4. Victims of the Age – Mark Heard

VICTIMS OF THE AGE (1982)

Mark Heard

This could be the last day my eyes see
This could be the last day you see me
This could be the last night in my bed
This could be the last thought in my head

I won’t cast my life to the wind
I’ll treasure as much as I can
While I can, I can

Though I may be gone before too long
As long as I am here I’ll sing this song

This could be the last time

I do not cry very often. I will cry in a movie before I cry about things in my own life. I have only cried once at a funeral, but never have I cried when hearing about the death of someone I did not know extremely well. Except on August 17th 1992 when I had learned of the death the previous day of Christian artist Mark Heard.

And I don’t know why…

Perhaps I was so moved by his music and felt such a connection to it that his death simply moved me. Or I have considered I was familiar enough with the story of his life and trials and struggles he endured for his art that I felt an empathy previously unknown. Sometime I believe it is because I realized the world lost a beautiful soul, a loving man and brilliant artist…and the world didn’t even know it.

That is the great shame of the life and death of Mark Heard. It is a shame that most of the world had no idea who the man was and what an amazing collection of art he had created in his 20 years as a musician, poet, producer and performer.

“Victims of the Age” was the second album of Mark’s that I would own (though I now own them all) and its consistently carried theme of city life and isolation and the ever-present Gospel ring as true today as it did in 1982. Plus I firmly believe that Victims, more than any other Heard release, walked the very fine line between commercially accessible and artistically intriguing as any other.

Heard’s musical career began with a small Gospel folk quintet,  Infinity + 3, on an album called “Setting Yesterday Free.” I picked up the “Fingerprint” re-release a few years ago and admit is possesses limited repeat listening, but it does offer a glimpse into the early songwriting of Heard with five songs written by him. The album was originally recorded and released in 1970 and eventually found limited distribution through Spirit Records a few years later.

A few years later he would produce his first solo release, the self-titled “Mark Heard.” The album would actually br re-released on Larry Norman’s Solid Rock label three years later and, so, in 1978 Mark heard made his Christian Music debut on a national level.

The album suffered from a limited budget and the production quality is obviously lacking, but the songwriting skills are prevalent as they would ever be. Most notable is the wonderful title track at its contemplative feel.

What will I do if you go away
Leaving these songs sitting here
What is the use if you’ve not cared to hear
Time and again I will pray this prayer
Loved saved and crying away
“Lord let the Truth reach hearing ears today.”

My, my–how the thoughts slip by
Who has seen them pass
How nice if everyone would carefully use a looking glass

1979′s “Appalachian Melody” would be the second and final album Heard would do for Larry Norman’s label. Heard, like nearly every other artist that worked with Larry, did no more than one or two releases on Solid Rock. But this album would receive some very positive attention with some regionalized airplay of several of the James Taylor-like acoustic ballads. The name of the album is somewhat ironic in that the musical backdrop was significantly less “Appalachian” sounding than the debut album though the Southern/Bluegrass influence is still present.

The album is not only loaded with amazing songs, but Norman did assemble quite a group of studio musicians and friends to help. Musicians credited include Norman, Stonehill, Jon Linn, Flim Johnson and the late Tom Howard on keyboards. But with all that help it should be noted that Heard’s immense musical talent would allow him to perform the majority of the music.

Highlight’s include On the Radio, Bless My Soul, Sidewalk Soliloquy, The Last Time and Castaway, a song which would appear on later re;eases as well and serve as one of Heard’s stronger radio hits. “Two trusting Jesus” should have become a regular wedding song, which was quite a popular musical form in the 70′s and 80′s, with its deeply loving and spiritual content.

Two trusting Jesus
There begins the story
Two separate pathways
Leading to glory
With God’s Son
One and one
Two eternal lives begun
Two trusting Jesus
Are two within His care

After recording an album that was originally released in Switzerland (Fingerprint), Heard returned to the United States and signed with Chris Christian’s Home Sweet Home label. The next five albums would be released on the label, but would mark Heard’s most difficult season artistically. According to interviews and the biography written about his life, Heard was constantly under pressure from label executives to make his music more palatable to the “CCM” audience.

Heard suffered from an ailment known as the low “J-quotient” in his music. By that I mean he was criticized by some for not using the name “Jesus” or God in his songs quite enough. The market at the time (today?) chooses to embrace and promote artists whose content is easy to decipher and required little critical thinking on the part of the listener. Heard did not, nor would he ever, fit into that mold.

We are better off for it even though it cost Heard quite a bit spiritually and emotionally. Described by many as a quiet, reserved, aloof and thinking man, his friends knew a man who was intensely thoughtful, creative and intensely funny. Regular concert goers were privy to his dry and wry humor and unbelievable musicianship. In fact I have argued and still firmly believe he was the finest acoustic instrument player I ever saw live, rivaling Bruce Cockburn in sheer musicianship.

Heard’s first release on Home Sweet Home was the decidedly more electric and rock oriented “Stop the Dominoes.” Mark would produce, arrange and record the album himself and hand-pick the background musicians that included John Patituci, Tom Howard, Alex MacDougall, Randy Stonehill and a very young a relative unknown female singer/songwriter, Leslie Phillips.

Less James Taylor and more bluesy rock with early influences of Lindsey Buckingham that would be a major influence on the album that is the our subject here. But Heard’s own words would describe the general response from the CCM market, even though a small and growing following was beginning.

Well my brothers criticize me
Say I’m just too strange to believe
And the others just avoid me
They say my faith is so naive
I’m too sacred for the sinners
And the saints wish I would leave

Whether instinctively or through experience Heard seemed to know that his music was planted firmly on the fringe of the CCM world. It is a shame because even this often overlooked album had several amazing radio friendly songs like I’m Crying Again, Call Me the Fool and To See Your Face. The latter was played on KYMS I recall.

After releasing “Victims” a year later Heard followed up with two relative acoustic driven album to attempt to appeal to the more AC CCM crowd. The first was the very impressive “Eye of the Storm,” which would include a new version of “Castaway” that would pick up some radio airplay on Christian radio stations nationwide.

It is also a special album in that Heard pretty much recorded the whole album at home by himself, playing all the instruments and performing all of the backing vocals, including a “gospel choir.” There is even a “horn section” that was Heard humming into his hands. Though there were a few overdubbed instruments added they were very limited and added one at a time.

If I remember right “Eye of the Storm” would be Heard’s most successful release. This would be a blessing and curse.

After the success of the previous album Heard was receiving pressure from the label to continue in a more acoustic vein in attempt to capitalize on the success of “Eye of the Storm.” Though decidedly “mellower” than Dominoes of Victims, “Ashes and Light” would not be the exclusive acoustic release the label was hoping for. Though filled with very radio friendly songs in the style of Tom Petty and John Mellncamp there never seemed to be a concerted effort by the label to break any songs on radio.

The album does stand out as it was the very first album recorded entirely in Heard’s home studio, Fingerprint Studios. I recall hearing stories of Heard playing an instrument or singing while simultaneously recording and engineering his own work. The album would also be the first to feature an appearance by Jesus Music pioneer and incredible songwriter on his own, Pat Terry. Heard would produce three album for terry, the first being “Humanity gangster,” a must own album that I one day hope appears on CD!

The opening track, “Winds of Time” remains one of my favorite songs in Heard’s catalog. The lyric rips at the heart upon every listen in our need to be completely filled with all that God has to offer. Heard calls it the “saturated soul.”

It takes a saturated soul
And a faith that will never let go

It takes more than mindless passion
It takes more than dogma in mime
It takes more than virtuous fashion
To withstand the winds of time

It takes a saturated soul
To withstand the winds of time

The song “Straw Man” is notable as the only song in history that includes the word “anhedonia.” Not for that alone, the song also stabs deep at the heart of those who build up arguments based on fallacies and spread the fallacies as truth, and who use those arguments against those in the body of Christ.

If true communication were ever to bless this congregation
And everyone knew just what it’s like to be somebody else
And no words were hasty and all thoughts were thought through
Might our anger not find a better target than ourselves?

“Mosaics” would be the last album on Home Sweet Home even though the label would release several”Best Of” money grabs, especially after his death. Fans criticized the label profusely for this as stories circulated that due to some contractual issues the surviving family members (wife Susan and daughter) were not receiving royalty payments for those projects. I have heard that some of those issues were eventually resolved but am unfamiliar with the details.

“Mosaics” would be a return to a more rock and blues influenced sound and would include a cover of T-Bone Burnett’s “Power of Love” and the song, “Miracle” co-written with Tonio K. Heard would go on to work extensively with both of those artists.

One other interesting note is that the album cover was of a picture of Heard that was cut up into sections and sent to several friends around the world who were asked to “fill in” the their piece and send it back. The pieces were then reassembled to form the album artwork.

The next album for Heard would be the group concept for What? Records recorded under the name iDEoLa. See http://greatestchristianalbums.wordpress.com/2010/02/12/31-tribal-opera-ideola/  for more information on this great release.

Heard would then disappear for several years producing albums for Randy Stonehill and forming his own label, Fingerprint, that would include artists like Pierce Pettis and the Vigilantes of Love, whom he would also produce.It would also be on Fingerprint that he would write, record and produce three of the greatest albums in his career and in Christian music for the time.

“Dry Bones dance” would be the first of the three “Fingerprint” albums released before his death in August of 1992. Both it and the follow-up album, “Second Hand” would be listed among the Top 100 albums by the editors of CCM Magazine. Interestingly enough, it would be “Satellite Sky” that would remain my favorite of the three.

This third release would be written entirely on the mandolin and would feature several songs that would later be covered on the Tribute album to Heard called “Orphans of God.” There is something about the uniqueness of the mandolin as the primary instruments in a rock and roll setting that makes the album so enjoyable.

It was also the last album before his death and while working for Frontline Distribution at the time we were selling the record into christian Bookstores. Several weeks before his death Heard came to a Frontline sales conference to promote the new album and the entire label that just had signed the deal with the company. As a longtime fan it was a privilege and joy to represent his music to an industry that never quite “got him.”

Despite the impressive list of albums mentioned above, my love and appreciation for Mark Heard and his songwriting skills came with the impressive “Victims of the Age.” It is both eternal and groundbreaking. It is immediately likable while possessing a lasting impact. It is brilliant from the first note to the last. It is the finest collection of heard material in one cohesive package and its theme is utterly universal.

The album starts with the title track that addresses immediately a world that makes no effort to ensure its inhabitants and loved, accepted and carded for. Everything around us screams for our attention and yet offers little for that attention received.

Radio says, “I love you”
Street says, “That’s a lie”
Billboard says, “Give anything a try”
Sidewalks don’t say nothing
Streetlights don’t ask why

Could stars be screaming in the evening sky?

Caught between these voices
The sirens and the sage
One too many choices
For the victims of the age

The “city life” theme would consume the entire project as the listener imagines Heard getting into a taxi cab and driving around the city commenting on what he sees. The loneliness, despair and the glimmers of hope.It must be a universal question to wonder under our breath just who all these people are and what are their lives like. Heard asks the same question with sobering answers.

Half-baked traffic snake creeping in the evening sun
Clogged-up fast lane clears and the day is done
Everyone’s gone: some went to Hell, some went home

City life won’t let up while you’re waiting for the light to change

Most of the album falls in the middle American rock vein of Tom Petty and Neil Young, but with the lyrical precision of Bob Dylan and musicianship of Lindsey Buckingham. This is high praise that is well deserved.

The theme of individual despair and isolation continues as Heard is joined in the can by others who are seeking something…something that may not even realize they are seeking. Their nameless faces populating vehicles leading heard to wonder aloud.

Hypothetical mortal beings
Known only to themselves and God
Come and go and play the cameo
They’re just faces in cabs

All the hearts that are gonna break today
All the lovers who won’t come home tonight
Nobody feels their dynamite
They’re just faces in cabs

One must wonder where is the Church in all of this? What is our responsibility? Are we seen making a difference. We find mission avenues in foreign lands and neglect our neighbors.

All the heathen in Africa
All the heathen in West L.A. today
All of raging humanity
Is just faces in cabs

They’re just faces in the cabs-so I’ve been told
Just faces in the cabs-the masses out there
Just faces in cabs-anonymous souls

On “Nothing is Bothering Me” the results of these images appear to be limited as they ones commissioned to serve and help the down-trodden ignore the truth set before them.

We get the picture from week to week
The rich get richer and inherit the meek
Long since started preying on the weak
Am I the guilty party if I turn the other cheek

I’m alright
Nothing is bothering me
I’m just trying to keep the weight of this world
From dawning on me

Heard continues this study in juxtapositions as he compares people from all walks of life and how similar events may result in significantly different responses in “Some Folks World.” The disparity and desperation of many are chronicled in this sobering and haunting melody.

Some folks eat what flies leave
They get what they can take
Hunger has no heart and it will not wait

Rain can ruin your weekend
Or rain can spare your life
Depending on who you are and what your thirst is like

And when it’s day to me it’s night to someone
And when it’s night you might not want to go on

It is a big world out there and yet the church was called 2,000 years ago to make an impact in this world. Heard concludes the song with similar thoughts.

Some folks taste of Heaven
Some folks taste of Hell
Some folks lose their taste and they cannot tell

And when it’s day to me it’s night to someone
And when it’s night you might not want to go on

Heard does not let up on the second half of the album as he makes probably the most blatant indictment on the church and her response (or lack of) to the world around her in the song “Growing Up Blind.”

So we forsake this festering waste
And all of the wounds that we’ve seen bleed
In the name of the One who says that what we’ve done
Is turn our backs on Him in leaving the least of these

Growing up blind, growing up blind
Hearts in the darkness killing time
Growing up blind, growing up blind
How does it feel to be growing up blind

“Dancing at the Policeman’s Ball” should have been a mainstream radio hit for Heard. The quirky, dare I say “dancy,” song is the most reminiscent of Lindsey Buckingham. For some reason I every time I hear Steve Taylor’s, “This Disco (Used to be a Cute Cathedral)” I am reminded of this song and its look at those things that keep us from doing what we are commanded to do. It also would have fit nicely on the Ideola project with a bit of electronic tweaking.

You hit the floor at the sound of the band
With a partner in your hand
Restless and breathless you dance the night away
Did I hear you say it is your aim
For every night to be just the same
And you hope the city outside’s gonna be okay

Dancing at the Policeman’s ball

Heard’s most scathing commentary may have been reserved for “Everybody Love a Holy War.” This brilliant work features some of Heard’s finest lyrics as he addresses the “us versus them” mentality both within the walls of the church and the with the church and those on the outside. The content reminds me of Francis Schaeffer, who, I would discover later, had a great impact on heard’s theology and worldview. Here Heard addresses how those within the Church treat one another on doctrinal lines and how those in spiritual power rules use their authority to weaken those below them.

Many’s the man with the iron hand
Supposing his own thoughts to be Divine
He will break any bond-
’cause the other man’s always wrong
It’s a handy excuse for his crimes

Everybody loves a holy war
Draw the line and claim divine protection
Kill the ones who show the most objection
Everybody loves a holy war

But the battles are not just waged within the walls of the church, but the attacks are lobbed at the world in need of the gospel as well.

Dissident cries are met with cold eyes
And treatment the devil would get
Righteousness and truth
can be weapons in the hands of fools
While innocents go to their deaths

Everybody loves a holy war
Draw the line and claim divine assistance
Slay the ones who show the most resistance
Everybody loves a holy war

Heard, though, shine the bright light of grace and hope in the albums closing number. “Heart of Hearts” would feature backing vocals by Leslie Phillips who would later cover the song and make a hit out of it. If the often mentioned Top Songs blog ever comes together this may be Heard’s highest charting song and clearly one of the best 20 songs the genre ever produced.

