Day 500 - Tommy Shane Steiner - What If She's an Angel?

500. Tommy Shane Steiner - What If She's an Angel?
From the album Then Came the Night
(RCA Nashville, 2002)

"Tommy Shane Steiner sure is good looking, as the cover pictures amply illustrate, and he makes pretty country music -- smooth, clean, tuneful, catchy, polished. He protests that he's a bit of a ruffian on the opening track, That Just Wouldn't Be Me, and he has a duet with Randy Travis, but his sweet singing is a clear indication that he's not made for honky tonks, he's made for breaking hearts. Appropriately, his debut album, Then Came the Night, follows the lead of that voice, offering a collection of 11 radio-ready tunes ripe for crossover. This is a mainstream pop album with a little bit of country dressing, and while that will inevitably upset some purists, that's what's good about this record. It's a solid, appealing mainstream pop record, a little bit square perhaps, but endearingly so, since he's a modest, likeable singer. After this, Steiner could go either way -- he could dive into pop and become a male Faith Hill -- or he could try to strengthen his country roots and toughen up a bit. He currently leans toward the former, but the nice thing about this record is that it positions him for both directions." (source: AllMusic.com)

What if She's an Angel peaked at #2 on the Billboard Hot Country singles chart. Here is the original album version of the song:

Day 499 - Keith Urban - But for the Grace of God

499. Keith Urban - But for the Grace of God
From the album Keith Urban
(Capitol, 1999)

"Keith Urban's solo debut for American audiences (released after the breakup of his former group, the Ranch) may seem a bit quaint now that he's become a superstar. But back in 1999 when this album was released, Urban looked like a fresh-faced kid who was entering the U.S. market as a virtual unknown. Truth is, he made his recording debut in his native Australia in 1991, and had been on the radar of Nashville's A&R men for years. This album proves why. There are four Urban originals here, each one showcasing his knack for writing in numerous styles that all fit into the expanding country radio format. He could marry a rock tune or pop ballad to a country melody, set it off with just the right amount of heartfelt emotion, and lace it with appropriate production, whether it be playing the banjo or adding strings to the mix. He and co-producer Matt Rollings also selected a mostly winning combination of tunes to fill the remainder of the disc, including Monty Powell's fiddle drenched barnstormer It's a Love Thing, Charlotte Caffey's mid-tempo ballad But for the Grace of God, and Rollercoaster, which marked Urban's first signal towards the contemporary country community that he wasn't just a pretty face who could sing. ... [S]uch moments balance the slick and sometimes too-soft production on the record; as such, the album marks the true root of his sound as a major artist wetting his feet." (source: AllMusic.com)

Here is the original studio released promotional video for the song:

Day 498 - Sanctus Real - Lead Me

498. Sanctus Real - Lead Me
From the album Pieces of a Real Heart
(Sparrow Records, 2010)

"Pieces of a Real Heart is an album that finds strength in brokenness, navigating the tension between humility and confidence, joy and pain. They're no strangers to dealing with themes of imperfection in their music and have delivered their share of touching ballads over the years, but this time around the lyrics have an honest, almost questioning edge wrapped in an often deceptively happy pop rock vibe that's ready to turn up and sing along. These Things Take Time is one example of what happens when a cheerful, clap-along beat is paired with lyrics like "I wanna know why pain makes us stronger / I wanna know why good men die... Tell me is it easier to doubt, or harder to believe?"

Still, nothing quite expresses that honesty like the ballad Lead Me, a song lead singer Matt Hammitt wrote reflecting on his role as a husband, father, and a man in need of God's direction to lead his family. It's a deeply personal story song that describes the apparent perfection of a family longing for a leader and calls out to God to "lead me 'cause I can't do this alone," but one I'm grateful they shared with the world as a strong, introspective moment on the album.
...
This is definitely more of a pop album than is common with the guys of Sanctus, but don't let that stop you from giving this collection a chance. There are fun moments for sure, but there's also something about the conviction and vulnerability of these songs that sticks after a few listens, sinks into the heart, and doesn't let go. It's hard to play the comparison game and debate how it measures up to their past work, so maybe it's best to let this one stand on its own. Pieces of a Real Heart is a solid album and a great addition to the latest chapter in Sanctus Real's career." (source: JesusFreakHideout.com)

