the Lighthosue
vol2#5  Shining Light on Today's Christian Music  May 1993

RACHEL RACHEL: A Band You Oughta Know
Christian music's first all-female band, Rachel Rachel, is a unique
group that has returned with a follow-up to their debut, WAY TO MY
HEART, called YOU OUGHTA KNOW BY NOW.  Their forceful brand of rock
and roll music combined with their silky ballads has earned a spot in
the hearts of many Christian music fans for drummer Jennifer "Sparky"
Sparks, lead vocalist Cheryl Jewel, guitarist Heli Sterner,
keyboardist Brynn Beltran, and new bassist Robin Spurs.
Rachel Rachel has been opening for WHITE HEART on their Tales of
Wonder Tour.  This has meant extensive touring through last fall and
this spring.  Being their first extended tour, the experience has
brought about some noticeable changes.
Most obvious would be the first personnel change for the band.  After
the recording of YOU OUGHTA KNOW BY NOW, Jennifer York left the band
to continue her career in television.  This, of course, was something
discussed and accepted by the band.  Cheryl Jewel explains, "We're
actually going to be singing at her wedding in May... But, she got an
offer to be on TV, to go up in the helicopter and be the skycopter
[traffic] reporter every morning, so she took that job.  It ended up
being an impossible situation.  There was no way she could do both--go
on tour with us [and do TV].  We were sad to see her go, but she's
doing great.  She's this major celebrity in L.A. now."
Jewel continues, "When Jenny discovered that this just wasn't going to
work out, our first choice [for a replacement] was Robin Spurs
[formerly of THE CHOIR].  But, Robin wasn't ready to get back into it
at that time.  After our first tour [fall tour], she decided she
wanted to give it a shot.  So, here she is and we're the lucky
recipients of her many talents--she's so wonderful.  She's such an
addition to the band."  To Jewel, Spurs has immediately become an
integral part of the band.
An expression that was coined in the early days of Rachel Rachel when
commenting on keeping good spirits amongst the many challenges and
problems they faced (especially following road maps) was "Rachel Tap"
along the lines of SPINAL TAP.  Spurs certainly hasn't changed that
image.  Jewel shares, "'Rachel Tap' is completely out of hand now with
Robin in the band.  She is such a 'Rachel.'  She has our sense of
humor.  She's very artsy and she fits in capturing moments.
Definitely, 'Rachel Tap' is full steam ahead."
In continuing about Robin's art abilities, Jewel tells a quite ironic
story, "She designs hats and sells hats [and is] very heavily into
jewelry.  All our jewelry on our first album [promotion photos], [was]
Robin's design.  Kind of ironic.  They hired her to come in and do our
jewelry... Now she's in Rachel Rachel."
Jewel believes that the biggest change in the band may have occurred
in her.  She explains, "I was very timid and shy when we started out
as far as the ministry aspect.  I did not feel confident in that at
all.  Now, I feel so much more confident and I've been through so many
experiences through the tour where God has built my faith and it's
easier for me to talk about it to the audience as a ministry to them.
I think that's probably the biggest change in the band."  After
completing their current tour, which only offers them about 35 minutes
of performing time, they will begin work planning a full-length
concert performance.  Jewel shares, "There'll be quite a bit of
ministry in there which will involve Brynn and myself.  We've
definitely grown a lot in that area."  Fans can also expect the band
to develop an "unplugged" portion to their show.  With the addition of
Spurs' acoustic guitar ability, Jewel comments, "We're getting more
into that whole vein--folk, rock, unplugged thing which is real
exciting.  It's neat because you can hear the voices more.  We are
definitely going to have a whole section in our show where it's
unplugged."
Another goal of the band is to finally pursue club dates.  Jewel
explains, "We've been trying to get this idea together of doing the LA
club scene.  When we get back home, we'll concentrate more on that.
We'd like to build a following in LA."  No doubt, a challenging
location to apply their ministry.
Probably the toughest problem for Rachel Rachel is being away from
home and family.  Admits Jewel, "It's been extremely difficult.  Heli
has to be away from her baby.  That's really hard.  There's three of
us now who are married.  So, yes, it is very very difficult dealing
with being away from the spouses for so long at a time."  After
receiving extensive counseling, they have now decided that they will
not be able to continue to tour as they are now.  Jewel continues, "So
we're going to try to work it so our next situation is more
financially feasible to afford to fly home at decent intervals and
we've made some ground rules that we won't sacrifice.  You cannot get
that [time] back.  We've kind of paid our dues in that area--once is
enough.  I'm sure that the Lord will honor our prayer.  We'll see what
God has to bring us and what opportunities lie ahead.  Now, it's too
early to say.  We just know where our hearts are at."
In asking Jewel about the changes in their latest release, she admits
that the increased budget helped considerably, "We could spend more
quality time on what we thought were important things, which is
vocals.  We spent a lot of time arranging and harmonizing a lot of the
background vocals to be a colorful and elaborate as we wanted them to
be.  We have so many good singers in this band.  I think that's
probably one of our biggest assets so it was fun to concentrate on
[the vocals]."
Perhaps more significant, though, is the increased camaraderie felt by
the band.  Jewel explains, "We're definitely more unified.  We know
each other a whole lot better.  I think there's more of a spiritual
focus.  I think we all feel that.  The first album was all so new and
we didn't know each other not that in-depth.  There was more of a
togetherness."
"We feel that we were really able to successfully go back to our roots
in classic rock and explore them a little more on our own turf.  That
was another element.  We have probably a few more songs from those
roots, classic rock area, on this album.  Brynn and I wrote most of
the material on the album.  It was interesting.  We got to concentrate
more on that arena, our roots, and the vocals, so we were pretty happy
about that."
After completing some very extensive touring, the band also has a
better understanding of their important responsibility on the road.
"When we first started I didn't realize how far-reaching our ministry
would be," says Sterner.  "We've had kids come up to us with difficult
questions seeking answers.  Ministry takes precedence over the
music... Once people hear our lyrics, they'll know there's something
different about this band."
Spurs adds, "I hope we'll be an inspiration for women--that they can
be quality musicians and feminine at the same time without selling
their souls."
Beltran shares, "As a young Christian, I was highly influenced by Amy
Grant and Bryan Duncan.  Now I pray, 'Lord, please take the songs
you've given us to minister to others, so that You may also be the
guiding light in their lives.'"
It's been quite a pleasure getting to know Rachel Rachel, and if you
like rock and roll mixed with some excellent ballads, this is a group
YOU OUGHTA KNOW BY NOW.
--J. WARNER SODITUS
ED. NOTE: AN ARTIST SPOTLIGHT ON RACHEL RACHEL APPEARED IN THE AUGUST
1992 ISSUE OF THE LIGHTHOUSE.  NO BACK ISSUES ARE AVAILABLE, BUT A
REPRINT OF THE STORY CAN BE OBTAINED BY SENDING A SELF-ADDRESSES-
STAMPED-ENVELOPE TO THE
LIGHTHOUSE.