Tears in the city
But nobody’s really surprised, you know
My heart’s taking a beating
Existence is bleeding me dry, you know

But way down in my heart of hearts
Way down in my soul of souls
Way down I know that I am a fortunate man
To have known divine love

The trip around the city ends with more than just a glimmer, but rather and sunburst of hope as Heard realizes how fortunate is the man who has come in contact with divine love. the songs serves as the perfect and memorable ending to such an amazing record.

On July 4th, 1992 Heard suffered a heart attack while on stage at the Cornerstone Festival outside of Chicago. He continued and finished his set before asking to be taken to the hospital. After a few weeks he was released and a few weeks folloing he suffered a major cardiac arrest and passed away on August 16th. He was only 41 years old.

But Heard’s legacy would live well beyond “Victims” and well beyond his years as the incredible tribute album,”Orphans of God” shows. I am firmly convinced that this is the very best “tribute” album ever recorded. Many tribute albums are filled with artists who were fans or who were on the same label as the artist receiving the tribute. Here the album was filled with a diverse congregation of artists who were deeply and personally impacted by the music, ministry and art of Mark Heard.

Add to that the fact that the songs were written by one of the most impressive and talented songwriters of his or any other generation. It said that Bruce Cockburn named Heard his favorite songwriter. There is not much higher praise I could include that would say more than that.

5. For Him Who Has Ears to Hear – Keith Green

FOR HIM WHO HAS EAR TO HEAR (1977)

Keith Green

The three men I admire most
The Father, Son and Holy Ghost
They took the last train for the coast
The day the music died…

Don McLean American Pie

There is an on going debate as to when the “Jesus Movement” and the “Jesus Music” that is attached to it actually ended. Some have argued that ended with the increase in large Christian record companies. Others believe it was when Churches or ministries stopped being the focal point of distribution centers of the albums and artists. Other argue that it was when artists stopped asking for “free love” offerings and started demanding minimum pay outs and contracts with demands. Quite often I hear it is when artists stopped performing “altar calls” at the end of their concerts. Some simply state the turn of the decade between the 70′s and the 80′s spelled its doom.

I will avoid the fray and only make one statement regarding this issue. The “Jesus Movement” with its emphasis on evangelism, giving, street witnessing, free will offerings, altar calls and ministry focus prioritization may have died anytime between 1978 and 1984 as Christian labels began to be absorbed by larger companies who were in turn absorbed by secular, international conglomerates, but the “heart” of the Jesus Movement and Jesus Music itself died on July 28th, 1982 when an overfilled Cassna 414 crashed just after takeoff  outside of Lindale, Texas.

On that ill-fated flight were 12 people including the pilot. There was a missionary family; father, mother and six children. Two other children were on board as well. The youngest was two years old. Her name was Bethany Green. Her father, also on the flight,  was named Keith.

When Keith Green was 10 years old he was hailed as “the next big thing” in rock and roll. He was one of the youngest solo artists ever signed to a record deal and was the youngest to ever be signed to ASCAP as he was not only the next big heart-throb and cover boy of teen magazines, but he could write and perform his own music even before he became a teenager.

He signed to Decca Records in 1965 and released a couple singles as well as making appearances on The Jack Benny and Steve Allen shows. He was a teen idol in the making. But then along came Donny Osmond and the cute curly-haired boy seemed to fade from the spotlight. God had a different plan for young Mr. Green and the world and the Christian community would be better off for it.

After years of drugs, free love and a self-serving lifestyle, Green found God in a very real and radical way. He developed friendships with other musicians rather quickly and began writing songs for others and started a radical ministry in which he bought several houses in a Los Angeles suburb and made them available to recently converted drug users, ex-convicts and prostitutes. The little neighborhood community was named Last Days Ministries.

Some of those friends he developed included Randy Stonehill, Phil Keaggy and the Ward siblings known then as the 2nd Chapter of Acts. One of the first collaborative efforts became the Jesus Music classic “Your Love Broke Through,” originally recorded by Phil Keaggy and later by Green and a host of other artists.

In 1976 he signed a record deal with the ministry focused Sparrow label and lent his talents to the classic, contemporary musical “Firewind.” One year later the Christian community would be introduced to the man who would be labeled part poet, part preacher, part prophet. His musical style was a piano based pop rock with similarities to Elton John and Billy Joel. His lyrical style was a confrontational, prophetic and exhorting style with similarities to Jeremiah, Joel and John the Baptist!

He would record and release four albums before his death in 1982 including his debut, which is the subject of our writing here, No Compromise, So You Want to Go Back to Egypt and Songs for the Shepherd.

Sparrow would release a “Best Of” collection before his death as well as his relationship with them lasted for only the first two albums. He decided to make a radical shift in the marketing and sales of his product by offering the album only in concert and through mail order. Though that part of the marketing was not original, what was different is that he made the albums available for whatever the person could afford, even if that meant free. Over 25% of the sales of the following albums were sent out at no charge.

Eventually distribution deals were worked out so that Christian Bookstores could sell his product but they were originally only available as two packs where the buyer would receive two copies for the price of one and were expected to use the free copy as a ministry tool to evangelize.

There were several posthumously released albums, primarily best of collections, live recording and tribute albums. There were two complete original recording released of songs that had been recorded, at least in demo form, by Keith before his death. They were “The Prodigal Son” and “Jesus Commands Us to Go.”

The latter was a primary theme of Green’s ministry. Concert were not only evangelistic rallies but were also rallying events calling a complacent Church to missions and evangelism. His lyrical content and between song talks would reflect this position and passion.

According to biographies and interviews Green was fascinated and impressed by the evangelist and preacher, Leaonard Ravenhill. Ravenhill’s no-nonsense evangelistic approach and fiery sermonizing would leave a lasting impression on Green that would inform his worldview and theological leaning. This would be all so present on the debut album, “For Him Who Has ears to Hear,” the object of our discussion.

The primary theological pool that Green drew from was of the Finnyist and Arminian variety and he took seriously the call to proclaim the need for works and to warn of apostasy. This would show most often in his songs directed toward himself. Green’s focus though is directly related to the Church and what he saw as a complacency. Taking a cue from Tony Campolo Green proclaimed that we are to “go unless we are called to stay.”

The exclusively law oriented content would start to even itself out with a more gracious understanding in the following releases. Though there was plenty of content aimed at the inadequacies of the Church, there was a much better understanding of God’s grace and His working within his Church.

One interesting note to consider is Green’s belief in the deceptive nature and actions of the Devil. The first three projects all contain a song that deals with Satan. It stands out because of the very limited number of Christian artists that deal with the subject and here Green had recorded three songs on three albums.

One other important progression on later albums like “Egypt” is the beginning of a more worshipful tone. The album contain the worship classic “O Lord, You’re Beautiful,” a focus that would consume his final album, “Songs for the Shepherd.” More than worship Green’s songs come across more like hymns.

“Songs for the Shepherd” would be Green’s final release before his death. It almost seems fitting that the final album would be an album dedicated to worship and contain hymns that would continue for decades, possibly centuries to come. Songs that continue to be used in Churches worldwide even today include How Majestic Is Thy Name, You Are the One and There Is a Redeemer.

But our focus here is on the record that started it all in the Summer of 1977.

The sweet-natured half-smile, kind eyes and one-way finger nearly obscured by the head and face of hair on the cover does not serve as indication as to what laid within the grooves of this album. This is not sweet, syrupy, pabulum CCM with songs of encouragement for your “tough days.” Though the Jeremiah in rags pointing at God’s people with the Word as a sword would be the experience of the following album, “No Compromise,” there still is the ever-present call for repentance and holy living. But also noticeable are songs obviously written at a time just after conversion focusing on those beginning moments of love and joy.

This debut album would not only showcase Green’s songwriting and vocal acumen, but would also be the most piano focused release. There are times that the listener feels like Green is sitting in his living room playing their piano and performing just for them. The central focus of the piano in the instrumentation and mic puts one of Green’s finest skills front and center.

The reason for this is that the album was recorded almost completely live in the studio with very limited overdubbing, just limited to strings and backing vocals. This “live” feel was probably as much for budget as for the listener’s experience, but for this record it works. The focus throughout remains the voice, the piano, the songs.

The album starts with “You Put This Love In My Heart,” a Elton John type piano driven pop song reflecting on God’s undying love and intrusive offer of love and grace.

Cause your love has released me
From all that’s in my past
And I know I can believe you
When you say I’ll never be forsaken
Your love is gonna last

There’s so much more I should say
If I could just find a way
You put this love in my heart

A continuing theme of God’s faithfulness amidst our sin is the focus of the ballad “I Can’t Believe It!” which introduces an endearing and lasting (though short lived due to his death) ballad form. The Elton John quality here is often where Green is at his finest.

“Because of You” handles the same topic but in a decidedly more upbeat fashion. Where the former is more introspective the latter deals with how the change in one’s life impacts those around them.

Now people just can’t believe, that my life used to be
Something that no one had any use for
I’d stay at home each night, never shine the light
And i thank you, it will never be like before

It’s because of you
People point at me and say i like what that boys got
And because of you
I confess i don’t have a lot
But what i have is because of you

Now people smile at me and ask me what it is
That makes them want to be just like i am
So i just point to you and tell them, yes it’s true
I’m no special one, i’m just one man

It’s because of you

The more upbeat songs tend to showcase Green’s amazing piano work in a rock format and this song may be his finest work on the album using this style. His rollicking piano form owes much to the Jerry Lee Lewis revivalistic R&B.

One song from the album that remained a radio standard for many years to follow is “When I Hear the Praises the Start.” This song of God’s undying love for His bride is sung from the point of view of Jesus calling out to His Church.

My child, My child, why are you weeping
You will not have to wait forever
That day and that hour is in My keeping
The day I’ll bring you into Heaven

For when I hear the praises start
My child, I want to rain upon you
Blessing that will fill your heart
I see no stain upon you
Because you are My child and you know me
To me you’re only holy
Nothing that you’ve done remains
Only what you do in Me

Honky-tonk piano highlights “He’ll Take Care of the Rest,” a song that continues the theme of God’s persevering work for His people. using Moses and Noah as Biblical examples of God’s faithfulness. This song shows Green’s more playful and humorous side that would be nearly completely absent on “No Compromise” and return on “Egypt.”

The classic “Your Love Broke Through” follows. There is an interesting story regarding the song. Green had written the song a few years earlier with Randy Stonehill but graciously allowed Phil Keaggy to record the song and release it before himself. That is simply unheard of not only today, but ever. And with all due respect to Stonehill, Keaggy and others, this is the definitive version.

The first of Green’s “trilogy” of songs about the Devil follows with “No One Believes In Me Anymore.” Again here Green displays his lighter and more humorous side. Honky-tonk piano again drives this song about the limited belief on the Devil, both in and out of the Church. The point is the deceptive nature of God’s enemy, his greatest deception being that of getting people to no longer believe in him. The song works as a musical version of CS Lewis’ classic book, “The Screwtape Letters.”

Oh, my job keeps getting easier
As day slips into day
The magazines, the newspapers
Print every word I say
This world is just my spinning top
It’s all like child’s play
You know, I dream that it would never stop
But I know it’s not that way
Still my work goes on and on
Always stronger than before
I’m gonna make it dark before the dawn
Since no one believes in me anymore!

Well, I used to have to sneak around
But now they just open their doors

Green’s most passionate performance is reserved for “Song to My Parents,” a plea to his family to find the love that God has for them. As one whose entire family are believers I can only imagine how heart breaking this experience must be for people.

“Trials Turned to Gold” deals with the common struggle all Christians face when coming against difficult times and trying to understand God’s plan amidst the trials.

The view from here is nothing near
To what it is for You
I tried to see Your plan for me
But I only acted like I knew

Oh Lord forgive the times
I tried to read your mind
Cause you said if I’d be still
Then I would hear your voice

The album closes with Green’s version of the 2nd Chapter of Acts classic “Easter Song.” This song in unique on the album as it is the only song not written or co-written by Green and one of the few times he covered a song on any album in his career. It should be noted that Green does add a verse not in the original.

Green’s voice, though, is brighter and stronger on this song than just about any other in his career. This remains one of the two or three greatest songs of the Jesus Music era and Green’s version is a worthy one and the perfect way to finish this amazing and timeless classic record.

Green’s impact on Christian music and ministry cannot be understated. There have been three tribute albums made by various artist including one by rock and alternative label, Tooth and Nail nearly 20 years after his death. His impact was so great that a collection of artist there were in diapers when he dies were moved and motivate enough to lend themselves to covering his amazing music.

I only saw Keith Green in concert once – if it can be called a concert – at the Anaheim Convention Center. I don’t recall too many songs from that evening. I don’t even remember much of what Green had to say. What I do remember was that he demanded after the last song that everyone not applaud, get up and leave quietly and not to talk until they got to their vehicle.

I did not leave convicted as I am sure was the purpose, but rather left condemned. The grace of God was a foreign subject that evening. There was plenty of “law” present but no grace. I would later come to discover Green’s approach was very similar to that of traveling evangelist of the 1800′s, Charles Finney.

I have had several people tell me that as Keith’s ministry matured his level of grace presented increased and the case made for evangelism was more compelling than condemning. Unfortunately for me that evening informed my opinion of Green and his music more than the music itself and I did not listen to Green’s music until after his death in 1982, some three years after the concert I attended.

Oddly enough when I share this story I find that I was not alone in my response. Right or wrong there were several others like myself that possessed the same testimony and feelings regarding Keith and his music. But in hindsight I discovered the true treasure that was Keith Green and especially the debut record that bore the message of Jeremiah, the zeal of John the Baptist and the heart of the Jesus Movement.

6. Welcome to Paradise – Randy Stonehill

WELCOME TO PARADISE (1976)

Randy Stonehill

I was eleven or twelve years old and at a “Family Camp” with my Church in Big Bear, CA. My parents always gave me spending money for candy, maybe a T-shirt or for any activities that might cost money like horseback riding. I learned over the years to eat enough sausages for breakfast not to need too much candy, bring enough clothes not to need another T-shirt and I have an inexplicable fear of horses.

So, with all that extra money I would usually buy a tape or two from the camp’s bookstore. I bought my first albums from Servant, Darrell Mansfield and Parable at that store. But the very first tape I ever bought there was Randy Stonehill’s “Welcome to Paradise.” I bought it because the guy on the cover had long hair and a really cool Jesus T-Shirt.

I was completely unaware of Randy Stonehill at the time. I later discovered a decidedly lo-fi, half-live album called “Born twice” had been previously released.

Recorded primarily before a live audience and a few songs produced in the studio all on a budget that shoestrings ridicule. Once asked when the album would be released on CD, Stonehill responded something to the effect it would happen when someone in charge makes a grave error in judgment. As seriously troubled as the production is what the album does provide is a glimpse into the early faith of a legend in Christian Music.

The album also shows glimpses of the humor and on stage persona that would cause hundreds of thousands to become fans. Part comedian, part musician, part street preacher, the Randy Stonehill introduced on “Born Twice” was and remains utterly unique in the music business whether Christian or not.

That was 1971 and it would be another five years before he would release another album. Those years were filled with growth, both spiritually and artistically. He would co-star with Laverne and Shirley star Cindy Williams in the sequel to the legendary B-movie, “The Blob,” the not-so-memorable, “Beware! The Blob” which is known better as “Son of Blob.”

During that time he also was writing a lot of music with new found friends Larry Norman, Phil Keaggy and Keith Green. In fact, one of the real “classics” of the Jesus Music era, “Your Love Broke Through,” would be recorded by Keaggy, Green, Russ Taff and finally himself over a decade later.

There would also be the recording of the mysterious “Get Me Out of Hollywood” that would not be released for several decades though cassette versions of the album and some limited vinyl pressings were said to be in existence. That album would contain two songs that would later become Stonehill favorites (Puppet Strings, Jamie’s Got the Blues), but with distinctly different arrangements. There are probably several good reasons why the album never saw the light of day, including the production quality and the quality of a few of the songs.

But it was 1976′s “Welcome to Paradise” that launch a career that would last over 30 years, untold concerts, several record labels, an equal number of producers and a catalog of brilliant and enduring albums. Despite a legacy that is rivaled by few if any, it is the first truly nationally released album that demands our attention here. “Welcome to Paradise” would remain the definitive work for Stonehill through is more than 30 year career. It combined the genuine innocence of a new convert and the songwriting of a skilled craftsman.

Walking bravely between James Taylor like ballads and Eagles oriented AOR, this “debut” bring several years of honing his  songwriting skills to a fountainhead of poetic expression amidst heartfelt acoustic rock. The album serves as a gateway between the days of the Jesus Music innocence of the early 70′s to the more industry driven CCM. The album also marks the finest production of Larry Norman’s career. Larry may have made better albums but has never produced such a fine work that sounds good now some 30 plus years later.

If some one only listened to the opening track of “Welcome to Paradise” one might get the impression this a nice little acoustic folk album along the lines of James Taylor and Jim Croce. But I can’t imagine another song on the album being a better way to open the album up. “King of Heart” is the albums evangelical call to accept God’s love set the lyrical tone of grace that permeates the record.

Aside from that it is also a beautiful song that Randy still plays. It begins with this common ailment of mankind to realize that we all have a place in our heart that can only be filled by Jesus.

All alone drifting wild
Like a ship that’s lost out on the ocean
Everyone’s a homeless child
And it’s not hard to understand
Why we need a Father’s hand
There’s a rainbow somewhere
You were born to be there
You’re just running in circles
Till you reach out your hand to the King of hearts.

The other important point to note about the song is the very simple, yet effective acoustic guitar work of Stonehill. This would be a trademark style for Stonehill over the decades; simple yet dynamic guitar work. It could be said that he is actually quite an underrated guitar player.

Next up is what I firmly believe is Stonehill’s finest song, “Keep Me Runnin’.” This song rocks harder than most acoustic driven songs ever do. In a very Eagles type Americana/Blues driven groove Stonehill tells of the heart that refuses the Gospel message. I believe those familiar with the song will also agree it may contain one of the very best acoustic guitar solos recorded.

KEEP ME RUNNIN’ FROM THE SHADOW OF MY LIES
LIKE A GYPSY WHO IS NEVER SATISFIED
ONCE YOU COMPROMISE YOUR SOUL
YOU SPEND A LIFETIME DODGING THE DEVIL’S TOLL
BUT YOU KEEP ME RUNNIN’
KEEP ME COVERIN’ UP MY TRACKS
KEEP ME RUNNIN’ SO I’M ALWAYS LOOKING BACK
ALWAYS RESTLESS IN MY DREAMS
AND TROUBLE’S NEVER TOO FAR BEHIND IT SEEMS
Chorus
KEEP ME RUNNIN’
KEEP ME MOVIN’
KEEP ME ALWAYS ON THE GO
KEEP ME MAKIN’ SURE MY FOOTPRINTS NEVER SHOW

The Eagles sounding acoustic rock continues with “The Winner (High Card),” a song that, like the above” tells the story of someone who finds any all excuses to avoid the truth and the reality of the Gospel. The closing of the song really shows Stonehill’s strong and diverse vocal abilities. But the heart of the song is the conviction with which Stonehill delivers the lyrics.

It’s not easy to see me I’m an influential
man / And I never needed anyone To
build my promised land
So don’t tell me about Jesus ’cause He’s just too hard to sell
And I never trust in strangers
that’s the first rule I Learned well

I’m the winner and I made it to the top
And I took it all just like I planned
I’m the man who holds the high card in his hand

“Lung Cancer” marks the initial foray into Stonehill’s more humorous songwriting technique. The musical expression works better here than in most similar Stonehill experiments because of lack of “novelty” kitsch that other songs of that variety posses. The anti-smoking song also works precisely because it never takes itself all too seriously while still trying to pass along a message.

Stonehill’s strongest ballad on the project (and one of his best ever?) is up next. “Puppet Strings” possesses a stunning string arrangement with a haunting melody which matches the message perfectly. Here we find the plight of rebellious man who is a willing victim to the fall. Here paradise is lost through rebellion and the desire to be the kings of our own kingdom.

Long ago He chose us to inherit all His kingdom
And we were blessed with light
But wandering away we disobeyed Him in the garden
And stumbled into night

And I can feel it in my soul
Now the end is getting near
I can hear the angels weeping
And it’s ringing in my ears

We are all like foolish puppets
who desiring to be kings
Now lie pitifully crippled
after cutting our own strings

Where “Puppet Strings” leaves man in rebellion and lost “First Prayer” provides the answer to that hurting and lost world. This song is the prayer of a young man looking for answers to basic questions of doubt and wonder.

I will follow if You’ll lead me
Help me make a stand
If You’ll breathe new breath inside me
I’ll believe you can
I’ll believe You can

Well I never really learned to pray
But You know what I’m tryin’ to say
I don’t want my life to end
Not ever knowing why it began
So if You’ll trust me I’ll do my best
and I’ll be trusting You for the rest

As side two of the album continues the struggles of sin, questions and doubt and refusal to accept the Gospel message is replaced by songs centered on the power of the Gospel and its impact on the individual. So, after the “First Prayer” the Gospel message is directly presented in “I’ve Got News For You.”

Ever feel as if your heart was whispering
Like a special Voice you never heard before
And something deep inside your soul was tickin’
As if someone was pounding on the door

I’ve got news for you this is not a game
I’ve got news for you are you listenin’
I’ve got news for you we are all the same
I’ve got news for you this is not a game
I’ve got news for you we are all the blame
And when that is understood we can start to live again

Once again here the authenticity of the message is carried by the transparency and passion of the vocal performance. Larry Norman’s influence is quite apparent on the arrangement and  backing vocals.

“Song for Sarah” became somewhat controversial for all the wrong reasons. The song is about someone who loves another so much that he aches to his bones because she doesn’t know Jesus. He longingly calls for her to find the Lord and assures her that someone loves her more than he ever could.He so wants her to find value in her love through the one who loves her best.

Sarah Someone loves you
in a way I never could
He laid His life before you on a
cross made out of wood
Oh and in His hour of anguish
our dreams were given birth
I hope you finally realize
how much your love is worth

It is actually quite a beautiful song and one must wonder what the controversy. Stonehill’s first wife was named for Sarah and many believed that the song was written for her which Stonehill denies. So after the divorce people familiar with the situation were offended and bothered by him continuing to sing the song not realizing the name choice was not related to her. It is truly a controversy around a song that should have never been.

“Christmas Song for All Year ‘Round” is a Christmas song that talks as much about Easter as it does Christmas. It wisely reminds Christians that as important as Christmas is, it’s importance is only as a result of the sacrifice on the cross.

And I know that if Saint Nicholas was here he would agree
The Jesus gave the greatest gift of all to you and me
They led Him to the slaughter on a hill called Calvary
And mankind was forgiven
Mankind was forgiven
We were all forgiven when they nailed Him to the tree

So Merry Christmas

The album closes with the funky and driving rocker, “Good News.” As the album concludes and the Gospel is firmly established the album finishes with the popular Jesus Music theme of the Second Coming of Christ. Jesus Music was birthed at the same time as the rise in popularity of discussion of the rapture and Second Coming. Like the rest of the album it should be noted Jon Linn’s amazing guitar work. I have mentioned Linn elsewhere and I must admit his guitar work was utterly original and played a very significant role in the creation of some of the finest and most authentic rock at the time.

Hal Lindsey’s “Late Great Planet Earth” and other similar books were quite popular and it was reflected in the content of the music form that was also growing in popularity. This mixed with the heavy emphasis of this particular view of the doctrine of eschatology at Calvary Chapel – another epicenter for the Jesus Music – made this a primary topic in the lyrics of Jesus Music artists.

This would remain a primary lyrical emphasis through most of the 1980′s as well. Recently this emphasis has diminished much to chagrin of some and the happiness of others. I point it out here because of the heavy emphasis in the music of Jesus Music artists that we will be discussing going forward on a few final albums to be discussed.

I still have that cassette I bought at a family camp over 30 years ago. I have had an LP and CD of this record as well over the years and haven’t needed to play the cassette. I am not ever sure it still works. I have my doubts. But I never plan on getting rid of it.

7. Alarma – Daniel Amos

ALARMA (1981)

Daniel Amos

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

Camarillo Eddie (The Swirling Eddies)

The roots of Daniel Amos and the long and treacherous road the band traveled to reach the cult-like status and well deserved and long lasting relationship with its fan base in a unique story.

When they band first was born another Calvary Chapel band had a similar name and both bands decided to change their names. One band became Gentle Faith and the other, featuring Terry Taylor, chose the name Daniel Amos. Both bands were signed to Maranatha! Music and while Gentle Faith only recorded one album before front-man Darrell Mansfield went on to a long and successful ministry and career, it would be Daniel Amos that would make the greater impact on Christian Music.

Before recoding their first full-length release Daniel Amos recorded several “singles” that would appear on different Maranatha Music compilation albums including “Ain’t Gonna Fight It” and the long time favorite “ode to marital fidelity,” “Happily Married Man.” Both would be added to a special CD-reissue of the classic album.

The first Daniel Amos album (released in 1976) was a self-titled, country music classic that sounded more like The Eagles than Willie Nelson, and that sound was difficult for the band to later overcome. Another never-ending problem was that many fans thought Terry Taylor was Daniel Amos and would thank “Mr. Amos” for their great music and ministry. It was also during this time that the band would wear these huge 10-gallon cowboy hats that I often thought was more parody than possessing any real affinity for the musical genre.

There are so many amazing songs from this album that briefly discussing the album does it no justice. Highlights include the Jehovah’s Witness critique, “Jesus is Jehovah To Me” and another “apologetic” tune, “The Bible.” The latter sounding more like The Eagles than just about any other Daniel Amos song.

William, Losers and Winners and Walking on the Water would remain favorites for fans for many, many years. There were also songs that were so “hokey” that the listener can’t help but believe they were part parody. “Ridin’ Along” comes straight from dusty prairie cowboy movie and “Dusty Road” follows with the same feel. Taylor’s wry sense of humor would be visible in songs like “Abidin’” and “Skeptic’s Song.”

I noticed that from the several times I saw Daniel Amos in concert that those more “hokey” songs would be reworks drastically and come across as significantly more edgy and less country.

Hidden amongst the large hates, spurs and 1-3 beats were great lyrics and amazing vocal harmonies that would remain a staple for many years, even through the alternative, new wave albums. No matter the musical genre the band progressed through the heart of the band’s sound was always more Beatles than Eagles or Talking Heads. The Beatles influence would show itself more on the follow-up Jesus Music classic, Shotgun Angel than what was explored on the debut.

It should be fair to note here that those that believe the jump from country music darlings to rock rebels was a radical and unexpected shift simply did not listen closely enough to each album. There were hints of the future sound the band would present on “Shotgun Angel” on the debut and side two of Angel gives plenty of musical hints as to what was to follow with Horrendous Disc.

But what made “Shotgun Angel” such an important album in history?

Side one of the 1977 released album most resembles the debut with strong Eagles tinged Americana country, but with much more of an electric feel and vocals influenced more by the Beach Boys “Pet Sounds” than previously displayed. The electric guitar is also featured more often.

The album also features limited spacing between songs as many flow from one to another. This is even more prevalent on side two, which is more of a “rock opera” than anything else as the breaks are nearly indistinguishable. The more obviously country leanings are reserved for a more humorous approach like what is found in “Black Gold Fever” and “Meal.”

Songs like “Praise Song” and “The Whistler” would show glimmers as to what would show up on “Horrendous Disc.” In fact when one listens to side two of Shotgun Angel it’s hard to not note the sounds that would become “Horrendous Disc.” The guitar of “Better” would become a trademark sound that would follow Daniel Amos as long as Jerry Chamberlain was involved.

The much ballyhooed side two of the album is actually a mini rock opera dealing with a specific eschatological viewpoint that was and remains quite popular. The Jesus Movement had a few very foundational viewpoints. One of them was the soon expected “Pre-Tribulational” Rapture of the Church and the coming rise of the Antichrist and Tribulation his arrival would usher in.

The story starts with a beautiful instrumental overture that would serve as a musical backdrop for the albums final songs.

“Lady Goodbye” picture the Church disappearing – at Christ’s “first” Second Coming – in a pre-tribulation rapture scenario with the main character being left behind to endure the coming tribulation complete with four horsemen (The Whistler) and “mark of the Beast” (He’s Gonna Do a Number on You). “Better” describes the supposed “cashless society” that is to accompany that time and man’s belief and admiration of the Antichrist.

Awakening from the horrible dream to find that it is all real the main character embraces the call of the Gospel no matter what the cost. “Posse in the Sky” reveals the “second” Second Coming, this time with the angels and previously raptured Church in tow bringing final judgment against the earth. All those done in a country/cowboy theme evident with words like “Possee” and “Shotgun”.

In 1986 Terry and band would re-release side two of Shotgun Angel as a project called “Revelation” through Frontline Records at the 10th Anniversary of the original. The reworking included brand new mixes and a new song called “Soon.” This version also included Pastor Chuck Smith reading relevant passages from the book of Revelation.

Those familiar with this particular eschatological views will find the message of the songs familiar. Even those like myself that do not hold to this particular can find the project powerful, exhorting and encouraging. Agreement on such issues are not as vital as noting that Paul challenged the Church in Thessalonica to encourage one another with the affirmation of Christ’s coming.

Daniel Amos would begin recording “Horrendous Disc” in late 1977 and early 1978. The album was finished and the masters were brought to Maranatha! Music. At that same time Maranatha! Music decided to no longer release albums by rock artists and concentrated primarily on the new Praise and Worship line and children’s music. This classic album would be released just weeks before Alarma and the confusion it created in the industry and amongst fans was career threatening.

The musical leap from Shotgun Angel to Alarma is staggering, but it is not quite as drastic when Horrendous Disc is placed in between. Many fans bought Alarma before they even knew Horrendous Disc existed. If HD would have been released when it should have, the progression would have appeared more natural, though probably never quite expected.

Word Record acquired the masters from Maranatha! in early 1978. They eventually leased them to Larry Norman’s Solid Rock label. This put Daniel Amos in friendly territory with artists like Mark Heard, Alwyn Wall and longtime friend Randy Stonehill. It also started the longest and most frustrating three years in the bands tenure.

During that time Terry and band would build a long-lasting friendship with Randy Stonehill which included several long tours where Daniel Amos would serve as Stonehill’s band as well as perform their own set. Terry would produce three albums for Stonehill, the most notable being Stonehill’s classic “Equator.” Those famous tours were known as the Amos and Randy Tour.

During those tours and other concerts they would begin playing songs from “Horrendous Disc.” They would continue to play those songs for three years with no album to support. Test pressings of the album were sent out to radio stations in 1979 and also sent to the band to sell at concerts. The album contained a different mix and different order of songs. Those issues would be the least of their problems as the album would still not be released for another two years.

This issue (along with others too ugly to address) caused a rift with Norman that would never be healed. Even in 2000 when Norman finally released the album on CD it contained bonus cuts by Norman that fans (myself included) hated. And when Taylor approached Norman in 2006 to re-release the CD as a Deluxe version Norman agreed, but then backed out and released another horrible version of the album, this time as a CDR with a horrible artwork copies.

The album did officially get released in 1981. About one week before their follow Alarma! hit the stores.

“Alarma!” was the first of an amazing 4-part album set that includes many of Daniel Amos’ greatest work. Each album contained a continuing story and lyrical content that matched. By the time the four album set was finished the band would have gone through four record companies (one for each release) and a name change of sorts. The first two albums used the entire name, Daniel Amos, while the third used the DA with a small font for the name and the final album, Fearful Symmetry, would sport only the DA moniker.

1983′s “Doppelganger” was a darker and much more haunting release. It was also much more personal and dealt with the sins of the individual as well as the sins of the Church. Though the more outward attacks against commercialism (New car, Mall All Over the World) and televangelist (I Didn’t Build It For Me) were easy targets it is the more introspective and personal songs that pack a real punch.

1984′s “Vox Humana” would be the most commercially accessible of the four projects. Sounding m a little more like David Bowie and Talking Heads, the songs are more pop and commercial sounding. there were even some singles that penetrated Christian radio.  Southern California’s famous KYMS even played a few songs included the very popular “Sanctuary.” The album is more upbeat and brighter lyrically and lends itself to the poppier musical edge.

The final album in the series, Fearful Symmetry, would be hailed by many as their greatest artistic achievement. Of course many would also reserve that for every DA album upon its release. Fearful Symmetry would contain upbeat rhythms and melodies, but a more haunting vocal production to give the album an “other-worldly” feel to it. The album would also contain one of DA’s most successful rock radio single, The Pool.

Each album that makes up the 4-part series would appear on a different label, making a cohesive marketing opportunity utterly impossible. Distribution was limited for some, OK for others. Musical direction would change, occasional shifts in band personnel and much too expensive tours would cause financial strain. Yet, all the while, the band created fresh, dynamic and lasting art with each release.

But it really all started with Alarma.

Those that discovered Alarma before they ever heard “Horrendous Disc” must have been utterly surprised the listener. Without thew knowledge of the transitional album Alarma was shocking to say the least. There was also controversy surrounding the album cover with the band members having their eyes blurred over. More than a few televangelist would make claims of Satanic origin of the cover. Of course they never bothered to note how the eyes appeared elsewhere on the project.

The symbolism of the cover would be all too apparent in the lyrical content on the album. Reviewers described the album as having some of the most scathing commentary of the Church and society ever recorded. No one safe from Taylor’s attacks. Remaining blind to the injustices and the downtrodden would be a theme that would be repeated over and over. Songs like Face to the Windows, Alarma, Big Time/Big Deal, Props, My Room and others would all deal directly with an apathetic Church that hides behind its own facade.

Musically Alarma and the entire series would find itself squarely in the forefront of the burgeoning Christian punk/new wave scene. Others came right before and after, but few matched the lyrical precision and musical chops of DA. Carrying the banner of both a musical genre and a lyrical assault must have not been easy.

“Central Theme” starts the record and the series off with a realization that the central theme in life is that of knowing Christ. In an odd way, it is a worship song of sorts.Lyrically one of Taylor’s finest doctrinal standards and brilliant musical landscape of other worldly, almost “science fiction” sounding music. This auditory theme would remain throughout this project as even as the content of the song reads like a hymn.

Who is on the throne you find, the King of Kings
He’s the one I have in mind, the central theme
Lord of Lords, Lord of lords, Lord of Lords…

The title track and series namesake follows with a “Twilight Zone” type synthesizer sound introducing Jerry Chamberlains crunchy and quirky guitar riff. Taylor’s melodic and utterly unique voice dives home a brilliant song that in the real world should have been a mainstay on stations like LA’s KROQ. The song sets the tone, musically and lyrically, for the entire project and introduces the theme of a Church blinded to the harsh realities of the needy while basking comfortably in its own safe zone. Yet it is the false teachings and false living within the walls of the church that causes many to reject the Christ of the “Central Theme.”

The “scarier” music moments for the uninitiated begin with “Big Time/Big Deal.” The frenetic new wave with a dual lyric vocal with an spoken work, electronic voice sits under Taylor’s near screeching and straining voice on top. The lure of thinking one could take the Gospel to the world and become a “rock star for Jesus” was an all too real enticement for many. The selfish motives of many in the music industry (Christian) are examined here. Chamberlain would really begin to fine tune his craft of off-kilter, winding and quivering guitar sound here.

The facade of the perfect Christian life is ripped to shreds in “Props,” couched in a melody that i can only describe as the Beach Boys doing old school “cowboy” music. Like something from a 1940’s musical movie the song somber message is not lost amongst the happy music. The facade that surround our lives are not unlike the movie props that are removed and disposed of when the scene is over.

The funky groove that permeates “My Room” reminds one of the great grooves created by the Talking Heads and should serve as a decent comparison at times. The consistent theme of exclusionary actions of the Church and the loneliness attached to a Church life without true community is repeated here.

“Faces to the Windows” is one of the scathing songs on the album and remains uncomfortable some 30 years later. Using the image of the starving children in Africa is juxtaposed against the sunshine, whistling world of many in the Church. Taylor tries, like most, to block out the faces pressed against the window of the television set while proceeding with a uniquely blessed life situation. The aggressive new wave musical expression takes on its finest form here.

“Cloak and Dagger” is just too short. Two minutes of brilliant musical and lyrical expressions. Using a James Bond type spy thriller melody that matches the lyrical content perfectly. After just one minute of pure 80’s punk goodness, the song shift musical direction completely with a one minute slow instrumental featuring a great guitar solo.

For those that hadn’t jumped ship by this time on the album, “The Real Thing” most certainly pushed them off the edge. Funky, punk and new wave with African rhythms sets the musical stage for an equally aggressive message. The Church has a long standing struggle with majoring on the minor issues and causing intense and lasting divisions over style, appearance and tradition. Whether it is the “drums” in the service or the “hats” worn in one Church over another, the struggle for authenticity and truth wages on.

After a keyboard instrumental of the melody from “Cloak and Dagger” in “C&D Reprise,” the album reaches a real musical zenith with “Through the Speakers.” With all the power music possesses the song realizes that ultimately the work of the Holy Spirit will be necessary to reach the intended audience.

A real musical shift takes place with the melodic and very poppy “Hit Them.” This very Brian Wilson like tune looks at the need for the Church to reach out with love and not just doctrine filled words. There is a warning here to not only believe the truth but to live accordingly. Like many songs on the album it remains much too short.

Taylor sets the Apostle Paul’s warning regarding remaining a “babe in Christ” to a brilliant early 80’s new wave groove that reminds me most of some of David Bowie’s more adventurous new wave attempts. The song revolves around many in the church who are content remaining well fed within its walls and never grow or mature spiritually. It’s not unlike Amy Grant’s “Fat baby” except this song doesn’t suck  :).

But the album’s winner of the “Way Too Stinking Short” award goes to the 80-second “Shedding the Mortal Coil.” Brilliant and way too short!

There is no way to escape the comparison to Horrendous Disc’s “Tidal Wave” with “Endless summer.” This rocking surfer tune seems to not only share a musical pedigree but also a similar theme of needing to find the truth in places where it cannot and will not be found. I do recall the song being a great fun ride live.

When one has a songwriting catalog as extensive as Terry Scott Taylor’s it is both foolish and nearly impossible to choose the “best song.” I will not make that foolish leap, but i find very few songs quite as lasting and wonderful as “Wall of Doubt.” Covered later by many artists including Jacob’s Trouble, the song is nearly perfect. A great and timeless melody mixed with a powerful message of the strength of the truth of the Gospel. The song sounds fresh right now even as I listen to it 30 years after is was first played. On an album filled with angst, anger and righteous indignation, the closing message of hope and grace is a just reward for those willing to take the journey.

The album closes with “Ghost of the Heart,” and would also serve as the opening track (in a way) for the follow up release, Doppelganger.

This was not the album many fans and the industry were expecting. It was the album anyone ever thought would be released by a Christian band. This adventurous display of brilliant songwriting, musicianship and sheer artistic brilliance has lasted way beyond the vast majority of disposable music created at the same time. It may not rank as the greatest album ever made, but it is clearly one of the most important and necessary. The world may not have changed in 1981…but mine did!

And we fans are forever grateful that Terry and company never went away.

8. Colours – Resurrection Band

COLOURS (1981)

Resurrection Band

Tower records magazine has featured a fan section called “Desert Island Disc” for quite some time. The spotlight feature allows readers to send in a list of their top 5 albums that they would take with them to a deserted island. Though we have reached number 8, this current release would be the last of my titles. That means that numbers 7 down to 1 will be albums I consider “greater” than my personal top 5 favorite. No matter, this one would be number one on that list!

From the mid 1970′s through the early 1980′s my Christian music knowledge and appreciation was informed by a few people that helped me discover the music I love so much today. Reading reviews written by Chris Willman (CCM and LA Times), Thom Granger (CCM), Bruce Brown (several publications) and most notably Brian Quincy Newcomb (Harvest Rock Syndicate) helped introduce me to a wide array of music I would never be able to hear on Christian radio nor find easily in a Christian Bookstore. Their reviews had to be clear as well as expressive in order to convey what a record “felt” like in order for me to become excited about it.

Newcomb, more than the others, appeared to be the “radical” one who always found and reviewed the more aggressive and progressive acts that I knew would appeal to me. My thoughts were at the time that if Quincy reviewed it and it was positive, then I would try to track it down.

It is obvious that the music that one cuts their teeth on seem to have the most lasting impact and the reviews written by those above helped pave the way for much of what I have loved for 40 years.

But the greatest impact came from my then future brother-in-law, who for some reason never found it “a drag” to have to drag his girlfriends little brother around to concerts at Calvary Chapel, the local high school or even Disneyland and Knotts Berry Farm.

One such “dragging” took place in 1979 at a “Night of Joy” at Disneyland. The night was primarily filled with The Boones, Reba Rambo, Randy Stonehill and a very young Amy Grant. But in the smallest of venues in the entire park he took me to see Barry McGuire and the Resurrection Band. I was familiar enough with McGuire’s music as my parents had introduced me to Seeds, Lighten Up and the brand new (at the time) Cosmic Cowboy albums.

McGuire was his normal affable and wonderful self playing the hits and making jokes in between each song. I do recall him joking that those in the front row may want to get ear plugs for what was to come next. At the time he was saying that I didn’t quite understand what everyone was laughing about. It was like being left out of an inside joke.

Twenty minutes later I got the joke!

That night I bought (or I’m guessing my future brother-in-law bought for me) the classic “Music to Raise the Dead” T-shirt that is still in a box somewhere. Medium? Really, I ever wore a medium?

That night I was introduced to the band that would mean more to me spiritually and emotionally than any other band on this list. They would make a career of challenging my walk, informing my social conscience and building a Biblical worldview. All that in three-minute spurts.

Resurrection Band is, by far and without question, the most socially conscious and relevant band in Christian music history. Their songs described inner-city life and strife long before any other Christian artist would dare tangle with the issue, outside of possibly Larry Norman. But coming from the point of a Ground Zero lifestyle through their Jesus People USA ministry, the descriptions were authentic and personal.

Resurrection Band was the first band in the world to deal with the horrible situation in South Africa involving Apartheid. Their song, “Afrikaans,” would be written and released a year before Peter Gabriel’s “Biko.” Content involving intimacy in marriage, prostitution, drug abuse, sexual deviancy, hypocrisy, suicide, pride and hopelessness were simply unheard of in Christian Music at that time, yet they were staples of Resurrection Bands content.

Forming in the early 70′s under the name “Charity” as part of a Christian community in Milwaukee, the band featured husband and wife lead singer, Glenn and Wendi Kaiser. After a move to Chicago and a change of name to “Resurrection Band” the group released a now rare cassette of demos called “Music to Raise the Dead.” That tape would actually contain a long time live favorite “Quite Enough” that would not be officially recorded and released until their live album, “Bootleg” more than a decade later.

In 1978 the band was signed to the Star Song label that also had Petra as an artist and it seemed like it would be a great fit as it was hoped that those at Star Song would understand the aggressive ministry, music and message of the band. But that relationship would only last for two album.

“Awaiting Your Reply” would be that debut album on Star Song. The album starts with the sound of a man in a subway station turning on the radio to hear the disc jockey say, “So hang in there as we play some music by…Resurrection Band? How’d this get in the stacks? Oh well, here’s hopin’”

That creative opening segment kicks straight into some of the hardest rock at the time in Christian music, most definitely the heaviest on a non-independent label. Wendi’s “Grace Slick” like vocals trade back and forth with Glenn’s growling, bluesy voice. For years my throat hurts and turns raw anytime I try to sing along with him.

“Awaiting Your Reply” is very blues driven rock, something akin to what Black Sabbath was doing at the time. The faster songs have more of an Aerosmith sound and Wendi’s vocals cannot help but cause the listener to think of Jefferson Starship. The album actually sold quite well despite the limited exposure as many Christian bookstores simply refused to carry the album, or if they did, it was hidden behind the counter. I always hated the practice of bookstores doing that and forcing some teenage boy to sheepishly ask if they carried the record as if he was buying a package of condoms. Despite the banning and difficulty in distribution the album still managed to reach the Top 10 in sales.

I should note here that the album was paid for, including the artwork by a friend of the band that gave them $8,000 for production and artwork and Star Song saw this as a no-lose situation. It was bought and paid for and would never impact their bottom line. It was still a controversial move as other label had rejected it for fear of tipping over the apple cart of safe Gospel music. But with the sales results it can be honestly said that Resurrection band broke down the barriers for rock and metal in Christian music like no other before or after them.

There are several songs of note on this album for worthy consideration: “Waves” is a great rocker in which Glenn and Wendi trade-off vocals. “Broken Promises” is an amazing showcase for Glenn’s blues obsession and remains a favorite of fans even now some 30 years later. “Lightshine” is the one chord wonder that Glenn joked with me about writing when he didn’t know how to sing and play guitar at the same time. The harpsichord makes an appearance on a couple tracks and somehow works as a hard rock instrument. “The Return” closes out the album with an incredible jazz/rock that is closer to Chicago than Black Sabbath complete with killer sax solo.

Resurrection Band’s sophomore attempt was “Rainbow’s End.” It would serve as the last for Star Song as I was once told that record company was not as happy with the album and the direction of the band at the time. I never understood if it was the apparently “progressive” political approach or the music. If it was the first than shame on them! If it was the second I can only question the understanding of modern music of the time by those running the label.

It should be noted at this point that the artwork for the first four Resurrection band albums were simply beyond amazing, and way beyond what anyone else was doing at the time. Not just for the artwork itself, but the packaging was impressive. Three of the first four possessed what is called a “gate fold” which means the packaging opened up to a double wide presentation. There were full lyrics and photos, etc. It was very impressive, especially since that type of artwork is usually reserved for “double albums.”

“Rainbow’s End” had artwork that was even more ambitious. They used a die cut technique for the windows on the front cover and the album jacket insert was a firm cardboard like the out cover. You could then turn the inner jacket different directions and display a different “vision” in the cut out windows.

(Album artwork was really cool back then and a sadly lost art).

Content-wise the album was more Black Sabbath blues influence hard rock. But it is on “Rainbow’s End” that the lyrical content began to show a more socially conscious awareness. This is most notable on the previously discussed “Afrikaans.” The pure passion of Glenn’s vocals still sends a chill down my spine even as I listen as I type. Until I die I will never forget the line “God makes the color, but the color doesn’t make you God.” I had an assignment in my creative writing class in High School to bring in the lyrics to a song that we believed work well as spoken poetry. I chose “Afrikaans.” I got an “A!”

But other songs worthy of note are Skyline, The Wolfsong and Skyline, which proved a harmonica can rock! But the highlight of the album is Glenn’s unforgettable ballad, “Paint a Picture.” The ache of longing for hope is just laid out on the canvas of this song. It shows that a rock song can be emotionally moving. There is pain in the voice and whining guitar that simply cannot be matched in other genres.