Lead Me peaked at #1 on Billboard's Christian Singles chart and was nominated for two Dove Awards for Song of the Year and Pop/Contemporary Recorded Song of the Year. Here is thstudio released promotional video for the song:

Day 497 - Cliff Richard - Thief in the Night

497. Cliff Richard - Thief in the Night
From the album Now You See Me, Now You Don't
(EMI, 1982)

"I do believe the only artist on this list to be officially 'knighted' is Cliff Richard. Not bad for a pop star and teen heart throb from the 1950′s and 60′s. Then again John Lennon was a fan and he is said to be the first real 'rock star' from Great Britain. Sir Cliff Richard has also been a devoted Christian and has recorded several Gospel themed albums. The one in question here is the very best as it is simply a pop album with Gospel themes rather than a Gospel album that tries to sound pop.

The album is also unique in that it also generated a comeback of sort for the artist in his native land after several years of unsuccessful pop albums. NYSMNYD went Gold in England and had several radio hits on both side of the Atlantic.

Released in 1982 Christian music was constantly gravitating toward 'pop stars' who professed a Christian belief (Bob Dylan, Joe English), but this album never saw Christian distribution and many missed this great album. Thief in the Night is a much heavier song musically than the normal Richard bubble gum and is the center piece to the whole project. It rocks and like the rest of the albums sounds like it was influenced by Mark Williamson and Chris Eaton.

The album has a bit of an Ambrosia feel with silky, pop driven rockers and big ballads meant for radio consumption. But the rockers stand out like the previously mentioned Thief in the Night and the bombastic Son of Thunder. Little Town, Chris Eaton's arranged version of O Little Town of Bethlehem would also be recorded by Amy Grant and Michael W Smith. Richard’s version would be the best." (source: CCM's 500 Best Albums)

I couldn't find the original album version of the song on YouTube, but this live version from Walking in the Light is very close to it. Here is that version of the song:



Here is another live performance video of the song from the BBC TV special Christmas With Cliff from 1980. Although his vocals get buried a bit by the 2 female singers, the music is excellent.

Day 496 - Charlie Peacock - Who Is Not Afraid?

496. Charlie Peacock - Who Is Not Afraid?
From the album Lie Down in the Grass
(Exit/A&M, 2000)

"Peacock’s road to where he resides today has been long and interesting. He is clearly recognized within 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 for the A&M release. ... 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 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." (source: CCM's 500 Best Albums)

Here is the original studio released music video for the song:

Day 495 - Michael Omartian - Here He Comes

495. Michael Omartian - Here He Comes
From the album Adam Again
(Atlantic, 2000)

"[Michael Omartian] may be responsible for the sale of more music than any artist in CCM. Between producing, performing and creating, [he] has been involved directly with albums that have sold a combined half a billion units!

Unlike many artists and producers in CCM, Omartian has been equally involved with both worlds of music consistently throughout his career. He was working with mainstream artists in the early 70′s as well as working with Barry McGuire and Second Chapter of Acts at the same time.

Omartian got his musical start as a part of Campus Crusade for Christ’s traveling musical group, The New Folk. But it wouldn’t be long before he was working with Steely Dan, Loggins and Messina and Rod Stewart. All the while he would earn a living as a top paid keyboardist performing with the best in the industry on both sides of the musical fence.
...
The album is meticulously produced with some of the finest musicians on the planet directly involved. The credit lists reads like a who’s who in both Christian and mainstream music worlds. It’s important to remember that this was released in 1976 and was not 'behind the times' like many 'pop music' releases in the Christian market, and was actually right in line with what was happening musically with the funk and soul influences combined with pop and the early strains of disco influenced white dance music and string arrangements.

Themes are just as 'Christian' as anything in Jesus Music at the time, but Omartian avoided the normal 'buzz words' associated with the genre. His goal was to create music with a Christian worldview that would be challenging and exhorting to Christians without alienating any listening audience.