From the Editor
Howdy y'all!  I hope things are going well.
I am probably busier than ever, but God has been faithful (as always)
and I feel things are going smoother than ever.  I've gotten a great
response through the internet (computer network) from people
interested in writing album reviews and you'll spot two new names in
the credits below.  I offer my thanks to everyone interested in
contributing.  I look forward (and hope everyone else does too...) to
reading what y'all have to say.  If you are interested in helping and
haven't gotten a copy of the writer's guidelines, write or send E-mail
and I'll get them to you.
I've had a couple new artists send me albums for my consideration.
I'd like to know if you'd be interested in reading reviews from
unsigned artists.  I hope that you will send any comments that you may
have.  I anxiously await your response.  I also have a (as complete as
you'll find) list of Dove Award winners if you are interested.  Send a
SASE and I'll enclose a copy for you.
Well, since I can't think of anything else, I'll wish you God's
blessing and hope that you like this issue.
--J. WARNER SODITUS, EDITOR

Executive Editor/Publisher: J. Warner Soditus
Copy Editor: Neal Guilmette, J. Warner Soditus
Contributing Photographer: Patty Masten
Contributors: Roger Appelinski, Beth Blinn, Bryan W. Brendley, Ann
Hathcock, Brad Mattern, Jean Patty, Kerry Stephenson, Keith A.
Valentine
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The Lighthouse is not for profit and is published monthly
Copyright: the Lighthouse copyright 1993 by Polarized Publications,
all rights reserved
Writers guidelines are available upon request.
The Lighthouse will not be responsible for any products or services
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Member:
GMA
Gospel Music Association


CODE OF ETHICS
When people first hear Code of Ethics a common response is, "They
sound like DEPECHE MODE."  I got to chat with Barry Blazs and Scott
Keifer recently and discuss their sound and their plans for their
upcoming album.
?:     So how long have you guys been doing this?
B:     Code of Ethics has existed for five years.  I started the band
about five years ago in Florida, not too long after I gave my life to
the Lord.  Rick's been with us a little over a year and Scott for
about three months.
?:     How did you become a Christians?
B:     My Dad's a Baptist minister, so I lived in a Christian home all
my life, but I never honestly lived for the Lord or really had
anything to do with it.  I was the youngest in the family--a typical
party-animal.  Although I had head-knowledge, there was absolutely no
heart.  It didn't mean anything to me.  I really didn't want to have
anything to do with Christianity.  About five years ago, through
different circumstances that the Lord brought into my life, I totally
gave it up.
S:     My Dad's a Baptist minister, or he was.  I basically did the
same thing Barry did.  Saying all the right things, doing the right
things but never really meaning it.  My freshman year in college, I
had a counselor and we were sitting down and we had this three hour
talk and I realized what was going wrong and turned everything back
around.  It's not been smooth sailing ever since, it's been an uphill
struggle, but I'm glad to be here.  I thank God every day for letting
me still be alive.
?:     What kind of musical backgrounds do you have?
B:     Both of us are pretty much the same.  Both our mothers played
organ--real typical Baptist background.  Our mothers both played piano
and organ at the church and Dads are musical, they sing.  I never
really knew that I could use my talent for the Lord so I went out and
I was always told that drums and stuff, which I was into at the time,
were not what was needed in the church.  So I started playing in clubs
when I was in high school.  Most of my background was all secular,
playing clubs, until about five years ago.  Once I left, I had to
start writing music completely by myself, which was a good growing
experience.  It took me at least three years to really get to where
the craft was more complete.
S:     Mine's the same way.  Piano lessons at 4.  My Dad was the choir
director.  I sang a solo at 4.  My Mom and my Dad were real supportive
through high school.  The worst thing was that my Mom was my piano
teacher, so I'd practice and...  I love my Mom to death, though.
?:     So what kind of music were you influenced by?
B:     I played a little bit of everything.  I was in every kind of
band in high school and my first couple years out of high school.  I
was into heavy metal for a while.  I played guitar and drums.  I got
into punk music pretty heavy for a while.  Then Top-40.  I played in
clubs in a Top-40 band to make money and stay alive.  Then I got into
original music and started getting influenced by European music and
that's where it really took off.  That's when I started writing music.
?:     I figured that the European music had to be in there somewhere.
B:     I really started getting influenced by bands like DEPECHE MODE
and bands like that.
?:     Interesting you would say that, a lot of people say you sound a
lot like DEPECHE MODE.
B:     Well, we can't get away from that one.  Scott and I are really
into the same music.
?:     What do you think differentiates you, besides the lyrics,
musically, from DEPECHE MODE?
B:     If you listen to DEPECHE MODE or something, it's the same exact
sound all the way through it.  Whereas, our influences are [from] so
many other bands, you'll hear a range.  If you're into European music,
that goes from house music to really off the wall or heavier type
music.  The next record that's coming out has ballads, which we've
never done, to real hard industrial.
S:     If you listen to a DEPECHE MODE album, it's almost depressing.
Their upbeat songs are still very minor, everything is in the minor
keys.  If you listen to this kind of stuff, I would hope, that what we
do is not that dark, even the musical sound.
B:     Lyrically, is our biggest difference.  If you listen to any of
those groups, there's, for the most part, it's no hope.  There's no
hope.  They don't offer anything.  The main goal that I had right
after being saved was that I wanted to go back to the clubs and take
the music right back to my friends.  That's still the main drive of
Code of Ethics.  At the same time, we've grown because we're now
playing on tour like this and playing for Christian crowds because I
think it's very much needed in the Christian community for young
people.  We have kids coming up to us all the time and say, 'Man, all
we ever had was DEPECHE MODE and I love that kind of music and I just
couldn't get away from it and I'm so glad that there's a Christian
band that we can listen to.'  That's really cool.  It gives Christian
kids the alternative.  We're kind of serving a dual purpose.
?:     How do you approach the clubs.?
B:     With more tact.  I came out of that whole scene, so did Scott.
We were big club goers.  You have to know the audience and you have to
know what will turn them off and if you're going to turn them off then
you're totally defeating your purpose.  At the same time, it's like a
fine line that you have to walk, because you want your message to get
across, and it's not our job that does it, it's the Holy Spirit.  When
we do secular shows, we keep the show pumping and let the lyrics in
the songs speak for themselves.  Our ministry really comes with one-
on-one right after the concerts, because people will ask.  People know
what's going on lyrically.
S:     It's weird that you have a Coke in your hand and everyone else
has a bottle of beer.  That'll even start conversation.
?:     What kind of responses have you gotten from your churches and
fathers?
B:     Actually, my Dad was pretty skeptical.  Since he's been around
it now for the few years since it's really taken off for us, he
couldn't be any more supportive.  My Dad gets all the phone calls that
come into the house and he gets all the fan mail that comes in.  I've
heard him talking to a lot of his preacher friends and telling them
that he was skeptical at first but he's totally for it.  That's been a
big change for him.
S:     I had my Dad promote the last concert we did up in Michigan.
My Dad's very supportive.  When I was growing up, just to keep me
involved, just to be part of my life, he drove me to a lot of concerts
I wanted to see--like when Stryper was hot, we sat eighth row center,
me and my Dad.
?:     What would you say to people that criticize what you're doing?
B:     Besides telling them not to be judgmental, because that's God's
job, I'd tell them from the wicked drug life that I led and how God
stopped me through sickness and put me flat on my back and broke my
heart for lost people as well as for my own sin and how we have a
dying world and a lot of those kids who are in the clubs who I
associated with would've never stepped foot in the door of a church,
nor do they have any respect for it.  There's an older generation that
has no clue, has never been in a club before and has no clue what's
going on in there.  It's just outright, clubs are the biggest things
in cities everywhere.  That's where the lost are.
S:     My dad was very naive about what went on in a club.  So Barry
and I took him to one.  He said, 'Don't ever stop what you guys are
doing to reach those kids.  I could not walk in there and minister to
those kids--they wouldn't listen to me.'
?:     You have done two albums?
B:     We did the first one, called VISUAL PARADOX.  Then we came out
with dance mixes off that album called MIX, which has one extra song
on it.  We finished up [a new album].  I think it's going to be called
CODE OF ETHICS.  That's going to come out June first.  We're just
mixing it now.
?:     Tell me a little bit more about the album?
B:     There will be a lot of stuff.  Everything from ballads to
industrial to dance.  Definitely some good radio songs.  There's
something there for everybody.  There's some Top-40 done in Code of
Ethics style.  There's a full range.  There's a lot of different
Christianity topics--every day stuff.
?:     What would you do if you couldn't do music anymore?
S:     I was in school for medicine, so I'd still be in school for
medicine.
B:     I've been to that point.  When I first left secular music and
gave my life to Christ, I stopped music completely because I wanted to
know if Christian music was right.  I spent at least a month or two
studying if that was God was leading me back to.  What I want to do
after music is over, I want to go into some mission work--that's where
I'll be headed when it stops, hopefully.
?:     What would be your best memory?
B:     The people.  As long as this band is going, we always go out
after, sometimes before to meet and talk to people.  We stay until
they kick us out.  That's how you find out were people are spiritually
or you get to strengthen each other spiritually.  It's so cool meeting
other people.
?:     What would you want people to know about you?
B:     That we're real.  We feel like we're the new generation of
Christian music.  We want people to know that we're sincere.  There
are a lot of older musicians that are getting ready to move on.  We
want to be the next bunch of godly musicians.  Right now we're young
and we're learning.
?:     Since you are young, what do you do since you don't have the
spiritual maturity?
S:     I keep in contact with my Dad.  He's very level headed about
everything.  He said, 'If you ever feel your head's in a cloud and
you're better than anybody, remember where you came from.  You
wouldn't be here without God.'  I think that's the best way to keep
your head about you--you're nothing without God.
--J. WARNER SODITUS