Somewhere between 1979 and 1980 something more than a decade changed. The band found a new home at Light Records where they would stay for the first half of the decade. Light Records was home primarily to Andrae Crouch and big band conductor, Ralph Carmichael. The label did sport the Sweet Comfort Band, but they were clearly a pop and funk driven band squarely in the heart of Christian music, both musically and lyrically. What that means is that they were seen as “rockers” who were “safe.”

What came with the change in the decade was a Resurrection Band that rocker faster, harder and with more socially relevant and Biblically striking content. Less Black Sabbath and Jefferson Airplane and more AC/DC and Rush, Colours was a rock tour de force as current as anything for its time and simply a relentless record from the opening instrumental to the closing crescendo cymbals. The production was clean, crisp and loud. The vocals went from bluesy to metal and the guitars…oh, the guitars!

The album addresses much of what the band was seeing out their front door in the inner-city of Chicago. Their ministry doors not only reach out the lost, broken and needy in the city, but is placed firmly in the center of it. The band and the ministry members do not truck in from the suburbs in Town and Country minivans, but live, eat, breathe and love right in the epicenter. So, it makes sense that the content would flow from that perspective.

Colours is Resurrection Band’s defining work. This was AOR radio friendly rock but with decidedly metal edge. It also contains some of Glenn’s finest and most aggressive vocals. Not a song is a miss and the album, as a complete whole, is the best thematically outside of their swan song, Lament. “Mommy Don’t Love daddy” would compare favorably, but did not have the cohesive sound and maintain the level of intensity that “Colours” set forth.

The album starts with a two-minute instrumental introduction to the Wendi Kaiser lead, “Autograph.” Starting the album with this instrumental introduction set the stage for what was to come as it introduced the new and heavier musical direction and also worked well as a concert introit. Stu Heiss’ finest guitar work can be heard on Colours and the intro to “Autrograph” hints at what would come.

By the time Wendi takes on the vocals the song shifted from a groove driven hard rock to a more staccato, borderline punk rhythm. The song addresses how the Lord signs and seals those who are His with his own “blood signature” that was provided in the cross.

I said, “Sign here please,” and You inscribed
Your Name in my heart
Didn’t know what I was getting into
Or what was getting into me for that matter
A little slow to understand,
Love was the word I was after
So Your name kept coming to my lips,
Again and again
Now I understand,
He wanted the heart of this world
You’re His Signature, the very Stamp of His Soul
Spirit in the wind, agony of the cross all told
Signed in blood

The song does warn against those who simply refuse to acknowledge God and how those things that are “gods” of the lost are like forgeries…

Forgery, it happens all the time
Your truth ain’t even on their minds

One of the strengths of the record is found above; taking a common theme and presenting in powerful and unforgettable imagery. This shows the beginning stages of the growth of Kaiser and the band in regards to their songwriting. Glen wrote or co-wrote the entire album and his mark is indelible.

The title track follows and contains one of the best groove riffs in Resurrection Band history. The song is actually a worship song of sorts as it addresses the creative, loving and diverse nature of God’s revelation and that fact that his love is demonstrated to races and colors. And without timing it, it may also contain the longest instrumental break in the band’s history outside of any live album.

Silence stands with open hands hushed before the King
Joy believes and happily praises as she sings
Wonder sits in open fields beholding all You made
Desire seeks Your colours, each and every shade

Whatever one could ask of faith, obedience will give
Together all express the love in hearts where Jesus lives

A distinctive change in content, both musically and lyrically follows with the driving and grinding “N.Y.C.” Glen takes the vocals on a much more AC/DC driven hard rock/heavy metal song than any song previously recorded by the band. Glen’s uncanny ability to “scream” on key is displayed in the bridge and final verse. But the song starts by introducing the listener to the streets.

Out on the curbside, sat a little boy
Is crying cause a story to unfold
I’ve no father, I’ve no family
It’s getting dark and getting cold
I’ve been left here by myself and all alone

Another character is introduced in the second verse, a prostitute whose life is a living hell. “When the fix is late, the pimp won’t wait and you know you’re getting sick.” But the imagery of those wanting something more from life here is powerfully demonstrated and expanded to all sinners no matter their lot in life.

No twinkle, twinkle little star
No one to wonder who you are
We’re all just urchins, beggar boys, disowned
Like Jack and Jill we’ve fallen down
With bruised and battered, tarnished crowns
No water in the well to carry home

But Resurrection Band never shies away from the honest reality, not the answer to these problem as the song concludes.

It’s time we live in honesty, it’s time we learn to cry
To soften our hearts once again
It’s time we lay our bullets down
Embracing Jesus’ love
Salvation comes in no other name

“Hidden Man” follows with a Rush type rock groove that is not as heavy as “N.Y.C.” but stays with the same rock vein. Here the content is about those who attempt to hide from the truth of Gospel even when it is presented before them.

“Amazing” is similar to Autograph in both that it is fronted by Wendi and because of the more punk rhythm that she would actually be noted for in later records as well. This is the type of song that fits Wendi’s voice the best. Here she and Glenn trade-off during the chorus in an expression of God’s amazing and unending love.

What could possibly be Resurrections Band’s finest moments follows with “American Dream.” What was hinted at previously in the bands critique of modern culture, political corruption, class warfare and much more progressive view of social issues than many in the Church had previously displayed. It is also quite possibly the fastest and heaviest song in their repertoire. Glenn’s vocals reach a near breaking point with a double time speed guitar riff and lyrical structure.

After introducing his past frailty of naiveté, Glen than rattles off a list of current problems that has infected and brought about the moral decay that is so prevalent. He finishes with a warning of potential annihilation if the path we are heading down does not shift. This is all in the setting of reading the morning paper.

The holy morning paper
Slaps the steps of dawn
America’s doors open
Let’s see what’s going on
Confusion with our coffee
Fear and frosted flakes
A Shuttle offstage – a change of scene
The expose of the american dream
Watergate burglars comedy relief
Laugh at ideals surviving our griefs
It’s fool’s gold for gilded fools
Playing gaily with twisted rules
Hail to the families in their tv rooms
Suicide, genocide, abortion, cartoons
Terrorism, violence, starving refugees
Conscience, crucified, reality recedes
Nuclear tyrants, computerized plan,
Holding hostage everyman

But here again the band does not feel justified in simply expressing the plight of the situation, but offers the only hope man has for his future survival.

Form dust to dust
Our lives fades away
We are the winds empty sighing
Vanity, all vanity
All but the cross, all but his dying

This song moves immediately into “Benny and Sue,” a story of a lost couple with no sense of hope. Abortion, sexual promiscuity and an eventual premature death of Benny weave throughout the verses. The story of this lost and forgotten couple rings true and authentic. But rather than an “easy answer” salvation message, Jesus pleads with Sue to turn toward him but to no avail. This songs served as a great warning track to sinful and selfish living.

“City Street” is similar in theme to “N.Y.C.” but here the subject’s story is told in first person by Glenn. The music is the most AC/DC like on the album as it is a song built around a “riff” and what a riff it is. Here Glenn is a seeker lost in the city streets with no hope at all. Of all the songs on the album it comes across as the most autobiographical.

Like a joke without a punchline
Like a rat in a maze
Like last years paper
Yellow with age
I was a deck without a dealer
I was a day without a dawn
I was a train without a station
Until You came along

The theme of the lost and lonely on the streets continue with “Beggar in the Alleyway.” Here the song closes with the realization that “joy comes in the morning” and hope is there for those who seek and find.

The album closes with “The Struggle.” The band has made a habit of closing albums with thought-provoking and mid-tempo rockers that leave the listener a little haunted and introspective.

My pride wants me to hide inside myself
But I love you Lord I don’t want our love put on the shelf
I’m tired of feigning to be who I am
Jesus make me what You want me to be
Because of You I desire reality…

…But I can only face myself when I face You..

The passion and authenticity with which these words are presented are the trademark that make them such powerful statements. There is not a moment the listener doubts the conviction of the band. This is not a band whose pointing of the finger was for shock value or pretentious in any way. They not only talked the talk the walked the walk and continue to do so to this day.

In 1980 a band out of commune in the inner-city of Chicago rocked the Christian world with a work that has transcended time and whose content is just as relevant now some 30 years later. Much music today is no longer relevant 30 minutes later.

The band would go on to release many more successful albums throughout the 80′s, shocking fans with a short-lived change in musical direction on “Hostage” incorporating more keyboards and new wave stylings. They would return to the more rock driven roots on following albums and even receive MTV airplay with two songs.

They eventually unofficially called it quits at the turn of the millennium, but will still play occasional one-off shows, especially at Jesus People USA’s annual Cornerstone Festival.

The band did leave on a high note with the Ty Tabor (Kings X) produced, “Lament,” a wonderful theme album that may be their highest artistic achievement. Whether known as Rez, Rez Band or Resurrection Band when it came sheer audacity, intense and memorable rock and for creating a record that changed how the Church and music industry would consider Christian music, Colours is among the greatest Christian albums of all time.

9. Meltdown – Steve Taylor

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.

10. Lie Down In the Grass – Charlie Peacock

LIE DOWN IN THE GRASS (1984)

Charlie Peacock

While managing Maranatha Village I would receive a phone call the beginning of each month from Charlie Peacock asking me if I needed anymore of the cassette of West Coast Diaries Vol 1. That helped strike up a friendship. But there was often several years in between conversations. In fact, the most recent conversation I recall was after a Sunday Morning service in Colorado Springs where Charlie had performed the offertory for the Church I was attending.

I obviously love a lot of different music and because of connections over the years with many, if not most, of the artist that fill up this countdown, I am not very starstruck. But when it comes to Charlie Peacock…I am a dumb fan! I just love what he does and will find buying albums that he produces even I don’t care for the artist.

When Exit was just starting out I was invited by label head Mary Neely to a concert in Hollywood with Steve Taylor and this new band Exit was releasing called Vector. What I remembered the most about that evening was this bouncy keyboardist that seemed to play with one hand while dancing with the other in that classic 80′s swinging of the arms sort of way. Mary gave me a copy of their album advance that night and I immediately noticed the unique vocals on the songs sung be that keyboardist. They would become my favorites.

Not that much later Mary invited me out the LA one more time for a convert of Exit artists as they were looking to sign a mainstream distribution deal. The line-up included Robert Vaughan and the Shadows (a band whose Exit release came in at number 52 on my list), the 77′s, a new, revamped Vector and that keyboardist, Charlie Peacock. I left that evening with a blank tape advanced copy of a record called “Lie Down in the Grass.”

WOW!

Peacock’s road to where he resides today has been long and interesting. He is clearly recognized with CCM circles as a brilliant producer, songwriter, artist and thinker. He received a Master’s Degree from Covenant Theological Seminary and performs progressive jazz, worship and pop without missing a beat. He has a loyal audience and fan base for good reason.

But it all started quite simply with a very programmed heavy debut that was filled with pop gems, world and African rhythms, poignant and obscure lyrics and a quirky, breathy high pitched voice that some do not find quite as pleasing as I do. Many initially pegged peacock as an “alternative” artist because of the heavy programming, but in actuality, that came about solely as the result of a low production budget. Anyone who saw him live early on with former Vector bandmates, Vince Ebo and Aaron Smith know just what an authentic musician he was at the time.

Though the album in question features a programmed drum, there are plenty of acoustic percussion work, electric and acoustic guitars, real brass instruments and amazing acoustic and electronic keyboards in use.

There are two versions of the album released. The Exit/Word version contains two songs that were removed and replaced by two more “commercial” sounding songs fopr the A&M release. I have decided to add the two songs to the review here. I remember seeing Peacock on tour with other A&M artists in the early 80’s and was struck by just how good he was live and how he ended up competing quite well for the audience response of bands like Let’s Active.

The album starts with the title track. The bopping programmed drums are quickly joined by a great thumping and popping bass. Peacock’s breathy voice drives home a poetic message of God’s desire for us to wonder at his majestic creation. Borrowing very loosely from the 23rd Psalm Peacock encourages the listener to lie down in the grass (beside still waters?) to humble ourselves and revel in the glory of God. The trumpet takes center stage here and elsewhere, a sign of total originality and genius playing. The final chorus with the addition of the tribal backing vocals make the song even more out of step with modern CCM at the time in just the right way.

I remember when Greg fast added the song to the playlist on KYMS with a very doubtful eye. But it ended up being a big hit and stayed on the playlist for quite some time.

“Watching Eternity” follows with what should have been a huge CCM radio hit if CCM radio had any foresight at the time. the beautiful melody, psalm like wonderment lyrics and huge hooky chorus made it a great single. the world music groove is completely palatable to even the least adventurous radio listener.

In stark contrast to the previous is the more adventurous, and much cooler, “It’s Gone, It’s Over.” It is at the point the album really takes off with originality and creative swings. the sax solo is pure perfection and even the programmed drums sound right, especially given the great Michael Roe guitar work the accentuates every line in the verse structure. The dreamy backing vocals are haunting, in a very cool way.

A personal favorite, both musically and lyrically, follows with “Human Condition.” perhaps only Mark Heard understood and articulated the human condition in a better way than Peacock. His strength is in the simple and provocative way he describes the human struggle and the universality of it all. The country twang guitar sound and rhythm is odd, yet strangely perfect. This is also Peacocks most emotive vocal.

If Peacock was the earn his alternative label, it would be because of the next two songs. One slower and one more upbeat. the first “Lost in translation” in more jazz than alternative and is the one song that would have fit perfectly with his previous band, Vector. This slow, grooving jazz number also reminds me of his “Hot Night Downtown” with it’s cool and flowing groove. It always reminds me of Joe Jackson without the piano.

“One, Two, Three (That’s OK)” returns the album to the driving rhythm of the title track, but without the world music/African influence. More “new wave” than just about anything on the album it did make its mark on Christian rock radio shows and the college radio market. Michael Butera’s sax work just so good. Peacock shows a more aggressive vocal approach here than anywhere else on the project.

I remember friends commenting how they loved the album but didn’t like “Whole Lot different/Whole Lot the Same.” Those friends are crazy! The incredible, building momentum and groove is brilliant. It is also nearly worshipful and the strongest faith statement on the entire project. It is also the one time on the album that Peacock’s utter mastery of the piano is hinted at. If anyone has seen Peacock live by himself, you walk away realize you had just witnessed one of the finest musicians out there, especially on the piano. I would have loved even more piano.

“Til You Caught My Eye” may actually contain the albums groove. The bass line is infectious and Peacock’s swirling and building vocal structure is spot on. I also really appreciated how the clearly 60’s influenced piano melody combined with straight 80’s new wave just works. The half-talking bridge is the album’s vocal highlight.

“Turned On an Attitude” works the groove from start to finish. The sax and trumpet brings the song together nicely, but it is Roe’s unheralded guitar work that steals the show. Again, Peacock’s jazz influence makes the song work and let’s it breathe in an industry that was rather confining at the time.

The original Exit version closes with “Who Is Not Afraid?” Is this Peacock’s finest composition? I can’t really say, but i do not know of too many that surpass it. It is haunting and beautiful. The lyrics swirl and consume the listener. It is worshipful and exhorting. As mentioned previously, Peacock often writes like a psalmist, and does so again here, but in a very modern vernacular. I could click repeat over and over on this song! The sax solo deserved two more minutes.

The first of the two “A&M release” cuts is “Young at Heart.” I should say from the outset that I am more of a fan of the Word version and believe the two additional songs were meant to garner radio play. They are both better produced pop songs, but fit on Peacock’s self-titled album that would live in obscurity several years later. “Every time I hear “Young at heart” I hear Rod Stewart singing the chorus. It’s a fine pop, radio song, but does not measure up to the interesting and creative music displayed on the Word version.

“Love Doesn’t Get Better” is a little more in tune with the rest of the project, but really would have been perfect on Vector’s “Please Stand By.” Again, it is just so much more commercially driven than the rest of the project. And the chorus is way “Wham” for me!

But given that I can own the original, much preferred, Word version the additional songs do not detract from the well deserved placement in the Top 10. I understand it will be one of the choices that many would not include in their Top 20 while others would list in their Top 5.

 

 

11 Thru 500

Before starting the top 10 I thought some of the long time readers might appreciate, and some of the more recent inquirers would find helpful, a rundown of numbers 11 through 500.

11. The 77’s                                                               All Fall Down
12. Phil Keaggy                                                         Love Broke Thru
13. Leslie Phillips                                                      The Turning
14. Tonio K                                                                 Romeo Unchained
15. The Altar Boys                                                   GLM (Gut Level Music)
16. David Edwards                                                  David Edwards
17. Bob Bennett                                                      Matters of the Heart
18. The Swirling Eddies                                         Outdoor Elvis
19. Bob Dylan                                                            Slow Train Comin’
20. Amy Grant                                                          Lead Me On
21. DC Talk                                                                 Jesus Freak
22. Love Song                                                           Love Song
23. Chagall Guevara                                               Chagall Guevara
24. DeGarmo & Key                                                               Straight On
25. Larry Norman                                                    In Another Land
26. Rick Elias                                                              Rick Elias and the Confessions
27. Rich Mullins                                                        A Liturgy, A Legacy & a Ragamuffin Band
28. Daniel Amos                                                       Doppelganger
29. Bruce Cockburn                                                                Dancing in the Dragon’s Jaws
30. The Call                                                                Reconciled
31. Barry McGuire                                                   Lighten Up
32. Lost Dogs                                                             Scenic Routes
33. Mustard Seed Faith                                        Sail on Sailor
34. Switchfoot                                                          The Beautiful Letdown
35. U2                                                                          War
36. Undercover                                                        Branded
37. Adam Again                                                        Dig
38. Benny Hester                                                    Nobody Knows Me Like You
39. The Choir                                                             Chase the Kangaroo
40. Russ Taff                                                              Russ Taff
41. LSU                                                                        Shaded Pain
42. The Front                                                            The Front
43. Prodigal                                                                Electric Eye
44. Caedmon’s Call                                                 40 Acres
45. Andy McCarroll & Moral Support              Zionic Bonds
46. Stryper                                                                 To Hell With the Devil
47. Daniel Amos                                                       Horrendous Disc
48. Kerry Livgren                                                     Seeds of Change
49. Burlap to Cashmere                                        Anybody Out There
50. Paul Clark                                                            Hand to the Plow
51. Sweet Comfort Band                                      Hearts of Fire
52. Vigilantes of Love                                            Jugular
53. Michael Omartian                                            Adam Again
54. The Violet Burning                                           Strength
55. Sixpence None the Richer                            Sixpence None the Richer
56. Ideola                                                                   Tribal Opera
57. Daniel Amos                                                       Shotgun Angel
58. Charlie Peacock                                                                The Secret of Time
59. After the Fire                                                     CBS Recordings
60. Jerusalem                                                           Warrior
61. The Alarm                                                           Declaration
62. T-Bone Burnett                                                 Trap Door
63. Michael Anderson                                           Sound Alarm
64. Tonio K                                                                 Notes from the Lost Civilization
65. Steve Taylor                                                       I Predict 1990
66. Gospel Gangstas                                              Gang Affiliated
67. Mute Math                                                         Mute Math
68. Alice Cooper                                                      The Last Temptation of Alice Cooper
69. Edin Adahl                                                           Alibi
70. Jars of Clay                                                          Jars of Clay
71. Vector                                                                  Mannequin Virtue
72. Bruce Cockburn                                                                Humans
73. Phil Keaggy                                                         Sunday’s Child
74. Lifesavers                                                            Kiss of Life
75. Matthew Ward                                                 Toward Eternity
76. The Prayer Chain                                              Shawl
77. Daniel Amos                                                       Darn Floor, Big Bite
78. Randy Stonehill                                                 Between the Glory and the Flame
79. Mark Heard                                                        Satellite Sky
80. The Innocence Mission                                 The Innocence Mission
81. Julie Miller                                                          Meet Julie Miller
82. Bebo Norman                                                    Ten Thousand days
83. Benny Hester                                                    Benny Hester
84. 2^nd Chapter of Acts/Phil Keaggy                 How the West Was One
85. Andrae Crouch & the Disciples                   This Is Another Day
86. Mat Kearney                                                      Nothing Left to Lose
87. Sweet Comfort Band                                      Cutting Edge
88. Gentle Faith                                                       Gentle Faith
89. Charlie Peacock                                                                Love Life
90. Erick Nelson & Michelle Pillar                      The Misfit
91. The 77’s                                                               Pray Naked
92. Children of the Day                                         Come to the Water
93. The Choir                                                             Circle Slide
94. Roby Duke                                                          Not the Same
95. Johnny Lang                                                       Turn Around
96. Ishmael United                                                 If You Can’t Shout Saved, You’ll Have to…
97. Malcolm and Alwyn                                        Fools Wisdom
98. Undercover                                                        Forum
99. Michael W Smith                                              The Big Picture
100. John Mehler                                      Bow and Arrow
101. MxPx                                                    Life in General
102. Chuck Girard                                      Chuck Girard
103. Jennifer Knapp                                 Kansas
104. Sam Phillips                                        The Indescribable Wow
105. Darrell Mansfield                             Higher Power
106. Arkangel                                              Warrior
107. Kerry Livgren/AD                             Timeline
108. Various Artists                                   At the Foot of the Cross
109. Neal Morse                                        Testimony
110. Steve Scott                                         Love In the Western World
111. Randy Stonehill                                 Return to Paradise
112. Steve Camp                                        Fire and Ice
113. Petra                                                     More Power To Ya
114. Scaterd Few                                       Sin Disease
115. Pat Terry                                              Humanity Gangsters
116. Stavesacre                                          Friction
117. Hothouse Flowers                           People
118. John Fischer                                       Dark Horse
119. The Imperials                                     Priority
120. Rich Mullins                                        Winds of Heaven, Stuff of Earth
121. LYRIX                                                     Songs From the Earth
122. Jon Gibson                                          Body and Soul
123. 2^nd Chapter of Acts                          With Footnotes
124. POD                                                       Satellite
125. Iona                                                       The Book of Kells
126. Rick Elias                                              Ten Stories
127. T-Bone Burnett                                 Truth Decay
128. Pierce Pettis                                       Chase the Buffalo
129. Margaret Becker                              Immigrants Daughter
130. Lone Justice                                       Shelter
131. DC Talk                                                 Free at Last
132. Dashboard Confessional                               Alter the Ending
133. Syn                                                         A Matter of Time
134. Resurrection Band                           Awaiting Your Reply
135. King’s X                                                                Faith, Hope, Love
136. Plank Eye                                             The One and Only
137. Amy Grant                                          Age to Age
138. Adam Again                                        10 Songs
139. Various Artists                                   Orphans of God – Mark Heard Tribute
140. Toby Mac                                            Diverse City
141. Daniel Amos                                       Mr. Beuchner’s Dream
142. Vigilantes of Love                            Audible Sigh
143. Lifesavers                                            Us Kids
144. Poor Old Lu                                         Mindsize
145. The Violent Femmes                      Hallowed Ground
146. Kansas                                                  Vinyl Confessions
147. Kemper Crabb                                   The Vigil
148. U2                                                          Achtung Baby
149. Crystal Lewis                                      The Bride
150. Whitecross                                         Whitecross
151. Newsboys                                           Going Public
152. Barry McGuire                                   Seeds
153. Lost Dogs                                             Little Red Riding Hood
154. Mark Heard                                        Second Hand
155. Waterboys                                          Pagan Place
156. Various Artists                                   City on a Hill
157. Avion                                                    Avion
158. David Meece                                     Are You Ready
159. Flyleaf                                                   Flyleaf
160. White Heart                                       Redemption
161. Fleming and John                             Delusions of Grandeur
162. Tourniquet                                         Psycho Surgery
163. Jennifer Knapp                                 Lay It Down
164. Vigilantes of Love                            Killing Floor
165. Randy Stonehill                                 Equator
166. Margaret Becker                              Never For Nothing
167. Magdallan                                           Big Bang
168. Deliverance                                        Weapons of Our Warfare
169. Aunt Bettys                                        Aunt Bettys
170. Terry Taylor                                        Knowledge and innocence
171. David Mullen                                     Revival
172. Jacob’s Trouble                                 Knock Breathe Shine
173. Van Morrison                                    Avalon Sunset
174. Russ Taff                                              Medals
175. Daughtry                                             Daughtry
176. Servant                                                                Rockin’ Revival
177. Petra                                                     Never Say Die
178. The Imperials                                     One More Song for You
179. Ashley Cleveland                             Big Town
180. David Edwards                                  Get the Picture
181. Phil Keaggy                                         Ph’lip Side
182. Cliff Richard                                        Now You See, Now You Don’t
183. Keith Green                                       No Compromise
184. Charlie Peacock                                                Charlie Peacock
185. Derek Webb                                      She Must and Shall Go Free
186. Resurrection Band                           Lament
187. FM Static                                             What Are You Waiting For
188. Over the Rhine                                 Eve
189. Take 6                                                   Take 6
190. Living Sacrifice                                   Reborn
191. 4-4-1                                                      Mourning Into Dancing
192. 2^nd Chapter of Acts                          Mansion Builder
193. Phil Keaggy                                         Crimson & Blue
194. Neal Morse                                        Lifeline
195. Newsboys                                           Love Liberty Disco
196. Creed                                                    Human Clay
197. The Throes                                         All the Flowers
198. White Heart                                       Don’t Wait for the Movie
199. Plumb                                                   candycoatedwaterdrops
200. Various Artists                                   Brow Beat
201. Audio Adrenaline                             Underdog
202. Prodigal                                                Just Like Real Life
203. Steve Taylor                                       Squint
204. Fireworks                                            Shatter the Darkness
205. Lecrae                                                   Rebel
206. Bryan Duncan                                    Have Yourself Committed
207. Jon Gibson                                          Jesus Love Ya
208. Bloodgood                                          Detonation
209. Jimmy Hotz                                         Beyond the Crystal Sea
210. Jeff Johnson                                      Icons
211. DeGarmo and Key                           This Time Thru
212. House of Heroes                              Suburbia
213. Black Rebel Motorcycle Club       Beat the devil’s tattoo
214. The Rocket Summer                       Do You Feel
215. Third Day                                             Third Day
216. Russ Taff                                              The Way Home
217. Glass Harp                                           Glass Harp
218. Daniel Band                                        On Rock
219. In 3D                                                      No Glasses Needed
220. Bob Dylan                                            Infidels
221. Amy Grant                                          Behind The Eyes
222. Vengeance Rising                            Human Sacrifice
223. Bill Mason Band                                                No Sham
224. Michael W Smith                              The Michael W Smith Project
225. Twila Paris                                           The Warrior is a Child
226. Larry Norman                                    So Long Ago the Garden
227. Michael Omartian                            White Horse
228. The All Saved Freak Band             My Poor Generation
229. Benny Hester                                    Benny From Here
230. Sheila Walsh                                       Future Eyes
231. Ark                                                         The Angels Come
232. Randy Matthews                             Son of Dust
233. U2                                                          October
234. The 77’s                                               Sticks and Stones
235. Bourgeois Tagg                                 Bourgeois Tagg
236. Robert Vaughn & the Shadows  Love and War
237. Mad at the World                            Flowers in the Rain
238. Sweet Comfort band                      Sweet Comfort Band
239. MC Hammer                                      Hammer, Please Don’t Hurt ‘Em
240. Oden Fong                                          Come for the Children
241. World Party                                        Private Revolution
242. Caedmon’s Call                                 Caedmon’s Call
243. Tom Howard                                      Danger in Loving You
244. Sufjan Stevens                                  Illinoise
245. Adam Again                                        Homeboys
246. Stavesacre                                          Speakeasy
247. Edin Adahl                                           X-Factor
248. Julie Miller                                          Blue Pony
249. Out of the Grey                                                Out of the Grey
250. Wayne Watson                                 Watercolour ponies
251. Larry Norman                                    Something New Under the Son
252. Mark Heard                                        Ashes and Light
253. The Swirling Eddies                         Zoom Daddy
254. Shai Linne                                            Atonement
255. Midnight Oil                                       Dust and Deisel
256. Denny Correll                                    Standing in the Light
257. Robin Lane & the Chartbusters  Imitation Life
258. TobyMac                                             Tonight
259. Bruce Cockburn                                                Stealing Fire
260. Barnabas                                             Hear the Light
261. Undercover                                        Balance of Power
262. The Silencers                                     A Letter From St. Paul
263. Dave Kelly                                           Crowning of a Simple Man
264. Bride                                                     Snakes in the Playground
265. Giantkiller                                           Valley of Decision
266. Precious Death                                 Southpaw
267. Ginny Owens                                     Without Condition
268. Mortal                                                  Lusis
269. The Crucified                                     Pillars of Humanity
270. Atomic Opera                                    Gospel Cola
271. Earthsuit                                              Kaleidoscope
272. Galactic Cowboys                             Galactic Cowboys
273. The Call                                                                Let the Day Begin
274. Daniel Amos                                       Fearful Symmetry
275. Five Iron Frenzy                                                Upbeats and Beatdowns
276. Vigilantes of Love                            Driving the Nails
277. The Alarm                                           Strength
278. Saviour Machine                              Saviour Machine I
279. Owl City                                               Ocean Eyes
280. The Winans                                        The Return
281. Kyle Henderson                                                More Than the Look of Love
282. The Archers                                        Fresh Surrender
283. Fred Field and Friends                   Fred Field and Friends
284. Plank Eye                                             Commonwealth
285. Mortification                                      Scrolls of the Megilloth
286. Steve Taylor                                       On the Fritz
287. Brainchild                                            Mindwarp
288. 16 Horsepower                                 Secret South
289. Larry Norman                                    So Long Ago the Garden
290. Charlie Peacock                                                Everything That’s On My Mind
291. Starflyer 59                                         Silver
292. Saving Jane                                         Girl Next Door
293. Stryper                                                 Soldiers Under Command
294. Bob Bennett                                      Songs From Bright Avenue
295. Paramore                                            Brand New Eyes
296. Mason Profitt                                    I Had a dream
297. Glad                                                       Beyond a Star
298. Holy Soldier                                        Holy Soldier
299. Jacob’s Trouble                                 Jacob’s Trouble
300. Kerry Livgren/AD                             Art of the State
301. Leon Patillo                                         The Sky’s the Limit
302. Bruce Hibbard                                   Never Turnin’ Back
303. Evanescence                                      Fallen
304. MxPx                                                    Teenage Politics
305. Allies                                                     Allies
306. The Predators                                   Social Decay
307. Skillet                                                    Comatose
308. Kenny Marks                                     Right Where You Are
309. The 77s                                                 Ping Pong Over the Abyss
310. Resurrection Band                           Mommy Don’t Love Daddy Anymore
311. The Waterboys                                 This Is The Sea
312. Sacred Warrior                                  Obsessions
313. Evie                                                        Mirror
314. Third Day                                             Time
315. Robin Lane & The Chartbusters Robin Lane & the Chartbusters
316. Darrell Mansfield                             Get Ready
317. John Michael & Terry Talbot        The Painter
318. Annie Herring                                    Through a Child’s Eyes
319. Phil Keaggy                                         Town to Town
320. Mute Math                                         Armistice
321. Youth Choir                                        Voices in Shadows
322. Michael Card                                      Legacy
323. Underoath                                          They’re Only Chasing Safety
324. Bruce Cockburn                                                In the Falling Dark
325. Guardian                                             Fire and Love
326. Bethlehem                                         Bethlehem
327. First Strike                                           First Strike
328. Semaja                                                 No Burning Out
329. Third Day                                             Third Day (Tunesmith)
330. Idle Cure                                              Idle Cure
331. Shawn Groves                                   Invitation to Eavesdrop
332. Kim Hill                                                 Talk About Life
333. Dave Perkins                                      The Innocence
334. North Bound                                      North Bound
335. Simple Minds                                     New Gold Dream
336. What If                                                 What If
337. Servant                                                                World of Sand
338. Dan Peek                                             All Things Are Possible
339. Relient K                                              mmhmm
340. Elim Hall                                               Things Break
341. The Alpha Band                                                Spark in the Dark
342. 5 O’clock People                               The Nothing Venture
343. Shout                                                    It Won’t Be Long
344. Randy Stonehill                                 Thirst
345. Daniel Amos                                       Vox Humana
346. Adam Again                                        Perfecta
347. Michael Roe                                       The Boat Ashore
348. Mark Heard                                        Stop the Dominos
349. Andy Pratt                                          Fun in the First World
350. Altar Boys                                            Against the Grain
351. Parable                                                 Illustrations
352. Veil of Ashes                                      Pain
353. Mr. Mister                                          Welcome to the Real World
354. Kevin Max                                           The Blood
355. The Elms                                              Big Surprise
356. Various Artists                                   Streams
357. Dion                                                       I Put Away My Idols
358. DeGarmo & Key                                               Mission of Mercy
359. Alwyn Wall Band                              The Prize
360. Los Lobos                                            By The Light of the Moon
361. Mylon LeFevere/Broken Heart  Sheep in Wolves Clothing
362. The Echoing Green                          Defend Your Joy
363. Steve Archer                                      Through His Eyes of Love
364. Good News                                        Good News
365. Grits                                                      Art of Translation
366. Havalina Rail Co                                 Havalina Rail Co
367. The Way                                              Can It Be
368. Starflyer 59                                         Leave Here a Stranger
369. The English band                              What You Need
370. Ernie and Debbie Rettino             More Than Friends
371. Dig Hay Zoose                                    Magenta Manta Love Tree
372. Farrell and Farrell                             Choices
373. Steve Curtis Chapman                   Beauty Will Rise
374. Leslie Phillips                                      Beyond Saturday Night
375. 12 Stones                                            12 Stones
376. Barnabas                                             Approaching Light Speed
377. Michael Knott                                    Rocket and a Bomb
378. POD                                                       Fundamental Elements of Southtown
379. Dead Artist Syndrome                   Prints of Darkness
380. Kaja                                                       Crazy People’s Right to Speak
381. Julie Miller                                          Invisible Girl
382. Stronghold                                          Fortress Rock
383. Nichole Nordeman                          Woven and Spun
384. Barren Cross                                      Atomic Arena
385. Sarah Laughing                                  Sun and Moon
386. James Vincent                                   Waiting for the Rain
387. Pat Terry                                              Film at Eleven
388. Bob Bennett                                      First Things First
389. Crumbacher-Duke                           World’s Away
390. Crystal Lewis                                      Beauty For Ashes
391. Donna Summer                                                She Works Hard for the Money
392. JC Power Outlet                                               Forgiven
393. Vince Ebo                                            Love is the Better Way
394. In 3D                                                      Barrage
395. T-Bone Burnett                                 Proof Through the Night
396. Scott Wesley Brown                       I’m Not Religious
397. Judson Spence                                  Judson Spence
398. Curious Fools                                     Curious Fools
399. Two Pound Planet                           Songs From the Hydrogen Jukebox
400. PFR                                                        Great Lengths
401. Walk on Water                                  WOW
402. Prodigal                                                Prodigal
403. OC Supertones                                 The Adventures of the OC Supertones
404. Tim Miner                                           A True Story
405. John Fowler & Harpoon                                Live
406. Chris Taylor                                         Worthless Pursuit of Things on the Earth
407. Parchment                                          Shamblejam
408. Keith Green                                       So You Wanna Go Back to Egypt
409. Collective Soul                                   Hints, Allegations and Things Left Unsaid
410. Mylon LeFevere                                               Mylon
411. The Choir                                             Wide Eyed Wonder
412. Paul Clark                                            Good to Be Home
413. Dime Store Prophets                      Love is Against the Grain
414. KJ – 52                                                  It’s Pronounced Five Two
415. Rick Cua                                               Koo-Ah
416. Ed Raetzloff                                        Drivin’ Wheels
417. Randy Matthews                             Now Do You Understand
418. Kim Boyce                                           Kim Boyce
419. Isaac Air Freight                                                Fun in the Son
420. Steve Soles                                         Walk By Love
421. Jamie Owens-Collins                      Growing Pains
422. Tommy Coomes                               Love Is the Key
423. Quickflight                                          Decent Beat
424. Pilgrim Outlets                                  Do You Know Him
425. Don Francisco                                    Forgiven
426. T-Bone                                                 The Hoodlum’s Testimony
427. First Call                                               Undivided
428. Wish for Eden                                    Pet the Fish
429. Michael Been                                    On the Verge of a Nervous Breakthrough
430. Sweet Comfort Band                      Breakin the Ice
431. Bob Dylan                                            Saved
432. Squad 5-0                                            What I Believe
433. Jeff Johnson                                      Fallen Splendor
434. Sometime Sunday                           Stone
435. Jimmy A                                               Secrets
436. Chris Eaton                                         The Vision
437. Carson Cole and RU4                      Mainstreet
438. Toby Mac                                            Momentum
439. Common Band                                  Anger Into Passion
440. LSU                                                        Grace Shaker
441. Creed                                                    My Own Prison
442. Thousand Foot Krutch                   Phenomenon
443. Beau MacDougall                             This Side of Heaven
444. David and the Giants                      David and the Giants
445. Poor Old Lu                                         Sin
446. Lewis McVay                                      Coming Attractions
447. Jan Krist                                               Decapitated Society
448. Vector                                                  Please Stand By
449. Mike Stand                                         Do I Stand Alone
450. Crumbacher                                       Incandescent
451. Imitators                                              Once and For All
452. Jeremy Camp                                    Stay
453. Scott Blackwell                                  Walk on the Wildside
454. Hawk Nelson                                     Smile, It’s the End of the World
455. Black Eyed Sceva                              Way Before the Flood
456. Mad at the World                            MATW
457. D-Boy                                                    The Lyrical Strength of One Street Poet
458. Hokus Pick                                          Snappy
459. Rick Altizer                                          Blue Plate Special
460. Waterdeep                                         Everyone’s Beautiful
461. Silverwind                                           A Song In the Air
462. Steve Taylor                                       I Want to Be a Clone
463. Gary Chapman                                  Sincerely Yours
464. The Kry                                                 You
465. Honeytree                                          Evergreen
466. Idle Lovell                                            Idle Lovell
467. Lights                                                    The Listening
468. Jars of Clay                                          Good Monsters
469. Fireworks                                            Sightseeing at Night
470. Kathy Trocoli                                      Stubborn Love
471. Mike Warnke                                     Hey Doc
472. The Lifters                                           The Lifters/That What Love’s About
473. The Mercy Seat                                                The Mercy Seat
474. Karen Lafferty                                   Bird in a Golden Sky
475. Nobody Special                                 Nobody Special
476. Neal Morse                                        ?
477. Morgan Cryar                                    Keep No Secrets
478. Servant                                                                Light Maneuvers
479. Jon Gibson                                          Change of Heart
480. Kansas                                                  Audio Visions
481. Maranatha Singers                          Praise 1
482. Paul Clark                                            Songs for the Savior 1 & 2
483. Mark Heard                                        Eye of the Storm
484. Mark Farner                                       Just Another Injustice
485. Randall Waller                                   Midnight Fire
486. Lifesavers                                            Dreamlife
487. Lone Justice                                       Lone Justice
488. Seven Day Jesus                               Hunger
489. Sheila Walsh                                       War of Love
490. Undercover                                  God Rules
491. Vision                                            Vision
492. Various Artists                            The Everlasting Living Jesus Music Concert
493. Petra                                              Back to the Street
494. PID                                                 The Chosen Ones
495. Steve Camp                                   Shake Me to Wake me
496. Infinity Plus Three                      Setting Yesterday Free
497. Stryper                                           Yellow and Black Attack
498. Paul Q Pek                                     Touch the Ground
499. Weber and the Buzztones           Weber and the Buzztones
500. Malcolm and the Mirrors           Red Alert

11. All Fall Down – The 77’s

ALL FALL DOWN

The Seventy Sevens (The 77′s)

When I was 16 years old and got my first job at the wonderful little Christian Bookstore with the funny little name (the Pink Lady) I worked in the music department – obviously. Once a month a company would send out demo tapes for our listening center that would contain one minute segments of each song from the albums that were coming out so customers could hear new music and make buying decisions.

One such tape was “Ping Pong Over the Abyss” by the Seventy Sevens (The 77′s). Even though each excerpt lasted less than a minute my friends and I would listen to those one minute clips over and over and over. In fact, due to a delay in the release of the album the “demo” tape actually ended up wearing out before the album hit the stores.

“Ping Pong” was easily the most anticipated release for me in 1983. I was a going to become a huge fan of Exit Records and what they were doing with releases from the 77′s, Vector, Steve Scott (who missed this countdown by one slot) and even Thomas Goodlunas and Panacea. One of my favorite memories was the famed first Exit Festival (at Citrus College I believe) on an absolutely hot and muggy day. But I, and the thousands like me, was there for the 77′s.

They rocked!

I also recall going to a Calvary Chapel Saturday Night Concert with The 77′s and someone else that I don’t remember though I think it was Undercover. What I do remember was seeing Michael Roe in concert for the first time, spitting, flaying, falling and crawling and thinking, “they’re never gonna let him back in here again!”

I was right.

I also remember while working for KYMS that none of the other DJ’s ever wanted to introduce the metal, rock or alternative bands at the local amusement parks so I always got to, and on one particular night the stage I was given to do the introductions for had the Resurrection Band and The 77′s. How cool was that?

This was around the time of “All Fall Down” and Mike had this huge main of hair that required cans and cans of aerosol hair spray. While back stage I remember Wendi Kaiser (Resurrection Band) – also known for quite a head of hair – and Mike borrowing hair spray from each other.

But the most memorable part of the evening was during the very extended version of “It’s Sad” in which Roe would wrap himself in a black blanket of sorts and writhe on the ground as the song slowly built to a crescendo. Mike would then begin ripping himself out of his self-made cocoon. Finally after rolling and falling around the stage for the final minutes of the song Roe collapsed in heap at the front of the stage replicating the “All fall Down” album cover.

I can’t say as a kid in my late teens at the time that I totally understand the symbolic gesture the spastic performance was imagining, but I can tell you the performance kicked butt!

My favorite show was at the Roxy in LA sometime around “All Fall Down” serving as a showcase for The 77′s, Charlie Peacock and Robert Vaughan and the Shadows (who missed this countdown by 4 slots). At the end of the show, I remember Mark dropping his guitar and pounding it lightly on the ground to increase feedback and bassist Jan Volz and Mike yelling something to him. Mark picked up his guitar and went all Pete Townsend on it just pounding and pounding it until it broke into pieces.

I spoke to Jan after the show and asked him why he and Mike told Mark to break his guitar. Jan laughed that he kept yelling at Mark to not break his guitar. “I kept yelling ‘don’t smash it, don’t smash it’ and Mark thought I was yelling ‘smash it! smash it!’”

The 77′s simply rocked!

Plain and simple, they were not a punk band, alternative band, new wave band or any other kind of band except ROCK band. No other band could rip through a Talking Heads type world music driven rhythm and follow with a Led Zeppelin cover. I am still amazed when I read reviews that call The 77′s an alternative band or that the debut album was a punk record.

Even when they formed in the late 70′s as the Scratch Band with Roe on guitar and vocals, Volz on bass, Mark Proctor on drums and Mark Tootle on keyboard and guitar, they were a band that rocked. The line-up stayed in tact for several years and with a name change in the early 80′s they became The 77′s and recorded their debut on Exit Records, a label based out of the Warehouse Church in Sacramento, a Church the band members attended.

The 77′s debut, “Pink Pong Over the Abyss” was also the debut record for Exit Records and would remain the cornerstone of the label during its short but impressive tenure. A wonderful collection of songs written primarily by Michael Roe with a little help from Steve Scott, there is more depth to simple themes than on most albums, let alone a debut project.

“Different Kind of Light” sounds more like Tom Petty than the punk label the band was saddled with early on and looks at the influences of “worldly” lights in relation to the Biblical one. Roe yearns, “Don’t want the usual merchandise recycled in a new disguise.” Futile worldly love is the topic in “How Can You Love.”

It would be the odd, keyboard and bass driven “It’s Sad” that would become a long time live classic. Borrowing from everywhere from Quickflight to the Talking Heads, the song builds and builds over it’s 5 minute run. The vain philosophies of the world are confronted by the truth of the Gospel but with a real touch of Lamentations. Roe laments here, “You drink good whiskey, you smoke good pot…20 more years what in hell have you got?”

Much of the album deals with the philosophies of man and their failings. Songs like “Renaissance Man” and “Falling Down a Hole.” In the entire career of a band you will seldom find discussions on Buddhism, Islam, Fatalism, Solipsism, Evolution, Spiritualism, Humanism and more, but with the latter song they are all included in under 4 minutes.

The title track, though, is the highlight. Relentless, pounding, aggressive and passionate from the first to the last. It is set apart from much of music for combining the ferocity of punk rock with the precision of progressive rock, with changes and progressions.

The was a live radio special that I received from Mary Neely of Exit Records that had some live cuts of what was then the Scratch Band performing “Ping Pong” but referring to it as “Reverse Your Lever” but that has either been forgotten or denied. The title itself comes from Allen Ginsburg’s poem, “The Howl.” The album was produced by Steve Soles who, along with being connected to T-Bone Burnett and Bob Dylan, also recorded two strong Christian albums, the best being “Walk By Love.”

But forever etched in my musical psyche is 1984′s “All Fall Down.” Produced by Charlie Peacock and the first to have drummer Aaron Smith this album is filled with 10 no-miss songs. There is never a time where I push “next” on the CD player when this album is one.

It is difficult to talk about this album in order when the album and CD are in different orders. The album was originally released with the song “Ba Ba Ba Ba” kicking off what “side one” when the band originally wanted that side to be “side two.” So, when the CD came out several years later the band returned to the original placement of the songs. I recently asked Roe about that decision and he confirmed the story, but now wonders if Word’s orginal decision was the better one. What is important to note is the the album contains two distinctly different sides, so the order is not as important as keeping the sides of the record in tact.

I have often conjectured that the reason behind Word’s decision was that the “Ba Ba Ba Ba” side was decidedly more “Christian” in subject matter where the “Caught In a Unguarded Moment” side was more secular and controversial, with songs dealing with pre-marital sex in very plain terms and a song about abortion that more than implies the sexual activity as well.

This theme was not knew for Roe as songs on several albums including the debut addressed the issue, but none quite as graphically as the songs on “All Fall Down.” I will stick with the CD version only because it is the bands original concept despite the current misgivings about the change. But when taken as a whole the album does make good sense to start with “Caught In an Ungraded Moments.”