The album features the work of Dean Parks, Larry Carlton, Ernie Watts and Lee Ritenour. Serious music aficionados would be impressed with just a guest appearance from any of those listed let along all of them appearing on one project. For those not as informed about studio and jazz musicians, these guys are the bomb; the very, very best in the world. And it shows on the project. Add to that the fact that Omartian belongs right with them on the list and it is no wonder why this project is so highly regarded.
...
The album closes with the six-minute epic, progressive rock number dealing with the coming of Christ, Here He Comes. As dealt with exhaustively throughout this blog, the topic of the second Coming and Rapture (especially the dominant  Dispositional view) was the single most popular topic for musicians in the Jesus Music era. But few expressed the topic in such a wonderful and artistic way.

Classical and progressive, with a dull compliment of instrumentation, time signature changes and huge choral vocals. Very uplifting and powerful. The chorus is reminiscent of a Second Chapter of Acts melody. Few have duplicated this song for taking a musical expression and having it perfectly match the content while remaining completely current.

There is not a throw away on the entire project, and it withstands the test of time significantly better than most albums from that time period. The production is brilliant and miles ahead of its contemporaries. Simply brilliant!" (source: CCM's 500 Best Albums)

Here is the original studio released music video for the song:

Day 494 - John Michael Montgomery - The Little Girl

494. John Michael Montgomery - The Little Girl
From the album Brand New Me
(Atlantic, 2000)

"I have been a fan of John Michael Montgomery's since his first album, "Life's A Dance" was released in 1993. Nine years and eight albums later he is like the Energizer Bunny. He just keeps going and going. And John Michael's music keeps getting better and better.
...
I cannot write this review without high praise for the writer of the song The Little Girl. For those of you who havent heard the story, It's about a child who was in a bad home situation. Her parents were into drugs and alcohol. One night, the father killed the mother. The little girl was taken into a foster home. ... Her parents were atheists and so they didn't go to church and she had no knowledge about God and Jesus. The first day the little girl was taken to Sunday school, the teacher found her staring up at a picture of Jesus on the cross. The teacher gently started to explain the story of Jesus to her. The little girl interrupted her. I know that man she said. He was with me the night my parents died and was holding me in his arms. It is said around Nashville that the story was passed up by many songwriters before Harley Allen read the story and the song came to be. John Michael has special help with vocals from Alison Krauss and Dan Tymenski. I have never heard a song that has affected me the way this one does." (source: CountryMusic.about.com)

The Little Girl reached #1 on Billboard's Country Singles chart and #35 on the Hot 100 chart. Here is the original studio released music video for the song:

Day 493 - Jars of Clay - Dead Man (Carry Me)

493. Jars of Clay - Dead Man (Carry Me)
From the album Good Monsters
(Essential Records, 2006)

"The evolution to a pure rock sound on Jars of Clay's seventh studio album, Good Monsters, is not a far cry from traces of alternative rock that surface on nearly all of their recordings in one degree or another. Fans accurately predicted a return to a harder-edged rock outing after the band's three previous efforts -- 2003's Furthermore and Who We Are Instead, as well as 2005's Redemption Songs -- leaned primarily toward a stripped-down folk sound. Monsters stretches the four-piece band past any set of expectations and results in its boldest effort to date. Known for introspection and openness, their lyrics this time around offer no singular message other than an unapologetic admittance that they don't have all the answers. Songs bounce from haunting to lilting, pensive to provoking, ultimately creating a set list that is cohesive only in its self-examination. Among the many standouts, the jarring opener, Work, manifests within seconds that acoustic guitars have been set aside in lieu of a more raw, glaring sound. Dead Man (Carry Me) gets going with a jangly guitar riff and heavy beats resembling secular contemporaries the Killers. ... The band members continue to bear sonic ode to Toad the Wet Sprocket and U2 on this record, but they draw upon enough of their own trademark sound that only isolated moments would evoke comparisons to the latter's mid-decade classic How to Dismantle an Atomic Bomb. Good Monsters doesn't aim for arena rock, but it remains well-crafted and vulnerable at the core. Jars of Clay bear the cross of being compared to their self-titled debut with every following record. Good Monsters is a departure from that debut, but assuredly a welcome one that yet again demonstrates the band's depth and talent." (source: AllMusic.com)

