Five Iron Frenzy Upbeats And Beatdowns Rarity

• Five Iron Frenzy Songs
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MELTDOWN (1984)Steve TaylorIn 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. 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. 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. LIE DOWN IN THE GRASS (1984)Charlie PeacockWhile 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 PeacockI 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. ALL FALL DOWNThe 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.

Five Iron Frenzy Songs

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 pot20 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.

LOVE BROKE THRU (1976)Phil KeaggyEarlier 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.

Five Iron Frenzy Band

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! THE TURNING (1987)Leslie PhillipsIn 1981 I was shopping at a local Christian bookstore and stumbled upon a compilation of primarily local Christian artist on A&S Records – the Maranatha Music rock imprint that a year later would give us John Mehler’s amazing “Bow and Arrow” album. The compilation contained several artists, many associated with Calvary Chapel, but one would stick out the most.It was the female rocker Leslie Phillips who was originally much more Pat Benatar than the Cindy Lauper image her later record company would thrust upon her. Though the Penatar comparison is not accurate in 1981 there was a real lack of comparable artist in the music world as rock music was still primarily dominated by men, Heart and Fleetwood Mac not withstanding.But she seemed to disappear as quickly as she showed up and the next time her familiar voice was heard my me was on Mark Heard’s seminal, “Victims of the Age” album a year or so later.

She ended up singing background vocals on the song, “Heart of Hearts,” which would appear on her debut album and serve as her first single.The most “rock” of her first three albums, “Beyond Saturday Night” was a great record that suffered from some questionable mixing. Perhaps it was the record company that forced the keyboards so high in the mix and pulled the guitars so far back as not to offend evangelical ears, but that did not hide what wonderful songs the album included. Highlights from the album are; Bring Me Through, Gina, I’m Finding, Hourglass and the previously mentioned cover of Mark Heard’s “Heart of Hearts.”Phillips’ sophomore project, “Dancing With Danger” featured much better production but a much less controlled vocal styling that helped Phillips gain recognition as a Christian Cindy Lauper. Though the content of the songs remained strong and authentic, the musical expression never matched the quality of the lyrics.And all this was despite having a literal “who’s who” playing on the record including Dan Huff, Nathan East, John Andrew Schreiner, Jeff Lams, Russ Taff, Matthew Ward and more.It is the only Phillips’ album that sounds intensely dated today with constant boppy keyboards and pseudo 80′s dance numbers.

The real standout are the ballads”Strength of My Life” and “By My Spirit.” “Powder Room Politics” can be skipped altogether along with the final DeGarmo and Key influenced, “Here He Comes With My Heart.”“Black and White in a Grey World” was an improvement over the previous as the screeching vocals were toned way down and the musical expressions were much more “earthy” and acoustic. But what was lacking from the first album was a more “questioning” sort of aspect. BWGW was so adamant about having the “answers” that the authenticity seemed to be lacking despite a vastly improved musical package.

Here again the ballads were superior with “Your Kindness” being a classic.The live concerts that were in support of this album told a radically different story. There was transparency and vulnerability in the concerts performance that he album sorely lacked. In fact, it was with this tour that chinks in the CCM queen began to show. There were comments by Leslie from on stage regarding the dangers on intimacy that takes place during the recording process and how we need to guard our hearts. This was a far cry from “Powder Room Politics.”But what would happen two years later would literally rock the CCM world.

I was managing Maranatha Village at the time and we put together a large in store event featuring several artists that would play later that evening at a Christian Music night at Knott’s Berry Farm amusement park. One of those artists was Leslie Phillips and she was there to promote the album, “The Turning,” which was to come out several weeks later.She arrived at the store with a signed poster for me and with T-Bone Burnett in tow. Once I picked my jaw up off the floor I introduced myself and begged Burnett for an interview. I had heard that he was producing the project but would have never thought he would come to my store. What a genuinely nice and warm gentleman. I still have that poster signed by both of them. My wife and I would actually sit next them at a U2 concert at Anaheim Stadium and he was kind enough to remember meeting previously.

One a side note, Nicolas Cage sat in front of us at that same concert.But what changed everything was not the event at our store but rather the infamous concert that took place later that night. Leslie bounced out on stage with a very short mini skirt, twirling around on stage in a manner that many in the audience found offensive. Her band was comprised of Burnett, David Miner and a handful of other musical stalwarts. I was in the front row as her and T-Bone’s guest.

She played primarily only songs from the upcoming album and the audience felt alienated and actually began yelling out songs from her catalog.It was plainly clear that she had no intention in bringing her past with her in the new musical and lyrical direction. I don’t recall if Leslie cut her set short but it didn’t really matter. I could feel quite a bit of movement behind me and realized that more than a handful had walked out under protest. Many left hurling insults and accusations and insults at her as they left. The show became quite famous and I believe the second set was canceled. I would write a review for “Newsound Magazine” about the night.The funny thing the concert hall could hold, at the very most, about 500 people and I have met at least 5,000 that claim to have been there and stayed through the entire set. Since I actually could turn around and count how many people remained (which was less than 50) I know someone is lying!What was missed about that night was that in a few weeks one of the greatest albums in Christian music was to be released.

CCM listed in amongst its Top 10 of all time. “The Turning” would turn Christian music on its head.

And it would also be the last album that would bear the name “Leslie” Phillips. She would soon love her record company, marry T-Bone Burnett and set out on a musical venture under the name Sam Phillips. Under that name she would release several amazing records worth discovering. (The Turning would later be released under the “Sam” moniker).The album starts with simply Leslie and T-Bone played acoustic guitar performing a cover of T-Bone Burnett’s “River of Love.” This haunting and beautiful version is, dare I say, superior to Burnett’s own version.