S.O.H.L. 4UR TRIBE
One hot new group in Christian hip-hop music these days is S.O.H.L.
4UR Tribe, meaning "Straight Out Hard Lyrics" that appeal to a broad
spectrum of people.  Their debut release 2 THA BAZIX shows the
diversity of these two young men: Skye (Sk) and Sevin (Se).  Here's an
edited account of a conversation we had recently.
LH:     Could you give some background on yourselves?
Sk:     I've been saved about two years now.  I grew up in a Christian
home but never actually took the walk seriously.  [I] did it out of
obligation to my parents.  I moved to LA when I was about 18 years old
and sang for another group and went really downhill when I lived
there.  I ended up moving back to Orange County since I was broke.  My
parents decided that it would be best if I just came home and maybe
went back to school.  When I came home, my parents started asking if
I'd like to go to church.  Because I'd been living in the world so
much, I kept saying no.  One Monday night I was supposed to go out to
a club with some friends and they all backed out on me--being tired
from the weekend.  There was a speaker coming to speak here at the
Vineyard [church] when the church was still under the tent (we used to
have a tent before the actual building was finished.)  I decided to go
with my Mom that night to kill some time or hear what was going on.
Like most testimonies, I felt like the guy was talking to me the whole
time.  Pretty much at the end of it, it was pretty simple, my Mom
asked if I'd like anyone to pray for me.  I said, 'Yes.'  The next
thing I knew they were praying for the rededication of my life and
that I'd get saved--and I was agreeing with it.  From that night on,
I've been with the Lord.  That was August of 1991.  From that night,
I've been delivered from things I've held onto for so long--the club
scene, I stopped drinking, stopped smoking that night.  I stopped
using drugs.
Se:     I grew up in a Christian home.  I was pretty hot and cold
sometimes.  My sister and I'd go to church [every once in a while].
By the time I was nine or ten, that had pretty much fallen off.  I
didn't really go to church, but we prayed before we ate.  Then, when I
was about seventeen and was working at a gas station pumping gas, one
of the mechanics there was a Christian guy.  We used to talk to him
and make fun of him all the time with the answers he'd give us.  We
thought it was funny.  Pretty soon, it all started to make sense.  One
day at work, it just hit me.  The whole thing just hit me.  I knew how
to do it and prayed all by myself.  The change was incredible.  One
minute I was making fun of the guy and the next I knew it was true.
LH:     How did you get to do the album?
Se:     We go to church at the Vineyard.  The producer who helps run
the label here, Chris Wimber, he approached Skye about doing a rap
thing just for an outdoor concert we were going to have.  [Skye]
needed somebody to help him out with the music and I was in a funk
band and I said, 'I play bass and my drummer and I can back you up.'
The next week, he and I decided that we were going to do something
together.  Chris Wimber asked us if we wanted to do an album.  We had
the album secured before we had the first song finished.  We wrote all
the lyrics and started recording about three-and-a-half months later.
Sk:     The whole situation up until this moment has been one that God
has just let everything fall into our lap.  I grew up on the hip-hop
music and the R&B scene and always was into that music.  Even when I
moved out here to Orange County, I still listened to it and got into
rap and a couple years ago, it was more like a joke between my friends
and I, when we'd take long drives to clubs or parties, we'd have free-
style to the music on the radio to see who could go longer.  We never
took it that serious, but when Chris Wimber, who we affectionately
call M.C. White Hope, when he approached us on the project, I don't
think it was ever a question within my mind or Sevin's mind that we
would do it.  It wasn't about whether we were capable or not, it was
about stepping out in the faith and just going ahead and writing songs
and working together.  The tough thing has been that we got offered
the album deal, like Sevin said, we wrote a ton of songs in no time at
all.  Some of those songs like 'Papa Dios' came in dreams, where [I]
just woke up and wrote and haven't ever changed a word of it since.
Just woke up from a dream about 8:30 in the morning on a Saturday, as
a matter of fact, it was the Saturday of the 4th of July where we
performed together.  That morning, when I woke up, I had a dream and
put the pen on the paper and out came five pages of lyrics that we've
not touched since.  The tough thing for us has been, because this has
all fallen into our laps and the Lord has said to both of us to do it,
we took this opportunity before we knew one another.  We're still
learning about each other.  We're becoming closer as friends and as
brothers.  I don't think it'd be possible in any other arena for two
guys to come together like this and really not know much about one
another.  I think it's the differences between us that makes us what
we are.  Sometimes we agree on the biggest things, but the littlest
things we get into the biggest fights over.  While we were in the
studio, there were things that just sounded stupid that he loved, and
things he thought were dumb and I thought, 'That's brilliant.'  We're
learning a lot about one another.  God's been faithful in that when
I'm down, Sevin's strong spiritually and when he's down, I'm strong
spiritually.  He's just been good to us.  That's how the whole thing
came about.  So, along with the project developed a friendship and in
that friendship, now, is where the ministry is coming from. One
connection that we did have was D.J. Sweet Truth out of L.A. who I
pretty much grew up with knew that he had been producing some groups
with a partner of his and we started talking about him working on our
stuff and his partner backed out at the last minute and had some
conflicts.  I'm talking last minute as in we started recording on
Monday and Tuesday we did the live tracks.  Wednesday we were to go in
and start laying down all the programming for the digital stuff.  I
got a call Wednesday morning at like 6:30 from Sweet Tooth telling me
that his partner was not in town.  He made a phone call and within two
hours we had B-Soul who was meeting us down with us at the studio,
willing to do one track completely for free and to let us hear it, and
if we liked it, he'd pick up the rest of the project for the money
that we had left (which was almost nothing) or he would just walk out
the door if we didn't like what he had.  He came in very humble and
did his job without dropping any names.  Just talking to him, we found
out who he was working with and we were just blown away that he would
end up behind the Orange Curtain when he was an L.A. producer.  We
felt blessed completely--that is another example of how things just
keep falling in our laps.  We know that it's just the Lord's
direction.  We're keeping a mentality of trying to stay humble and
just trying to stay low key when we get on stage and do our thing and
we minister and do what God wants us to do.  At the same time, we're
not a preachy band, either.  We're out there to be examples.  This
summer, we're looking to play some big gigs and see what happens from
there.
LH:     If you were to describe the album to someone who hadn't heard
it, how would you sum up the sound?
Se:     Off the top of my heard, It's funky, really fun, party hip-
hop.
Sk:     I'd go along the same lines, but I'd add a little more
influenced by rap when I say we're a little more laid back in the
style, leaning on the jazz.  I think they're going to be almost
pleasantly surprised that we're not, as hard core [as some others].
We just try to be who we are.  Really, we found out what we are as we
went along, too.
Se:     The thing is that we're just regular guys... We're just into
music and that's what we do.
Sk:     We're pretty true to the way we are.  I think, once we begin
to play, visually, the group itself will shock most people.  I think
some of the places we've played already, the people are shocked when
they see us.
LH:     Is that shocked in a positive way or a negative way?
Sk:     It's a very positive thing.  At first, it's funny.  The first
couple songs we do anywhere,, people stand there with their mouth open
when we get up on stage because they realize that I'm probably the
most ethnic thing up there.  I'm really not all that ethnic.  Sevin is
part Hawaiian.
Se:     I'm part everything.  The thing is, we're not black.  People
generally think rap is black.  I'm beige if anything.
Sk:     They're [audience] just waiting for someone to be black.
They're just waiting for some real hard-core ethnic to just jump out
at them.  When they hear us rap and hear Eden sing and then they see
'2 Tall' our drummer play.  He stands up and he's 6'3'' white guy,
real lanky, they don't understand it.  Really, the first couple songs
we do, people really do stand there with their mouth open.
Se:     We've got Mexicans, Puerto-Ricans, a few white people, a
Lebanese, so we're basically various ethnic tribes in this group.
LH:     I assume that played into the name of the group?
Sk:     To be honest with you, the name came way before the group, now
that I think about it.  I think Sevin and I barely knew each other.
When the name came about, it was Tribal Waves, Your Tribe, Soul, I was
going around in circles trying to figure what order.  It just hit me
one night when I was at church that it was going to be SOHL 4UR Tribe
and I thought, that's a really dope name, but you can't call a one man
band SOHL 4UR Tribe.  That's really when the Lord confirmed that there
was going to be a partner involved.  Then it was figuring out when it
was going to happened and where it was going to come from.
LH:     What is on your heart these days?
Se:     One thing that characterizes us is that we wrote the lyrics
and then we went back over them and pulled out enough things that
sounded like 'Christianese.'  Because, we're in the church and we hang
out at the church all the time and so we are around that kind of
language all the time and we talk that kind of language.  We want to
minister to people who don't go to church.  That's our goal.  So, I
don't want to get them to talk like us, I just want to speak their
language.  That's what the album is about--trying to reach people that
wouldn't be reached any other way.
Sk:     Not to be 'Christianese' in our language is important to us
because we feel, if you're not saved, you're going to have a hard
enough time to relating to some of the ideas, let alone a person that
uses a language that you're not familiar with.  That's not what we're
about.  We want to entertain.  We're tired, really, between the two of
us, we're tired of two things in the market now.  One of them is, the
Christian market's been so characterized by people that are so
disciplined in the ways of God that they don't know how to have fun.
They think that when you're saved, you have all these rules and you
can't have fun and you can't be yourself anymore.  That's not true.
You are who you are because that's who the Lord created.  You have to
learn discipline and what's true and have fun.  The other thing I
wanted to say, the name of the album is 2 THA BAZIX is misspelled--
everything about it is.  That's for a reason.  Basically, we wanted to
mock ourselves and make fun of rap, 'If it's so basic, why can't they
spell it right?'  This country, people within this country, saved and
unsaved, need to get back to the basics, knowing about morals, knowing
about the Lord.  The flip side of the name is that this album is to
the basics for us.  It's a basic album in the sense it's good, it's
hype, the lyrics are good, but a lot of the stuff we didn't write very
heavy in the sense that there's so many words out there that you can't
understand.  We wanted to be real basic with our message so that when
we rap, it's very easy to understand.  We want people to hear what
we're saying.
LH:     Real quick before we have to go.  If you could only say one
thing to an audience, what would you say?
Se:     I would say, 'Love God with all your heart, serve the Body.'
Sk:     What I would say is, 'Enjoy your relationship with Christ,
enjoy it and know it.'
--J. WARNER SODITUS

RON DAVID MOORE
Ron David Moore may be a relative newcomer to Christian music, but he
is certainly not new to music.  He has released two self-described
"Pop/Country" albums on Warner Alliance.  I had a few minutes to chat
with him on an off day from touring.
ARE YOU MARRIED?
I've been married sixteen years.  We celebrated sixteen years in
February of this year.
AND YOUR WIFE'S NAME IS?
Nancy.
DO YOU HAVE ANY CHILDREN?
I have two children, well, they're not children anymore.  I have a
teenage daughter, her name is Deanna, she's 14 and my son is 13,
Darren.
I WAS WONDERING, WHAT FIRST GOT YOU INTERESTED IN MUSIC?
I was just around it a lot when I was a kid.  When I was about 9 years
old, I really took a big interest in it.  I think my dad got me my
first guitar when I was 10.  When I was 12, me and my two brothers
formed a little trio and we used to sing in churches all over the
Carolinas.
WAS THERE A SPECIFIC MOMENT WHEN YOU DECIDED TO DO MUSIC FOR A LIVING
OR DID IT JUST HAPPEN?
It's interesting that you ask that.  I loved sports in school.  I was
never really big.  I was always this really small guy in school.  I
was praying for the day that I would be 100 pounds.  I was trying to
play football and I was getting beat to death, I was so small.  When I
turned 13, I said to myself, 'Ron David, you have to make a decision
here.  What are you going to do?  Are you going to be a football star
of a musician?'  I figured I'm much too small to play football.  I
think though, down deep, I knew the Lord had a plan for my life--and
it wasn't playing football.  I made that decision at a young age, when
I was 13 that music was going to be a big, big part of my life.  As I
got older, it became more real to me.
YOU SPENT A LOT OF TIME IN COUNTRY MUSIC.  HOW DID YOU GET INTO THAT?
I first got my first professional job in Southern Gospel music [when]
I was 19.  1980 was when I got my first Country job.  I got a phone
call at my house one night and it was from a friend of a friend that
knew me and they had recommended me for the T. G. SHEPPARD job to play
steel guitar, acoustic guitar, and sing background vocals.  So they
called the house and asked if I'd be interested and I found out what
it paid--I wasn't making a lot of money.  I had a wife and my girl was
a baby then, so I had a new family and wasn't making a lot of money
and I saw a great opportunity to make more money--so I took it.
WHAT OTHER KIND OF THINGS DID YOU DO WITH COUNTRY MUSIC?  HOW LONG
WERE YOU IN IT?
From 1980 up until 1989, 9 years.  I went to work with T. G. in 1980
and I stayed with him for 6 years.  I started writing songs then.  I
started writing as a hobby, just for something to do on those long
trips on the bus.  It turned out that the songs got around Nashville
and people like GEORGE STRAIT and CONWAY TWITTY and all these big
stars in Nashville started recording my songs.  That became very
lucrative for me, financially.
So, what was really happening to me was that I was getting so involved
in the making money that I really just lost my walk with God.  It
really took a toll on my life--it came close to really destroying me.
I got involved in drugs and alcohol and just about did me in.  It was
the environment of being around Country music and the things that
Country music stands for--the bar rooms and the alcohol.  Never being
in church on the weekends, not getting any spiritual food and [I] was
starving to death for God and didn't even realize it.  I think it was
just a weapon that Satan used against me to drag me down.  He also
made it look like, 'You can make a whole lot more money doing this.'
I was making a lot more money.  I'm finding out today that money is
not the important thing in life.  The most important things in my life
now are God and my family.  It's just been incredible what God has
done in the short time that I've given my life back to Him.
WAS THERE ANY SPECIFIC EVENTS THAT LED YOU TO GO BACK TO YOUR FAITH OR
A STRING OF SMALL EVENTS?
The Bible tells us in Proverbs to train up a child in ways and when he
is old, he won't depart from it.  My Mom raised us in church and that
never left me.  Those seeds were planted at an early age.  The whole
time I was out here doing these things, there were people still
praying for Ron David Moore.  My Mom was one and my wife was another
and my oldest brother were all really praying for me.  Those prayers
did not go unheard.  There were times when I was on the road and I
would know that what I was doing was wrong.  I knew in my heart, 'This
is not right what you're doing.'  There again, I was involved in the
wrong environment.
What happened was in 1988, my oldest brother left Texas--the Lord
spoke to him and sent him to a small town called Smyrna, TN to start a
church there.  I started going on Sundays.  The Lord really started
dealing with me.  It was probably nine months to a year before I ever
gave in.  I'm living proof today that prayers work.  I gave my life
back to Jesus November 19, 1989 and it's just been incredible.  I
think it's attributed to their prayers--not giving up on me.
I WAS CURIOUS HOW REDEDICATING YOUR LIFE AND THE CHRISTIAN MUSIC
AFFECTED YOUR FAMILY.  HOW DID THEY REACT?
When I made that step to give my life back to the Lord in 1989, my
wife was just rejoicing--she had prayed for me so long.  After I
rededicated my life in 1989, our anniversary was February of 1990 and
my wife and I renewed our vows.  We had another wedding and
everything.  I'm amazed at how close we've become over the last three
years.  We're more in love now than we ever have been.  I know it's
because Jesus is first in our lives.  My kids, I'm closer than I've
ever been.  I missed such a big part of their life when they were
small.  I was on the road so much.  There's so many things that I wish
I could go back and re-do.  I can't.  Those things are past.  I can't
live in the past.  The way God has restored my family has been
incredible.  He's enabling me to take my children on the road now and
my wife.  We home school our kids to where they can go with us.  It's
one of the things I really went to God about.  I said, 'Lord I don't
want to go out here and try to minister and try to win the world and
me lose my family.' That's not the way that it's supposed to be in my
mind.  God opened the door of home schooling and they go everywhere
with me.  We're just closer than we've ever been.  I just throw it all
to the Lord for bringing us back together and giving me a second
chance at life.
HOW DID YOU END UP SIGNED WITH WARNER ALLIANCE?
Being a songwriter, I still had this burning desire to write songs,
but after giving my life back to Jesus, I couldn't write the kind of
songs I had been writing.  Being a new Christian and all, I had this
burning to start pouring out my heart and soul into Christian songs.
To be honest with you, I did not know anything about Christian music.
I didn't know it was a big as it was, that there was as much talent in
Christian music as there was.  I just started doing it because I felt
led to do so.  I was signed with a Country music publisher at the time
and I walked in his office with about five Christian songs, the first
five songs that I'd ever written in Christian music and asked him to
give me a budget so I could go in and demo those songs.  He kind of
looked at me strange to begin with, but I think the Lord spoke to him
and he gave me the budget.  I didn't even know what I was going to do
with the demo tape after I finished it.  I finished the tape and it
got into the hands of the right people that heard the tape and really
believed in what they were hearing.  The next thing I knew, people
from Warner Alliance were calling my house and wanted to talk to me
about signing a record deal.  It was just a miracle of God.  [In] 1989
I gave my life back to the Lord, less than a year [later], October
1990, I signed a deal with Warner Alliance.
WHAT ARE YOUR CONCERTS LIKE NOW?
It's real ministry, [but] it's also entertaining.  I learned a lot
when I was over in secular music to help me make people have a good
time when they come to our concert.  To laugh, to be entertained, but
at the same time, the Lord has anointed me with the gift to be able to
minister to people.
I'll share a quick story.  I was doing a concert in Gatlanburg, TN
three weeks ago, and it was for 550 kids--it was a youth retreat.
There is a song on the new album called "There's Somebody Out There."
It's been a powerful song to minister to people.  I was doing this
song and usually, after I do this song, I give an invitation for
people who want to accept Christ or have any needs met to come forth.
There's an instrumental part in the song and I had my head bowed and
my eyes closed while this instrumental part was playing and when I
opened my eyes to sing the last chorus of the song, over 100 kids had
already come forth without me saying a word, just by singing the song.
Before the evening was over there was over 250 kids that came forth
out of that concert out of the 550.  It was real powerful to see how
God used that without me getting up there and begging and pleading for
people to come to the altar.  It was just the simplicity of listening
to the song and that if these things apply, then God can help you.
These are the things that are happening at Ron David Moore Concerts.
We're seeing people's lives touched and changed and I think one of the
biggest things I find as I tour is that there are so many Christian
people that are hurting.  It's just amazing to me.  I'm not saying
that they're bad people but they have things in their past that
they're burdened with and hurt with.  They just continue to hang on to
them.  I'm finding out that there's a lot of people out there that
need inner healing.  God is using us in that part of the ministry to
reach out to those people.  I notice because of what I went through in
my life before I gave my life back to Jesus.  I went through a lot of
hurt and a lot of pain.  I'd been hurt in a ministry way before I ever
got involved in secular music and that's one of the thing that the
Lord is really using now to reach out to those people that are
hurting.
HAVE YOU CONSIDERED A CHRISTIAN COUNTRY ALBUM OR IF YOU WANTED TO STAY
AWAY FROM IT?
I'm not going to say I want to stay away from it, but I don't know how
Christian music describes Christian Country today.  I'm trying to
figure out where that falls.  I've heard some Christian Country that
is just the fiddles and the steel guitars.  I don't think I'll ever go
that far.
IS THERE ANYTHING ON YOUR MIND?
I think we touched on it.  I want the people that read about Ron David
Moore, I want them to see somebody that's in love with God and that
wants to reach out to people and help people that are hurting.  I want
them to see my heart.  The things that are important to me are not
being a big success.  If those things happen, that's great.  I thank
God for that.  Don't get me wrong.  But, my main focus is to reach out
and minister to people.  That's where my focus is at.  I feel like
that's what God's called me to do.
I see this thing growing into a big ministry.  My vision and my dream
is to reach thousands upon thousands of people.  Instead of 300 people
come to a concert, have 5000 and 10,000 come.  That's my goal and
that's what's on my heart.  I don't think I ever want to do a big
ticket price.  That's not my heart either.  My heart is to be able to
get the people to come that can't really afford to come.  Whatever it
takes to get people there, that's what I want to do.
--J. WARNER SODITUS

CREATION '93
Creation '93, the nation's largest Christian music festival, will be
held June 23-26 where an expected 50,000 will attend.  The Creation
Festival will celebrate its 15th Anniversary at the Agape Farm in Mt.
Union, Pennsylvania includes four days of music, teaching, and
camping.
The festival will feature such artists as Amy Grant, D.C. Talk,
Steven Curtis Chapman, and The Newsboys.  There will also be teaching
by Tony Campolo, Josh McDowell, and Winkie Pratney. The children's
ministry will also  feature one of America's foremost traveling puppet
teams, The Life Action Puppets, Rob Evans, the Donut Man, and the
music of the Greatest Star of All.
The Creation Festival is an outreach sponsored by Come Alive
Ministries, Inc. of Medford, NJ.  It annually draws as many as 50,000
people to the natural amphitheater located in the Allegheny Mountains.
For additional information about costs, campsites, and reservations,
call
1-800-327-6921.


REVIEWS
Wes King: THE ROBE (Reunion)
Wes King's new album, THE ROBE, would make a terrific soundtrack.
I don't know if he planned it that way, but the record moves from a
breezy, open, driving-down-the-highway kind of musical creed, through
alternate moments of commitment and human frailty, and finishes off
with an almost tearful reminder of God's overwhelming love for His
people.  It has all the earmarks of a film narrative.
Blasting into it with "I Believe," King supplies the listener with
a simple and basic faith statement that moves from creation to
resurrection.  The lyrics outline a solid foundation for Christian
belief, and the music (aided by the strong, driving beat of John
Hammond's drum work) is an invitation to roll down the car windows and
hit the highway of life with confidence.
In "Second String," King weaves an intriguing web between the 8th-
grade football team bench-warmer awaiting his chance to shine and
God's call to a little shepherd boy named David.
The title cut, inspired by a C. H. Spurgeon sermon, beckons to
"Come as you are."  Here King uses the robe both literally and
metaphorically.  It will "clothe your nakedness" and it is "His
grace."  The message is simple and true, and Susan Ashton's smokey
background vocals provide a sweet and mournful invitation to all to
accept the spiritual covering Jesus offers for the sin of fallen man.
"Martin Luther," another strong narrative, is also a small history
lesson which draws a thumbnail sketch of the faith of the father of
the Reformation.
The last song of side one, "Carolyn," appears at first to be a
simple love song:  "Carolyn/...What must I do to win your love?"  By
the end, however, it is clear that the voice of the song is not the
voice of a man, but of God: "If I gave my Son for you/Would you see my
love is true/If I called you by name/And took you in/And washed away
your sin..."  This slow, gentle courtship explores the love of God and
of man in a way that moves and touches the listener.
The second side, while perhaps not as strong as the first, is
certainly worth hanging around for.  "Optional Thing," is something of
a statement of King's own perception of his newlywed marriage.  Backed
by Julie Miller, King weaves an inside joke into his confession of
fidelity.  "I'm your man/I'll protect you in the pouring rain/A
typhoon, tornado, in a hurricane" is a reference to the Kings'
honeymoon--a day after they arrived in Hawaii, the island was hit by a
hurricane, which they narrowly escaped.
"Move to the Moon," another love song, while not a highlight,
builds on King's childhood image of where the helium balloons go when
they get lost.
King quickly moves into a fascinating social critique that evokes
disturbing echoes of the recent Los Angeles riots. "Blame It On Me" is
a hymn of self-absorbed refusal to take personal responsibility for
one's actions.  This, indeed, has seemed to be the rallying cry of the
1990's--but King puts the blame right back where it belongs--on Adam
and on us.
Leaning back once more into the slow, sweet, and mournful, "John"
is King's gift to a friend who recently lost his mother--artfully
interweaving "In the Sweet By and By" with his own lyrics.
The final song ("Holy") is introduced by R. C. Sproul's reading of
Isaiah 6:1-3, and takes its force from the song of the seraphim.
There is an almost mystical quality to this lovely acoustic rendering
of the love and mercy of the Lord; with an almost Eastern melodic
style.
As it closes, you can almost see the credits roll, for the
narrative problem has been settled.  Sinners we are, sinners we may
be, but THE ROBE will cover us, and the mercy and love of God are
eternal.
I give THIS quiet gem my highest recommendation.
--KERRY STEPHENSON

Michael English: HOPE (Warner Alliance)
Michael English's new album, HOPE, continues his musical success
with a combination of Biblical lyrics, diverse vocal range, and
rhythmic-Pop style.
This album has a distinct message of encouragement to the Christian
in our difficult days.  "Holding Out Hope To You" has a powerful
message of God's everlasting presence in our lives through doubt and
confusion.  In keeping with this theme, Michael sings a spiritual
written by Babbie Mason called "A Place Called Hope."
Other songs capture the theme of love.  "There Is A Love" and "I've
Got A Love" tell of a relationship with our friend Jesus who holds us
close to His heart.  The album includes a love song to encourage
couples entitled "Love Moves In Mysterious Ways."
In keeping with the Pop style of Michael's last album, "Always For
You" inspires us to always pray and think of others in our lives.  A
powerful "Message Of Mercy" comes through the "Savior," which
challenges Christians to show love to everyone around us and to
encourage the disheartened.  The last song ("There's Not A Crown
Without A Cross") sums up the life for the Christian: "There's not a
victory without a fight/There's not a sunrise without a night/There's
not a purchase without a cost/There's not a crown without a cross."
The album identifies the listener to the hope, love, and saving
grace of our Savior, Jesus Christ.  It would be an asset to any
Christian who enjoys Michael English's talent and his desire to use it
to magnify the Lord.
--ANN HATHCOCK

Julie Miller: ORPHANS AND ANGELS (Myrrh)
To me, Julie Miller is a paradox.  Her personality and mannerisms
have earned her the affectionate title of "munchkin" in Christian
music.  She is giggly and, usually, not too serious.  Paradoxically,
there are times that she will interject some of the most profound
statements.  To me, this album is another one of those paradoxes.  The
Millers (Buddy and Julie) have teamed with Dan Posthuma to produce an
album that is surprisingly simple, yet very complex.
The setting for the project is similar to her last album, a blend
of predominantly acoustic Pop/Folk/Country that brings comparisons
with KIM HILL, SAM PHILLIPS, MARK HEARD, and possibly BONNIE RAITT to
mind.  Miller also performs a wonderful remake of the late HEARD's
"Treasure of the Broken Land."
She begins and ends with tender hymn-like tunes, setting the base
for an open look at Julie Miller.  Miller, never one to hide anything
from the audience, brings more autobiographical material out for all
to see.  From the confessional "Mercy's Child" to her personal
favorite, "Precious to God," Miller again shares her pains, struggles,
and personal faith.  "Jesus In Your Eyes" is a tender duet with her
husband, Buddy, that has the potential to become a wedding classic.
Perhaps the most ironic thing about this album is her controversial
song "S.O.S." (Sick Of Sex).  This song was rejected by the record
company when she wanted to include it on her last album--which created
quite a stir.  Now, a couple years later, the same record company is
using this song as the basis for promoting the album--a flip side to
MADONNA's EROTICA.  Go figure!  Nevertheless, this rather blatant song
could be considered almost a venture into rap for Miller since the
verses are hardly sung, they are delivered almost with a rap rhythm.
The rest of the song is certainly not rap, though presented with some
urgency, it's more of the usual unusual Miller (another paradox?).
The album was recorded in Los Angeles, Nashville, and New York so
that she could have her friends join in on the project--adding a long
list of talented artists to the album credits.  With the tremendous
amount of talent, incredible background vocals, and unique sounds
(mandolin, accordion, cello, and classic guitars) the complex layers
somehow blend into a wonderfully simple sound--quite a paradox.
Regardless, it's a wonderful album that continues the overly public
Julie Miller self-analysis that I haven't been able to stop listening
to.
--ROGER APPELINSKI

Jacob's Trouble: JACOB'S TROUBLE (Frontline)
The times, they are a changin'.  One of the founding members of
Jacob's Trouble, guitarist Mark Blackburn, has departed, and with him
has gone the "jangly" guitar sound that the band had become known for.
While previous albums have been rooted in a Sixties' sensibility, with
obvious musical references to the BYRDS, THE MONKEES, and the BEATLES,
the new self-titled Jacob's Trouble album moves things into the next
decade and beyond.
From the opening lyric, "Is everybody here ready for a little
adventure?" the band promises something new and exciting.  In a bit of
self-reference, they make it clear that they aren't satisfied to
remain in a comfort zone--and they deliver.  The group has grown, both
musically and lyrically, and it shows.
"Wild, Wild Ride" and "Lovehouse," two rocking tunes, open the
album, with Jerry Davison's vocals stronger than ever.  The next tune
"Desiree," pays homage to the distorted guitar sound of U2's ACHTUNG
BABY.  With guitarist Keith Johnston ably handling the lead vocals,
the song signals that the group has really gone in a new direction.
"This Moment" probably could have been on one of the other albums--
it is just about the only song that sounds like the old group.  "It's
A Boys', Boys', Boys', Boys' World" and "Time Bomb" show Davison's
growth as a lyricist, and his continuing bent for social commentary.
Johnston's songs are more poetic, with a penchant for imagery.  "Best
Part of Me" is both a song of praise and thanks to his Father, while
"Better Days" speaks of struggle and a promise of something better
someday.
Even drummer Ron Cochran gets to take a turn at lead vocal with
"Tears of An Angel," a song for which he penned the lyrics.  It also
showcases bassist Steve Atwell's skills in a melody with a slight
Motown feel.
"Lovin' Kindness" is a fun tune with a rhythm track reminiscent of
ESCAPE CLUB's "Wild, Wild West" single of a few years ago.  The next
track, however, is the most powerful one on the album.  "Way of the
Cross" pulls no punches.  Davison's lyrics lay out clearly and bluntly
what Christ did while he was here, and why.  With lines like "He gave
the keys of the kingdom to the meek and the mild/He told the self-
righteous grown-ups to act like a child" and "He had a bad reputation
and a scandalous streak/passed over doctors and lawyers/to hang with
beggars and thieves/it was no accident/it was the way of the cross,"
he serves notice to those that treat church and faith as some kind of
social club that they need to re-evaluate their motives.
The album ends with a love song, "Let Me Love On You," that will no
doubt cause some controversy, just because it exists.  While it is not
the strongest song on the record, it is another example of the groups
growing versatility.
All in all, a great record, and one that should further this
group's popularity.
--BETH BLINN

Guardian: MIRACLE MILE (Pakaderm)
Guardian rocks their way back into the music scene with their
follow-up to FIRE AND LOVE and third full album--MIRACLE MILE. This
"Kaleidoscopic Cavalcade of Sight and Sound," as it is referred to on
the album jacket, contains a collection of possibly the most direct,
in your face, get Satan outta here, rock-n-roll ever presented to the
Christian music market.
One who is familiar with Pakaderm Records would not immediately
associate MIRACLE MILE with the customary polished sound that Pakaderm
artists they usually carry.  Guardian (Palacios, Rowe, Bach, and Ney)
combined with the production expertise of John and Dino Elefante have
compiled an album that is down in the dirt and grungy.  Note, I did
not say that this album is grunge, but it is a more rough and coarse
sounding rock--totally different from anything Guardian or anyone else
has previously released.
I said earlier that the album is referred to as a "kaleidoscopic
cavalcade," well, it only takes one look at some of the song titles to
see that they aren't kidding around--"Dr. Jones & The Kings of
Rhythm," "Shoeshine Johnny," "The Captain," "Mr. Do Wrong," "Sister
Wisdom," and "Curiosity Killed the Cat."  You are probably thinking
that some of these titles sound somewhat strange.  Well, instead of
wondering what they could possibly be about, why not grab the album
and found out?  You might be thrown off guard at first, but I
guarantee that you will be pleased.
--KEITH A. VALENTINE

Scripture Memory Songs: PREVIEW COLLECTION (Integrity)
When I first saw Integrity's PREVIEW COLLECTION CD from their
Scripture Memory Songs, a line from one of my childhood television
shows came to mind--"That's just crazy enough to work!"  Their idea of
directly putting Scripture to contemporary music, to me, was not
appealing.  But, after listening to it, it is crazy enough to work.
The musical setting varies for each song.  There is a jazzy
contemporary sound on "For You Know the Grace," a slow reggae feel on
"Trust in the Lord," a Country flare on "I Have Given You," a southern
gospel feel on "I Have Overcome the World" and "By His Wounds," a
black gospel base on "Praise Be to the God and Father," a contemporary
choral sound on "Thanks Be to God," and a contemporary sound on "Come
to Me."  So the music stretches across most of Christian music
providing a diverse bed for Scriptures--which are rather common verses
that are repeated several time.
I dare say that this is not something that I'd listen to a lot, but
it will have a special place in my music collection.  I think it will
appeal to fans of the AC format with fairly diverse musical tastes.
This is an album that you can play in the background or use for
meditating on God's Word.
This collection is a 30 minute introduction to the Scripture Medley
series and is available at a reduced price and the jacket contains
coupons for the other projects in the series.  Not only is it "crazy
enough to work," I'm sure they are saying, "Why didn't we try this
sooner?"
--ROGER APPELINSKI

Terri Lynn: INSIDE A TEAR (Intersound)
It has been a while since I've written about Country music.  I want
to keep reminding you that the volume of Christian Country music is
steadily increasing, and the quality is there!
Take, for instance, this new product from Terri Lynn.  The only way
that I can describe it is music from the soul.  The lyrical content is
really without peer--and I listen to a lot of vocals!  This is a rare
glimpse within the world of a very devoted wife, mother, singer, and
Christian.
The music isn't bad either.  The "Oklahoma Front Porch Band"
launches the listener off on a tour of, well, probably somewhere down
South, where the livin' is easy, and the Spirit still moves!  Lynn's
acoustic wonders are coupled with a pretty darn good band making both
the fast and the slow songs a pleasure to keep listening to over and
over...
But what really gets a listener on this album is Lynn's voice.
WHAT A VOICE!  She can sing like very few that I have ever heard.
Some songs like "He's the one on the White Horse" and "Mama Prays" are
worth playing over and over simply to hear Terri sing.  The vocals are
pure, sweet, and blessed.
If you ever find yourself either missing the South or wanting to
visit the South to hear some down-home country tunes, both fast and
slow, with the purpose of giving God glory, go and add this disc to
your collection--you will not be sorry!
--BRYAN W. BRENDLEY

Shack of Peasants: CLASSIC BLUES VOL. 1 (Metro One)
CLASSIC BLUES, VOL. I is the debut album on Metro One Records of
Shack of Peasants, a group of Christian musicians and singers, most of
whom have their own individual or group projects, but who share a
common love and appreciation for Blues music.  These type of projects
seem to be coming out of the woodwork lately, but they are really
making up for lost time, since this is an area of Contemporary
Christian music that had been relatively untouched, until recently.
And some of those same players show up on this work--notably
Darrell Mansfield and Chris Lizotte.  But the catalyst for this album
was really Lanny Cordola who was instrumental in rounding up the Blues
artists, as well as others, including Sandra Stevens, Allegra Parks,
Crystal Lewis and Philip Bardowell.
The album is mostly composed of remakes of traditional Blues tunes,
with the mix of players changing from track to track.  Cordola is the
one constant, and he even adds his vocals to the mix, a first that I
am aware of.
"Gwine Dig A Hole To Put The Devil In" is the first cut, and is a
fun tune.  "Gonna Sit On The Banks of The River" is stripped down--
just Cordola on guitar and Bardowell on vocals.  It is effective, and
has an intimate feel to it.
"I Shall Not Be Moved" and "Stand By Me" are both traditionals, and
the latter features some great harmonica work by Mansfield.  Mansfield
is also featured on the next tune "Death Has No Mercy Seat," as a
vocalist--his rough vocals suit the tune well.
Then comes one of only two originals on the record.  "Tears of
Faith," written by Cordola, is a great song.  Bardowell and Cordola
trade vocals, and the tune holds its own against the classics.
The rest of the album continues in the same vein, and includes an
instrumental solo by Cordola entitled "Cincinnati Flow Rag" by one of
his heroes, the Rev. Gary Davis.  The album finishes with another
Cordola original, "Tribute."
In the credits, the album is dedicated to Rev. Davis and Blind
Willie Johnson.  If the album is meant as a tribute to these men and
their influence, I think that they would have been proud.
--BETH BLINN

D.O.C.: PULLIN' NO PUNCHES (StarSong)
The new D.O.C. album shows heavy influences of D.C. TALK, JOEY
LAWRENCE, and BOYZ II MEN.  The album starts of with "We Got It," a
pure hip-hop song, with vocals comparable to JOEY LAWRENCE.  "God Gave
Rock N' Roll 2 U" features special guest, Bride, playing their good
time rock music.  I would have to say this is the best rap/metal song
I've heard--with excessive screaming vocals that will make this album
appeal to Bride fans (if only for this song).
"Old Tyme Way" is a really slow R&B song, straying a bit  from the
hip-hop.  "Tic Toc" has a mix of hard core rap and R&B which is about
how time is running before the Lord returns.
"Why You Won't Serve the Lord" is another JOEY LAWRENCE/D.C. TALK
type of song--a great dance song.  There is also a remix of "We Got
It" which is much heavier than the original.
Over all the album is pretty good--one for the hop-hop fans to have
around.
--BRAD MATTERN

LOST ALBUM REVIEWS

The Kry: I'LL FIND YOU THERE (Asaph)
In a more ideal world, Jean Luc Lajoie, Yves Lajoie, and Pete
Nelson should be destined for huge success and popularity.  But this
isn't an ideal world where the CCM industry governed in some cases by
profit making.  These three guys from Canada are part of the ministry
at Calvary Chapel Albuquerque--a non-profit organization.
This is a high-energy band.  Easy to remember the choruses, a foot
tapping beat, and, most importantly,  ministering lyrical content.
The sound is not hard rock or metal--on par with the BRYAN ADAMS sound
and style.  Another reviewer of the project stated that teens would
like this album, well, I guess sometimes I forget how old I am.
The title of the work is I'LL FIND YOU THERE, based on Jeremiah
29:13, "And you will seek Me and find Me, when you search for Me with
all your heart," and the producer is Darrell Mansfield.  A running
theme in the project is the trouble we face on a daily basis, but all
the stormy seas can be calmed by the One who remains on the Throne.
We are reminded to "Call His Name" "When You Need Someone."  After
reading the headlines today, the song "Wild, Wild World" makes more
and more sense, and we need to stand together because if we do "light
will shine much brighter/In a world that's getting darker/For Him
we're marching on."  The fast songs are catchy, and the slow songs
("Letter of Love," "Free") make an impact again in the manner of
ADAMS' ballads, but with Biblically sound lyrics.
Put it this way, I heard parts of only two songs on this album
before I bought it--nothing in the ten cuts on this album has
disappointed me.
--BRYAN W. BRENDLEY

Al Denson: THE EXTRA MILE (Benson)
The Extra Mile is a very enjoyable CD--fun, encouraging, and full
of warmth and good sounds.  There is a nearly even mix of upbeat and
slower tunes; I was surprised to discover I liked every song on the
album!  Each song says something worthwhile--well-written lyrics are
found throughout.
The song that drew me to the CD is "To Forgive."  It is a touching
depiction of the need for us to LIVE our Christianity by forgiving as
we have been forgiven and to learn to reach out to others despite any
pain they have caused.  The title song talks of giving of ourselves
for a friend out of love, not only when it's easy, but when it
involves a sacrifice.
Witnessing is another way of giving, and three songs deal
specifically with this.  "If We Believe" urges us to take our beliefs
seriously by leading others to Christ.  The song "Stand Up" is about
following Jesus with enough conviction to make the Truth known in the
midst of the world's confused priorities and faulty morals.  "Shine
Out the Light" (the National theme song for See You at the Pole Day)
inspires Christians to be the light that beckons others out of the
darkness.
"Call Me" and "River of Light" are about having someone to turn to
and depend on in every situation we face.  "The Love We Know" stresses
the importance of keeping love strong, and "That's What My Father
Would Do" is about unconditional love that looks beyond our faults.
Two songs of commitment are left--"I Still Believe in Forever" (very
uplifting words about faith), and "I Choose to Follow" (perhaps the
most beautiful song here).  It's a great project; if you've heard any
of the songs and liked them, you'll probably like the rest too!
--JEAN PATTY

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