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:
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)
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:
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)
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)
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.
...
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)
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:
