THE LIGHTHOUSE
Shining Light on Today's Christian Music

December 1993 $1.00

CRYSTAL LEWIS
  The Bride


Kenny Marks, Newsong, Troy Johnson


---
THE LIGHTHOUSE    DECEMBER 1993   vol2#11

CRYSTAL LEWIS      3
Christian music sweetheart, Crystal Lewis is expecting her first
child this month. She has also just released her seventh album,
THE BRIDE. She spent some time recently talking about being
pregnant, her husband, and the unique relationship and ministry
that they share.
TROY JOHNSON      6
Troy Johnson released his debut, PLAIN AND SIMPLE, this past
summer, but he is no stranger to recording. Johnson is a
seasoned performer and artist. He talks with THE LIGHTHOUSE
about his family, his music, and how God picked him out of the
bottom of his life's pit.
NEWSONG      8
Since the four members of Newsong met in the early 1980's and
formed the band, they have released seven albums. Eddie Carswell
talks about the group, life on the road, and the music industry
in general.
KENNY MARKS      10
In the past decade, Kenny Marks has released six albums
containing many stories about relationships. Having been able to
tour the world performing his music, he has been through many
learning experiences. He chats with THE LIGHTHOUSE about his
opinions on music and other things on his mind.
REVIEWS      12
Reviews of the latest projects by Audio Adrenaline, Two Hearts,
Susan Ashton, Al Denson, Carman, and Point of Grace. Christmas
album reviews of BLUES FOR THE CHILD, THE NEW YOUNG MESSIAH,
Larry Dalton and the National Philharmonic Orchestra of London's
IN EXCELSIS DEO, and BeBe & CeCe's FIRST CHRISTMAS. A quick
glance at a book by Bernadette Keaggy.
INFORMATION CENTER      16
Get up-to date with new and upcoming release lists, Top Album
list, and Classifieds.

EXECUTIVE EDITOR/PUBLISHER:
J. WARNER SODITUS
EDITOR:
BETH BLINN
CLERICAL ASSISTANT:
TAMMY SHOUP
CONTRIBUTING PHOTOGRAPHER:
PATTY MASTEN
CONTRIBUTORS:
ROGER APPELINSKI, BRYAN BRENDLEY, ANN HATHCOCK, JULIE HENRY, RODNEY HO, JEAN
PATTY, BRUCE A. ROTHWELL, ERIK SELLIN, TAMMY SHOUP, STEVEN C. TIMM, CLARKE
WOODFIN
SUBSCRIPTION INFORMATION:
$1.00 PER ISSUE
$10.00 PER YEAR (U.S.)
$18.00 (CANADA) $29.00 (OTHERS)
MAILING ADDRESS:
THE LIGHTHOUSE
256 EAST COLLEGE AVENUE
SUITE 302
STATE COLLEGE, PA 16801
(814) 238-6730
FAX: (814) 238-6730
THE LIGHTHOUSE (ISSN 1070-6690) IS PUBLISHED MONTHLY AND IS NOT INTENDED FOR
PROFIT.
COPYRIGHT: THE LIGHTHOUSE �1993 BY POLARIZED PUBLICATIONS, ALL RIGHTS
RESERVED.
WRITER'S GUIDELINES AND ADVERTISING RATES ARE AVAILABLE UPON REQUEST.
THE LIGHTHOUSE WILL NOT BE RESPONSIBLE FOR ANY PRODUCTS OR SERVICES OFFERED IN
ADVERTISEMENTS.
MEMBER:
GMS
GOSPEL MUSIC ASSOCIATIONS

OUR MISSION: TO ENCOURAGE PEOPLE TO ENGAGE IN A DEEPER PERSONAL RELATIONSHIP WITH
GOD THROUGH HIS SON JESUS CHRIST USING THE MODERN MEDIUM OF CONTEMPORARY CHRISTIAN
MUSIC. CHRISTIAN MUSIC, IN ITS VARIOUS CONTEMPORARY FORMS, CAN BE USED AS A TOOL
FOR ENCOURAGEMENT, CHALLENGE, CHRISTIAN OUTREACH, AND CREATING A POSITIVE INFLUENCE
ON MODERN CULTURE. THE LIGHTHOUSE SEEKS TO SHARE THE MINISTRY OF SUCH MUSIC
THROUGH IN-DEPTH FEATURES ON THE MUSICAL ARTISTS AND REVIEWS OF CURRENT RELEASES,
TO SHOW THE MINISTRY AVAILABLE FOR CHRISTIANS AND NON-CHRISTIANS ALIKE.

On Wednesday, November 17th, J. Warner Soditus, publisher of THE
LIGHTHOUSE, travelled to Pittsburgh, PA to make an appearance on
Cornerstone Television's program HIS PLACE. The show was broadcast
live at 9:30 pm EST.
HIS PLACE is set in a fictitious diner where the staff sit and chat
with diner patrons (the guests). Completely unrehearsed, the camera
moves between conversations, "eavesdropping" on the discussions.
The show is nationally syndicated and can also be viewed via
satellite dish on Spacenet 2, channel 21. For station information in
your area, you can write to HIS PLACE, c/o C-TV, Wall, PA 15148-1499
or call (412) 824-3930.

CRYSTAL LEWIS
The Bride

"...KINGS SHALL BE BLINDED BY YOUR GLORY AND GOD WILL CONFER ON YOU A
NEW NAME. HE WILL HOLD YOU ALOFT IN HIS HANDS FOR ALL TO SEE, A
SPLENDID CROWN FOR THE KING OF KINGS. NEVER AGAIN SHALL YOU BE CALLED
'THE GOD-FORSAKEN.' ...YOUR NEW NAME WILL BE 'THE BRIDE.'"
�ISAIAH 62:2-4 TLB
"At the time that I read Isaiah 62, it just hit me so hard. How
unbelievable God's forgiveness is, and His grace and His mercy to
bring someone back to Him like that." That's the sentiment behind the
new musical expression, her seventh album, from one of Christian
music's dearest "sweethearts," twenty-four year old Crystal Lewis.
Lewis compares the story of Hosea to Isaiah 62 in remembering how a
price is paid for unfaithfulness. "It's such an incredible blessing to
me how Hosea married this woman, when God tells him she's going to be
unfaithful to him. Then God tells him to go and buy her back at a
certain time. It was just intense to me, the first time I read it,
that he went and had to pay for this unfaithful person to get her
back. And that's what God had to do with us, you know�He had to pay,
He gave His life. That was the price He paid to buy us back from our
unfaithfulness to Him."
"He considers our rebellion, and the fact that we left our first
love, adultery towards Him. The fact that He would buy us back and
make us His bride is just so beautiful." But this also reminds us of
our need to be ready for His return. Lewis continues, "We are to be
all dressed, pure, and ready as a bride waits for her bridegroom in
anticipation of His return."
Anticipation of the second-coming has provided an outlet for some of
her personal anticipation. While awaiting the release of THE BRIDE,
Lewis awaits the arrival of her first child. "I'm exceptionally
anxious," Crystal expresses about her baby, "and I need to channel my
anxiousness towards His return."
Based on several sonograms, Crystal and husband, Brian Ray, are
expecting a son, already named Solomon, on December 23. Although she
doesn't want to really accept the possibility that the doctors could
be wrong�mostly because they have painted the nursery, told all the
relatives, and bought boy's clothes already�she admits that they have
at least picked the name Zoe, "just in case." She would also prefer
the baby to wait a couple days to be born on Christmas, so her father
can be there.
The usual, full-tilt energy of Lewis may have been noticeably sapped
by her pregnancy. However, you certainly would never know by listening
to THE BRIDE. Adjusting the recording schedule to allow more down-time
than usual, the results proved worth the wait. "Being pregnant, and
running on about half as much energy as usual (which is really unusual
for me) we just decided, rather than sacrifice quality, to take some
time off in between, to try to regain our energy levels. I wasn't
about to spend twelve hours in the studio every day and die."
One of the most intimate songs from THE BRIDE is "Little Jackie,"
about a girl who is fortunate enough to finally see her father accept
Christ on his death bed. For Lewis, the song also expresses her belief
that, "The world is feeling like Christianity boxes you in, when, in
reality, the truth sets you free. They hate the truth so much and yet
Jesus loves them still."
As with her last release, REMEMBER, Crystal's husband Brian Ray
wrote several songs and produced the project. For Lewis, songs come at
many different times, from the middle of the night to flying in an
airplane to working around the house�and soon, while changing diapers.
She feels that with her songwriting, she "flew by the seat of my
pants�the story of my life."
MUSICALS, ALBUMS, AND TELEVISION, OH MY!
The southern-California native developed her fondness for music from
the music at the church her father pastored and singing with her
sisters and her mother, whom she claims is a "near-genius, musically."
It didn't take long for her to break in on a musical career. At the
age of fifteen, she auditioned for the Christian musical Hi-Tops,
earning a spot with the cast, which lead to touring and an album.
Next, she joined Wild Blue Yonder, an offshoot of THE LIFTERS, who
recorded one album with Frontline before disbanding. But Lewis, then
seventeen, took advantage of her relationship with Frontline and
signed a solo recording deal.
Wild Blue Yonder also sparked a much more important relationship for
Lewis�that is where she met Brian Ray. Despite her mother's concern
for her sixteen year old daughter being interested in a twenty-one
year old man, Lewis and Ray developed a strong relationship that lead
to their marriage almost five years ago.
Crystal earned a unique opportunity for a Christian singer as part
of the cast of Nickelodeon's Roundhouse, and also performed the
musical variety show's theme song. When viewers called or wrote to
find information about the cast, they were able to find out about her
Christian albums and their availability at Christian bookstores. Lewis
believes that this opened doors to share her faith with a totally
different audience. "I was able to reach a much wider audience than I
ever dreamed I would," she tells. "It was a really great experience,
as far as television goes."
Most of Lewis' concert performances have been for Christian
audiences. Many recent appearances, however, have been in more
evangelistic settings�which affords her a bit of a challenge. "I don't
prefer one over the other," she admits, "although I love evangelistic
stuff because it's like witnessing and that's so hard to do for so
many people, me included. It's hard to be bold like that, so this, in
a sense, almost forces me to say what I believe and witness, flat-out.
You can't hide a thing. I really like that a lot."
METRO ONE
In 1992, Ray began Metro One Records which has been instrumental in
developing new Christian artists. "We think it's possibly the best
thing we could have done," Crystal shares. Metro One has permitted a
deeper ministry orientation to develop. Not having to deal with one
typical record company mindset of needing to record several songs for
radio airplay has offered the freedom to judge songs for their
ministry value�not only their market appeal. Crystal continues,
"That's my responsibility, to please God, not man. When your vision
isn't quite clicking like that, it's really kind of difficult to
continue to do what you think God wants you to do. And so Metro One
has allowed us to musically be creative, which we want. Spiritually
we've grown so much that we have our concern lying in the spiritual
aspect, not necessarily in the industry."
"When I was seventeen I was very naive�just letting people tell me
what to do. And as an artist, I guess I kind of started growing, and
then as a person, spiritually I really grew a lot. I realized that God
was telling me something: God is really using me for something, and
this is a big responsibility and I do have responsibilities to say
what God wants me to say."
One of these ventures that is so unique in the industry is that as
with her last album, REMEMBER, THE BRIDE  will be released in Spanish.
Following the Lord's leading in this project, they have received
strong confirmations for their work�now with Spanish distribution and
performing several concerts in Spanish. But, that certainly doesn't
make the work easy. Crystal explains, "I felt the same way with the
last album. I feel this is too difficult, it's too much work and I
know that's the Lord saying, 'Do it.' When I start to make excuses for
things, I know that He is wanting me to do something. That means that
we have to do it."
With Ray devoting a majority of his time to Metro One, Lewis saw her
work with Nickelodeon as a potential stumbling block, and opted to
leave the show. "We felt God opened the doors for our company and if
Brian was working at Metro One, and I was working on the show, it was
a big compromise. We weren't working together and we really felt that
God wanted us together as a couple. I felt that I was compromising if
I was only going to give fifty percent to both. I needed to give a
hundred percent to one."
"We're at a place where we feel like God opened the doors for us to
start this company and, at this point, it's not our responsibility to
abandon it. As hard as it is, and as hard as it seems sometimes, God
is doing something through it, and we're just thrilled to be a part of
it. So He has amazingly fulfilled each and every need, above and
beyond our expectations. We figure He's in the business of taking care
of us, so we'll let Him."
From a human perspective, privileges rarely come without
responsibilities and trials. So what's the catch for the wonderful
freedom at Metro One? "I haven't found it yet," Crystal immediately
replies, "whatever it is. I've been busier than I've ever been in my
entire life. I don't even have a booking agent, because my phone rings
off the hook. All this whole year has just been almost a nightmare,
there's been so much stuff! We've just enjoyed the work so much. I
couldn't do more than I do."
With the business of recording, bookings, concerts, and company
workings, a natural concern would be becoming too involved and losing
personal time. Do they find time to "get away" and relax? Lewis
admits, "It's hard, because we do have to make the time. I mean, we
really do have to literally hang it up for a day or two and say 'I'm
not giving the office the number where I'm going to be! We're going
away.' What we try to do a lot is, when we have a concert, we try to
go out a day early and leave a day later so we have a little bit of
extra time."
MARRIED TO THE BOSS
Lewis' and Ray's marriage and business partnership is fairly unique
in the industry, with a result of being, as you might imagine, both
"good and bad. You can share the same concerns and frustrations, and
vent them together. But at the same time you can come to
disagreements, stylistically and musically."
One of the keys to their success is apparent in just a quick
conversation with Lewis. She has taken the Biblical example of
submission to heart, which is invaluable in managing conflicts. "I
think most women don't understand what submission means," Crystal
states. "It honestly means putting someone ahead of yourself�just like
love. It means putting someone else's needs or wants in front of your
own and humbling yourself enough to do that. I think our goal, as
Christians, is to be Christ-like and to take on His characteristics,
his personality traits�those are humility and patience and kindness.
That's all part of submission, being kind and being nice."
"It doesn't erase conflicts," she admits. "It's still kind of a
learning and growing process for me. It's not like, when we have a
disagreement, I immediately submit. It takes a little while to get
there. I, in no way, have that idea perfected, but it is something
that I truly believe and strive for, I guess."
"I have to make him [Brian] take time off a lot, because he just
works so hard, and he goes constantly. That's where I get to exercise
my responsibility as a wife, and take care of my husband and make him
take time off. I think there are advantages and disadvantages to a
couple working together in any kind of career or vocation. You can
share the same concerns and frustrations, and vent them together, but
at the same time you can come to disagreements stylistically and
musically, and that sort of thing. That makes it a little difficult
when the husband is the head of the home, plus he's the authority in
the studio, plus he's the authority at the record company. So for me,
it's harder to work with my husband because I'm looking at him as my
authority, and yet in the studio really we have an equal say in
everything. Then again, on the other hand, it helps because it helps
us to maintain some sort of balance in the studio and it helps me to
have to compromise sometimes and give in."
BACK TO "NORMAL"
Since Lewis is expecting her baby in December, she has unfortunately
needed to decline concert invitations around that time. After a few
months of rest, she will be back with her usual energy and drive. "I'm
really excited to have a baby," she beams, "and very thrilled to be
starting a family. But Brian and I are both going into it with the
idea that it's a welcome addition, but not the center of the family�
it's not the center of attention. We have to maintain our jobs as
well, which are given to us by the Lord."
Hardly just a "job," it only takes spending a few minutes with
Crystal to glimpse her goals�"this isn't just a career, this is a
ministry."
�J. WARNER SODITUS

TROY JOHNSON
Although Troy Johnson is a new artist on Word Records, with his debut,
PLAIN AND SIMPLE, released this past summer, he is no stranger to
recording. Having held contracts with Motown and RCA Records prior to
his association with Word, Johnson is a seasoned performer and artist.
Recently, we were able to talk with Johnson as he stopped in State
College while opening for MARGARET BECKER on THE WORLD I SEE IN YOU
TOUR.
YOU WERE FIRST ON MOTOWN RECORDS, RIGHT?
I was on Motown, and RCA Records.
AND YOU DID SOME TOURING?
I didn't do any major touring. I did light-weight touring�promotional
touring.
DO YOU NOTICE A DIFFERENCE, BETWEEN THIS AND THAT?
Totally different. I love this, because I'm glorifying God. I love
this because, I feel that I'm being effective for the kingdom, for
God. I feel that I'm being used. And that the gifts and the talents
that God has given me are not just being abused. I'm using them for
Him because He gave them to me. So I feel good about being on a
Christian tour, where there's Christian people, a Christian
atmosphere, and where people can hear the Gospel and have a good time
together in Jesus. It doesn't compare at all. It doesn't even come
close.
IS IT EASIER WORKING WITH THESE PEOPLE, THAN YOUR EARLIER EXPERIENCES?
Yeah, I think it's easier. When I was in secular music, their mindset
is different�they're not thinking about souls. They're not thinking
about ministry. They're thinking about money. Unfortunately, there's a
lot of Christian acts that think the same way, which is sad. And a lot
of Christian managers, and so on and so forth, where it's a business
thing, and not a ministry. But for me, it's a ministry. And being on
this tour is a lot different�it's good. I get along with the people,
and Margaret, and everybody.
I CAUGHT A LITTLE BIT OF WHAT YOU WERE TELLING THE AUDIENCE ABOUT YOUR
PARENTS. YOU SAID THAT THEY DIVORCED?
They divorced when I was about 11.
WHAT WERE YOU TELLING THE CROWD ABOUT THAT?
I just talked about getting on drugs, and rebelling, and going through
that process. I went through the process where I blew it in school,
got expelled out of junior high for violence, got expelled out of the
whole district. Went through about six high schools�got on drugs, no
hope, rebellious, running with gangs and stuff. And God, in his mercy,
rescued me because I know a lot of people that didn't make it, but in
His grace, He had a purpose for me. So I'm just glad to be alive.
AND HOW DID HE WORK THINGS OUT TO GRAB A HOLD OF YOU?
Well, I had heard a few people minister, from time to time. I heard
one guy on the street one time, I'll never forget this conversation.
He was talking to this lady, and me and friend of mine, we were about
seventeen. He was talking about stumbling blocks, and me and my friend
just mocked him and mocked him and mocked him�we were high. We mocked,
mocked, mocked him�I never forgot that. But there came a time where,
this guy that I was mocking, because he represented Jesus, and I was
mocking him, the day came when I needed this Jesus.
My mother had sent me to my grandmother's in Kansas, after I'd blown
it in school and everything. My mother didn't know what to do with me,
so I went to my grandmother's. My mother was trying the best she
could. She really couldn't do much�she was working two jobs, she
really couldn't watch me or take care of me. So my mother put me on
the train. She told me "I know you're going to be something." I was
hopeless, I was at the bottom. I found the "get high crowd" out there.
Finally, one night, I just knew that I had to do something. So I got
on my knees and accepted Jesus into my heart. However, I didn't know
that I had to read the Word, I didn't know that I had to go to church,
I didn't know about associations.
So I ended up backsliding, and during that time, I started doing
cocaine, and I had my first record deal with Motown. Actually, it took
about a year and a half for that record to actually come out, so in
between that time, I was partying and doing drugs. I just felt so far
away from God, and I knew I was in trouble. One day this lady took me
to church, and I re-committed my life. I went through a couple year
period of compromise, where I was back and forth, but I was more
aware. Finally, one day, my friend was driving me into L.A., for a
meeting at the record company. I opened up to Bible to Hebrews�I think
it was chapter 10. It was talking about if we willfully sin, after we
have received the knowledge of the truth, there is no more remission
of sin, but the wrath of God�it shook me up. And after I made the
choice to get right, I was on RCA Records, at that point. I finally
started praying for God's perfect will, instead of part of His will
and part of my will. I started praying for HIS will. And man, why did
I do that? [Laughter]
I'm glad I did it, but I went through a couple year period... I tell
you, He shook me, He hammered, and He chiseled me, and formed me into
the image of Jesus. He took a lot of things off of me, and humbled me,
and got me on the right track. And so I'm praying, during this time,
I'm praying for God's perfect will. I go through a situation where I
get off of RCA Records�I'm upset with them, I try to get out, and they
won't let me get out. Finally, I convince them. Before I get out of
the contract, I go to the newly owned Motown�MCA owned them at this
time. I went to the chairman, the CEO, the man at the head of the
company. He said "Troy, we want to do this deal, we'll make it happen,
I'm gonna make you bigger than life, we're gonna do this," this guy's
telling me. So, I get out of the deal at RCA, but I wanted to make
sure I had a home first. I get out of the deal at RCA, and the Motown
things falls through the cracks. I'm like "Okay Lord, God, Your
perfect will, I want Your perfect will." There's excitement at Epic
Records about signing me�the lady that's right up under Tommy Motola,
who is the chairman of Sony, loves me�it falls through the cracks.
Then MCA Records�we're talking money, budget, everything, their lawyer
is contacting my lawyer. We're going to get this show on the road,
we're going to get the contract done, we're going to do this record,
we're going to put it out�we're going to do this thing. It fell
through the cracks.
A guy introduces me to Word�I had a studio in California, a 24-track
studio, and so I'm recording, and working on some Christian artists I
know in the area, producing them. I'm just producing these acts�I'm
not thinking about doing a Christian deal myself, because, I'm
thinking that I'm called to be in the secular arena. And I'm not
saying that I don't think that now. I think that the approach is
different now. I'm thinking that it's gonna be a different way.
Anyway, this guy introduces me to them, I'm playing them some of these
records of these artists that I've produced�I'm not thinking about me
being on Word, I'm thinking secular. Next thing you know, I'm playing
this stuff for the guy, and he says, "Look, we want to hear more of
you." They had heard some of the stuff that I did on RCA, which was
actually a Christian record, it just wasn't through a Christian
company. I mean, everything that was on it was Christian�all of the
moral values. So they wanted to hear more. So, I'm not really excited
about it, because I'm not really certain, but I'm starting to kind of
feel a little different about it. I'm thinking, "Maybe, well just
maybe this is the way." So, I end up doing a couple of songs, meeting
with the guy, and he's like "Yeah, we want to do a deal with you." And
I'm like, "Okay, great." Now, a year and a half goes by before I sign
with them. God says "No, I'm not done with you yet." I had never
worked a regular job before�it was always music.
Part of the character-building that God had to do in me was I had to
get a regular job�He had to humble me completely. So, I had to do a
little construction�and it was all during this time that I was waiting
on the contracts. The contracts were just on hold, delayed, the
company was being sold. God said "I'm not done." So, He completely
humbled me, man, changed some things in me. So, I finally signed the
deal with Word, got some tremendous support from them, incredible
support, and that's why I'm here.
YOU MENTIONED YOUR WIFE�WHEN AND HOW DID YOU MEET HER?
I met my wife when I was about sixteen or fifteen... I was in love
with her when I was younger. I was so prideful, you know, I couldn't
tell her that�I was "THE MAN." [Laughter] And we ended up breaking up.
We only went together for a short while when we were fifteen or
sixteen. And, after I did my first record with Motown, I came back and
got her, and we were compromising, we were living in sin. And we ended
up having a baby, my oldest daughter, Brytni. And we got married,
finally. It was right about the time that I read that scripture about,
if you continue to walk in sin, and you know, here I was, a Christian,
compromised, living in sin, had a baby, wasn't married�one morning,
woke up, and said, "Let's go get married." We went down to the
courthouse and got married. I said, "That's it, I'm tired of living
compromised, I'm tired of not being right with God." We just had our
four year anniversary. It's been good�it's been tough, we've been
through some trials, but man, I tell you, I love being married�I love
it. I have two little girls. Brytni is four and I have another that's
two, Brooke. And it's great. I love my family.
WHAT DO YOU WANT PEOPLE TO KNOW ABOUT YOU?
I want people to know Jesus. I represent Jesus, and it's just my goal
that people know Him and know His love and His goodness�that's my
purpose in life, to glorify Him. And part of that is sharing Him with
others, and encouraging my brothers and sisters in the Lord to be
strong, and to continue the fight�because it is a fight. He never said
we were going to tiptoe through the tulips. It's a fight that we're
in, and I just want to be an encouragement to my brothers and sisters
in the Lord. The only thing that anybody needs to know about me is
that I'm just a servant, a servant of the King, Jesus, and a servant
to the Body of Christ. I've played enough games in my life, in
different ways, that I don't have time to play games. I'm serious
about my relationship with Jesus. It's not just a Sunday church thing
with me, it's an every-day-thing.
HOW WOULD YOU DESCRIBE YOUR MUSIC?
I would describe it as, probably, melodic Pop, Hip-Hop, Urban. I guess
that's how I'd describe it.
WHAT DO YOU DO FOR SPIRITUAL ACCOUNTABILITY?
I'm, first of all, accountable to the Lord. I have a regular prayer
life, study life. I'm accountable to my pastor�matter of fact, he even
has given me a letter of recommendation, and stuff. He takes
responsibility, I'm in regular contact with him. I really believe that
it's important to be accountable to some leaders�I don't believe in
being a Lone Ranger. Because, you know, we're all capable of doing
something wrong. The Bible says there is safety in a multitude of
counselors, and I want to be safe, because I know that the reason that
God even gave pastors, evangelists, teachers, and prophets, so on and
so forth, and each other, was for accountability. You know what I'm
saying? Sometimes you're going to miss it; sometimes I'm going to miss
it. So I need somebody who's going to be able to say, "Hey, Troy,
maybe you need to look at this." So I just surround myself with good,
godly men and women�people that I respect in the Lord. I also have a
manager who is a very godly man.
HAVE YOU THOUGHT ABOUT YOUR NEXT PROJECT?
Yeah, I'm writing for it now, because during my break on this tour,
Thanksgiving through January, I have to record my whole next album.
And then, in January, I'm back out on the road with Margaret,
finishing up the second half of the tour. They're going to release my
new album towards the end of the tour.
�BETH BLINN AND J. WARNER SODITUS