Dead Man was the first single released from Good Monster and their biggest hit from the album, peaking at #14 on Billboard's Christian Singles chart and #20 on the Christian Adult Contemporary chart. Here is the original album version of the song:



As a special bonus, check out this awesome dance remix:

Day 492 - Justus - Someone's Waiting

492. Justus - Someone's Waiting
From the album Someone's Waiting
(Star Song, 1986)

"A Canadian trio, the boys in Justus adopted that name as a pun after their Vancouver-based group went through multiple incarnations with many other musicians coming and going. The decision to be just a trio included a commitment to a stripped-down sound, favoring straight-ahead no-frills rock and roll. The songs on Someone’s Waiting deal with basic Christian themes. “Rumor” addresses the destructive power of gossip, “That’s Not for Me” is a rejection of the occult; “Give Us a Burden” and “Surrender” testify to faith in Christ" (source: Christian New Wave)

Here is the original alum version of the song:

Day 491 - The Imperials - Finish What You Started

491. The Imperials - Finish What You Started
From the album Priority
(Dayspring/Word, 1980)

"With Priority, Russ Taff makes his swan song with the famed Imperials and does so with a bang. Quite frankly there is not a bad song among the lot. Great pop and soulful rockers and soaring and inspirational ballads. all of it, though, rests in the capable vocal chords of Taff.

The album kicks off with the true classic, Trumpet of Jesus. Seriously it's just unfair what Taff can do and it is never more painfully obvious than on this anthem. Great horn section, killer backing vocals and a huge wall of sound production that was a scarce commodity at the time.

The album does slip at times when Taff does not command the lead vocal responsibility, though, to be honest, it is only noticeable because of his presence. One great stand out song not headed up by Taff is I’d rather Believe In You.

When Taff takes on ballads, the most subdued simplicity is just stunning. This is most notable on Be Still My Soul. The group's harmonies set against Taff’s most subtle passion works perfectly.

The best of the Taff lead Imperial albums also marks his last. It also marks the very best in the groups long and heralded career. Following albums would always suffer from Taff’s leaving. Though many great vocalists would follow, they simply did not measure up and the band also refused to change with the times. But even 30 years later, this album rings true." (source: CCM's 500 Best Albums)

Finish What You Started was the second biggest (of four) hit singles from the album, peaking at #2 on the Christian Singles chart. Here is the original alum version of the song:

Day 490 - Idle Cure - Take It

490. Idle Cure - Take It
From the album Idle Cure
(Frontline Records, 1986)

"The popular phrase 'men of their time' fits Idle cure better then most. Sure, the Def Leppard, Foreigner rock was for a specific era and many judge too harshly the time. What can’t be mistaken, though, is the fact that for the time, this album was pure gold. Great rockers mixed with radio ready ballads were the perfect hit combination. This formula was worked for optimum success by producer Bill Baumgart.

Enough keyboards to keep the record from straying into the big hair metal category and diversity in arrangements allowed for constant repeated listening. What was strayed from was the songwriting formula. Toned down verses, big hooky choruses, massive wall of sound backing vocals and tasty, just heavy enough guitars. Foreigner, Bon Jovi and the rest understood how this worked and so did Idle Cure. The first ballad, Take It, was Frontline’s first big radio hit I believe. The Chicago influenced ballad would also be one of the first 'background tapes' the company would have to produce as people wanted to sing the song during church. Six of the eight songs were rockers and two ballads. Again, the perfect formula for hit records. But it really boiled down to just how good the songs actually were." (source: CCM's 500 Best Albums)

Here is the original alum version of the song:

Day 489 - Bryn Haworth - It Could've Been Me

489. Bryn Haworth - It Could've Been Me
From the album The Gap
(Chapel Lane, 1980)

"There can be few CCM artists, British or American, who could have three albums reissued ('The Gap' from 1980, 'Pass It On' and 'Wings Of The Morning' from 1983) and have them popping up as bright and immediate as his new stuff. For Bryn's music, locked as it is into an urban blues groove, is utterly timeless. In case you weren't around when Rob Andrews' pioneering Chapel Lane company released these masterpieces, The Gap was the album which set the agenda for all that was to follow, a sassy, romping, stomping set full of searing guitar, lazily understated vocals and simple lyrics full of wit and charm exhorting us to get to God. Eric Clapton's old rhythm section gives just the right drive." (source: CrossRhythms.com)

Here is the original alum version of the song:

Day 488 - Holy Soldier - The Pain Inside of Me

488. Holy Soldier - The Pain Inside of Me
From the album Holy Soldier
(Myrrh, 1990)

"Holy Soldier proceeded to record a five song demo with the goal of obtaining a secular recording contract but ended up signing with Myrrh Records- becoming the first “white metal” band to join the label (and ending Myrrh’s year long search for the right metal band to sign). Originally released in 1990, Holy Soldier’s self-titled debut was re-issued in 2005 by Spaceport Records and again in 2008 by the Brazilian label Silent Music Records (with live versions of Virtue And Vice and When The Reign Comes Down as bonus tracks along with a video of See No Evil).


The best way to describe Holy Soldier would be commercial melodic metal heavily influenced by the eighties. The album stands out with its consistency in that each of its tracks brings the needed inspiration to hold up under repeated play. Things get underway with Stranger and See No Evil, two energetic hard rockers, before the spine tingling ballad The Pain Inside Of Me is obtained.
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Vocalist Steven Patrick, when at the top of his game, proves one of the better frontmen of his era. Doug Van Pelt had the following to say about Steven in his review of Holy Soldier from Heaven’s Metal 23 (1990): 'Lead vocalist Steven Patrick gives the band the distinction that they need to compete in this market. Try blending Axl Rose, Don Dokken and Joe Elliott together, and you’ll get a good idea of his raspy, yet melodic style'
...
The haunting ballad The Pain Inside Of Me highlights a near perfect mix of rhythm and acoustic guitar and sturdy bass lines. Following an acoustic laced opening, the song edges forward as vocal harmonies back a weighty rhythm guitar. The rhythm guitar moves to the more pronounced place in the mix as a poignant chorus bordering on the mesmerizing is achieved. A broken relationship is the subject matter here:

(Where are you?)
When my tears are falling down
(Where are you?)
You're not around
The days are long
The night's eternity
I think of how it is
And how it used to be
When you were here with me

- in addition to the healing that God can bring:

It's such a great divide
But God can fill the sea

It has always been this reviewer’s opinion that Holy Soldier’s self-titled debut was nothing less than a groundbreaking release for the Christian metal scene. From the songwriting, to the bands performance, to the production and packaging, no detail was overlooked- everything was done to the highest level of professionalism. If you missed the long out of print original Myrrh release then by all means pick up the Silent Music re-issue." (source: AngelicWarlord.com)

Here is the original alum version of the song:

Day 487 - GRITS - Here We Go

487. GRITS - Here We Go
From the album The Art of Translation
(Gotee, 2002)

"Positive. That’s right, positive. I’ll start and end with just that, positive. I’m positive you have heard GRITS before, whether or not you recognize the name, but true hip-hop heads will automatically know the name. Hailing from Nashville, Tennessee and bringing their own flavor of hip hop to the board every time they touch a studio or microphone, their voices are easily recognizable in an ever-growing genre tainted with fly-by-night artists. Bonafide and Coffee form GRITS, create a creative powerhouse that brought songs you have doubtlessly heard, such as Ima Showem that made an appearance on the hit TV Show Boston Public, and you have more than likely heard other strong hits....

Their latest CD The Art of Translation leaves us with many more positives, but I’m getting ahead of myself already. The translating opens up with no intro. We dive head-first into Here We Go, thick with a latin vibe evenly mixed with some nice kicks. Great lively chorus, the style is on point and you have no choice but to bob your head.
...
Do I really need to say what I think of the CD as a whole? Is that actually necessary? Have you been paying attention? I hope so, because history is in the making and I expect this CD to have a lot of influence on a lot of people, both musical and non. An astounding album with innovation & creativity deluxe. I cannot think of a better way to drop a $20 when it comes to music." (source: BlackPrint.cc)

Here is the original studio released video for the song: