Woulda, Coulda, Shoulda List

April 25, 2012 low5point 31 comments

Here is the famous (infamous) list of albums that in hindsight should have been included. Some were left off by pure and simple oversight while others were left off and, after further consideration, should have been included. Some were even missed because of being lost while cutting and pasting from several different compiling lists. Some will just be listed; others will receive more detailed explanation.I will also list where the album may have appeared.

The list is longer then anticipated originally.

100% PROOF – 100% Proof (1981) – Recorded in the late 70′s and finally making it’s way to record shelves (or at least the bands trunks at concerts), this debut rocked with a Southern groove that few other bands touched. More Molly Hatchet and Lynard Skynard than AC/DC (the band they are most often compared to), this debut was just really cool and actually had guitar solos. A real highlight is the rock ballad about the life of AC/DC’s late lead singer, Bon Scott. (High 400′s)

2ND CHAPTER OF ACTS – IN the Volume of the Book (1975) – One the groups best and most “rockin’” albums with Yaweh, Now That I Belong To You and hey Watcha Say. A young Phil Keaggy sounds really nice on many of these tracks. (Mid 200′s)

THE 77′s – Drowning with Land In Sight (1994) – As if Mike Roe was not represented enough, the hardest and most blistering rock record of the bands history was left off. The Zeppelin cover that kicks off the album should have been enough to force inclusion. For me, though, the real treat is Snowblind. Roe’s penchant for hooks can be found on the beautiful Film at 11. (Low 200′s)

ADRIAN SNELL – Firelake (1975) – How I missed this is totally a blow it on my part. Britain’s biggest selling CCM artist had two albums that easily should have made the list. His debut here is wonderful and fans of jesus Music will find much to enjoy. (Mid 300′s)

ADRIAN SNELL – The Passion (1980) – Combining classical, Jesus Music, Church Music and CCM, this musical look at the final week of christ’s life was a predecessor to many that would follow. (Low 400′s)

AGAPE – Gospel hard Rock (1971) – As one of the very first “hard rock” albums in CCM history, the album deserved inclusion for that fact alone. WAY ahead of the curve here. But the record itself is also quite good and combines a soulful jazz with the late 60′s blues rock. (High 400′s)

THE ALARM – Eye of the Hurricane (1987) – The bands most pop oriented release is still filled with enough great songs that I should have included it. Oddly enough, it is the album I listen to the most over 20 years later. (Mid 400′s)

ALBRECHT, ROLEY & MOORE – Take it to the People (1981) – The supergroup of sorts released a few albums and this one was leaps and bounds above most of the straight ahead pop music in CCM at the time. (High 300′s)

ANDRAE CROUCH – Soulfully (1972) – Should have been included. Period! (High 100′s)

ANDRAE CROUCH – Keep on Singin’ (1975) – A Gospel classic that also contains one of the Top 50 greatest songs of the CCM era with My Tribute. (Low 100′s – maybe higher)

ANDRUS BLACKWOOD & CO. – Following You (1978) – One of the truly first CCM albums. Very current for the day with touches of Chicago, the Commodores and Earth, Wind and Fire. The title track is awesome. (High 300′s)

ASHLEY CLEVELAND – God Don’t Never Change (2009) – Shawn is right. This should have been included. perhaps when i started the list it was just too fresh. No excuse, though. (Mid 200′s)

BJ THOMAS – Home Where I Belong (1976) – The first real crossover (at least from mainstream to CCM) album. It is filled with several songs that were just as good and memorable as any Thomas had as a megastar in pop music. The silky, soulful tones of Thomas’ voice is pure gold. The Pat Terry penned title track is a real classic.(Mid 300′s)

BARRATT BAND – Playing in the City (1981) – I had lost this album while doing the list and completely missed it. I have since tracked down a copy and believe it deserved to be there. Barratt is one the finest guitarists in CCM history. He passed away last year. (High 400′s)

BE BE & CE CE WINANS – Heaven (1988) – The brother-sister combo released more than a handful of very successful records. This was their best. It has Keith Thomas production written all over it. The album reached number one on the Billboard albums chart. (Mid 200′s)

BELIEVER – Extraction from Morality (1989) – Of all of the hard core, speed metal albums left off this list…this is one of them. Actually quite good and displays better musicianship than most. (Low 400′s)

BILLY CROCKETT – Carrier (1984) – As mentioned in a response elsewhere this album was one of two Crockett albums I had on the original list. the lead track is just a monster hit. (Low 400′s)

BILLY CROCKETT – Watermarks (1998) – Released as Crockett’s career was waning, it was his best. Wonderfully crafted, brilliantly and passionately performed. these are the best songs in Crockett’s repertoire. (High 200′s)

BOB AYALA – Joy By Surprise (1976) – better than most CCM for the time. Very well produced and finely crafted songs. In the style of John Denver, Harry Chapin and Dan Fogelberg. Ayala was one of the bridge artists from Jesus Music to CCM and his music was superior than most. (High 300′s)

BOB DYLAN – Modern Times (2006) – Was on my original list. Not sure where it went. A collection of 6 minutes tunes that are the most obvious expressions of faith since Infidels. (Late 200′s)

BRUCE COCKBURN – Salt, Sun & Time, The Trouble With Normal, Night Vision, Inner City Front, Joy Will Find a Way – Let’s be honest, pretty much everything Cockburn has done could have been included.

BRYN HAWORTH – The Gap (1980) – This is one of a few that should have been included. But this one was DEFINITELY on the original list. Best slide guitarist in CCM and a brilliant singer-songwriter. The Gap was the one album that truly made it across the pond. (High 100′s)

DANIEL AMOS, TERRY SCOTT TAYLOR, LOST DOGS & SWIRLING EDDIES – Everything Ever Recorded! (Will that satisfy everyone?) OK…if anything should have been added it would be Bibland and the self-titled debut.

DAVID CROWDER BAND – Church Music (2009) – My penchant for hating nearly everything called “modern worship” music kept this masterpiece off the list. It deserves inclusion. (Mid 200′s)

DAVID MARTIN – Stronger Than the Weight (1985) – This great pop album was on the list until the very last cut. In hindsight this fine songwriter deserves to be recognized. (Late 300′s)

DAVID MEECE – 7 (1985) David Meece deserved more than one album on the countdown. Not being a fan of his Gino Vanelli oriented later material it is clear that “7″ is one of his best and should have been included. (Late 300′s)

DEGARMO & KEY – No Turning Back (1989) – In hindsight i should have blown off my “no live album” rule for this album. Not only one of the best Christian rock live albums, simply one of the best live albums ever. the extended jams on Jericho, Long Distance Runner and Emmuel make this a real treat. The band proved they were a collection of some of the finest musicians assembled in CCM. (50-100)

DEITIPHOBIA – Clean (1994) – One of my rules is that I had to own the album and have it in my possession to honestly review and include it. I had lost my copy and, therefore it did not make the list. It would now. (Low 300′s)

DENNY CORRELL – How Will They Know (1980) – One of CCM’s best voices deserved more than one album included. This title would be the best shot at making it. (Low 400′s)

ELI – Second Hand Clothes (1999) – Now the News could just have easily been included as well. What a great songwriter. this is one of those examples of losing a title in the cut and paste world. (High 200′s)

FARRELL & FARRELL – Portrait of Us All (1979) – This MUST have been a cut and paste loss. I had this ranked quite high. It is one of the best examples of taking Jesus Music into the CCM world with VERY current music, great production and songwriting that was not trite or silly. Several real classics can be found here. Possibly one of the 10 most important albums of the time. (Mid 100′s)

THE FRAY – How To Save a Life (2005) – I went back and forth about whether to include this album or not. I should have. Though not as blatant as other “mainstream” releases that were included, the faith of the band members is rather common knowledge and their content is smart and creative. (High 100′s)

GEOFF MOORE & THE DISTANCE – Foundations (1994) – Uh…duh! Should have been there. The cover of Lone Justice’s “I Found Love” is great and the whole albums Springsteenesque rock and roll was spot on for the times and still sounds good today. (Mid 200′s)

GLAD – Captured in Time (1982) – A group as original and ground breaking as Glad deserved more recognition. They did tend to suffer from having several good song on average albums. This album, though, was solid throughout. It also closes with one of the most beautiful songs of the CCM era, Be Ye Glad. (Low 300′s)

GLENN KAISER & DARRELL MANSFIELD – Trimmed and Burning (1990) – Another victim of cut and paste. Should be a top 100 contender, but most likely would have fallen somewhere in the mid 100′s. The first of several great acoustic blues album from both artists.