I was shocked when then Program Director of KYMS Greg Fast agreed to add “Caught” to the station but was more than pleasantly surprised at the response of listeners as the song became a huge hit. All drums and acoustic guitar to start the song tells the story of several young people who though they had their whole lives ahead of them but were prematurely cut down. No one knows at what hour their lives will be require of them and song proclaims that warning.

I saw a young girl fly Over a rocky mountain brink 
She had had too much to drink She did not have time to think 
But it was far more than just her car That flew out of control 
She had gone over the edge Long before she'd lost her soul 
And she was Caught in an unguarded moment Her fate was inappropos 
But she was Caught in an unguarded moment She's been a pleasure to know 
But she was Caught in an unguarded moment She made a brief cameo 
But she was Caught in an unguarded moment Something she could not foreknow 
And she was Caught in an unguarded moment All fall down like dominoes And now she's
 Caught in an unguarded moment Eternal sorrow and woe

Not the normal lyrical setting for a CCM hit, but the song connected and became a hit. So did the reworked version of “Someone New.” The same song appears on the debut but with a decidedly different approach. More dance driven drums on this version one must note the influence of Charlie Peacock here. There would also be an extended version available for all this kids down at the dance club. I actually own the 12 inch version.

The song itself is a rather simple expression of faith with an evangelist call. Couched perfectly behind “Caught” the song calls out to those same people before it’s too late.

Someone new got ahold of me 
Someone new took control for me 
And what I blew It won't be held against me 
Someone new is looking out for me 
Someone who's got real love for me 
But what's it to you 
Are you gonna be the last to know 

The controversy would begin with the song that follows, “Something’s Holding On.” The song tells the story of a self-absorbed boyfriend whose selfish, sexual desires are all that drives his relationship. This shows itself not only in the sexual act but also the physical demands he places on the girl to remain beautiful and visually appealling.

You really whet my appetites 
Ohhhhh and stimulate my glands 
As long as what you wear 
looks right Ummmmm and you keep to the shape I choose

The sexual content is not hidden or alluded to but bluntly stated for the sheer power of shocking reality. But here the song does not wrap up with a nice bow that boy gets saved and starts holding a Bible Study with his girlfriend. Rather the selfish and self-seeking sexual love is proven to be the only point of contact and intimacy and losing it would doom the relationship in a sad or horrible end. Here the confusion between sex and love are made obvious. Set to a 60′s, almost Beach Boys type melody, the song expresses the dangers of this kind of living.

Something's holding on Something's holding on 
Must be love that's holding on 
But if you cut off all my fun I'll be telling you 'so long'

The song segues perfectly into the song regarding abortion, “Your Pretty Baby.” With even more of a 60′s or early 70′s musical influence nne imagines the woman in the song above is now caught in a moment she never dreamed of and is left with an agonizing decision. The many “excuses” and rationalizations are personalized in the song.

And when your time comes 'round 
And he's nowhere to be found You wait for colour red 
And when the ring you get Is not the one you want 
Then you begin to plot somebody's death Thinking 
Oh, your pretty baby won't know Oh, Your pretty babe

Roe shows his keen songwriting skills here using creative phrases to get to the point even finding a way to express the point of intercourse found in the first verse. But like the rest of the album thus far the selfish lifestyles and decisions are made as the impact on another life is not considered.

You couldn't bear this thing To save your life 
Suppose you start to show So you call the doctor 
But who's gonna nurse away 
The little voice inside when it cries You'll curse this day

The first side ends with the ultimate results of the selfish lifestyles of the characters introduced previously but then adds those who spoke of faith and grace but turn their backs on Christ to pursue their own self-filled lives. Here in “Another Nail”  Roe alludes to the Biblical parable of the sower and the seeds.

Waiting for a message I know it will never come 
Even with the ninety nine I feel the loss of even one 
No need to keep us in suspense The seed has died through indifference 
And now we'll reap what you sowed I'll take my tears and let you go 
Everyday another nail is hammered

The song also contains “picking” style of guitar work that Roe would employ with great success over the years. The style would be a mainstay and separate Roe as an accomplished musician with varying styles mastered quite well.

The other side starts off with “Ba Ba Ba Ba,” a not so subtle poke at popular cults, most notably Mormonism. The popular apologetic of the Mormons at the door with the “burning in the bosom” is addressed here.

Ba-ba-ba-ba Ba-ba-ba-ba We believe, we believe 
Cuz we felt it burning in our hearts 
Ba-ba-ba-ba Ba-ba-ba-ba 
And it's true, yes it's true 
If it gets us all thru the night 
For the rest of our lives

The song is much more keyboard and pop driven than most songs in The 77′s catalog, which again one must assume is as the result of the influence of Charlie Peacock. But here it works both musically and lyrically and Peacock should be commended for adding the more artificial and techno sound to a lyric that is about false religions and ideologies. There are also great Beach Boy type harmony vocals as the song closes with a recording of a man speaking in a “backward masking” format. The great irony of using backward masking to ridicule televangelist in a song about cults is not lost on this reviewer. His words when deciphered are “like lambs led to the slaughter” or something to that effect.

The two most aggressive songs on the album follow immediately and return The 77′s to the style they originated on the debut. “Under the Heat” tells the story of the bombing of a building housing military personnel. The story relates to the individual in how one responds under the most difficult situations and how those situations reveal the truth as to who we really are.

Reaching through this Curtain of fear 
My arms are stretched Beyond the limit I take the heat from 
Streaming tears To bear the cold and Walk out in it 
Walk out in it My plans for the future Are a frozen picture 
That has fallen and Shattered and melted Under the heat 
All our lives changing Under the heat

“Mercy, Mercy” follows with the same aggressive and frenetic pace as the previous song. The song would remain a live favorite for many years with extended version lasting 10 to 15 minutes in concert. This plaintive call for mercy also serves a warning of those idols that can replace God as our only true God, but all with the understanding that God’s mercy is complete and not contingent on our works.

Love to go far On my guitar 
Love when she sings 
Love when she stings 
But if I bow Down to her notes 
When death comes 'round That's all she wrote 
Then I say Lord Have mercy on me I say Lord Have mercy 
Complete Forgiving Chastening Embracing Unearned Undeserved 
A total work

I still think U2 ripped off this tune a few years later…

“You Don’t Scare Me” is a Psalm of sorts that deals with how the man of God does not fear the Devil, his plans or even death. To live is Christ to die is gain. This 6 minute blues song would also show Roe’s subtle vocal performance and the trademark 77′s style of building songs slowly ending in great crescendos. God’s providence and protection are duly noted.

Why should I go the wrong way Down a one way street 
Against the Heat When in one moment you could 
Turn my up-to-date to obsolete And your indiscreet 
And you don't repeat And you're beat beat beat 
You're so beat Yea though I walk 
Through the valley Of your shadow so near I will fear no man 
I will fear no woman I will fear no pain 
I will fear no thing Cuz you don't No you don't scare me 
I'm gonna show you a mystery 
You'll be swallowed in victory Where's your stinger
Where's your sting

The slow build as the song continues is just simply intense. Finally the final two lines are literally screamed in a defiant tone worthy of the content. The song then speeds up, faster and faster until a wild and flourishing finish of drums, bass, guitar and harmonica.

The album closes with “Make a Difference Tonight” a song about the struggles of daily routines and trials that keep us from the important things like God.

Bells buzzers sirens and horns 
Ringing in my head Bills budgets savings and loans 
Always in the red Times schedules deadlines and forms 
I think I'll go crazy 
Wish I could remember what it was Like to be lazy 
I'm always running out of time 
I'm always standing in a line 
I'm always spending every dime

Again Roe here is actually pointing to the story of the sower and the seeds as he is the seed whose faith was planted amongst the thorns and weeds. All the while he is crying out to someone to make a difference in his life and in turn teach him how to make a difference in the lives of those around us.

Thorns thistles thatches and tares 
Tangled up in me Gonna take much more than a man 
To set me free 
Why won't somebody tell my how to 
Make a difference tonight

By personalizing the song Roe makes a stronger impact then simply pointing out the fault in others. This would be a common strain found throughout all of The 77′s works as each song comes across as more personal and autobiographical. This is probably why many 77′s fans feel a deep connection to the band. When Roe personalizes universal struggled he puts himself into the seat of the listener, making his point more applicable.

The 77’s are the only artist with two albums in the Top 20 (sort of) and have the highest ranking two albums to be included. This is a testament to amazing legacy the band and Roe has left in CCM. Roe appears 8 times on this list, second only to the many incarnation of Terry Scott Taylor. He is that important and impressive. He is that damn good!

 

Few “rock” bands have run the gamut of diverse style with such aplomb and success as The 77′s. Few bands have also ever been able to merge deep, thoughtful and intense lyrical theme with a musical quality of the depth and stature of The 77′s. This was never more true than on “All Fall Down.”

12. Love Broke Thru – Phil Keaggy

LOVE BROKE THRU (1976)

Phil Keaggy

Earlier today I received an email from a good friend and pseudo-industry type guy who follows the countdown. His comment regarding the last several additions was “classic after classic to the end now!” And, now an extent, I full agree. The albums included over the last ten or so would among many a fans top albums of all time.

But when it comes to defining a true classic, it may be here, with “Love broke Thru” that we address our first true classic. Nothing before this album, including Keaggy’s debut, would match this one for everything that makes a classic a classic. Great and timeless songs, an amazing production (especially given the financial constraints) and the amazing musicianship on display was unmatched. Even Keaggy would never duplicate the impressive guitar work until the Revelator album. And like Revelator, this is the one other Keaggy album that has both great guitar work and phenomenal songs. In fact, if other artists performed the same songs (some did) they would be great songs for that artists (are were).

I became familiar with most of the songs here through the amazing live album Keaggy released with 2nd Chapter of Acts discussed previously. As a result the only criticism i could ever have of the album is that the guitar solos did not quite match up to the ones found on the live album, but that is also a product of the medium, where a live album can expand and allow for artistic expression than a studio project.

There is not much that can be said about the artist that hasn’t been discussed here and on countless web pages across the universe. he is simply and undeniably brilliant and ultimately humble musician. The next person that says anything negative about Phil Keaggy will be the first.

After a good, but not great, debut album, “What a day,” Keaggy released this tour de force on an unsuspecting CCM market. Bearing the cross of one of the first artists to bridge the gap between Jesus Music and CCM, this album serves as precursor and ground breaker for the future industry.

The album starts with the title track, a song written by Randy Stonehill and Keith Green, along with unsung Jesus Music songwriter, Todd Fishkind. Green would place the song on his debut and Stonehill would record his version a decade later. When one listens to the melody and song structure you immediately think, “this song sounds like Phil Keaggy singing a Keith Green and randy Stonehill song.” It really is a homogenous blend of the three artists. It would also be counted among one of the great songs in CCM history; clearly a Top 50. Here we find Keaggy’s voclas at their very best and his guitar playing more subdued and subtle, playing mostly a role as support, but with perfect precision and great taste.

“Take Me Closer” is the definitive Keaggy song. Part rock, a little jazz and some funky grooves the song just rolls and is perfect “top down drive along the Pacific Coast” type rock. it also is where, for the first time since Keaggy’s Glass harp albums, that his guitar prowess takes center stage. The solo is phenomenal and is set against a great synthesizer solo from Michael Omartian. The band is nearly the same line up used by Barry McGuire on his best two releases except Keaggy uses Leland Sklar on bass. For the uninitiated, Leland Sklar is one of the greatest bass players ever!

One thing that immediately separates this album from others at the time is the instrumental break on “Take Me Closer.” When most other songs would end at the three minute mark, the band pauses for a second then branches out into an amazing instrumental lasting nearly two minutes and featuring Keaggy’s guitar prowess. This was nearly unheard of in the world of Jesus Music or CCM. Whether it was the belief that the music was only for evangelism sake and that long instrumental breaks were somehow arrogant and prideful, or that there were not enough quality musicians to sustain a prolonged instrumental and keep it compelling I do not know. What I do know is Keaggy could pull it off in spades.

For all the electric guitar wizardry Keaggy is known for, it is his acoustic work that truly amazes. “As the Ruin Falls” starts with a flute and acoustic solo for nearly two minutes before any vocals kick in. Musically it would point toward the amazing “The Master and the Musician” instrumental album Keaggy would release a short time later. The song looks at original sin and the selfish ways of a man’s heart. nearly liturgical sounding, the song sounds like it would fit on a John Michael Talbot album. The lyrics, though, are actually those of a poem written by CS Lewis.

“Wild Horse” is a personal favorite as it features a very Omartian type feel with a borderline acoustic/progressive sound with a wonderful string arrangement that carries the song. It also is another song that shows off not only Keaggy’s great speed, but his mastery of a tasteful solo that enhances, rather than overpowers, the song. Another rarity for its time, there are several instrumental breaks rather than limiting to just one as most of his contemporaries had done at the time.

Larry Knechtel’s impressive piano drives this and other songs on the project. Knechtel appeared on several Jesus Music albums including Barry McGuire’s first two releases, and would later become a renowned keyboardist working with Rick Rubin, Phil Spector as well as a host of others. His impressive piano work can be heard on Simon and Garfunkle’s classic, “Bridge Over Troubled Water.” He has been inducted into the rock and roll Hall of Fame.

“Disappointment” is a song for its time. By that I mean it sounds like it came straight off the radio in 1975, completely with happy, sing-song chorus and clap along acoustic guitar riff. I could see how in 1976 this was exactly what the music industry, especially CCM, was looking for. That is, until the bridge, which sounds like it copped straight from a Glass Harp song.

The whole world of Christian music changed in 7 minutes. That is how long it takes for “Time” to finish. The only complaint is that it would be too short tat twice the length. Time is the “Free Bird” of Christian music and is phenomenal, kicking rock song in or out of CCM. As mentioned previously, it was unheard of for an artist to have an extended instrumental break, but one lasting 4 minutes was border line sacrilege! And it was still WAY TOO SHORT! Fortunately the live version deals with that problem.

The instrumental solo give and take of Omartian, Knechtel and Keaggy – along with an impressive horn section – is utterly brilliant. But it’s ultimately about Keaggy’s guitar work which just soars and glides and lifts and dives. it is so powerful, stirring and majestic no review can really justify. It is guitar work like this that started the urban legends that have haunted Keaggy.It is not just the blazing speed, but the Keaggy trademark of finger the sustain control with his pinky while playing the lead, creating the original wah-wah sound he is noted for.

If Paul McCartney and Wings were ever to create a worship song, it would sound something like “Portrait.” What a beautiful song. The accompanying string arrangement could not be any more perfect. For the third time on the project Keaggy penned a musical landscape for a poem, this time one from Beatrice Clelland.

The rock returns quickly with “Just the Same,” another of the rock numbers that are painfully too short! The guitar solo is short but stunning. Again, I would recommend a listen to the live album to experience the extended guitar work. Producer Buck Herring (he of 2nd Chapter of Acts fame – sort of) co-wrote the song with Keaggy and is joined by Matthew ward, Annie Herring and Mylon LeFevere on backing vocals.

“Things I Will Do” takes Keaggy back to his classically tinged acoustic styling with great success. It does have Keaggy’s best vocals on the album and could have or should have been a popular modern worship song if there was anything at that time. Very Scriptural and plaintive.

The album closes with a song written by Keaggy and 2nd Chapter of Acts songwriter Annie Herring. “Abraham” traces the Biblical story of faith that belongs to the founding father of Jewish and christian faith. The song reminds the listener that the same promises given to Abraham are for all of God’s people.

“Love Broke Thru” was the album that all other rock albums that followed would be compared to. it also was a groundbreaking and important album. Larry Norman operated his brilliance outside of the CCM mainstream and was not limited by a record company executive, where Keaggy broke every barrier within the genre and forced a forward momentum that was never stopped.

A classic indeed!