In the early 1980's, Eddie Carswell, Billy Goodwin, Eddie Middleton,
and Bobby Apon met as members of Morningside Baptist Church in
Valdosta, Georgia. Since that time, they have released seven albums
and rarely stopped touring. Eddie Carswell spent a bit of an afternoon
guzzling soda, munching crackers (name brands withheld...), and most
importantly chatting about Newsong and Christian music in general.
Here's a portion of what we discussed between snacks.
HOW DID YOU REALIZE THAT GOD WAS TELLING YOU TO GO OUT AS A BAND?
We all live in the same town and we were going to the same church. We
were praying about it individually. I was working at a college. Billy
Goodwin was praying, and even though he was in the ministry, he felt
the Lord was wanting to move him. We started sharing our hearts as we
were doing what we were doing, which started off as a fun thing to do
around town. We shared our hearts and said, 'Maybe this is what the
Lord is showing us all to do together, instead of individually.' We
started praying, we did some concerts and tried to get a clear vision
of what we should do. In a major way He said, 'Yes, yes, I'm saying
yes, guys.' May first, 1981 we all quit our jobs and headed out. Bobby
was still in college, he was a part-time minister of music at a church
and going to college. He finished his last month at college,
graduated, we quit our jobs and started going. It was exciting times.
The Lord knows how much faith you need for each situation. He had
sufficient faith to get us through there.
HAD YOU DONE MUCH MUSIC BEFORE THAT POINT?
All of us had done some stuff. Eddie Middleton had been with CBS Epic
as a country-pop artist. He had the most experience as far as being
out there and being with record companies. He played in clubs most of
his life and traveled across the country singing. Most of us had done
other things. I had been involved with a studio and wrote jingles and
sang at church. Billy, who was our minister of music, had been a
theater guy in school�Bobby does those same things.
WHY DID Y'ALL PICK THE NAME NEWSONG?
I really tried to write big-hit secular songs, Eddie had tried to be
a big star with CBS Epic, all of us had backgrounds that said other
things other than doing something that would magnify the Lord. We just
felt, 'He put a new song on our mouth�a song of praising Him. Let's
leave that behind and put this thing together and go out and do it all
for the right reasons.' Once again, this is twelve years ago, at the
time, names like THE IMPERIALS, were names like you would choose. Now
we wish we had chosen something else.
YOU QUIT YOUR JOBS, DID YOU JUST HIT THE ROAD?
Started doing twenty-some concerts a month. We started booking
concerts, calling pastor-friends we knew. None of it was any big deal,
but we did enough of them. Once again, enough faith there. It was
nothing to do twenty-one, twenty-three things a month. We'd go 40
miles and do this one, 30 miles and do that one, 60 miles and do that
one. We could do three a day. We didn't have equipment. We had a
speaker here and a speaker there and ran the board from the stage�
everyone had their little job to do, we could do it in 15 minutes. We
worked real hard and it was fun. Now if we do fourteen, fifteen,
sixteen, that's still a lot of dates�you're in Long Island on Thursday
night and you're in Kansas next week. They're all so far apart, you
spend more time but you do less dates. And there's all this
[equipment] to put up.
WHAT KIND OF PRAYER SUPPORT IS THERE BEHIND YOUR MINISTRY?
We have a board of directors that we meet with from time to time and
we use them more, since they don't live in the same town, for advice.
One of our board guys handles our books. We have different guys
involved. We have real strong churches we're involved with and strong
pastors that are on our board. We get a lot of guidance [from them.]
When we've needed to sit down, we've gone in and sat down with a
pastor for two or three sessions and talked about it. Plus, our wives,
bring in it twelve, going on thirteen years [experience], they're real
involved. They feel they were called into it like we were. Any time
you're going into ministry, you're usually making no money at what
you're doing and you agree to take less to do something. That's what
we did. We've got a good base of support watching out for us�keeping
an eye and ear for us. We have friends come out with us to check and
see what we're doing. It's important because, even with the best
motives, it's hard to stay dead on it. You don't have to veer far to
be wrong.
WHAT KIND OF FOLLOW-UP ARE YOU ABLE TO DO FOR PEOPLE WHO COME FORWARD
AT CONCERTS? I SAW THE INFORMATION SHEETS BACKSTAGE. WHAT DO YOU DO
WITH THAT INFORMATION?
We'll give a copy of what we do to the people here [concert promoters]
and ask them to follow-up as best they can to the churches in the
area. We'll take a copy back with us and we'll drop them a note in the
mail and tell them we're excited about their decision. Our secretary
has different things prepared, according to what's happened in their
life. We do the best we can. We may be here possibly the only time in
our life, today, so we do what we know to do.
I'M SURE IT'S HARD PREPARING FOR A CONCERT, SINCE SOME PEOPLE ARE
CHRISTIANS AND SOME ARE NOT.
A big part of our concert is having fun. We advertise on Christian
radio stations�usually. Usually church people get together and put it
together. Their input is for church people. Everyone's got some people
they're bringing in, but basically, it's a church crowd. If we're
thinking the other, we need to get a flat-bed and do it at Wal-Mart.
We're not over there, we're over here. A lot of the seculars won't
know unless a Christian person brings them in. We could call ourselves
an evangelistic ministry, but we have to be practical with it. We say
things, maybe not in the first five or six songs, but hopefully what
we're doing through the fun and the things that are being said, we're
planting some seeds. We're hoping to win their confidence. That gives
everyone else a chance to have fun. I never knew anybody that really
loved the Lord that wasn't having fun when people are getting saved.
So many people come to our concert to get encouraged or whatever. The
major thrust has been the invitation. I'll allow twenty-five minutes
to give the invitation because we take a lot of time there. It doesn't
feel like it to me, but once you give it a lot of opportunity, a lot
of different things happen in that time.
WITH THE 'INDUSTRY' ATTRACTING THE CHRISTIAN CROWD, DO YOU SEE AN EASY
WAY TO ATTRACT A NON-CHRISTIAN AUDIENCE WITHOUT 'CROSSING-OVER'?
Well, the biggest thing to happen here tonight would be if the
Christian people who are coming would go to the effort of bringing
some non-Christian people�just like church. I've always been involved
with evangelistic churches and you go to some churches and no one's
getting saved. At some churches, the preacher's not preaching any
better or any more anointed preaching, but there are huge decisions
every time and all week long they work to have people there that need
to get saved or work to people they've been witnessing to. It's the
same thing here, where we could reach a lot of people tonight. We
reach into the church, we don't say, 'Hey you out there on isle 12,
seat number 4, I know you're a good church attender,' but let's make
sure where we are. Are we attending church, are we in the Body? Do we
have a relationship or do we have a denomination? We do a lot of
inreach. We see a lot of people in the church actually get saved that
have just been in there. That's a big way we can make a difference.
I don't have a big problem with crossing over if God gave us a song
that would cross us over. We never made any big strides. If something
happened where we did go over there, that would be fine. It's okay to
cross over if you take the cross over... If God tells us to do it,
we're going to jump in and do it.
WHAT ADVICE WOULD YOU HAVE TO NEW ARTISTS?
I think the big thing is to know that you're doing what the Lord wants
you to do. There may be a little time that would be worth doing it
until you feel a definite call to do it. I think the little bit of
glamour or praise that you receive would wane real quickly if you got
here and you felt the Lord didn't really want you out here. A majority
of it is all-night rides. That sounds glamorous to some people. We set
up equipment all day and we travel all night. We're gone from home a
lot. There's only a couple hours on stage and then, if you're up
there, you're really concerned how it's going to come off. You're
having a good time, but you're concerned with things going wrong,
you're wondering about the crowd. There's hardly any time to just
chill around.
Make sure who the Lord wants you to reach, what your niche He's
fitting you into�get some idea where you're going. Stay in the Word,
some obvious things. Stay in your local church, stay close to some
people that can keep you from veering too far left or right. You can't
go with every little thing everyone tells you to do, but you have to
balance that with your heart and see where you are and see what the
Lord's telling you to do.
WHAT DO YOU DO TO GET SOME TIME ALONE?
We're on a bus. It's pretty big, but not that big. Then, when you get
to places, you get four rooms, you still have a bunch of people, so
you're doing good if you're in a room with one other person. Usually
there's two of us in each room and then the other guys will double up.
It's really hard to escape into a situation to feel good�to just be
alone and read the Word. You have to be real careful about it. This
morning I came close to almost blowing it. I got up early and went to
the room and went down to get some breakfast first. It just turned out
that they [rest of the group] got to the room a little early today. I
barely got it in. They wanted to turn on the television. I told them
there's nothing on and I wanted to read my Bible. If I had messed
around another five minutes... It's tough.
You can pull off anything that's a priority. When I'm home I can go
out on our porch and everything's ideal. When it's not ideal, it's a
matter of putting the priority there to make sure it happens.
ANYTHING THAT'S REALLY BEEN ON YOUR MIND LATELY?
One thing we're talking about in our concerts, all that's going on
that SEEMS to be indicating the return of Christ. We challenge the
people from the stage, if you ever thought about it, a lot of us are
like this, that if you start reading the Word, you're always going to
read it. If you ever thought about getting excited for the Lord and
going out and witnessing to you friends and relatives, it seems like
the time is drawing short to get that done. If the signs around us are
any indication, we need to turn it up and get busy about the Father's
business. That's what we're saying in "All Around the World," and
"Fingertips and Noses."
�J. WARNER SODITUS

NEWSONG DISCOGRAPHY
SON IN MY EYES      (1982)
THE WORD      (1984)
TROPHIES OF GRACE      (1986)
SAY YES!      (1987)
LIGHT YOUR WORLD      (1989)
LIVING PROOF      (1991)
ALL AROUND THE WORLD      (1993)


KENNY MARKS
Kenny Marks was one of the first artists in Christian music that I was
exposed to. His song "Right Where You Are," came out about the time
that I needed some reassurance of God's love and forgiveness. In the
ensuing decade, Marks became known for his songs about relationships,
especially the "Johnny and Jeannie" series�about two kids who fall in
love, and the problems that they encounter as they grow up.
Because relationships are universal, people across the globe can
identify with Marks' music, and this has given him the opportunity to
play in countries all over the world. Through the past twelve years
and six albums, he has sought to bring people in touch with God and
each other. His most recent release, ABSOLUTELY POSITIVELY, is a "best
of" project, a look back at the past, tying up some of the threads
that have always been in Marks' music.
Originally from Detroit, Michigan, Marks got involved with music as
a child, playing the piano. When he became a teenager, however, his
interest turned to another instrument.
"About the age of fifteen, I wanted to play guitar," explains Marks.
"I really bugged my dad about it, and finally, we went out one
Saturday and got a second-hand Gibson acoustic and I got into a group
of guys, a garage band at school."
While music continued to be an interest, Marks got his college
degree in behavioral science. A few years after college, he met his
wife, Pam, and they moved to Nashville about sixteen years ago. Marks
and his wife have two children, Allegra and Sebastian, who are 13 and
11, respectively.
Since signing his recording contract in 1981, his concerts have
taken him all over the world, including Europe. the Far East,
Australia, and Russia. After releasing six albums, Marks decided it
was time for a retrospective.
"After doing this since '81, I came to the point where it was really
time to do a best of," says Marks, "and a greatest hits thing. So I
sat down and tried to write down what songs that people really seemed
to respond to, and I put down this list of about 25 songs. And then,
after you get through all of the gates at the record company, and give
them a little of what they want, and most of what I want, with
everything, we ended up with fourteen songs. One of which is brand
new, 'Absolutely, Positively,' which is a rocker, and two which are
remakes, 'Friends Will Go Anywhere With You' and 'I Give It All To
You.'"
In looking over Marks' career, the majority of his songs have dealt
with relationships and people�not surprising, given his degree in
behavioral science. Recently, he's been pondering the differences
between men and women.
"I think we live in a world that, right now, it seems to me, somehow
wants to say that men and women aren't all that different, and I don't
think that's true...and I think we need to get back to some of that.
You know, I think men have, for along time, particularly in the
fifties, men were like, 'Hey, honey, get my dinner,' and we paid,
probably, some sort of big price for that. And now, men are more
sensitive, and more thoughtful and caring, more relationship-oriented,
but still, we possess differences. Some of my writing has reflected
that�I wrote a lot about fatherhood on my last record, about being a
man, and all that�I think that's good. I think we, young men, need to
know that we don't have to be like girls. You know, girls are special
for who they are. One of the sad things in our culture right now is,
one out of four people (and in black and Hispanic families it's a lot
worse) there's a strong chance that they'll grow up without a father,
and that's not good. You know, I put it through the whole filter of
being a Christian, and I want to write about that kind of stuff�put it
through the filter of what Christ says."
"My concerts are about relationships and real life," he continues,
"and what I try to really do, is, if I want to speak about loneliness,
if I want to speak about growing up, if I want to speak about
sexuality, if I want to talk about what it means to be a man, if I'm
going to talk about being married, or whatever�almost every song
that's got a reality base to it, also has got a spiritual base. So the
truth of Christ is reflected, I think, in all my songs, and it's just
a matter of trying to point people in the right direction, isn't it?
You know, trying to say, 'Hey, here's what we're hearing, here's what
this guy says, but take a look at this over here. What did Christ say
about it?'"
With his life and his music, Marks has some very specific goals.
"I call it my five 'E's.' Five things that begin with the letter E.
I want to ENTERTAIN people. I think that's valid. I want to ENCOURAGE
people, lift their heart, give them some hope that tomorrow is another
day. I want to ENLIGHTEN people with the Gospel. I want to ENHANCE
what the church has been doing down through time. The church has
started hospitals, and feeding the poor, clothing people, and you
know, we need to enhance, through our music, what the church has been
doing through history. And then, the fifth E is to ENLIST people to
get involved in this sort of process of turning the world around, one
person at a time."
While there was a time when Marks might have been condemned for
wanting to entertain, he thinks that those days are past.
"I think that, years ago, people used to be a little afraid of that
word, but it doesn't seem that way now. Almost everybody goes to
movies, people don't necessarily think that it's bad to dance�I think
things have loosened up, and that's good. And they've realized the
role of Christian entertainment, and that's good. I'm glad that I'm
not just that [an entertainer], and I'm glad my music just isn't
lightweight. Some of it is, but most of it isn't."
"You can't sit on kids too hard. You gotta give them some space, let
them do their thing. You've got to direct them, and guide them. You've
got to be a good parent�you've got to do that kind of stuff, but
you've got to give kids some space. It seems like a lot of the kids
that really get into trouble are kids that are squashed a little too
much."
While Marks has some strong opinions on child-raising, he also feels
he has learned some lessons from his own kids. "How to relax, take it
easy on myself and on them. To think about what I'm going to say
before I say it. Try to extend to them some of the rights of being a
person. It's easy as a father to kind of replay the tape that your own
father played. You've got to be careful of that. Some of it was good,
but I think having children is a real important, demanding, and
delicate thing�but, very rewarding. It can be really great."
There can be a lot of parallels between a human father's love and
desires for his children, and God's love, hopes and dreams for us. And
raising two kids should continue to give Kenny Marks great inspiration
for writing more songs about relationships, both human and divine.
�BETH BLINN

Editor's Thoughts
Last month, I mentioned that one of the things that frustrates me
most is the narrow vision that some people have about the potential
for music to reach out into the world. I think that few people would
dispute that music plays a very large part in society today. Due to
the accessibility of radio and television, music is a big part in many
people's lives. As a result, I think that it has the potential for
widespread influence. A good friend of mine was a theatre arts major
in college, and she once told me that she was taught that art and
music precede changes in society, while theatre reflects changes. If
that is true, the state of our society today should not be surprising.
For far too long, Christians have not been an influence in the arts.
That has not always been the case�during the Middle Ages and the
Renaissance, Christian ideas were the topics of, and inspiration for,
much of the music, art, and theatre. And, I venture to say, Christian
ideas probably had a lot more influence. At some point, it was decided
that support for the arts was either not important, or downright
wrong. Christianity has had a diminishing amount of influence on
society ever since.
So, it seems to make sense that, as Christians, we ought to support
the efforts of those who are trying to have an influence through
music. While I don't think that is such a problem for people who are
part of the "Christian" music industry, I don't really see much
support for those trying to have an influence in the mainstream
market. Artists like King's X, Innocence Mission, the Alarm, The Call,
Extreme, and others have created great music with a decided Christian
slant. While not always overt, it is apparent enough that it can be
used to stimulate many discussions. A friend of mine has used
Extreme's last album, III SIDES TO EVERY STORY, to open up
conversations with five or six different people, and has frequently
ended up sharing the Gospel with them.
Ultimately, the ideal thing would be for there not to be any
division in the music industry�that "Christian" music would be played
right next to "secular." Since that is not likely to happen, I think
that artists with Christian world views who have been able to make
inroads in the secular market should be supported as much as possible.
Obviously, the more that people are exposed to the truth, the more
that they are likely to consider it. And that, in the end, is one of
the major reasons that we are here�to present the truth.
�BETH BLINN

REVIEWS

AUDIO ADRENALINE DON'T CENSOR ME (FOREFRONT)
Audio Adrenaline shocked Christian music with their with their
unique brand of music, termed NURock, on their debut release. Since
their style is so unprecedented, they received various comparisons,
basically centering around a combination of hip-hop, rock, dance,
alternative, and pop. With their follow-up, DON'T CENSOR ME, Audio
Adrenaline (Mark Stuart, vocals; Barry Blair, guitars; Will McGinnis,
Bass; Bob Herdman, keyboards) take NURock a step further as they speak
out against the how the secular world oppresses Christianity.
This time, the sound is similar, but more on the mid-pace Rock-Pop
side. Steve Griffith was again at the production helm, while
delegating two tracks to the "Gotee Brothers" (Toby McKeehan, Todd
Collins, and Joey Elwood). AA handled the songwriting, except for
Collins and McKeehan helping out with "Can't Take God Away."
The title track and "Can't Take God Away" stand against religious
censorship and oppression. "We're a Band," an aggressive rock track,
states the group's purpose, "God's coming back and I want to be
playing His tune... We're a band/For the Son of Man/We will take a
stand/You can make a plan/He'll be back again/We're a band," but
returns to the topic of censorship, "Please remove your hand from my
mouth..."
AA encourages kids that mission work is not only for foreign
countries, but for our schools in "AKA Public School." "Jesus and the
California Kid" is a interesting mix between aggressive techno-like
verses and a BEACH BOYS style chorus. An almost jazzy, upbeat track,
"Big House," talks about heaven in a fun way as a big house (with lots
of rooms) with a big table (with lots of food) and a big backyard
(where we can play football).
To me, the most impressive track is "My World View," a cautionary
reminder to see the world through the eyes of Christ. This peaceful
pop ballad features some guest vocals by Kevin Smith (D.C. TALK) and
actually bagpipes effectively to create an almost dreamy mood. A
similar ballad is "Rest Easy," where the verses tell of a man
realizing he is sinful and has not achieved the goals he set, while
the chorus returns a sweet message from God: "Rest east/have no fear/I
love you perfectly/love drives out fear/I'll take your burden/you take
My grace."
The album ends with a downbeat acoustic sounding "My Scum
Sweetheart," regretfully remembering a worldly relationship�but it's
the only downbeat track on the project.
The only time this has left my stereo since it arrived was to work
on another review�otherwise it would have stayed on repeat-mode the
whole time. I think it's one of the freshest Christian music
expressions in the Pop/Rock/Hip-Hop range since D.C. TALK's FREE AT
LAST. If that's your scoop, you'll probably dig this.
�ROGER APPELINSKI
TWO HEARTS GIVE 'EM THE WORD (STARSONG)
Sophomore projects always have a stigma of being either very good or
very bad�usually determining the future of a group. With GIVE 'EM THE
WORD, Two Hearts, Michael and Carrie Hodge, are back with an enjoyable
second release.
The unquestionable strength of the project lies in the voice of
Carrie Hodge. It's no wonder she toured the country as a child singer.
However, unlike their debut album, Carrie uses her talent in finessing
vocals, instead of overpowering them. She comes across very relaxed,
almost effortless, as she drives the tunes�especially the ballads.
This isn't an overly vertical album, but portrays practical issues
in being faithful to God, with the title track offering a reminder to
share the Word with our friends, and the whole world. "Goin' Home"
starkly questions, "Isn't anybody talkin' 'bout goin' home anymore...
Could it be we're so happy with things down here..." "This Could Be
the Time" also reminds us that our time to go home could be soon,
which is echoed in "Wake Up." "Because of You" and "Fairest Lord
Jesus" are a pair of enjoyable tunes offering praise to the Lord. "I
Will be Faithful" is a nice offering of human faithfulness in a
relationship, although written by Tankersley and Rick Crawford rather
than the Hodges. Michael was the primary pen on five tracks, with
Carrie happily assisting on "Because of You," a reminder that God is
the reason for what they do.
GIVE 'EM THE WORD also represents the return of Carrie and Michael
to their R&B roots. From the funky upbeat tracks to the heartfelt
ballads, there is a strong R&B presence mixed with Pop. Brian
Tankersley handled the production and the drum and bass programming.
The project is loaded with keyboard embellishments, and acoustic and
electric guitar riffs, and is mixed with some mandolin and superb
background vocals.
The title track is probably the standout of the faster tracks, with
an almost dance groove. They also left in a neat little tid-bit. Their
Shih Tzu, "Baby," (who is more like their child...) growls and barks
during Michael's guitar solo�even earning a BGV credit for the album.
Fun and energetic, even through the ballads, this is a pleaser for
Pop fans that like some funk mixed in; they accomplish their goal to
express their R&B roots.
�ROGER APPELINSKI
SUSAN ASHTON SUSAN ASHTON (SPARROW)
Susan Ashton waited until this, her third album, to release a self-
titled album. This album is a self-portrait, but it is painted with
help from songwriter and producer Wayne Kirkpatrick. Kirkpatrick wrote
or co-wrote all the songs but one ("Remember Not" is by Phil Madeira
and Jimmy Abegg). This combination has worked well over the first two
albums, and this new album does not disappoint. The combination of
studio musicians is also about the same, featuring Gordon Kennedy on
guitars, Carl Marsh and Phil Madeira on keyboards, and Steve Brewster
on drums. Background vocalists include Christine Dent�, Ashley
Cleveland, Donna McElroy, Billy Gaines, Michael Tait, and Susan's
husband, JD Cunningham.
This album combines the best things of the past with some new
influences. The vocals are still crystal-clear and still sing of
comfort and healing. The melodies and rhythms are accented with
excellent acoustic guitar work. There is a hint of Country and Western
in this album as well, especially "The Call of The Wild" and "Heart
Like a Rock." Likewise, "Summer Solstice" and "No Remedy For Love" are
love songs which could easily be released to the mainstream.
In this self-portrait, the lyrical focus is introspective, but
varies over a wide variety of emotions and issues. "Summer Solstice"
and "Waiting For Your Love to Come Down" speak of being open to
receive the love of God. "There Is A Line" and "Remember Not" speak of
personal ideals and putting them into practice. The focus then moves
to the problems that arise in discussing God with friends in "Hold the
Intangible" and "Agree to Disagree." Finally, there is a song of
encouragement in "A Rose Is A Rose."
Susan Ashton's success in Christian music has been because there are
few, if any other, vocalists that sound like her, so it is hard to
compare to other artists. However, you might imagine having the music
of KIM HILL (same producer and songwriter) sung by Christine Dent�
(OUT OF THE GREY). Also the latest two albums of SANDI PATTI have
stylistic similarities (Susan sang the demos for the LEVOYAGE
project). Anyone who hears Susan Ashton's music will soon learn to
appreciate her music on its own merit.
�STEVEN C. TIMM
AL DENSON REASONS (BENSON)
I have to admit that this is my first time to hear an entire Al
Denson album. I found this to be an enjoyable straight-forward pop
album, with a full, heavily produced sound, courtesy of Paul Mills and
Chris Harris. Denson's vocals are clear and effective at transferring
the lyrics, but didn't otherwise grab my attention. I wouldn't call
his voice exactly the force behind the project; the sequenced rhythms
drive the project.
Most of the lyrics are straight forward with the titles pretty well
explaining their subject and intent: "Living in the Light of Your
Love," "I Know a Love," "Say It With Love," "Nothing in All of the
World" (nothing can keep us from God), "The Door" (we need to help
people find the door to God�since it's always open), and "Draw Me
Near." Surprisingly, the title track was the most vague to me. I'm
still not sure if I really catch the entire point of the song.
One of the happiest sounding tracks is "I Got You," basking in the
dependability of Jesus, with a funky, almost Spanish sound in the
verses. "Alcatraz" is also an interesting song, with an intro
something like a movie soundtrack. It compares being trapped in
Alcatraz to the bondage of sin before being freed through Christ.
"Stand" speaks out against bondage from the influence of others,
encouraging us to stand up out of the crowd.
Overall, I found the album enjoyable. I'm not really into straight-
ahead Pop, but if you are, I think you'll enjoy this one.
�ROGER APPELINSKI
CARMAN THE STANDARD (SPARROW)
Carman's latest, THE STANDARD, is a collection of songs to encourage
the Christian. The theme begins with lifting up the name of the Lord
and ends with a plea that we need God in America again. Carman starts
out this album with "Who's In The House." It is a rap song similar to
"A2J" from ADDICTED TO JESUS, with help from Billy Gaines and Daniel
Winans.
The next tune is a tropical island praise song titled "Now's The
Time." It is an upbeat recording that made me want to get up and
praise the Lord with all of my being. "Great God" is a typical Carman
standard, having intense delivery with clarity of a message from a
powerful God. Next up is an African praise song, "Everybody Praise The
Lord," probably inspired by his recent concert in South Africa. "The
River" is different than Carman's usual high-powered style. It is a
slow-paced track that shows Carman's beautiful, clear voice.
A forceful tune, "Marchin' and Movin'," adds a little rap to make
the message come alive. As the chorus goes, "we've got the victory by
the blood of the Lamb." "Sunday School Rock" is a great sing-a-long
song and as Carman says, "kinda a fifties thing, but not quite."
Carman performs a duet with Margaret Becker on "Holdin On." First Call
also provide background vocals on this typical Carman cut which
includes a bold commitment to the Gospel. Next is a beautiful praise
of tribute to our God, "Lord, I Love You." The song repeats, "Lord, I
love you with every passing day. I'm sure Lord, I love you completely
and forever more." The strongest cut lyrically on the album is
"America Again." Carman does a monologue telling us of a country built
on Christian principles and how we need to get back to those values.
Then, he sings a chorus, "The only hope for America is Jesus/the only
hope for our country is Him /If we repent of our ways stand firm and
say/we need God in America again."
This album will probably be an asset to one who likes Carman's
aggressive style of ministry through lyrics and music. Carman sums up
the album like this, "I pray this recording builds your faith in God,
strengthens your spirit man, brings you into a deeper relationship
with Jesus Christ and encourages you to raise the standard of
Christianity right where you live."
�ANN HATHCOCK
POINT OF GRACE POINT OF GRACE (WORD)
Thick, close female harmony married to mostly upbeat tunes,
including some very nice horn parts, is one way to describe Point Of
Grace's sound. Another way is merely to utter WILSON PHILLIPS or
RACHEL RACHEL. Yes, Point Of Grace has a very pleasing, polished vocal
sound. I think their arrangements are fresh, the production quality is
first-rate, and the vocal parts are so clear that the Gospel is
conveyed in a no-nonsense manner. It is apparent that these musicians
are interested in this effort as a tool to reach the lost.
"I'll Be Believing," is currently on the charts, starting out with a
solo vocal that grooves, but when the chorus comes around, that WILSON
PHILLIPS/RACHEL RACHEL harmony kicks in. You can tell this band has
rehearsed�they sound so smoth.
One of the rockier tunes is "Living The Legacy." Packing a great
hook, it qualifies for the best song on the album. As opposed to most
of the instrumentation used on this album, it utilizes guitars more
than keyboards.
If you like big ballads, you'll really like "Jesus Will Still Be
There." Beginning as a soft, even intimate song, before it nears the
end, it turns into that big, fat ballad sound you'll remember hearing
on those old Barry Manilow records. It just plain carries you away,
then gently sets you back down. A very nice arrangement indeed.
"Faith, Hope, and Love" offers a church feeling. The acapella intro
is extremely appealing, which changes to a very soulful style that is
reminiscent of THE STAPLE SINGERS.
They have the potential of appealing to Christian and non-Christian
listeners alike with a Pop/Top 40 sound. Point Of Grace has made their
point, and mark, in Christian music.
�BRUCE A. ROTHWELL


Christmas Reviews
BLUES FOR THE CHILD (FRONTLINE)
This Christmas offering from Frontline Records is a mixture of the
traditional and the unconventional. Brought by the production team of
Lanny Cordola and Gary Thomas Griffin, the pair that also executed the
SHACK OF PEASANTS projects, this album is an all-acoustic effort.
Griffin and Cordola used many of the same players and singers from the
SHACK OF PEASANTS albums, but this album is not only blues, as the
title might suggest. It covers the spectrum of jazz, blues, and some
more traditional sounds, that come together and create a warm, mellow
listening experience.
Most of the songs are traditional ones, some more familiar than
others, and include both vocal and instrumental arrangements. The
album opens with "Minuet" by Johann Sebastian Bach, and is a beautiful
rendition of one of Bach's more familiar compositions. While it is not
specifically a Christmas piece, it is in no way out of place. Then
comes a jazz reading of "Silent Night ," with a great vocal
performance by Sandra Stephens. She also is featured on what turned
out to be one of my favorite cuts, "I Heard The Bells On Christmas
Day." Chris Lizotte is featured on "Still, Still, Still" and "Angels
We Have Heard On High," and his voice is matched well with these
arrangements. Peter Shambrook ably handles the vocals for "Away In A
Manger," and Cordola closes out the album with a bluesy vocal
performance of "We Wish You A Merry Christmas."
Besides "Minuet," the instrumentals include "What Child Is This" and
a solo performance by Cordola of Mel Torme's "Christmas Song," which
only cements his reputation as one of the most skillful and diverse
guitarists around.
Cordola also contributed two compositions to this project, the title
track and "Christmas Lullaby." Lyrically, both contrast the fear and
turmoil found in the world with the peace and love that can be found
in God, his Son, and the gift that was given almost two thousand years
ago. Neither are really traditional, but strike at the heart of what
this season is really all about, and the music reflects that.
I really like this album. Sometimes Christmas albums can all start
to sound alike, because you generally hear the same songs over and
over. Griffin and Cordola have been able to take some common and some
not-so-common carols, and arrange them so that they sound fresh. To
me, this album isn't really the kind you would play on Christmas
morning, when everybody is opening their presents. This one is for
Christmas Eve, about midnight. You turn all of the lights off, except
for the tree, and you sit back on the couch, and take some time to
really think about what the reason for the season is.
�BETH BLINN
THE NEW YOUNG MESSIAH (SPARROW)
THE NEW YOUNG MESSIAH is a contemporary arrangement of the
wonderfully inspired work THE MESSIAH written by George F. Handel in
the 18th century. The story that carries of the birth, life, death,
and resurrection of Christ has the same passion now as then, and a
fresh sounds helps broaden its appeal to a new generation of
listeners. I found it interesting to read that THE MESSIAH was a step
outside the line of acceptability for its time, with Handel
encouraging the artists to improvise and embellish the original score.
He would most likely approve of those who dared to tamper with
tradition and ended up creating this new delight.
THE NEW YOUNG MESSIAH, released 3 years after the first revision and
roughly 250 years since the original, features 17 songs in about 60
minutes. The classic full orchestra sound is tastefully updated for a
more modern ear with the sounds of guitars, synthesizers, increased
percussion effects, new song arrangements, and the voices of today's
popular Christian singers.
The style is basically a combination of pop and jazz. Two
instrumentals are included: the dynamic "Overture" and Phil Keaggy's
beautiful "Pastorale." The unmistakable acapella harmony of First Call
is found on "Rejoice Greatly, O Daughter of Zion," and "O Thou That
Tellest..." features the enchanting blend of Susan Ashton, Christine
Dent�, and Cindy Morgan. Steven Curtis Chapman presents "But Who May
Abide the Day of His Coming" complemented with his guitar, and Carman
sings the stirring, upbeat "Glory to God in the Highest." Michael
English exercises his marvelous vocal abilities in the lively "Lift Up
Your Heads...," while on a more traditional turn he combines with the
talents of Steve Green and Larnelle Harris on "Surely He Hath Borne
Our Griefs."
I mention these 8 songs, not as the ones most worthy of mention, but
as a sample of what you will find on this enjoyable album. Other
featured artists are Wayne Watson, Twila Paris, Sandi Patti, BeBe and
CeCe, and 4Him.
If you purchased & enjoyed the first YOUNG MESSIAH, don't let that
stop you from checking out this one. There are 3 new songs replacing 3
of the "old" ones, and the order has changed slightly. But mostly you
will find that even the "same" songs sound quite different with new
scores, new instruments, and new singers. A wonderful investment,
especially for Christmas-time, if you are a fan of contemporary
Christian music and artistic changes to the "classics" don't distress
you.
�JEAN PATTY
LARRY DALTON AND THE NATIONAL PHILHARMONIC ORCHESTRA OF LONDON IN
EXCELSIS DEO (INTEGRITY)
IN EXCELSIS DEO is a sweet, instrumental Christmas album, perfect
for creating a holiday atmosphere anywhere. Because this album is
distributed by Integrity Music, I expected a very traditional sound;
classical music does a good job of expressing the traditional
Christmas hymns. IN EXCELSIS DEO is excellently performed by Larry
Dalton and the National Philharmonic Orchestra. Classical music seems
to lend itself to praising God; it just seems natural that these
traditional Christmas melodies should be performed by an orchestra
such as the National Philharmonic. A few of these melodies are blended
together, such as "The Star Carol," "We Three Kings of Orient Are,"
and "How Brightly Beams the Morning Star," and the distinct sounds of
each complement the others well. I enjoyed this album and the way
traditional Christmas tunes were blended with some that were more
recently composed. I was especially pleased to hear "Oh, Come, Oh
Come, Emmanuel," one of my favorite Christmas hymns, blended with
"Emmanuel."
Some other melodies heard on this album include "Silent Night,"
"Angels We Have Heard on High," "Angels From the Realms of Glory," "O
Holy Night," "I Wonder as I Wander," "What Child is This," and "Good
Christian Men Rejoice." It seems that this album would appeal to
Christians and non-Christians alike. Christians will probably enjoy
the message of the songs, and non-Christians, who may not know all the
words to these melodies, will enjoy the holiday mood created by this
album. I loved the orchestral sound; it seems to glitter and shine,
like the lights and ornaments on the tree. I would recommend this
album to anyone interested in traditional Christmas hymns. If you
listen to this album long enough, you might realize that Christmas is
more than just a day, it is a season to be enjoyed, and an attitude of
the heart.
�TAMMY A. SHOUP
BEBE & CECE FIRST CHRISTMAS (SPARROW)
This album shows why the Winans family is such a force in R&B music
today, both in the Christian and the mainstream areas.
Mostly traditional, with a lot of R&B influence, FIRST CHRISTMAS
combines some of the more common carols, such as "Jingle Bells," The
First Noel," and "Silent Night" with a couple of originals and a
remake of a '70's hit.
The album opens with "Jingle Bells" and "Silver Bells," setting a
festive mood. Then comes "Give Me A Star," one of the originals,
written by BeBe. A great song with a gospel flavor, it talks about
seeking guidance from God. Another original, written by Benjamin and
Angie Winans, is "I Love You." Speaking of many of the aspects of
Christmas, the song returns to the reason that we love each other�
because Christ first loved us.
My favorite cut is "Ooh Child," a remake of the 1970's soul classic.
Opening with a sax solo, the song swings on the promise that "Things
are gonna get easier/Things will get brighter/Someday we'll get it
together/In a world that's much brighter." Helped by Mom and Pop
Winans and an awesome backing choir, the song shines, and fits in well
with the rest of the album.
The quality of the Winans' vocals is impeccable, as usual. Few
possess the richness and pureness of BeBe and CeCe, and their voices
are shown to great advantage on this album. The musicianship is first-
rate, and never over-powers the vocals.
Recommended for anyone who likes R&B flavored pop, or just great
singing, no matter the style.
�BETH BLINN

Video Review
AVB AVB VIDEO PARTY (ACAPELLA MUSIC GROUP)
High energy, fast-paced, continuous motion�these are just a few
descriptions of the colorful new video by AVB or Acapella Vocal Band.
AVB VIDEO PARTY is made of songs from their past three albums and
interspersed with the musical selections are portions of an interview
with the five members of AVB: Wes McKinzie, Max Plaster, John K.
Green, Brian Randolph, and Brishan Hatcher. The group's ambition is to
capture the attention of the young people with the music and the beat
on their first listen to the AVB albums. It is their hope that they
will listen to the words and message being conveyed in a language that
the youth of today will identify. AVB is a member of the Acapella
Music Group founded by Keith Lancaster and they used to sing backup
for the group Acapella.
"GootFoot" starts the video starts with a toe-tapping, foot-stomping
pace and"Anything 4 U" follows with a combination of rap and
contemporary rhythms. One of the best features of the video project is
the beautiful scenery used with many of the musical selections.
"Nothing In The World" is an example of this while reminding us that
nothing compares to the Lord and His love. "The Victim," recorded on
SONG IN MY SOUL, tells of how Christ came to save us and "became the
victim for our crimes." The next song "What's Your Tag Say?" has a
twofold theme. It talks about needing to look at the heart to see what
the tag says instead of looking on the outside. If clothed by the
Lord, then we will be led to love, joy, and peace. It also attacks the
legalism that is sometimes found in Christianity. "With my heart, they
never take you away" is the theme of "My Heart." "Accept One Another"
tells us not to judge our brothers and sisters in Christ. This song is
a part of the ACAPELLA CHILDREN SERIES, introduced at the end of video
as part of the Acapella Music Group, and by using simple beats, is
great tool to teach little ones how to look through the Father's eyes.
A beautiful selection with great outdoor scenery is "I Delight In The
Lord." Another highlight, "U Can't Go To Church," points out that we
can't go to church because we take it wherever we go�the church is
YOU! It is a fun song that points out through the photography and on-
scene shots how varied the places where we worship are. The last song,
"Celebrate and Party," is another upbeat track with a modern version
of the prodigal son story.
This video will probably be greatly enjoyed by anyone who likes a
fun video with great vocal harmony. The central theme, which is to
encourage the Christian in their relationship with Jesus Christ, comes
through in an energetic, exciting way. The ministry of AVB captures
your attention from beginning to end and leaves you with a knowledge
of their purpose in Christ.
�ANN HATHCOCK AND JULIE HENRY

Book Review
BERNADETTE KEAGGY A DEEPER SHADE OF GRACE (SPARROW PRESS)
While we don't normally review books, this was one that I felt was
worth mentioning. Many of Phil Keaggy's fans may be aware of the
struggle that he and his wife, Bernadette, encountered when they
decided to have a family. The Keaggys suffered through the loss of
five children from premature births and miscarriage before they were
able to have a full-term baby. In A DEEPER SHADE OF GRACE, Bernadette
Keaggy relates the agony, soul-searching, and learning that resulted
from these experiences. Told in an easy to read prose, the book starts
with the story of the Keaggys' meeting and ensuing courtship. After
their marriage, they moved to New York, and it was there that their
difficulties with having children began.
She states that one of the main reasons she wrote this book was so
that other couples who have experienced the same problem will know
that they are not alone. But, besides that, there were some wonderful
lessons from God that were learned, especially about His grace and
love, that can be applied to anyone.
Highly recommended.
�BETH BLINN

NEW RELEASES
Angelo & Veronica A&V
Audio Adrenaline DON'T CENSOR ME
Calvin Bridges BRIGHTER DAY
Detrius IF BUT FOR ONE
Eden Burning SMILINGLY HOME
Mark Heard HIGH NOON
Honeytree PIONEER
Michael James CLOSER TO THE FIRE
Crystal Lewis THE BRIDE
Riki Michele ONE MOMENT PLEASE
Mike Mennard GRACE &OTHER STUFF
Mortification LIVE PLANETARIUM
Chukie Perez UNIVERSAS ESPANOL
P.I.D. VIOLENT PLAYGROUND
Raving Loonatics MY KING
Sparks FIELD OF YOUR SOUL
Steve Taylor SQUINT
various BROW BEAT
various PRECIOUS CHILD
DECEMBER RELEASES
Brian Barrett BRIAN BARRETT
Allison Durham WALK INTO FREEDOM
East to West EAST TO WEST
Gospel Gangster GANG AFFILIATED
Jan Krist WING AND A PRAYER
Crystal Lewis LA ESPOSA
Love War SOAK YOUR BRAIN
PASS-A-FIST PASS-A-FIST
PFR (formerly Pray For Rain) GOLDIE'S LAST DAY
Twila Paris BEYOND A DREAM
Billy Sprague THE WIND AND THE WAVE
various CORAM DEO II: PEOPLE OF PRAISE
JANUARY RELEASES
Lisa Daggs ANGEL IN YOUR EYES
Deitophobia CLEAN
Rob Frazier THE LONG RUN
Nicholas Paul Giaconia MY EYE PLAYED THE PAINTER
K2S HOW YA LIVIN'?
Catherine King WINDOWS AND DOORS
Ben Okafor GENERATION
Nitro Praise NITRO PRAISE VOL. 1
Linda Richards UNCHAINED HEART
Phillip Sandifer FOLLOWER
David Zaffiro YESTERDAY, LEFT BEHIND
FEBRUARY RELEASES
Lisa Bevill UNTITLED
Scott Blackwell UNTITLED
Commissioned MASTER OF THE HEART
Clay Crosse MY PLACE IS WITH YOU
Andrae Crouch MERCY
Larnelle Harris BEYOND THE LIMITS
Imagine This IMAGINE THIS
Iona BEYOND THESE SHORES
Jazz Honors UNTITLED
Ji Lim Through Iron Walls
Love Coma SOUL
Precious Death PRECIOUS DEATH
Resolution POLITICALLY INCORRECT
Bob Straumberg FAMILY PORTRAITS
Steve Taylor SQUINT: MOVIES FROM THE SOUNDTRACK (VIDEO)
The Waiting UNTITLED
various STORYVILLE ANTHOLOGY II

MERRY CHRISTMAS
I would like to thank all the people who have helped make this year a
success. Special thanks go out to Doreen Crandell, John Palpant, Lee
Ciotti, Randy McIntosh, Dave Geiser, Larry Bolden, The Engineering
Copy Center, Andrew Peck, all the writers, and especially Beth Blinn,
it couldn't be done without you)!
Please take a few moments and complete the survey (we really need your
comments) and music favorites ballot.
Have a Merry Christmas and a joyous New Year.
God Bless! See you in 1994!

TOP ALBUMS October 1993
     1.      THE STANDARD, Carman
     2.      THE FIRST DECADE, Michael W. Smith
     3.      SONGS FROM THE LOFT, various
     4.      HIGHLANDS, White Heart
     5.      THE LIVE ADVENTURE, Steven Curtis Chapman
     6.      FREE AT LAST, D.C. Talk
     7.      EVOLUTION, Geoff Moore & the Distance
     8.      A LITURGY, A LEGACY, AND A RAGAMUFFIN BAND Rich Mullins
     9.      SEASON OF LOVE, 4Him
     10.      HOPE, Michael English
     11.      NU THANG, D.C. Talk
     12.      LE VOYAGE, Sandi Patti
     13.      A BEAUTIFUL PLACE, Wayne Watson
     14.      MOMENTS FOR THE HEART, Ray Boltz
     15.      THE BASICS OF LIFE, 4Him
     16.      THE ABSOLUTE BEST, Carman
     17.      CHANGE YOUR WORLD, Michael W. Smith
     18.      THE NEW YOUNG MESSIAH, various
     19.      THE GREAT ADVENTURE, Steven Curtis Chapman
     20.      A REASON TO LIVE, Cindy Morgan

NEXT MONTH:
NEW YEARS
NEW ARTIST ISSUE
A LOOK AT NEWCOMERS TO CHRISTIAN MUSIC
SCHEDULED FOR JANUARY
AND FEBRUARY:
POINT OF GRACE, KARTHI, T-BONE, CATHERINE KING, VERSUS, BOB CARLISLE,
BRIAN BARRETT, EAST TO WEST, SIXPENCE NONE THE RICHER, AND JI LIM

You are viewing proxied material from infinitelyremote.com. The copyright of proxied material belongs to its original authors. Any comments or complaints in relation to proxied material should be directed to the original authors of the content concerned. Please see the disclaimer for more details.