GREG AND REBECCA SPARKS – Field of Your Soul (1994) – This is one of the most embarrassing oversights. There is not a single tune not worthy of repeated listens. Though not a fan of Rebecca’s voice in the pop world of Bash-n-the-Code, this is real, stark and honest rock and roll, and the voice works…perfectly. Carve a Tunnel alone is worth including this album. That song will appear quite high in the Top 1,000 songs countdown. If this song does not send chills up and down your spine…you are dead! (Low 100′s)

GREG X VOLZ – The River is Rising (1986) – The omission of this album was based solely on my dislike of Volz’s vocals and some personal run-ins over the years. that should not have been enough to have the album excluded. (Low 400′s)

HARVEST – Only the Overcomers (1986) – The best album from a group that put out consistently really good releases. (Low 400′s)

IMPERIALS – Let the Wind Blow (1985) – The best of the later, more pop releases from the group that has had more personnel changes than any other CCM group. But there was no missing of stride here. Paul Smith took a more front and center position on this album, giving a much more contemporary sound. The title track was musically quite a stretch for the group and it worked quite well. (Late 300′s)

JOE ENGLISH – Held Accountable (1982) – For several years Joe English was the toast of the CCM world. Former drummer of Paul McCartney & Wings, any artist with mainstream success was given red carpet treatment in the CCM market. he did make several very good and one great album. He know claims to have not been a Christian at the time and an alcoholic and drug user during this era. Many people have refuted this part of his current testimony and believe he has been brainwashed by a cult. Seriously. It’s very odd. (High 400′s)

JOHN FISCHER – Johnny’s Cafe (1978) – In all honesty about 5 John Fischer albums probably deserved placement on the list. I did not own all of them until recently. One I did own that should have been included was this one. (Mid 300′s)

LIFEHOUSE – No Name Face (2000) – The proof that cutting and pasting can be dangerous is that no Lifehouse album made the list. Uh…not only would this album chart, so would Lifehouse (Mid 300′s) and Who We Are (Mid 200′s). This would be a Top 100 release without a doubt.

M. WARD – Hold Time (2009) – Probably would have caused a little stir if included, so i left it off. In retrospect it deserves inclusion if similar releases like Mercy Seat also made the list. (Mid 200′s)

MAD AT THE WORLD – Boomerang (1991) – serving as the transitional album from the Euro synth first two releases, Boomerang rocked with a pretty ferocious attitude. Isn’t Sex a Wonderful Thing along should have been enough to have the album included. (Low 400′s)

MALCOLM & ALWYN – Wildwall (1974) – Should have been included no doubt. (Mid 400′s)

MATTHEW WARD – Armed and Dangerous (1987) – Released nearly a decade after his debut the wait was clearly worth it. The album’s closing track, Love, is just stunning. (Mid 400′s)

MERCY ME – Almost There (2001) – I Can Only Imagine is probably enough to have included this album. Not a great record as much as a strong selection of individual songs. (High 400′s)

MICHAEL ANDERSON – Love is the Hardest Part & Saints and Sinners – Clearly both should have been included. the first in the low 400′s and the second in the high 100′s. Cut and Paste victim…had to be.

MICHELE PILLAR – Michele Pillar (1982) – Pillar’s CCM solo debut (after her masterpiece release with Erick Nelson) proved to be a real gem. Filled with great pop and smart lyrics. (Mid 300′s)

MO LEVERETT – For the Benefit of Desire (1993) – One of the first Storyville releases and one of the best. Edgy and challenging acoustic rock. For a bluesy Bruce Cockburn fan. (High 300′s)

PAUL FIELD – Restless Heart (1982) Easily one of the best pop rock releases of the early 80′s and was only not included because I had lost it. I recently found a copy and have no doubt it would rank amongst the best of its era. Field has written several hits for Cliff Richard and Rebecca St. James. A clear AYSO! (Low 100′s)

PHIL & JOHN – Pick one…doesn’t matter. Actually I originally had two albums included on the list. Carnival of Clowns was in the 200′s and Don’t Look Now was in the low 300′s.

RANDY STONEHILL – The Sky is Falling (1980) – I clearly let my general dislike for the album impact the fact that it probably deserves being listed. But my general dislike would not let me rate it higher than the low 400′s. The good songs are really quite good, but songs like bad Fruit and the seemingly never ending Through the Glass Darkly and Venezuela make it rough to listen to regularly. Someone could have used a little editing in the studio.

REBECCA ST JAMES – God (1996) – St. James most likely deserved to have some representation on the list. this would be her best effort. (High 300′s…maybe?)

RICHIE FURAY – I’ve Got a Reason (1976) – Seriously? I left this off? Moron! Former Poco front man put together a legitimate country driven progressive rock album for the ages. It was originally released on a secular label and featured Love Song members Truax and Mehler as well as help from Michael Omartian. Not a single “miss” on this. Deserved high placement. (Low 100′s)

SAM PHILLIPS – Martinis and Bikinis (1994) – Possibly the best “Sam” album (High 100′s)

SEAWIND – Light the Light (1979) – One of the last albums to be excluded from the list. My bad. In retrospect the sheer musical presence is overwhelming and deserves a placement on the list. (Low 300′s)

SEPTEMBER – SEPTEMBER FIRST (1981) – Would have easily made the list if I still owned a copy at the time of compiling the list. I lost it over the years (I’m guessing Shawn has it). I have tracked down a digital copy and it is even better than I remember it. Imagine Servant as an AOR and borderline progressive rock back in the vein of Styx with much more melody and more ballads. It is progressive for its musical diversity and changes within a single song. the opening track is a great example. An AYSO. (High 200′s)

SHADES OF BLUE – Shades of Blue (1994) This acoustic jazz project headed up by guitar god Lanny Cordola slipped through the cracks to most CCM fans. But it is really delicious. Cool and soulful. (High 400′s)

STEVE SCOTT – Lost Horizon (1989) – Possibly the most discussed omission. I really struggled with whether to include the album given just how much of the album appears on other projects. probably should have been listed. (High 100′s)

TONIO K. – Ole (1997) – What was I thinking? (High 200′s)

TWILA PARIS – Kingdom Seekers (1985) – In 20 years when someone decides to actually make hymnals again, there will be several songs from this album included. Lamb of God and he is Exalted are truly classics in the most authentic use of the word.

VIGILANTES OF LOVE – Blister Soul (1995) & Welcome to Struggleville (1994). Another artist that many complained was not represented enough (4 releases). If other albums were to be included I would say both of these easily qualify. Blister would be in the mid-300′s and Welcome in the high 200′s.

WES KING – The Robe (1998) – Should have been Top 100. Total cut and paste loss…my bad big time!

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Have fun!

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music, Uncategorized

Why the Long Pause

January 6, 2012 low5point 8 comments

I decided to write a quick note here to thank everyone for their patience with this extended pause over the Holidays (and longer) before finishing the countdown.

I would like to blame work, or the kids, or the wife, or even the Holidays themselves for the delay, but…

The truth of the matter is I am in the midst of an internal quarrel. I made several changes to the countdown as it proceeded, dropping some albums, adding others and even moving around several albums in the Top 100 to get the list exactly how I wanted it. I have had a firm 4 thru 10, though i did move one or two around in the weeks leading up to the Top 25.

But I have never had a solid Top 3. I have had the three albums I chose for the top 3 and they have never wavered. But each of them have found themselves listed in the 1, 2 or 3 spots countless times.

All three are amazing projects (obviously), but listing a number one over the other two has been difficult. One is deserving because it is the singularly most important release in the history of CCM while also being an artistic achievement for its time, or any time. Another is simply one of the greatest albums ever recorded in or out of Christian music and the third represents what I believe is the finest and most authentic collection of songs in a cohesive unit that any CCM artists have ever mustered to deliver. They literally could be 1a, 1b, and 1c.

…

But I believe I have justified to myself the finalized Top 3 ranking and will proceed with the reviews over the next several days…

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music

9. Meltdown – Steve Taylor

November 18, 2011 low5point 21 comments

MELTDOWN (1984)

Steve Taylor

In 1983 I was a Senior in High School and always on the lookout for some new Christian album to play for unsuspecting friends. I was also working at a local Christian Bookstore and maintained my position as “thorn in the flesh” to Greg fast, the program director at KYMS, the famous Christian radio station in Orange County, CA.

One of my favorite things to do at the radio station was introduce the more “rock” oriented artist at the regular Christian Music nights at the local amusement parks like Disneyland, Magic Mountain and Knott’s Berry Farm. The more “popular” disc jockeys would lay claim to introducing artists like DeGarmo and Key, Amy Grant and Leon Patillo leaving me to introduce The 77′s, Rez Band and Undercover.

My first foray into this job was early in 1983 at Knott’s Berry Farm. The artist was the then unknown Steve Taylor and Some Band. Steve and Co. had just released their debut EP, “I Want to Be a Clone” on Sparrow and no one knew who he was. But I did! I asked Steve recently if he remembered that night and he said that he did remember, and for the same reasons I remember it.

Steve AND band were placed on the smallest stage in the known universe. It was a stage normally used by a DJ and had about enough room for two turntables and a chair. It was squeezed between a train depot and the long since removed “Tijuana Taxi” ride. For those unfamiliar with Taylor’s live performance he possessed a frenetic energy that had to be released or the space-time continuum was in jeopardy!

He also remembers, like I do as well, the fact I was a very nervous 17-year-old kid who went through the entire introduction of myself, the radio station, upcoming concerts, Steve’s record and label information and welcoming him to the stage in less than 11 seconds. As embarrassing as it was, I was introducing STEVE TAYLOR!!!

Over the years I would meet up with Steve at different events like Gospel Music Association week in Nashville complete with Dove Awards, the annual Estes Park Christian music event, concerts and once at a movie theater in Nashville. In every instance he has been the most genuine and kind person.

Steve got his start when Cam Floria of the Continental Singers asked Steve to join them for a tour of Poland. This was before any walls ever fell and the Gospel was not a prevalent ideology in the Eastern Block. The things he saw there, though, would be used as inspiration for at least one song on Meltdown.

Upon return Steve traveled to Estes Park, CO for the Christian Music Artist Seminar where he performed a handful of songs from a demo tape he had produced. He was signed to a contract immediately by Sparrow Records owner, Bill Hearn. This was seen as quite of stretch for the normally conservative label known more for Steve Green and Steve Chapman than for the music of Steve Taylor.

Clone was quickly recorded and released in early 1983 to rave reviews and more than a few raised eyebrows. Known for its frenetic pace and songs lasting upwards of two minutes, “Clone” had a distinctly “Oingo Boing” or Devo feel to the music and even had a rap (term used loosely) song. But the eyebrow raising was reserved for the intensely sarcastic and caustic lyrical content. No sacred cow was safe and in later album he would even “name names.”

Many in the evangelical world never have been able to understand the use of satire and sarcasm within Biblical standards. The Bible is not foreign to this type of literature and language, and is a very effective weapon in the oratory and written arsenal God has provided. He has made foolish the wisdom of this world and does using sarcasm and satire to do so. I would recommend Douglas Wilson’s great book “The Serrated Edge” for a study on the subject.

A Serrated Edge: A Brief Defense of Biblical Satire and Trinitarian Skylarking

Since I was working at a Christian Bookstore when Clone was released I was able to buy it the day it came out. Those six songs were played over and over so many times at home that the first copy I had was eventually rubbed smooth. From critical looks at those who cannot find a Church (Steeplechase) and churches that demanded perfect compliance (I Want to Be a Clone) to relativism (Bap Rap) and humanism (Whatcha Gonna Do When Your Numbers Up), Clone took no prisoners.

I remember at the time a Youth Pastor of a church I was attending was just blasting Taylor for his content. He was upset that Taylor’s voice sounded so sarcastic that people might mistake him for someone who thinks we “shouldn’t all be exactly alike!” I guess “Clone” was written for him.

But it is “Whatever Happened to Sin” that steals the show. After generations of the Church no longer teaching about man’s culpability in relation to sin, Taylor was forced to ask the question. Whether it was political figures using the name of Christ to get elected, a “Christian” advising a young woman to seek an abortion or mainstream, liberal Church’s softening stand on moral imperatives, no one was beyond striking distance.

As caustic as “Clone” may have appeared to be, nothing would compare to the album that would follow.

“Meltdown” hit the market in 1984 and I really don’t think the industry was ready for it. Oddly enough the album did contain Taylor’s first radio hit in “Hero.” It was not originally released as a single, but KYMS and a few other stations started playing it and it caught on. The rock single “Meltdown” did make some waves on MTV and featured Lisa Welchel who was best known as “Blair” from the popular television show, “The Facts of Life.”

The album maintained the Oingo Boingo pace but also included a more mature, David Bowie type influence. ten finely crafted song that would remain staples for Taylor for many years to come, “Meltdown” remains the favorite among most fans even though later albums may have shown more artistic growth and merit. There was this absurd combination of anger, sarcasm and innocence that flowed from the songs.

Taylor’s victims were thinly veiled, and quite frankly clearly defined, as they made for easy targets. Whether it’s Bob Jones University’s former policy on inter-racial relationships or Jimmy Swaggart’s attacks on Christian Rock, it did not take a genius to know who the attacks were leveled against. Taylor’s later albums would also address similar themes with Bill Gothard and Robert Tilton also receiving the pointy end of the pen. But, as we will see, “Meltdown” also dealt with general issues of the sins of the world and the sins of the church.

The title track leads the album off with a satirical look at the “rich and famous” and how their money, popularity and importance will not keep them safe on judgment day. The video did make the rounds on both Christian and mainstream video outlets and was quite good considering the year and the media’s relative youth. Using the famed Madame Tussaud’s Wax Museum as a backdrop for the song in which a rogue janitor turned up the heat on the famous statues.

Elvis and the Beatles have seen a better day
Better off to burn out than to melt away
Dylan may be fillin’ the puddle they designed
Is it gonna take a miracle to make up his mind?

Athletes on the floor
Meltdown
They’re running out the door

Bad boy McEnroe couldn’t keep his cool
Now he’s with the rest of ‘em, wading in the pool
“Howard Hughes–Billionaire” says the written guide
Pity that his assets have all been liquefied

The exclamation point is given at the song’s conclusion as he notes the importance of centering one life around that which will last.

“Celebrity status only got in the way
Had my hands in my pockets on the Judgment Day
You can’t take it with you–there’s fire in the hole
Had the world by the tail but I lost my soul”

There is a great throw away line at the end of the song as the chorus is repeating where the “inspector” from Scotland yard complains “A lot of bees gave there all for this…”

The not so subtle attack on the Bob Jones’ University stand on inter-racial relationships, “We Don’t Need No Colour Code” is done in a “tribal” sing and response format. This was easily the most controversial song on the record as the use of names (initials in this case) and the power the university possessed within Christian circles. The university finally abolished the practice in 2000.

Down Carolina way
Lived a man name o’ Big B.J.
B.J. went and got a school
Founded on Caucasian rule
Bumper sticker on his Ford
Says “Honkies If You Love The Lord”

One of the most controversial lines on the whole album is near the end of the song where he states “white supremest eat their young.” I attended three different concert in which I witnessed Steve having to explain that line. In fact, at an in-store album signing party at Maranatha Village I hosted someone challenged him on that song and particularly on that line.

What sounds like a great idea on paper does not always work in the studio. I am sure that many feel that way about the straying keyboard that accompanies the song, “Am I In Sync?” I actually like it and appreciate the supportive message it lends to the song.

When famed movie director Woody Allen was asked if he desired to achieve immortality through his movie making he responded by stating he would rather achieve immortality by not dying. This line was the impetus for the song and its message of those who try to achieve greatness and immortality through their actions while avoiding the only who can provide that immortality. Here Taylor tells the story of two distinctly different people who attempt to find immortality whether through becoming famous (movie star) or by leaving a legacy (science).

Long before Rush Limbaugh and Shawn Hannity found the mainstream media an easy target for attack, Taylor was already all over it. Actually he was way ahead of the curb for noting the liberal bias inherent within modern journalism. He even noted that it may not be within the editorial content, but also as a result of what the press decides to cover or not cover.

In concert he would tell the story of an event where to leading evangelicals came out in support of a woman’s right to choose. the press was all over it with every single paper present at the press conference and proclaimed it as a victory for human and woman’s rights. But at the same time in the same city hundreds upon hundreds of Christians met to voice their support of life and not one single journalist was present. Taylor discusses the eventual slippery slope results of a lack of oversight in “Meat the Press”.

When the godless chair the judgment seat
We can thank the godless media elite
They can silence those who fall from their grace
With a note that says “we haven’t the space”

Well lookee there–the dog’s asleep
Whenever we march or say a peep
A Christian can’t get equal time
Unless he’s a loony committing a crime

Listen up if you’ve got ears
I’m tired of condescending sneers
I’ve got a dog who smells a fight
And he still believes in wrong and right

“Over My Dead Body” is one of the most challenging and disturbing songs in Taylor’s catalog. After Taylor’s travels with the Continental Singers to Poland he was encouraged to take a second trip there. This song sprang from the injustice and persecution the Church was facing those countries. The song tells the true story of a young man following Jesus’ command to feed those in prison by taking food to Solidarity members who were being underfed while imprisoned. The young man was found out and beaten to death in the middle of a Warsaw street by two soldiers with the butt of their guns. This nearly has the feel of something U2 would have written during this same time period.

I was a victim of December 1981
I took a final beating from the blunt end of a Russian gun

You made a memory–the memory will multiply
You may kill the body but the spirit–it will never die

Over my dead body
Redemption draweth nigh
Over my dead body
I hear a battle cry

Try and blow out the fire
You’re fanning the flames
We’re gonna rise up from the ashes
‘Til we’re ashes again

Taking the sins of the world and making them much more introspective Taylor deals with the devastation sin leaves in its wake in “Sin for Season.” A David Bowie inspired vocal performance is haunting and leaves the listener questioning their own failings. In this song Taylor addresses marital infidelity, drunk driving leading to a death and how Christian will sin while feigning repentance.

Gonna get the good Lord to forgive a little sin
Get the slate cleaned so he can dirty it again
And no one else will ever know

But he reaps his harvest as his heart grows hard
No man’s gonna make a mockery of God

“I’m only human, got no other reason”
Sin for a season

“Guilty be Association” returns to the sarcastic form with a very “white man reggae” or world music rhythm. This response to Jimmy Swaggart’s attacks on rock music remains a personal favorite, especially midway through when he imitates Swaggart.

“Well I have found a new utensil
In the devil’s toolbox
And the heads are gonna roll
If Jesus rocks”

“It’s a worldly design!
God’s music should be divine!
Try buying records like mine
Avoid temptation”

Now today it may be much easier for artist to take direct stabs at the foibles of religious and political leaders, but in 1984 it was simply not the case. It was a bold and refreshing move. Taylor was criticized for naming names. At the same in-store appearance I mentioned earlier he was questioned about using names or being painfully obvious about who the intended target was. He responded by noting Paul’s “outing” of Peter and his hypocrisy and Paul naming those who had deserted him and left the faith.

“Hero” remains my all time favorite Steve Taylor song. As I have mentioned several times previously, I was a young kid in 1984 trying to get Greg Fast at KYMS to open up the rotation to more edgy music. My thinking was if I could get a ballad on the air and it was a hit it would be easier to add more upbeat songs from the same artist. the reasoning being that if the station listeners were out buying the record they hearing the rest of the songs anyway,, so why not play them. “Hero” was my first real victory. I finally convinced management to play the song and it became a HUGE hit! They soon after added “Sin for a Season” and others from the album.

“Hero” comes across as the most autobiographical song on the album. It tells the story of a young boy who loved reading his comic books and fiction stories about heroes. But “real life” got in the way. His heroes disappointed him and were not real heroes after all. Eventually the subject finds the world’s true hero in Jesus Christ.

When the house fell asleep
From a book I was led
To a light that I never knew
I wanna be your hero

And he spoke to my heart
From the moment I prayed
Here’s a pattern I made for you
I wanna be your hero

“Jenny” at first glance appears to be a story about a young, small town girl who leaves her roots of faith and morals and leaves for the sin and temptation of the big city. The truth of the matter is the song is an allegory for America, who had long since abandoned her “Bible Belt” faith beginnings and had reached for the brass ring. This rejection of truth and morals leads to the death of the protagonist and to the nation.

“Baby Doe” is simply the saddest and most disturbing song Taylor has ever written. Taylor tells the true story of an Indiana couple in 1982 that went to court to fight for the right to let their Down Syndrome newborn die of starvation. The court allowed it despite the thousands upon thousands of people willing to adopt “Baby Doe.”

http://en.wikipedia.org/wiki/Baby_Doe_Law

Unfolding today
A miracle play
This Indiana morn

The father–he sighs
She opens her eyes
Their baby boy is born

“We don’t understand
He’s not like we planned”
The doctor shakes his head

“Abnormal” they cry
And so they decide
This child is better dead

Taylor refuses to accept the argument of choice as he reiterates, “this baby has a voice.” But not content to simply criticize the parents, press and legal system that allowed the atrocity to unfold, Taylor points the finger back at himself and the Church for its lack of action and outcry.

It’s over and done
The presses have run
Some call the parents brave

Behind your disguise
Your rhetoric lies
You watched a baby starve

I bear the blame
The cradle’s below
And where is baby

Taylor would later start Squint Entertainment, a label that included artist like Chevelle and Sixpence None the Richer. He was also the lead vocalist for the amazing band, Chagall Guevara, a band signed to MCA that should have changed the world!

There is talk of a movie based on the popular “Blue Like Jazz” book and film making appears to be the passion. His fans always hold out hope that a new album may one day squeak out but nothing appears to be in the works though rumors of a 2012 release have been heating up recently. In the meantime we can enjoy his works, especially his first full length album, Meltdown.

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music

11 Thru 500

November 18, 2011 low5point 22 comments

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
2^nd 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
2^nd 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
2^nd 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

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music

18. Outdoor Elvis – The Swirling Eddies

November 10, 2011 low5point 18 comments

OUTDOOR ELVIS (1989)

The Swirling Eddies

With most supergroups have the talented and famous names attached to its release as the primary purpose and marketing angle. With the Swirling Eddies it was all about anonymity and secrecy. It was also about creating some of the finest alternative music in Christian music to date. And perhaps it was just another outlet for Terry Scott Taylor to go along with Daniel Amos, DA, solo projects and the Lost Dogs!

Members included Taylor (Camarillo Eddy), Tim Chandler (Berger Roy Al), Gene Pool (Greg Flesch), Arthur Fhardy (Rob Watson), Spot (Jerry Chamberlain), Prickly Disco (Gene Eugene) and Hort Elvison (David Raven). Guest Eddies have included Mike Roe, Eddie DeGarmo and many, many more.

I remember attending my first Eddies concert at BIOLA University in LaMirada, CA in which the band appeared on stage is some of the most beautiful and stunning evening gowns. This type of shenanigans were common place and matched the witty, sarcastic and irreverent tone of most of the Eddies tunes.

The first Eddies album was released on Alarma records (a Frontline Records imprint) just as I started working for the Benson Company. Suffice it to say that the company noted for Larnelle Harris, DeGarmo and Key, Sandy Patti and carman was not quite sure what to make of “Let’s Spin.”

It would be a mistake here (and quite frankly anywhere) to try to decipher the message of every song on an Eddies release. Some of poignant and powerful, most are quirky, odd, funny, experimental and irreverent. On “Let’s Spin” some true standouts are the title track, the beautiful “Catch That Angel,” the stunning “What a World” that could have found its way onto one of Taylor’s solo projects and the hilarious “I’ve Got an Idea” that made its way into video form that some at the Benson Company found…uh…disturbing.

The third nationally distributed album was the provocative and stunning “Zoom Daddy.” Zoom Daddy contains one of Taylor’s finest compositions, “The Twist.” Taylor’s take on the sacrifice of Christ is difficult to absorb and heart wrenching on many levels.

But sandwiched between those two amazing records is “Outdoor Elvis,” the funniest and most irreverent of the projects. It also contains some of Taylor’s best work and most accessible music. Most importantly it contains the song, “Hide the Beer the Pastor’s Here,” a song about hypocrisy that more than one college student has latched onto as a theme song or sorts.

As mentioned above I am not going to try and demystify every song on the album as the chances that someone forwards this to Terry Taylor and my being completely wrong about the context would be too embarrassing. I will throw out the “this is what I think it means” occasionally and leave the rest up to the reader.

The title track starts the album off with the imagery of Elvis Presley taking the role of Sasquatch complete with large footprints and the crooning of “hunk a burnin’ love.” Our fascination with these images are ultimately displayed with a tendency to make “gods” of them and revere them as saviors.

oh, oh, come again outdoor elvis
be our friend, save us outdoor elvis
we have sinned, forgive us outdoor elvis

we’ll build a shrine among the pines to you
(’till the end of time we’ll stand in this line for you)
o.e. o.e. we look for a sign from you

we might have to set a trap
dead or alive, we’ll bring him back

“Driving In England” follows and ended up being Taylor’s only number one song in his career. This ode to individuality and “going against the grain” has one of the best hooks in Taylor’s repertoire with a great, memorable chorus. But Taylor does not withhold some impressive imagery amidst the hooks. Only Taylor could really use the imagery of driving in the “British” direction on an American freeway as a way to communicate the difficulty of being ones own person.

roadblock on the road to glory
gridlock on the golden highway
i’ll stop at nothing to get to you

some people get so bored
they start turnin’ into cannibals
eat each others hearts out
it’s like a sacrifice of animals
deep freeze their own souls
shut down their brains
i think the only way to go
is against the grain

(let’s go) driving in england
down the santa ana freeway
somebody’s screaming out
you’re going down the wrong way!
big surprise we’re still alive

Modern evangelicalism’s fascination with gnostic approaches to truth and refusal to actually read and study the source of truth. Once again this deeper truth is couched in humorous prose by comparing popular urban legends with popular “Christian” urban legends.

remember the girl with the bee hive hairdo
stung by a spider in a rat’s nest igloo
hook man leavin’ his hook on the door
after givin’ that girlfriend’s guy what for
someone put a rat in the deep fry
madman on the phone in the upstairs bedroom
alligators down in the sewer lines
i had a tough time believing all that

‘till i picked up
the vanishing hitchhiker
i picked up (the vanishing hitchhiker)
he was an angel (the vanishing hitchhiker)
i heard him say “stop telling lies.”
then he went away

The final verse is worth the price of admission as many of the famous Christian myths are properly ridiculed with deft commentary. Again I recommend here Douglas Wilson’s wonderful book on Scriptural satire entitled “Serrated Edge.”

i get my info from the backward masking
i get the Word of God through prayer and fasting
j.f.k. is alive and well
and kissenger is a beast from hell

the face of saint paul in this butt roast
assures me that i’m going up to heaven
the anti-christ does laundry on the east coast
i doubted the most — did not believe in all that

‘till i picked up
the vanishing hitchhiker

“Tiny Town” is such a wonderful melody mixed with Taylor’s over-vibrato vocals. The dangers of small town response to something “new” reminds one of the scene in Frankenstein where that which is new and different is to be feared and destroyed. It’s a good thing the Church is nothing like that, right?

“Attack of the Pulpit Masters” comes across as the most Daniel Amos like of any Eddies song and would have fit quite nicely on “Doppelganger.” This attack on money driven evangelist and ministries may go down as possessing the fastest singing in Taylor’s career, and great synthesized vocals. He does mention something about money I think.

“Mystery Babylon” continues Taylor’s fascination with images from the book of Revelation that was obviously most realized on side two Daniel Amos’ classic, “Shotgun Angel.”The Beach Boys like pop melody and vocal is juxtaposed against the dark image of the beastly Babylon nation in Revelation.

It should be noted that throughout Eddie’s projects there are short, humorous snippets. Some spoken word and some songs. Two of the finest appear on Outdoor Elvis. The first is “Arthur Fhardy’s Yodeling Party,” which is just what it’s called. The other is “Coco the Talking Guitar” which is also just what it is called.

“Hell Oh” is Taylor admitting that his work can sometime (often?) be an irritant to the listener. Like any prophetic songwriter (Keith Green, Steve Camp, Mark Heard, Larry Norman) taking the listener and the Christian world to task is part of the job description. This was not unlike the words of Jesus in Matthew 23.

there once was a cynic
talkin’ ’bout a white bleached sepulcher
i’m the bee at your picnic
who stung you ’till you had to run home

“Blowing Smoke” is such a pretty song one finds it difficult to see it belonging to the Eddies canon. This beautiful love song of sorts is often overlooked, but it should not be missed as it may be one of the more transparent looks at Taylor as father and husband.

“Hide the Beer, The Pastor’s Here” is a real and true classic. Sheer brilliance in under 3 1/2 minutes. The song poignantly and powerful points out the pure hypocrisy associated with “moral clauses” in Christian College entrance forms, most notably the prohibition of drinking alcohol, even for those of legal age. This set up leads to hysterical imagery.

the straw runs down his arm and leg
under the carpet out to the keg
a secret party tonight at Point Loma

and the hate in your heart you’re hiding well
but the booze on your breath is easy to smell
there’s a six-pack to hide
on the Oral U side
let’s drive to oklahoma

hide the beer, the pastor’s here
hide the beer, think of your career

As hinted at in the verse above the real issue is that one can outlaw “questionable behavior” but it is those sins that we conceal that are the most damning. It is not drinking, smoking and watching “R Rated” movies that are so eternally damning as lust, hatred and envy as they can be concealed and hidden. There is no room on the “entrance form” for these sins. Taylor makes it obvious in the second verse.

she had a beer as an evening snack
when the ‘scripture man’ planned a sneak attack
suspension’s the buzz out at Wheaton
as she packed her bags and gathered her books
‘scripture man’ gave her that lustful look
yes lust is his brew but no one sees through
his minty fresh breath ain’t reekin’

So, the same man whose moral character is flawed and depraved sits in judgment of those whose “sins: are more visible, but no more damning. But quite frankly it was the “guts” to name names that caused the greatest controversy as Taylor and crew close the song by naming the nation’s most prominent Christian Colleges.

hide the beer (biola!)
hide the beer (bethel!)
wear a beard (west mont!)
hide the beer (calvin college!)
hide the beer (azusa pacific!)
hide the beer (liberty baptist!)
hide the beer (san jose bible college!)
hide the beer (bob jones!)
hide the beer (taylor u!)
hide the beer (california baptist!)
hide the beer (gordon college!)
hide the beer (calvin klein!)
hide the beer!

george fox, moody bible institute,
seattle pacific, baylor, smu, pacific christian,
jimmy swaggart u, john brown,
anderson, eastern mennonite, fort wayne bible,
grand rapids baptist, greenville, grove city, nyack,
travecca nazarine, multnoma school of the bible,
inland empire school of the bible, philadelphia college of the bible,
whitworth spring arbor,
and south & north western. . .
northwestern!

Now it should be noted that many students of those Universities saw it as a badge of honor to be listed in the song and they “got the joke!” Administrators? Not so much.

“Hold Back the Wind, Donna” is one of the most beautiful songs on this or any Eddies album. Both musically and lyrically the song is uplifting and encouraging. The little spark of truth one possesses may not seem like much but it can “hold back the devil wind.” It is a wonderful and encouraging song of faith and love and completely devoid of the normal sarcastic or irreverent tone associated with much the Eddies tunes.

“Knee Jerk” is a slower and blues and reggae influenced rocker that shows what a wonderful group of musicians were assembled. The bass and drum groove is the best on the album, especiallyDavid ravens’ pounding and thrashing drum work.

“All the Way to Heaven” is another beautiful ballad that sounds like a heavier version of something that would have appeared on Taylor’s earlier solo work. Every time I listen to Taylor on a song like this it just amazes me that he never received the recognition he clearly deserved. Songs like this are so original and great, it’s just a crime.

The experimental and obscure “Rubber Sky” then reminds just why the band was never fully embraced. Odd, off-center and completely brilliant, songs like this just don’t resonate even with the more adventurous fans of CCM that lean more toward the world of the 77′s and Steve Taylor, but for those willing to go with it, the rewards are limitless.

“Your Little Gawd” examines how many in the Church have limited to scope and majesty of the triune God. Limiting God to the conscience or some puppy leashed to man’s desires leaves one with a God not worthy of worship. If there was ever such a style as alternative country, this would be the definitive example.

The touching tribute to “Billy Graham” and the simplicity of the Gospel the famed evangelist was known for is far too short of a song. This song also contains an appearance of Prickly Disco (Gene Eugene) on vocals.

“Potential” is pure Eddies. the best musical expressions the band delivered were always the more funkier and driving grooves like “Let’s Spin” and “Driving in England.” This song falls in line with those greats.

One would expect a band like The Swirling Eddies to have a song called “Strange days.” But one would never assume it would be a pretty, country influenced ballad. But than again, that’s the Swirling Eddies.

The album closes with “Elimination (The band That Won’t Go Away)” a wonderful response to critics of the Swirling Eddies, and quite possibly Daniel Amos or any other similar band. But in the normal Taylor twist, the song is sarcastically sung from the point of view of the critic. “Give up and repent” the critic proclaims. Taylor than goes on to list the many reasons I assume he has heard over the years for him and his mates to find a new occupation.

don’t cry, you big babies
don’t feel sorry for yourselves
you’re no more misunderstood
than anybody else
but you keep on makin’ waves
it’s your lousy attitude
why would you be thinkin’ you’re doin’
anybody any good?

so bow out
get lost
i’d like to pull the fader down
on “the band that won’t go away”

go away!
beat it!

give up
repent
good riddance
and all God’s blessings on
“the band that won’t go away”

This recalls an experience I had with Terry at a Roller Rink in Orange County during a show for the Daniel Amos “Vox Humana” tour that I previously have shared. Before playing the song “Mall All Over the World” from Doppelganger Terry made a joke about how “Resurrection Band” ripped them off with their song “Elevator Muzik” as it related to the lyric “elevator up, escalate down…” He also noted that once Daniel Amos switched to using the name “DA” that Resurrection Band started shrinking their name to “Rez Band.”

It was clearly a joke. Or maybe I shouldn’t say “clearly.”

While talking to terry after the show I noted he was wearing the famous green and orange “DA” button. I asked if they were selling them that evening. He told me it was the last one he had but took it off his coat and gave it to me. I still have it. But right then a young lady came and confronted terry about the joke stating it was unChristian of him to castigate and complain about his “brothers” in Rez Band.

Seriously!

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rock, Greatest Albums, Uncategorized

65. I Predict 1990 – Steve Taylor

May 27, 2011 low5point 10 comments

I PREDICT 1990 (1987)

Steve Taylor

Sometime in the Summer of 1987 I received a phone call at Maranatha Village. The lady answering the phones at the store mentioned that the caller asked for the Music Buyer or Store Manager, but would not give his name. That usually meant complaints and I was in no hurry to respond. I reluctantly picked up and the phone, and to my great pleasure, it was Steve Taylor on the other end.

He told me that most of his call were lasting less than 3 minutes and that stores either had not heard of any controversy regarding his most recent release or they were very familiar with the controversy and had returned the product immediately to Word Distribution. I was the rare store manager who was not only very familiar with the controversy, but also overwhelmingly supportive. I had been a fan and friend of Taylor’s for a few years at that time and once he realized who he was speaking with you could tell he relaxed.

The two main issues surrounding the album were the album cover and its pseudo “tarot card” appearance and the lyrics to the lead track, “I Blew Up the Clinic Real Good.” The album title, a mocking of prophetic prognosticators, most notably Lester Sumrall, was matched perfectly by the artwork and was utterly inoffensive. And anyone who can’t get the point of the song in question doesn’t deserve a response. Fools!

The album was recorded using Sparrow’s money and distributed by Word on the Myrrh imprint after Sparrow “gave up hope” on the project. Myrrh bought the masters, finished the album and released it about a year after its initial release date.

The album features a maturing songwriter beginning to his stride and adding less of the satire and humor of the first few projects and a more serious content and writing style. There is plenty of sarcasm and satire on the release, but it is couched in a more sardonic tone and interspersed with more “serious” expressions.

The album also contains what I believe is Taylor’s finest rock song and most interesting use of arrangements. Also, Taylor’s vocals are expanded and challenged beyond the previous bouncing Boingo and Bowie stylings.

The album also features some of the longest titles to songs in any collection.

The album starts with the aforementioned, “I Blew Up the Clinic Real Good,” the one of the few songs on the album that resembles his previously work. The obviously satirical work tells the story of an ice cream truck driver that notices a new abortion clinic opening in the neighborhood he canvasses. He realizes that if this clinic is successful it will damage his business by limiting the number of potential future client; children.

The song examines the futility and danger of responding to the horrific actions of one with the horrific actions of another. It was shocking just how often the song was misunderstood even though in one line Taylor clearly states “I don’t care if it’s a baby or a tissue blob.” That alone should have been enough to educate the listener as to the point of the song.

“What Is the Measure of Your Success,” reveals Taylor at his Bowiest, with a haunting rock groove and low growl in the chorus. If Christians were to be offended by any song on the album it should have been this one. Taylor examines the worldly tendency of modern Christendom and compares them to their secular counterparts and finds them all too similar. Like much of the record, there are few answers here as the question is meant to cause self-examination.

The quirky “Since I Gave Up Hope I Feel a Lot Better” could have fit on “On the Fritz,” but is smarter and more engaging. And more dangerous. Sparrow would have nothing of it. The half-rapped verses are filled with more words than time to express them and one wonders when Taylor will actually breathe as he winds through them. The story here involves a young college student introduced to worldly philosophies and his inability to adequately deal with them. The song features the odd and intriguing fiddle work of Jefferson Airplane’s Papa John Creach.

As the album turns more serious, the slow and moving “Babylon” introduces a darker and more challenging Taylor. Whether expressing the Old Testament exile of Israel or God’s current people needing a legitimate and lasting cleansing of worldly influence, the song rings with eternal truths. It also features some of my favorite Taylor vocals.

What I consider Taylor’s finest rock songwriting follows with “Jim Morrison’s Grave.” The ode to “better to burn out than fade away” mantra of modern thinking and embraced by rock and roll as a whole is both brilliant and biting. Taylor’s vocals stretch and pierce with an edge that are nearly exclusive to this great song. The imagery displayed here as a result of visiting Morrison’s grave in Paris points to the vacuous and depraved life that believes cruelty and disdain are necessary evil of genius and success. The final line of the song is brilliant as he describes the lasting music like that of a ticking watch on a dead man’s wrist.

Musically the song is relentless and never lets up until the very end where the song doesn’t quite fade as simply dies with a strained backing vocal belts over a longing keyboard repeating over and over. The hook, though, is where Taylor reveals himself to be the growing and perfecting songwriter he was becoming at the time.

The slightly Indian influenced melody of “Svengali” reveals a powerful morality lesson set to a rock beat. The 19th century novel (and classic silent film) on which the song is based tells the story of a wretched and evil music teacher who develops a control over his opera star pupil and destroys both of their lives. Taylor relates this to those things in our lives that lead us astray and away from God, most notably intimate relationships with unbelievers that keep us away from maintaining a healthy relationship with others and with God.

Like “Since I Gave Up Hope,” “Jung and the Restless” addresses the modern and postmodern pitfalls of looking for truth outside of the Scriptures and embracing man’s misguided and ungodly ideologies. This is the only other song that sounds like Taylor’s earlier work, except here it is darker in tone and content. The guitar work (Dave Perkins) is subtle and groovy and really drives the song. This song also contains the annual yodeling that somehow seems to make every Taylor release.

Many consider “Innocent Lost” one of Taylor’s greatest songs and I do not disagree. In fact, it is here where the maturity as a songwriter and a performer are shown through restraint. The simple song reveals a simple Gospel story in a brilliantly moving fashion.

But the best song on the album is the albums final pop/rock number, “A Principled Man.” Oddly enough, it was my least favorite song at first listen, but not only has grown on me, it has become a real anthem with lasting power. A touch of Big Country, Hothouse Flowers and World Party 80′s rock dominates a world music delight. The jangly chorus and final chorus is striking and unforgettable.

The album closes with a classically influenced ballad, or operatic pop number. “It’s Harder to Believe Than Not To” is really a simple and haunting song recorded with a small string orchestra and vocal support from an opera singer and is based on a quote from Flannery O’Connor. When challenged that Christianity is for the weak O’Connor responded with the line that makes up the title.

The song is probably the simplest song in Taylor’s repertoire outside of “Hero” or “baby Doe.” Yet it remains a personal favorite because its beautiful arrangement and poignant content. Taylor nearly whispers at points and the listener finds themselves leaning into the song to assure they do not miss a moment. Really quite brilliant!

Taylor would only record one more solo project after this and has been MIA for two decades, though rumors of a 2012 Taylor release are making the rounds. Before a single decade Taylor was probably the single most important solo rock artist in CCM and repercussions are felt until today. In fact, every single Taylor studio release made the list as well as his band effort under a different name.

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music, Uncategorized

96. If You Can’t Shout Saved, You’ll Have to Face the Penalty – Ishmael United

April 4, 2011 low5point 3 comments

IF YOU CAN’T SHOUT SAVED, YOU’LL HAVE TO FACE THE PENALTY (1979)

Ishmael United

The Reverence Ian Smale to the stage name Ishmael when he began his music ministry in the early 70′s. Initially he was one half of the acoustic folk/rock duo Ishmael and Andy with Andy Piercy of After the Fire fame. After two albums together the two went their different ways though remaining friends and songwriting partners.

Piercy would join the progressive rock After the Fire and help morph into a 1980′s new wave rock band, most known for their smash hit Der Kommissar. Smale would produce an album called “Charge of the Light Brigade” under the name Ishmael. the album was much more rock than the Ishmael and Andy projects and would serve as a precursor to Ishmael United.

In 1979 Ishmael would put together a band called Ishmael United and would produce not only the best work of his career, but one of the most important, influential and original albums in CCM history. Punk, ska, rock and soul and combine to create something utterly unique and powerful.

The album starts with a phone ringing and an operator directing a call to “Ishmael United.” This immediately kicks into “Song of the Last Generation,” a punk song with a great sense of pop. It possesses a touch of Andy McCarroll with lyrics pointing out how, in the mind of the writer, the world doesn’t seem to notice that this is the world’s last generation. A Noahic call for repentance is lamented as the world appears to be heading to hell in a handbasket and “nobody cares.”

“Star on Sunday” starts with a staccato synthesizer for the first verse before a rock drum beat and ska styled guitar are slowly added. The song, driven by Smales strained and faulty vocals, takes a look at Christian artists that have outgrown their humble beginnings and have lost sight of their initial ministry desires. the lure of money and fame tears down the subject to the point where he believes “they don’t want Jesus, they just want me.”

One of Smales’ great traditions, even to this day, is to make musical expressions detailing popular Bible stories and ideas. His later children’s products would bear this out. “Bartimaeus” tells the story of the blind man healed by Jesus. The story is passionately performed by Smale here as, again, his struggling vocals give the listener a peak at the pain and desire of the man craving to be healed. The incredible sax work here drives the song.

The title track is the most second ska sounding of the entire album. Bass and keyboard driven and utterly unforgettable. Smale uses the metaphor of a soccer (uh, futbol) match to express the idea of how works cannot save anyone. The songs remains on the edge of being corny, but is saved by Smales’ full commitment to the musical expression and ends up being more “fun” than silly. The albums closer is a different story.

“Jesus Trip” is a ska punk song that I so wish a band like Five iron Frenzy would have covered. Fun, energetic and irrepressibly singable.

“Don’t Rock De Boat” returns to a more second eave, world music/ska sound with a call and response type chorus. One must wonder if this song was Randy Stonehill’s inspiration for “Shut De Do,” or even Steve Taylor’s “Lifeboat.” In the hands of any other artist this song (as well as a few others) could have been a crash and burn, but they simply find a way to work beautifully.

One of the real highlights of the album is “Crowd Trouble,” which also served as a limited edition 12 inch vinyl single. Again the metaphor of a soccer match is used as the sport is known for it’s unruly crowds. But here we discover the crowd in question are actually those attending the trial of Jesus with Pilate. The “rowdies” provoke the crowd to shout “crucify.”

“Christian Schizophrenic” continues the musical expression of borderline children’s sound. The lyrics deal with hypocrisy and two-faced Christianity. But near the end the song changes direction into a nearly Daniel Amos type fun punk rock song with a driving piano leading the way.

The 50′s malt shop influenced “Now It’s All Gone Wrong,” is just fun and has a great backing vocal driven chorus. “Coraline Robinson” is the most unique song on the album with it’s piano and drum accompanied ballad form. The story of a woman at the end of her rope serves as a backdrop to present the Gospel message to those in need. This may have worked real well on radio at the time if not for the references to sex, drugs and suicide. I love the backing vocals as the song closes.

“Jesus is Making a Comeback” is a great album closer. OK, it doesn’t actually close the album but the final song is still too much of a children’s song for me to include as part of the record. In fact, if this was released during the time of the CD the album closer would be a hidden track! But here the fun, energetic and zany Smale takes center stage and the only problem is the song should have lasted another two minutes!

Ah, “the Glories.” How do you deal with this song in a serious review. It is a clearly a children’s song that would later be heard on one of the countless children’s album that Smale spent the next three decades recording. A precursor to Psalty, the song tells the story of the “Glories” who live in “Charismatic Woods” and are always cheerful and obviously love God (their constant refrains of Al al le luia prove this). They were opposed by the “Miseries” (I’m guessing Methodists or Anglicans) who tried to sew up their lips but failed.

It’s silly and really doesn’t belong, but, much to my dismay is mentioned by many friends as own of their favorite songs from the album. Oh, well, the 11 songs are fantastic!

The album made its way to the US through Star Song. At the time Star song was one of the few labels willing to take risks (especially when their was limited financial responsibility) as it was at this time that they also released Bill Mason and Resurrection Band.

In 2008 Smale was diagnosed with a form of Leukemia, but has been cancer free for a year or so now. He has maintained a ministry directed at children with several albums and books for kids. he has also worked with the children’s products released by Kingsway Music in England.

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music

165. Equator – Randy Stonehill

February 16, 2011 low5point 9 comments

EQUATOR (1983)

Randy Stonehill

No other artists made the transition from Jesus Music pioneer to CCM headliner quite as successfully as Sir Stonehill armed with his axe full gallop on his amp. Many of his peers could never transition from the simplicity and freedom associated with the Jesus Music infancy to the big bad music business. Not only did Stonehill make the transition and progression as an artist he somehow seemed to maintain many of the qualities that made the Jesus Music scene such a powerful force.

Equator was the second album in this new ear for Stonehill and proved to be one of the best of his career and one of the best of the early 80′s. With the help of former labelmate and friend, Terry Scott Taylor, Stonehill was able to manage walking a fine line between the live “zany Uncle rand” and the dark brooding singer-songwriter that his duplicitous musical personality always portrayed.

There are plenty of wacky novelty songs, but with the help of Taylor and the Daniel Amos boys, they come across more “new wave” and less silly, though a few edits vocally here and there may have allowed for more repeated listens to songs like Cosmetic Fixation and American Fast Food. Though he never matched the sheer dark humor and biting sarcasm of Lung Cancer, here on Equator the novelty songs are less annoying. The highlight, of course, is the Caribbean themed, Shut De Do, a future youth group sing-a-long favorite.

But the strength of this album lies on the other side of Stonehill’s musical palette. The more straight ahead ballads and rockers on this album are utterly brilliant and rank with the best of Stonehills four decade career. “Turning Thirty” may be the very best ballad in Stonehill’s career for its transparency and simplicity. The acoustic guitar and light keyboard string arrangement by Tom Howard accompanying the song allow the poignant and universal message to pour through.

The albums opener is a stunner in that it is so stunning in its quiet simplicity. Nearly acapella, the songs simple and beautiful arrangement grows with each verse and is some of the best “quiet” production in Taylor’s career. Even the Best of Friends, which may or may not be about Larry Norman, is reminiscent of Norman’s “Song for a Small Circle Friends.” This theme would show up many times throughout the rest of Stonehill’s career.

Hide Them In Your Love is a DA sounding song sung by Stonehill and remains one of the best “serious” rockers of Stonehill’s career and possesses some of Randy’s best rock vocals. World Without Pain is another song that sounds heavily influenced by Taylor, and in a very good way. It would not have been surprising to hear something similar on Taylor’s “Knowledge and Innocence.”

The album’s highlight and the center piece of the entire project is the phenomenal and powerful “China.” I will not go out on a limb and claim it is Stonehill’s finest artistic achievement, but I would put it in the top two or three. Any artist would be proud to have written and recorded such a wonderful song. Musically and lyrically it is nearly perfect and its haunting refrain and unforgettable musical soundscape is what separates musicians from artists.

Stonehill would follow with the soft and wonderful “Celebrate This Heartbeat” before stumbling with the forgettable “Love Beyond Reason,” the attempt at CCM safety. He would redeem himself with the Spirngsteenesque rocker “Wild Frontier” (reviewed previously), but through it all maintained a level of artistic integrity few have matched. And he did so over a very long period of time. I have never taken note if Stonehill has been inducted into the GMA Hall of Fame, but it would an utter disgrace if he was not.

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rock, Greatest Albums, Jesus Music

Of Powdered Donuts and Chocolate Milk (A Memorium)

January 13, 2011 low5point 8 comments

Many readers may find this post an odd addition to the present countdown and be concerned it is out of place on this blog. The more regular and attuned readers will see its significance and hopefully understand its placement.

For those who have consistently read this and my other blog on Christian music will most likely recall the several mentions of my brother-in-law, Curt. Curt Kisner played a vital role both in my life (as well as countless others), especially in the area of which this blog (and the other) specializes in.

My biological brother left the house to join the Air Force when I was pretty young. We shared a room for the first 12 or so years of my life, but the six years that separate us meant we were never living through the same “life experiences” at the same time. By the time I was old enough to begin sharing some similar experiences he was either in the Air Force or married, living over 3,000 miles away. I love my brother like a brother and always will.

But it was at that time my sister brought home a young man named Curt she had met at Church. He had long hair and liked rock and roll. He played guitar and would be a part of a few “bands” during his high school and college years with many other friends from the youth group, including my sister.

My father was a police officer and my brother and I always had very short hair and rock music (even of the Christian variety) was limited in the house. Then along came Curt. He eventually won over my parents with his unending humor, joy of life and his immense love and dedication to my sister. He was the only man in her life…EVER!

I loved Curt immediately. Not just for the rock and roll hair and cool guitar, but for so many other reasons that naming them here would be impossible.

I loved watching sitcoms with Curt in my family’s living room. He laughed at everything! I mean everything! He made the shows funnier as I learned to see the lighter side of life through his twinkling eyes (even the lazy one) and loud laugh. He loved to laugh. He loved to laugh more than anyone I can recall. He loved to make others laugh as well.

I loved the fact that he allowed some snot nosed kid, six years his junior to “hang out” him, his girlfriend and all their other friends and band members. I am friends with many of his peers because he allowed me to be a part of his group, despite the age difference.

One day, when I was about 12 or so, I had clearly gotten on my sister’s nerves and was “seriously hanging around too much” and she made it clear I was not invited to stick around. Being an immature little kid and not getting the hints it was time to take off, I was told, in no uncertain terms, I wasn’t welcomed. Like a little child I took off on my bike, upset and crying. It was Curt, I later found out, that lead the search party for me, making sure I knew it was OK to be a part and convincing my sister to let me stay around. Since that day, I have admired and loved my sister and her husband for their never-ending attitude of inclusion.

Curt never met anyone that wasn’t his best friend. He was always reaching out to me, my friends and people at Church like very few people his age. I watched from a distance and saw his actions. I only wished it would have rubbed off a little more on me.

My sister and Curt started a band called “The Lighter Side Band,” a Christian rock band that I always hoped would “make it.” They never did, but I always thought they were the greatest band ever. I “sort of” ran sound and would hang out at the band rehearsals at some Baptist Church in downtown Anaheim. The band even went to Magic Mountain together for a fun day and Curt brought me along.

The day he was going to propose to my sister he told me about it and sent me on an errand to “Mini Mart.” Mini Mart was a little market/liquor store two houses down from the house I grew up in. Everyone on the east side of Anaheim knew “Mini Mart.” My sister and Curt would regularly sit and watch TV while eating powdered donuts and drinking chocolate milk. He would ALWAYS give me enough money to get some for myself as well. ALWAYS!

That was the way of Curt.

Curt handed me a few bucks and sent me down to Mini Mart to pick up these delights. I did as requested and then sat on the store’s stoop and ate the donuts and drank the chocolate milk myself, giving Curt the time he needed to propose. I came back to a teary-eyed and smiling sister and a proud and joyful set of parents.

Before all that, though, Curt did something that would change my life forever. He took me to Disneyland for one of their regular “Night of Joy” events. The only thing I remember before going was that Barry McGuire was going to be there, and Barry McGuire was one of the few contemporary Christian artists whose music was in our house. What I didn’t know was that Barry McGuire was sharing the stage with this new band called the Resurrection Band!

Nothing would ever be the same.

My love and obsession for Christian music, especially Christian rock flourished. It lead me to work in a Christian bookstore, work in Christian radio and work for a Christian music label or two. The music that has completely consumed my life and filled the multiple pages of this blog was birthed and later built up by my brother-in-law, Curt.

Curt would be for me my first two Christian albums: “MrGuire” by the group McGuire and “This Time Thru” by DeGarmo and Key. The latter would become a staple in my catalog and remain a favorite to this day.

He took me to see DeGarmo & Key at Knott’s Berry Farm a week before their classic “Straight On” was released. He took my to my first Calvary Chapel Saturday Night Concert to see this guy named Darrell Mansfield, that used to be in this Christian country-rock band, Gentle Faith. Mr. Mansfield wasn’t “country” anymore.

But the most memorable night was when he bought an extra ticket for me to the Universal Amphitheater for my very first “real” rock show. The band was KANSAS. It was the Vinyl Confessions tour and I was in awe. I was already familiar with the band and loved everything the band or Kerry Livgren had done, but seeing it all live was beyond what I could have imagined.

The love and passion I have for the music that has populated this blog is directly related to my brother-in-law Curt. Curt and my sister later got into Country music, which I have never understood, but change is sometimes inevitable.

Curt also introduced me to my great love in high school; cross country and track. Curt could run. His build is that of a runner. Long, lanky and muscular legs and really cool long hair that blew behind him as he ran. My sister ran as well. I followed several years later and had a very good career. I ran both cross country and track and Curt was there all the time for my matches and competitions. He would coach at local High Schools and may be the most beloved coach in the sport. Just ask his athletes!

I also learned about humility and grace from watching him and my sister. I learned about patience and devotion from their example as well. Curt loved my sister with a deep, unconditional and unending love. You could see. In fact, it would be impossible to miss. There was a grace and graciousness about him that could never be missed.

My first daughter, Camille, was always afraid of men. Especially men with facial hair. Curt had a beard for as long as I could remember that made him look like Jesus. He was a shoe-in for the Easter Cantata role of Jesus and on more than one occasion was hung on a cross for that purpose. But Camille would have none of that. But once Camille grew to an age to understand and recognize Curt for who he was inside, her love for him knew no bounds. She adores her uncle.

My family and I would move around the country for most of the last 20 years, but would always be mindful of “Uncle Curt” and my sister. They would visit us in San Diego or Colorado, it wouldn’t matter. Curt was always the same. Content to rest leisurely on a reclining chair and watch TV…

…and laugh.

This morning (1/13/11) I received a phone call from my mother at a very early hour. Early hour phone calls never bring glad tidings are explosions of joy. This call rang true to form. Some time during the night, the sweet Lord Jesus came and gently escorted this wonderful man to his eternal home, lovingly helping him escape from a cancer ravaged body that had furiously impacted his final days.

A few days ago, after being released from the hospital and arriving at his home for hospice care, he whispered to those around him, “I’m ready to go home.” Everyone knew what he meant. He was in his house, but was ready to go “home.” Several days ago I had written a poem for my sister to encourage her and give her a glimmer of hope in these trying days.

I Saw a Glimpse of Your Future

I saw a glimpse of your future

And it was better than it seems

I saw a glimpse of your future

Something greater than your dreams

The air was so much sweeter

As it filled your lungs like grace

The mountains so much steeper

A heart beating with the pace

I saw a glimpse of your future

With face glowing in the sun

A race not built to win or lose

But a race to simply run

Breath bursting out in pleasure

Legs finding strength again

In a future created for you

With no sorrow, loss or pain

I saw a glimpse of your future

A home where love and grace collides

Where a Saviors’ love holds warm and tight

The heart where faith resides

With arms reaching toward heaven

With no time to pass or tell

Brand new creature and creation

To whose soul cries “all is well”

Oddly enough last night while working at my Church I was listening to my Zune. I have aver 19,000 songs on my Zune and had it on shuffle. In the several years of owning an mp3 player and placing it on “shuffle,” I had never heard the same song play twice in a row. Until last night. Perhaps I accidentally hit the “back” button while walking along, but I cannot know for sure.

The song was Keith Green’s version of “The Victor.” Though an “Easter” tune and directly relating to the Resurrection of Christ I noticed a particular section that just literally floored me. It immediately reminded me of 1 Corinthians 15 where Paul reassures his readers that the same Resurrection provided to Christ by the Father is guaranteed for those who are His as well.

²⁰ But Christ has indeed been raised from the dead, the firstfruits of those who have fallen asleep. ²¹ For since death came through a man, the resurrection of the dead comes also through a man. ²² For as in Adam all die, so in Christ all will be made alive. ²³ But each in turn: Christ, the firstfruits; then, when he comes, those who belong to him.

In the song Green sings:

Look!
The gates of hell
They’re falling
Crumbling from the inside out
He’s bursting through
The walls with laughter (Hah!)
Listen to the Angels shout

Bursting through the walls with laughter? God, that sounds just like Curt!

So I sit here, pausing countless times to wipe the tears that have blurred the screen in front of me, not knowing what to do next. Click save this draft and walk away? Click “publish” for the world (or at least my little world) to see? I do not know. I do know one thing:

Today I will be having Powdered Donuts and Chocolate Milk.

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music, Uncategorized

402. Prodigal – Prodigal

October 14, 2010 low5point 4 comments

PRODIGAL (1982)

Prodigal

I remember getting a thin plastic single inserted into a copy of Campus Life Magazine back in 1982 for a new band with a crazy cover. The band was Prodigal and I was hooked almost instantly…at least after I figured out how to play the single.

The band Prodigal is everyone’s “favorite band that not enough people knew about” as I m convinced more people now claim to be fans than actually bought their albums when they came out. Prodigal released three albums and all three made the list. Each album was actually a bit different from each other as production and musicianship improved. What was always there was the songwriting. Loyd Boldman and crew knew how to pen a tune with the best of them.

From the album cover based on Escher’s “Relativity” but with images that coincide with the contents of the songs on the album, everything about this album was well thought out. The same goes for the songs themselves. Influenced by everyone from ELO and The Eagles to Steely Dan and Genesis, this album walked the fine line between art rock and pop rock with perfect precision.

The one last note I always like to mention regarding the band, and this is true of all three of their releases is that their content always seems more introspective and personal than other CCM artists. By that I mean you never get the feeling that they were on the outside looking in and commenting, but rather were always commenting as part of the human condition while personally experiencing and taking part in it.

Categories: CCM, Christian Comedy, Christian Music, Christian Pop, Christian Rap, Christian Rock, Greatest Albums, Jesus Music

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