On The Cover:

CINDY MORGAN     A Reason to Live
Inser photo of LOST DOGS

The Lighthouse

July/August 1993    vol2#7

FIRST CALL      4
First Call has recently released their seventh album,
SACRED JOURNEY.  This trio got their first chance to
co-produce their album and found it to be a very
rewarding experience.  Bonnie Keen talks about the group
and their new album, which is a scaled-back project, rich
with the vocal harmonies for which this group is famous.
LOST DOGS       6
Preparing to release their second album under the moniker
Lost Dogs, this supergroup, consisting of Mike Roe, Derri
Daugherty, Gene Eugene, and Terry Taylor promises to
offer a unique blend of "American" music.  THE
LIGHTHOUSE talks with three of the four members to
find out about the new album and a little more about the
band.
DAKODA MOTOR CO.        8
They may have had to change their name, but they are the
same fun-in-the-Son band.  Here's a look at one of
Christian music's hottest new groups.
65 DBA  11
This British band is unlike most Christian bands in the
U.S.  An outreach of New Generation Ministries, they will
be heading to the States next year for a tour.
MAIA AMADA      12
This New York native is heading to the studio to work on
a follow-up to her critically acclaimed self-titled debut.
AUDIO ADRENALINE        14
Fun loving Audio Adrenaline has an urgent message for
the secular media.  Here's a look at the four guys that
started a band as a joke, but landed a record deal in the
process, and the plans for their next album DON'T
CENSOR ME.
P.F.R. (PRAY FOR RAIN)  16
This past year's Dove Award winners for Rock Album of
the year had to change the name of the band.  They are
also beginning work on a new album.  Here's a look at the
three guys that now make up P.F.R.
CINDY MORGAN    18
Cindy Morgan has just released her second album.  It
promises to do just as well as her debut, which earned her
the Dove Award this past year for Best New Artist.
Here's a little about this very successful 25 year old singer
and her new album, A REASON TO LIVE.
REVIEWS 21
Reviews of the latest projects by Cindy Morgan, First
Call, hoi Polloi, Dick & Mel Tunney, Dakoda Motor Co.,
Ashley Cleveland, Randy Stonehill, Steve Camp, Bob
Carlisle, Glenn Kaiser, DeGarmo & Key, and Newsong, a
"Lost Album Review" of Tavanni's URBAN
MISSIONARIES, and  Mark Lowry's THE LAST WORD
video and album.
INFORMATION CENTER      28
Get up-to date with new and upcoming release lists, the
Top Album list, and find out what back issues of THE
LIGHTHOUSE are available. Also, browse the
Classifieds and see what's planned for the next few
months here at THE LIGHTHOUSE.



WANT TO BE INVOLVED?

THE LIGHTHOUSE IS IN NEED OF WRITERS.  MUSIC
REVIEWS ARE ESPECIALLY NEEDED, AS WELL AS
ARTIST SPOTLIGHTS AND ARTICLES FOCUSING ON
HOW CHRISTIAN MUSIC IS BEING USED IN MINISTRY.
IF YOU ARE INTERESTED IN BECOMING A WRITER,
PLEASE WRITE FOR A COPY OF THE WRITER'S
GUIDELINES.
LETTERS TO THE EDITOR ARE ALSO APPRECIATED!


EXECUTIVE EDITOR/PUBLISHER:
J. WARNER SODITUS
EDITORIAL ASSISTANT:
BETH BLINN
CONTRIBUTING PHOTOGRAPHER:
PATTY MASTEN
CONTRIBUTORS:
ROGER APPELINSKI, BETH BLINN, BRYAN W.
BRENDLEY, SCOTT & MICHELLE DEERING, ANN
HATHCOCK, JULIE HENRY, LA'TONYA MATTHEWS,
STEVEN C. TIMM
SUBSCRIPTION INFORMATION:
$1.25 PER ISSUE   $10.00 PER YEAR
MAILING ADDRESS:
THE LIGHTHOUSE
256 EAST COLLEGE AVENUE
SUITE 302
STATE COLLEGE, PA 16801
THE LIGHTHOUSE (ISSN 1070-6690) IS PUBLISHED
MONTHLY AND IS NOT INTENDED FOR PROFIT.
COPYRIGHT: THE LIGHTHOUSE (c)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:
GMA (GOSPEL MUSIC ASSOCIATION)


From the Editor:
I suppose I owe you an apology. As you've obviously noticed,
the July edition of THE LIGHTHOUSE was combined with the
August edition to form this double issue. This was not intentional
and I don't ever plan to do that again. Due to several problems and
the plans for the change in style of the magazine, I had to either put
out a smaller July issue under rush conditions, or wait. I hope that
this doesn't disappoint you too much. I do hope that you are
pleased with the new format of the magazine. We are working
diligently to continue improving things, and, as always, I would
really like to hear your comments--the mailbox was rather empty
lately. Make sure that you make note of the new address for THE
LIGHTHOUSE--that's right, the move also created a few
problems.
I happened to be telling a woman about THE LIGHTHOUSE a
few weeks ago while I was holding a picture of D.C. Talk. She
caught a glance of the photo and with a surprised look on her face
stated, "They look like rockers!" I agreed and explained about the
various forms of Christian music and how D.C. Talk was a
Christian hip-hop/rap group. Her face got more and more puzzled
and concerned until she finally blurted distastefully, "Christian
Rap? Isn't Rap about all that bad stuff?"
This came a time when I was really puzzling over my purpose.
I've been doubting the usefulness of this publication especially
since someone recently asked me, "So, you're in competitions with
CCM?" I was blown away. I had never thought of it that way. I had
to explain that I certainly don't see it that way (I think people
should read as many magazines about Christian music as they can).
I think I have a totally different purpose for writing. My
conversation with that shocked woman reminded me of why God
called me to do this--to change attitudes like that. When people ask
me about certain types of music being "bad," I remember a
statement by Christian rapper Roc-T, "The devil didn't make jack!
God created everything, the devil perverted everything." I hope
that Christian music is reclaiming musical styles created through
God's blessing. The devil certainly didn't create any of this, even
though he would like us to believe that.
These conversations reinforced my goals. I am writing to share
with people a different perspective on Christian music. I am trying
to focus on the PEOPLE that are making the music and the
ministry that is going on. I hope that this will be informative and
be able to show people the importance of Christian music--
especially in youth ministry. I hope to be adding sections soon that
will be of assistance to youth leaders and pastors in how they can
use Christian music as a part of youth programs. Please offer any
ideas that would help in this area.
I printed a letter from Doreen Crandell. I hope that you will take
time to find out a little about this group that has become a
supporter of THE LIGHTHOUSE.
Things are busy here more than ever, but it's nice to sit back and
look at the wonderful things that have happened over the past few
months. I want to offer my sincere thanks to the Creation '93 press
staff (Karen, Rick, Tom, Ashli, and Kay) for all their wonderful
help at the Creation festival, John Palpant and Eikon Marketing for
the designing the new logo and offering some wonderful advice,
Andy Taylor from CKCU-FM in Canada for doing me a big favor,
and Beth Blinn for taking on some more responsibility lately.
God Bless and I hope that you will enjoy. By the way, for the
State College area readers--make sure you attend this year's
Summer Celebration August 28 (call 814-237-6716 for details). I'll
be there with plenty of cassettes and CD's to give away, and I'll
also be the emcee! Hope to see you there.
--WARNER



Dear Friends of THE LIGHTHOUSE:
It's very strange indeed to have the opportunity to address you in
this way. However, I am grateful for the chance to share a few
thoughts with you today.
In February of 1988, two people had a dream of establishing a
contemporary Christian radio station in the State College, PA area.
Many had talked of the venture, but no one had pursued. These two
dared. A frequency was available, assigned to Boalsburg, PA. The
two took the initiative to establish a company (Baseline
Incorporated), assign a board of directors, and file the necessary
paperwork to start the process to obtain the license from the
Federal Communication Commission. Less than one year later, the
legal process for the station was bogged down with five applicants-
-each with their design for the future.
The officers of Baseline, Inc. pursued the station through the
legal process until it became evident (to them) that the Lord no
longer wished them to continue toward the radio station end. The
license was granted to one of the other applicants in 1991, but a
station remains "non-existent" to the area at that location on the
dial.
While the radio station dream is currently at rest, Baseline, Inc.
has moved into different avenues of pursuit. Baseline has worked
in the past five years to bring contemporary Christian artists such
as GEOFF MOORE AND THE DISTANCE to central
Pennsylvania, has brought Bob DeMoss of Focus on the Family
affiliation to Bellefonte to present his "A Generation at Risk"
seminar, has sponsored a state-wide conference for youth leader
training, and has worked with THE LIGHTHOUSE to reach out
with information on Christian music today.
Baseline is still seeking ways to be of service in the State
College/central Pennsylvania area. With a statement of service "to
help those who help youth," Baseline is moving ahead to equip
Christians for service in the Lord's work.
I, like you, have been able to enjoy the result of the work that is
necessary to complete each edition of THE LIGHTHOUSE. I've
learned about the people behind the music--and been exposed to
some artists that I would probably pass by in the local Christian
bookstore. I've read the music reviews to help me make the
decisions in music selections--and do so wisely. I've had the
chance to meet with THE LIGHTHOUSE creator and editor, J.
Warner Soditus, and learn the heart of the man behind this unique
ministry. It doesn't take long to see that there is a sincere desire to
share the good in contemporary Christian music through THE
LIGHTHOUSE.
Personally, I've been involved in youth ministry and been a bit
disconcerted at the lack of musical knowledge on the parts of many
youth leaders. Teens and young adults rely on music for identity.
Too often youth leaders simply haven't "tuned into" what their
teens need. Because of this, Baseline, Incorporated, a ministry that
reaches to those working with youth, is going to do what it can--
financially--to help THE LIGHTHOUSE. But we can't do it all.
Your subscription to THE LIGHTHOUSE is what makes the
day-to-day expenses payable. Don't overlook YOUR part in
keeping this outreach possible.
Baseline, THE LIGHTHOUSE, yes, the body of Christ as a
whole entity needs each part to be vital and active. That includes
me, my friend, and that includes you.
For YOUth,
Doreen A. Crandell, President
Baseline, Inc.


FIRST CALL:
The group First Call has just released their seventh
album, SACRED JOURNEY. This is yet another step in
their musical evolution that began in 1985.
Current members Marty McCall and Bonnie Keen were
originally joined by Melodie Tunney to round out the trio.
All grew up in the church and became Christians at an
early age. Their diverse musical backgrounds eventually
led them to Nashville where they first met while doing
studio work. Each had a renewed desire to pursue studio
work after touring with various Christian groups.
Showing a great vocal talent together, the trio was signed
to record an acapella Christmas album called EVENING
IN DECEMBER. From there, describes Keen, "everything
started snowballing."
Their album was nominated for a Grammy award, and
other successes were quickly on the way. To their
surprise, and despite their plans to remain close to home
as studio musicians, First Call quickly found themselves
touring, but with a new appreciation for the road.
Explains Keen, "We've ended up traveling now and have
ended up embracing and being so grateful for this
platform and trying to be as creative with it as we can. I
think it's been over a period of the last eight years that we
have really come to respect and value and nurture the
ministry that God has called us to do."
When Melodie Tunney left the band, McCall and Keen
were doing some studio work which also involved a
Nashville newcomer, Marabeth Jordan, and, as they
explain, "things just clicked." Ironically, Jordan had been
a roommate of Tunney's younger sister at James Brown
University and was a fan of First Call, and ended up
being "an answer to prayer" for Keen and McCall.
The personnel change also occurred simultaneously with
a major stylistic change for the band. They left their
primarily inspirational sound to move more towards an
aggressive pop style on GOD IS GOOD--quite a bold step
at the time. HUMAN SONG continued the trend into a
exciting pop album overflowing with rich vocal harmonies.
Another significant shift was made, however, with their
latest album, SACRED JOURNEY. Says Keen, "We felt
very strongly that we wanted to do this album ourselves.
It's been eight years that we've been together and doing a
lot of studio work and writing and we felt like it was time
to get involved on the other side of the board."
So, the band "lobbied" for the chance to co-produce the
album--and was successful. In addition to co-writing the
entire album, they were also given the opportunity to co-
produce. States Keen, "That was the most wonderful
experience for us--co-producing this album. We learned a
lot more about being producers as well as being the
artist." And likening it to Jordan having her second child
during the making of the project, Keen jokes, "We have a
lot more feeling about everything on this record because it
felt like having a baby ourselves. We are so proud of it, we
feel like it's an even deeper place for us, lyrically and
musically."
With the added responsibility of production, First Call
took some new routes in approaching the album. "We sat
around a table," begins Keen, "and all decided what
harmonies we wanted to go where before we ever went
into the studio to record. We completely mapped out the
album together. That's never happened before. It felt like
a real growing up process for us. I don't think we're ever
going to want to do it any other way--it was so satisfying."
The added responsibility naturally afforded some
creative freedom, reducing the "filtering" through another
producer. "This is the first time that First Call brought
our vision of the group directly from ourselves," explains
Keen.
So the album is much more of First Call than we've ever
seen. What does that mean musically? "We went back and
said, 'What do people love the most about First Call. Let's
just do what people love. People love to hear us sing
harmony. What kind of harmonies do we love?' We
decided, 'Let's write an album that is so full of harmony
that it's very interesting, but it sounds like us just sitting
around singing.'"
"A lot of our albums have been very produced. This
album is very simple. It's much more organic. We did not
stack many of the vocals; there's very little layering. Most
everything we did was just us, three part harmony, just
like you'd hear us sitting around a room. We recorded
with a live band instead of using a synthesizer or
keyboard; we wanted to use live musicians. We got a great
band. We haven't ever done that on a record. You could
almost take a guitar player and First Call and it would
sound pretty much like the album."
The message of SACRED JOURNEY is a logical
progression from HUMAN SONG, which addressed many
real-life problems that "you think Christians aren't
supposed to have" such as divorce and abuse. The band is
discouraged that many churches are not effective at
helping people deal with these problems. Keen tells,
"There's an awful lot of people out there that are hurting
and scared and afraid and are probably afraid to talk
about it in their church. That's been the biggest
heartbreak for us. There are a lot of churches that mean
well, but they're not making the atmosphere such that
people can really be real. Our prayer is to encourage the
body at large to accept each other, problems and all, and
be a safe place for people to bring that stuff to God,
because that's what church is supposed to be about, not
where we go and look like we have it all together, because,
really nobody does"
Keen continues, "HUMAN SONG opened the door for
people to be more real. Our whole point in that album and
even in SACRED JOURNEY is that being human is our
condition, but God loves us. Our humanity brings us over
and over again to understanding our need for God's mercy
in our lives. I think that has been a liberating idea for a
lot of people. There are a lot of people that want to talk
about what's really going on in their lives. I think there's
a real need and SACRED JOURNEY really does celebrate
the human journey. God has created our lives and made
them sacred."
"Lyrically, I think because we're parents and we're three
people that read a lot and talk a lot about world events
and what's going on and having our children growing up
and getting older, we seem to be more and more convicted
that the lines keep getting blurred everywhere. There are
so many blurred lines, so many gray lines, we wanted,
lyrically, this record to be even more of a deepening about
what we believe--no questions. We wanted to try to make
more of a lyrical stand about our faith. I think we
accomplished that in a creative way. We feel like God
really blessed that and honored that desire."
Certainly nothing is more precious to First Call than
their families. "We're all immersed in our families,"
affirms Keen, quickly mentioning her daughter, Courtney
(9), and a son, Graham (5). Marty and wife Vickie have
two sons, Ben (11) and Peter (8). Marabeth and husband
Paul Salveston, who also worked as a recording engineer
on their latest project, have a son, Jordan (3), and a new
daughter, Sophie. "That's probably the most difficult thing
about what we're doing," she continues. "Balancing when
we're gone with being home. We're usually gone on the
weekends and not much during the week. We have pretty
normal lives during the week and we tell our children that
we're going to work when we go out on the weekend. Our
kids have also grown up around this for so long that
they're pretty much accepting of it."
Jordan was pregnant during the writing and recording
of SACRED JOURNEY, which created some interesting
challenges. Keen jokes, "It was awful [laughter]. We hired
a fleet of baby sitters to keep our kids and Marabeth was
real pregnant. She was an amazing trouper. She wanted
to get the album done before the baby came so we all had
a real purpose in mind."
Jordan also extended somewhat of a trend, as Keen
recalls, "Mel [Melodie Tunney] and I both had both of our
kids while we were doing records and traveling and
Marabeth has done the same thing. It seems to be a
legacy of First Call women that you have babies and keep
running." However, she feels that this trend may be
coming to an end as she laughs, "We're HOPING that's
not going to continue."
The scaled-back, more live recording of SACRED
JOURNEY is enabling First Call to achieve a goal they've
had for a while--they have always wanted to "take out a
band." Since they want to be able to duplicate the sound of
the album in concert, their past recordings were just not
practical for a back-up band. Shares Keen, "I think this
album is the most feasible album we've ever had, where
we could take out several pieces and it would really
represent the album. We're really wanting people, when
they come to a concert, to hear what they've heard on the
album. We wanted to be able to duplicate that."
The band is excited to join the Young Messiah tour this
fall, especially since they were able to record several
tracks on that new album. Then, for next year, they plan
to be traveling with MICHAEL ENGLISH, and their
band.
What kind of crowds will First Call be playing to? It
seems their fan base continues to diversify, from an older
crowd, attracted primarily during the earlier days of First
Call when their music fell more in the inspirational or
contemporary arena, to children, attracted mostly during
the last few years by the new pop sound of the group.
They are now comfortable with the broad range in ages in
the crowd, since most people know what to expect at a
First Call concert these days. However, when they were
first made the shift to the pop music, some people were a
little shocked. "I think there was definitely a concern
about our last album being too dance oriented," admits
Keen. "We did some choreography in the concert early on
last year and quickly find out that most people did not
want to see us dance. They came to hear us sing. We have
a lot of dance and theater in our backgrounds and it felt
like the perfect time for us to incorporate that into the
concert and we tried and I think a lot of the fans liked it,
but some people were real nervous about it. So we thought
it's not worth pushing it and we took it out."
So, how would Keen describe this trio of Christian music
veterans? "I think First Call is three people that love to
sing together, love to sing about what we believe. We love
to explore the creativity of what that is, if God gives us
the opportunity. We love to have a good time and
celebrate our lives and we will probably continue to do
some unexpected things--I mean that in the best sense of
the word. We're always looking for that next way to
express what we believe. The message is going to stay the
same, we're just going to come at it a different way. That
has never changed."
--J. WARNER SODITUS



When word got out that the leaders of four of
Christian music's most respected alternative/rock
bands were in the studio together, speculation on
what the results would be was rampant. Fans of
DANIEL AMOS, THE SEVENTY SEVENS, ADAM AGAIN
and THE CHOIR waited with bated breath to see
what the collective creativity of Terry Taylor, Mike
Roe, Gene Eugene and Derri Daugherty could produce
under the moniker

LOST DOGS

The ensuing release, SCENIC ROUTES, took most of
those fans by surprise. Instead of being
"alternative," the music was very traditional--
exploring forms of what could be termed
"American" music, such as blues, country, bluegrass
and folk-rock. It was stripped-down acoustic,
recorded over a few weekends in the lounge of a
recording studio. Truly a collaboration, with each
member contributing music and/or lyrics, the Lost
Dogs allowed these four artists to stretch
themselves in ways that their original groups
wouldn't permit.
The experience proved to be such a positive one
that they decided to repeat it. LITTLE RED RIDING
HOOD is the second offering from Lost Dogs, and
will be released sometime soon. I recently spent
some time talking to three of the four members.
Tracking these guys down is no easy feat--they are
all very busy, and setting up a group interview was
out of the question. I was able to spend about
fifteen minutes each with Terry Taylor, Mike Roe
and Gene Eugene, and got their impressions and
comments on the new recording and what it's like
working with the other members.

"EACH ONE OF US HAD SUCH RESPECT FOR ONE
ANOTHER THAT IT MADE IT EASY TO OPEN UP AND TO
SHARE A SONG."--TERRY TAYLOR

Terry Taylor has been involved in the "Christian"
music scene for many years--both as a member of
bands such as DANIEL AMOS and THE SWIRLING
EDDIES and as a producer, working with artists like
RANDY STONEHILL and JACOB'S TROUBLE. My
interview with Taylor had to be rescheduled--
ironically, not due to his incredibly busy schedule,
but to a hungry rodent in my neighborhood. Twenty-
five minutes before I was to call Taylor, a squirrel
took a bite out of a power line just down the
street, causing a loss of electricity that rendered
my cordless phone and tape machine useless. He
graciously agreed to reschedule, and several days
later we were able to discuss some of his thoughts
and feelings on the Lost Dogs.
YOU'VE BEEN INVOLVED IN A LOT OF DIFFERENT
THINGS OVER THE YEARS, WITH DANIEL AMOS AND
SWIRLING EDDIES. WHAT'S DIFFERENT ABOUT THE
LOST DOGS, ABOUT WORKING WITH THE MEMBERS OF
THIS GROUP AS OPPOSED TO SOME OF THE OTHERS
THAT YOU'VE WORKED WITH?
Well, every configuration, every band that you're
involved with, there's a different sort of chemistry
going on, different personalities. You sort of stir
that up and see what comes out. I think that what
was most intriguing to me about Lost Dogs was it
was a chance to work with guys that I really have
admired. There's that little competitiveness that
each band has, which is great, because it spurs you
on to better than you would ordinarily do. At first
the thought of getting together with three other
people to write songs was a little threatening, in
that, because I admire each of the guys as
songwriters, I thought "Well, this is going to be a
tough audience, a tough crowd to bring material to."
But it turned out not to be. It turned out that each
one of us had such respect for one another that it
made it easy to open up and to share a song, and
everyone was excited and spurred on to really
contribute to whatever song it was. So I think
that's part of it--the other part of it is because
most of us have had some of our musical roots
grounded in folk, country, and that sort of thing,
and this was an opportunity to take some of the
things that we hadn't been doing for years and start
doing them again. Since we're all sort of in the
rock-n-roll, alternative type bands, it was a chance
to sort of lay it back, and get out the acoustic
guitars and explore that part of our musical past.
Some of us have had songs that we couldn't do with
our own bands, and that gave an opportunity to sort
of open that up. It was very fulfilling for all of us,
in that regard.
HOW WOULD YOU DESCRIBE THIS RECORD, AS
OPPOSED TO THE FIRST ONE?
Well, probably a lot of it is a little harder-
edged, I think, in terms of the guitars, and that sort
of thing. There's a little more electric guitar, a
little more edge to it, but I don't think we
completely abandoned what we did the first time
around, because for one thing, there was such a
great response, through letters, towards the first
record--it seemed to have struck a chord with a lot
of people. And it was refreshing, not only for us,
but for them as well, that we didn't go the obvious
way, and sort of duplicate what we do in our
individual bands, but that we took an altogether
different route. I think there was probably a knee-
jerk reaction somewhat in the press, because it
was considered country music, or a sort of
TRAVELING WILBURYS novelty thing that we were
doing. But I think that anybody who really listens to
the record hears some really serious stuff there,
and some really great songwriting going on, and I
think that with the second record, we want to
continue the tradition, and let everybody know that
we were serious about what we were doing. Not
that we were going to change with every record,
that the next record would be a rock record, and the
next record would be some alternative thing, but
try and keep it fairly consistent. And we enjoyed
the way that we recorded it the first time, which
was to go into a room, set up microphones, get our
acoustic guitars out, teach everybody the songs and
roll tape.
HAVE YOU HAD A LOT OF PEOPLE ANTICIPATING
WHAT IT MIGHT BE LIKE, A LOT OF INTEREST IN IT?
YOU SAID THAT THE LAST ONE GENERATED A LOT OF
LETTERS.
What's nice about Lost Dogs is that it has such
an appeal across the board. I had more kids at
Cornerstone come up, little kids, with their folks,
and the folks would go "Tell him, Billy, what you
like" and Billy would go "Devil Red!" [in reference to
the song "Why is the Devil Red" from SCENIC
ROUTES.] And then we have our fans who appreciate
what we're doing, plus the record was bought by a
lot of people who wouldn't buy our individual band
records. We have an appeal to a younger crowd, and
we have an appeal to an older crowd. It's really that
kind of venue that goes across the board. We want
to be able to take it eventually, and do a lot of
touring, because we are getting more comfortable
with that option again... we just enjoy it so much
that we want to keep it going, and we know that if
we can get into a touring situation, as a band, we'll
just really begin to gel. I think that there is a lot
of anticipation from people on this next record.
People are just sort of waiting to see, "Well,
what's going to come out this time?"

"WHEN WE WORK TOGETHER, WE ARE MORE SIMILAR,
ODDLY ENOUGH, BECAUSE WE ARE JUST ALL
BASICALLY LAZY WHEN IT COMES TO THIS PROJECT."-
-MIKE ROE

I have to admit, I was somewhat nervous about
my call to Mike Roe. THE SEVENTY SEVENS have been
one of my favorite groups for almost a decade, and
I have long admired his musical ability. But what
came out of our conversation was the realization
that he is just an ordinary guy--blessed with an
extraordinary talent.
THIS IS THE SECOND RECORDING WITH THE LOST
DOGS--WHAT'S DIFFERENT ABOUT THIS ONE?
Well, all the songs are new songs--in many ways
it's very similar. You've got the same sort of
mixture of pop, rock, country, gospel, blues--a lot
of American music. This one probably sounds a lot
more like a rock album than the last one, which felt
a little more traditional... I don't know, it's really
hard for me to say, there's so many different things
on it. It's just a big grab bag when you really get
down to it.
YOU GUYS JUST ALL SIT DOWN, AND YOU EACH
THROW IN SOMETHING?
Yeah, you know, we just sort of volunteer songs
that we've had laying around, that maybe didn't fit
our own bands, or they might be little pet novelty
songs that we've been wanting to do for years, and
never really had a vehicle for it. I've got this song
called "Jesus Loves You, Brian Wilson," which is
kind of a tribute to the BEACH BOYS and PHIL
SPECTOR, and it's something that I've threatened to
foist on THE SEVENTY SEVENS for forever, I've had
it sitting around for a long time. But it was only
when this project came up that I decided to do it,
because I didn't have any songs ready, and I knew
that Terry would love something like this--so I
said "What the heck, let's do it for this." And that's
kind of how these things come around.
HOW HAS WORKING WITH THE LOST DOGS
STRETCHED YOU AS AN ARTIST AS OPPOSED TO
WORKING WITH THE GUYS THAT YOU NORMALLY DO?
It's a lot more informal, it's a lot more fun. Not
so serious, kind of a spontaneous, it happens real
quick. You can just kind of do it, you don't have to
get so uptight about it, it's not so important, it's
just fun. And I would hope that sense of fun
translates onto the record. Because we go in there,
and it sort of doesn't matter--you want to do a
good job, but you don't want to be so picky about it,
kind of work fast and work smart.
DO YOU FIND THAT YOU ARE ALL VERY DIFFERENT
AND DOES THAT MAKE IT DIFFICULT TO WORK
TOGETHER, OR ARE YOU SIMILAR IN TYPE?
When we work together, we are more similar,
oddly enough, because we are just all basically lazy
when it comes to this project--no one really wants
to work very hard, so we goof off a lot... we have
fun, and somehow an album comes out in the end.
And that's amazing to me.

"I GUESS I FEEL LESS PRESSURE ON LOST DOGS,
BECAUSE MOST OF THE OTHER GUYS HAVE A LOT OF
IDEAS."--GENE EUGENE.

Probably the hardest one to get in touch with,
due to the demand for his recording and engineering
skills, I was finally able to reach Gene at--where
else--the studio. He graciously disconnected his
call-waiting so that we wouldn't be interrupted,
and proceeded to take a few minutes to talk about
the group that he was instrumental in forming.
WHAT DREW YOU TO BE INTERESTED IN THE LOST
DOGS PROJECT TO BEGIN WITH?
I don't know, it was just an idea that we had
been kicking around for a while. I guess just a
chance to do something with some people other
than the people that are in my band, and also, we
kind of, at the time, thought "Well, this would be a
good way to promote all of the bands, and maybe do
some gigs where we didn't have to do the whole big
band thing, just take our acoustic guitars," and it
was, just like an angle, to do something else.
HOW DID YOU DECIDE WHO THE PLAYERS WERE
GOING TO BE?
Well, me and Terry, we were the ones who
originally thought about it, and Derri we thought
about right away, and then, I guess Mike was just
the obvious guy, because he's on the same label as
the rest of us, and he's like, a singer in a band, like
the rest of us, and we just called him up, and he
was into it.
WHAT DO YOU THINK IS DIFFERENT ABOUT THIS
PROJECT?
I don't know, I guess I don't know the project--I
haven't lived with it long enough to really answer
that question. I guess it's similar in that it's song-
oriented--like a songwriter's record kind of thing. I
think it might be a little more "poppy" and a little
less country-ish. A little bit.
WAS THERE ANYTHING ABOUT THE REACTION TO
THE LAST RECORD THAT SURPRISED YOU?
Well, it immediately got pigeon-holed as a
country record. I thought that was a little
surprising, because it has as much of blues and folk
influences as it does country. I was a little
surprised that people that liked it sometimes didn't
even know about our bands at all--we'd get letters
from people, and they had no idea about these other
bands we are in. That was a little surprising--I
thought it would just be the people that liked all of
the bands. And, I was surprised that I was able to
work so well with everyone else, and stuff--I'm
usually more of an on-my-own type of guy.
HOW WOULD YOU SUM UP YOUR EXPERIENCE WITH
THE LOST DOGS, COMPARED TO WORKING WITH YOUR
OWN BAND, ADAM AGAIN?
The recording process is a little different, in
that we are all sitting around with acoustic guitars
and doing it, basically doing the songs live, right
after we learn them... I guess I feel less pressure
on Lost Dogs, because most of the other guys have a
lot of ideas... in my group, I feel responsible a lot
of times for coming up with the direction and the
lyrics--I'm the lyric guy in that band, and it's the
hardest part for me. So in the Lost Dogs, Terry's
mostly the lyric guy, and everybody else writes
their own lyrics to a couple of the songs. I like that
part of it, I like someone else doing that, in this
case. It's a whole different musical thing, to me it
doesn't sound anything like what I do musically
with ADAM AGAIN.

Unfortunately, Derri wasn't available to give us
his take on the recording of the second Lost Dogs
project. But from what can be gleaned from talking
to Gene Eugene, Mike Roe and Terry Taylor, it
appears that the fans of Lost Dogs can look forward
to another scenic trip through American music
culture, hosted by dogs that "bark the Nicene Creed
and dream of bones to eat."
--BETH BLINN

DAKODA MOTOR CO.

Hailing from Lajolla, California, one of Christian
music's newest groups has burst onto the scene,
bringing a unique brand of fresh and fun music,
classified by some as "surf rock."
The beginnings of Dakoda Motor Co. actually come
from guitarist Peter King's brother, who told King
that he could open for his band, MARY'S DANISH, at
their concerts. King had been friends with Davia
Vallesillo for several years, and the pair decided to
pursue the offer.
At one of the band's gigs, they met Chuck
Cummings, now their drummer. Chuck, the only
member with an extensive musical background, was
playing for the house band on a cable television
talk show. He met King and Vallesillo and, having
just left another band, immediately joined them.
Soon after that, they found Derik Toy as their
bassist. He had known Vallesillo from college but
was actually referred by a neighbor. Toy explains,
"I just played bass in my room all the time. I never
played for a band that did anything until a guy that
lived upstairs from me heard me and told them I
played. Luckily they thought I was good the first
time we played."
Vallesillo was baptized as an infant in the
Catholic church. She never attended church as a
child, but says, "I always knew about God," although
she "never even heard of the word Christian until I
was about 16." At that time her sister was going to
college and Davia would often visit her sister.
Davia says she "pretty much did whatever" her
sister did, and this included accepting Christ when
she joined her sister at church. "I always knew
there was God... it was really easy for me to accept
[Christ.]"
King shares a story similar to Vallesillo, in that
he always knew about God, but had never engaged in
a personal relationship. He attended church with
his mother until he was about two years old, when
his alcoholic father stopped them from attending.
Peter shares, "I just grew up thinking there was
God and He loved me. Which was really enough for
when I was thirteen and was told about Jesus, that
I got saved. I knew God was good and the Devil was
bad. When someone told me I needed to repent and
get saved, that wasn't a problem for me. She
[mother] did put a little trigger in me by taking me
to church."
King is already known worldwide in surfing
circles from his successful traveling with the
World Professional Surfing Tour. He has been
featured on the cover of SURFER magazine three
times and on numerous posters due to an ongoing
endorsement contract with the California clothing
company Billabong. His surfing work and, more
specifically, surfing videos, gave him an way to
promote some of the early work of the band. He
remains, for now, better known for his surfing than
his music.
"I never thought of myself as a musician," he
begins. "I still had no idea that there were any
bands out there that were Christians." His only
exposure to contemporary Christian music was an
ALTAR BOYS tape. "When I found out there was the
Altar Boys, I couldn't believe it. I thought it was
the coolest thing I'd ever heard. They sounded like
THE RAMONES [his favorite band] and they were
Christian. I grew up far removed from the whole
scene, so it's interesting and unique to be in it
now."
Traveling on the surfer's tour afforded King some
unique opportunities to fellowship and witness. He
tells, "I went pro and I was a Christian then--very
excited about God. I used to travel with a couple
other Christian buddies and we used to tell people
all the time about Jesus. We'd tell other surfers on
the tour. I used to bring a guitar and we'd have
Bible studies on the tour. I was one of the first
surfers to put a cross on my board. I used to get
photos in the magazines and it would have the
cross on there. I got on the cover of Surfer
Magazine about 3 times. I would always have a
cross or 'Jesus rules.' I'm very well known in the
surfing industry for being a Christian and being a
pro surfer." It has also permitted him to travel to
schools and speak with kids as he signs autographs
of his surfing posters.
Derik's story of growing up is somewhat different
than that of Davia and Peter. "I grew up in a
Christian household," he begins. "My parents were
Christians." However, the music that they played
and pushed his way was not very uplifting. They
told him, "'This is what we grew up listening to,
this is cool music.' My mom's a musician, so she's
always been able to look at music as, 'The lyrics
aren't good, but as a musical content, it's very
good.' That's what I grew up listening to and up
until I started playing with this band I had no idea
there were Christian bands." The influences he now
brings to the group lie in "old disco-funk stuff" and
punk.
Cummings, the only married member of the group,
clocks in as the oldest member of the group. King
remarks, "Elliot's 18, I'm 25. Davia's 24, Derek's 22,
and Chuck is 34. The average age of the band is
24.6," to which Chuck interjects, "I feel a lot older.
I almost got kicked out of the band because of that.
They wanted the average to come in around 22
years. I kicked it up a bit over 24--I got permission
to stay."
Being a little older, and (possibly?) a little wiser,
Cummings has adopted a role almost like a father.
He says, "I don't like to look at myself as a father
figure in the band, although Peter calls me Dad all
the time. I think that the good side of that is that
I've been around this industry for a long time. I've
been involved in it and I know a lot of people in it, I
know how it works. I know all the little
idiosyncrasies about it. If anything, I can bring that
knowledge to the band and help them to not make
the mistakes that a lot of other bands have made
because they simply don't know the system and the
machinery, and how it works."
In this respect, Chuck is happy to offer the band
advice, since he is concerned with keeping the
group accountable and away from major blunders.
He feels, "Christians are very well known for
shooting their wounded. That is never more present
than it is in the music side of the Christian
lifestyle. That's the only thing that I try to do.
Sometimes it might come off as being a little over
protective or overbearing but it's all done just for
the sake of what I've been through as a Christian in
this industry and not wanting the band to go
through the sufferings and mistakes that I've been
through and seen others go through. It's all through
a learning process. A lot of times I feel like that's
why God's even placed me in the band--just because
He's allowed me to go through all the stuff I've
been through so I can help somebody through that
hasn't been through it yet."
For Cummings, he can't see himself doing much
else but music, except surfing. From his early days
throwing food and banging on his high-chair, his
mother always said that, "I'd either being a
drummer or a carpenter. I ended up being a
drummer... I think God's been able to utilize that
desire to play and use it for His glory." And joking,
he adds, "I'm not trained in anything else. And with
this kind of haircut I'm probably not going to get a
job except at a warehouse."
For Vallesillo, singing with the band is more than
she ever could have expected. Always wanting to be
a singer, she never thought that it could happen.
However, when Derik is asked if he thought he ever
thought he'd be in a band such as this, he jokes, "I
did. When I was 14 years old I pulled out my VAN
HALEN DIVER DOWN album cover and I told my Mom I
was going to play for a crowd that big someday.
[Speaking of their main stage performance at
Creation '93] We did last night for the first time."
King originally chose the name Dakoda for the
band because he felt it "was a cute name for a girl.
I don't have a girl, I have a band. It doesn't mean
anything. With a 'ta' it's the Dakota Indians."
However, that's where the group ran into problems.
It seems that a Pennsylvania band has a
trademark on the name "Dakota." Peter explains,
"About a week before our record was scheduled for
release we found out that there was a band that
owned a trademark that was Dakota. There's a law
that says if it sounds the same, you can't change
the spelling." This phonetic requirement in the
trademark law meant that they had to immediately
find a replacement name.
They had recently been picked to perform a song
for a commercial for Chevrolet's Camaro. They beat
out approximately forty other bands with one of
their songs that had been condensed to the required
sixty second format. This lead to the choice of
adding "Motor Co." to the previously announced
"Dakoda."
States Cummings, "We already had an established
base and we'd been in magazines as Dakoda, so we
wanted to keep that in there as the main focus and
Dakoda Motor Co. seemed to fit with the Camaro
commercial."
The trademark problem caused a few months delay
in the release of their debut album INTO THE SON.
The difficulties and delays did manage to teach the
group patience. Cummings shares, "When we first
got signed, we thought that with all the hoopla and
hype, that the record would come out right away. A
lot of it has been being patient and allowing the
machinery that's in place to release albums and do
promotion to work itself out."
Vallesillo adds, "I feel like God's putting us
through this for lots of reasons that I don't know
yet. I feel like for myself to just stay humble
through it all, [since] it's so overwhelming and
neat. It's really neat but I want to stay reachable
and humble--to be real and be ourselves and not
turn into something fake."
Touring with the band now is Elliot Chenault, who
they refer to as "Eli." Dakoda Motor Co. first met Eli
at a New Year's Eve show, where Chenault decided
to pursue some of the Lord's promptings. Cummings
laughs and jumps in, "He came up to me and started
talking to me and said, 'You're gonna think this is
really weird, but I've been really praying and God
told me to come up and talk to you about playing
guitar for your band.' I went, 'OKAY.'"
After some kidding by the rest of the group,
Chenault explains, "I felt like God really wanted me
to talk to them. He wasn't saying, 'You will play
with them.' He was saying, 'Get a hold of them and
see what they think.' I prayed about it for a long
time, like seven months, I kept talking to Chuck at
different gigs and finally they auditioned me and it
worked out."
Not wanting to miss a shot to poke some more fun
at Eli, King jokes, "I got a letter from Elliot telling
me what you just heard. It's like some girl who
walks up and says, 'I think God wants me to marry
you.' But we tried him out and he's great."
Prior to this summer's festival circuit, most of
the Dakoda Motor Co. performances were at clubs in
their California area. Dakoda often opened for
King's brother's band, who he states is "completely
secular--they're not a Christian band by any
stretch of the imagination." However, they have
been very accepting of the Christian message. "They
love having us open for them. They don't care one
bit [that we're Christian.]."
"Everyone is really preaching when they sing,"
King continues. "No matter what you're saying,
you're preaching something. We're pretty confident
in what we believe, so we get up and sing it. They
like that as opposed to being real insecure. We're
pretty bold. Our set is our set and our words are our
words. Davia doesn't hold back and they respect her
for that."
Cummings interjects, "I think the thing that I see
with this band that's different than other bands is
we really really enjoy being out and playing and
using the gifts that God has given us to play, but I
think rather than calling ourselves a ministry or
just a musician band, we just let the music do the
talking most of the time and we just get out and
play and have a good time."
King adds, "I think they [secular crowds] like us
more. A lot of times when we play for churches,
we're playing for youth groups. When you go into a
youth group, the kids aren't the ones who wanted
the band, the youth group leader is the one that
wanted the band to come. They kind of feel out of
place and don't know how to accept it. When we go
play in the clubs those are music fans. They're
there to hear a band play--they like us."
"Like Peter said," says Chuck, "there are people
that are really into music hard-core that go to
these clubs and a lot of them don't have a
perception of Christ or Christianity, but they can
see the inner conviction that we have. They almost
approach it as a free speech issue. They think, 'This
band's really singing about what's in their heart and
that's cool. I don't necessarily agree with it, but
that's cool.' I think that's what's really neat about
playing in clubs. We've been able to find a really
favorable response across the board wherever we
go."
For the members, Dakoda Motor Co. is not the only
ministry they work with. Peter tells, "Davia and I
lead worship on Tuesday nights at a Bible study we
have called Surfer's Fellowship. We invite all the
kids from the High School and we do worship for an
hour. We have free pizza for homeless people and
someone shares a message for half an hour or forty
minutes."
"A lot of our music," he continues, "is worship
songs that we sped up, that we originally wrote a
lot slower. We said, 'Chuck, play the drums really
fast!' It's fast music. Not every song has to be a
worship song. A lot of songs are experiences we've
had in life, relationships. If you're honest in that, I
think that's just as spiritual a song as a 'worship'
song just to God."
What is important to learn from Dakoda Motor
Co.? Says King, "Just to be yourself. God created
you and has a plan for your life. You can't beat it
and it's not hard to do. He's going to give you the
power and strength to do it. Especially if you pray
God's will in your life, that's the best prayer right
there. Then you're honest in that, let Him take
things out as He sees. You have to totally trust Him.
It's silly to be a Christian and not trust God. We try
to sing about hope and things that are real to us. "
Cummings adds, "I think it's hard, too, because a
lot of kids, when they become a Christian, they're
so open to all different kinds of perspectives from
other Christians and a lot of times it gets
confusing because they think, 'I have to be this
way,' or, 'my youth pastor says I have to do this,' or
'I can't wear my hair like this.' The important thing
is establishing a strong foundation with God. But
also, like Peter said, be yourself and don't allow
yourself to necessarily be so manipulated by one
individual, because that individual is just a man. If
you start looking to that one person for all of your
guidance, all of your Christian input, then all of a
sudden, you're following that one person instead of
following Christ. It happens all the time with kids.
I think that's one thing we try and stress--just be
yourself and be in tune with God."
Dakoda Motor Co. is receiving strong backing from
their record company, Myrrh Records. Myrrh is
releasing three videos to accompany their debut
release. The video for "Sondancer" is an effort by
King, who edited a Billabong video of his surfing.
The band will also be publishing a quarterly
newsletter to help fans keep up to date with the
band (the address is on their album jacket). They
also plan to have another album out by this time
next year.
Content to see how their careers with Dakoda
Motor Co. go, they haven't set goals for the band.
Peter cracks, "My goal in life is to own a house.
They just don't give those away--I just found out.
[laughter and pause] If we could make money as a
band, that would be great. If not, that's great too. I
don't have any long term goals for the band."
Being a little more serious, he concludes, "I think
God's blessed us with this opportunity and as long
as we're good stewards with all He's given us, He'll
probably continue to bless the project or until He
decides it's time to finish. I don't necessarily think
we need to be a band for 42 years and save 32
million people. The band isn't Billy Graham. As long
as He wants to bless us with this, that's great. I
know He's going to be there for me and this whole
band for our whole lives. Right now, He's letting us
have fun and goof around doing this stuff."
--J. WARNER SODITUS



65 dBA
is a common sound level quoted in residential noise ordinances.
This rather tight restriction was placed on a British band in 1990 as
they prepared to play their first concert. Since the group hadn't
really chosen a name and they thought that this ordinance sounded
as good as any, the name 65 dBA stuck, despite making much
more noise than a mere 65 dBA.
Their United States debut album, THE GREAT AWAKENING,
was one of extensive musical diversity, which is a result of the
differing musical tastes of the bandmembers. Each member has
used their musical training in various forms with different bands
and they feel that it is very natural "to express our Christian faith
through the music we play and we feel that our love for Jesus will
find expression in all different areas of our lives--including our
music." Adding to their diversity is the fact that they grew up in
various areas of Britain such as Newcastle-upon-Tyne, Leicester,
Taunton, Maidenhead, and Bristol.
The base of 65 dBA is in New Generation Ministries (NGM), a
group founded by Ray and Nancy Goudie. After being leaders of
the music ministry team of the British Youth For Christ for several
years, they formed the band Heartbeat and left their salaried
position to begin their faith-based ministry to participate in
evangelism, training, worship, media, and mission.
They adopted the name NGM in 1989 and Heartbeat completed
their work in 1991. With that chapter of their work finished, the
Goudies are working on a new youth musical/presentation to help
realize their burning desire for revival and their desire to see "a
new outpouring of His Spirit in the nations of this world." NGM
also recruits, trains, and places bands and youth teams in locations
to work with local churches in evangelism and discipleship; they
have already placed bands in Swindol, Bristol, Southampton, and
in Brussels. 65 dBA and the Belgium-based Rhythmworks are two
of these bands that have been serving for several years are creating
a major impact in Europe with recordings distributed by Word UK.
Bandmembers Stu Robson (bass/vocals), Shaz Sparks (vocals),
Robbie Bronnimann (keyboards/vocals), Phil Ball (drums), and
Danny Budd (guitar) responded to NGM's call to find musicians
interested in working in music evangelizing on the frontline.
Beginning as one-year volunteers, they have extended their service
and ministry as a vital part of NGM as 65 dBA.
Their U.S. debut was released in the United States through
Integrity Music. Through several meetings between Ray Goudie
and Mike Coleman and Don Moen of Integrity, a real bonding
occurred in the sense of a mutual excitement that God would touch
many young people through a partnership.
THE GREAT AWAKENING was in a sense a concept album
that also featured other musicians from the NGM family, extending
the diversity of the album even further. It is a continuation of the
"Revival" themes expressed by Heartbeat in "Heal Our Nation" and
"Tears From Heaven." The project was an integral part of the
recent ministry tour of the UK sharing the same title. Ray and
Nancy Goudie took to the road with 65 dBA, Eils, and a multi-
media show for most of the early part of this year.
65 dBA is currently involved in various youth concerts organized
to reach the unchurched youth of Britain. They see the kids dealing
with rejection and hopeless which has lead to "bondage to sex and
drugs and much more." Using contemporary music, they are able
to reach the kids on their level, "We use music as a vehicle to
convey the reality of God's love and to demonstrate His power.
And of course, we enjoy the music that we play and sing."
They approach concerts very carefully paying close attention to
the make-up of the audience, spending much time in prayer to
discern the best methods to use for that show. Usually their
concerts are for unchurched youth and are much more than a
concert--they are truly multi-media events. Besides music, video
and movie projections are usually used along with interactive
competitions and other activities. They take the end of the concert
to put together "all that had been communicated during the
evening." This culminates in offering an opportunity to respond for
a five-week "find out about God course." Breaking down their
message to the core, they condense tit to the simple sentence, "God
thinks you are great and really loves you and longs to have a
friendship with you."
Their ministry has seen hundreds of people respond and then
move out to the world to make disciples. Also encouraging is the
emotional and even physical healing that has come from their
ministry, even a man that was healed from a hole in his heart.
God's faithfulness has been readily apparent to them through
their work and they humbly state, "We believe that what God says,
goes!" Some favorite Scripture verses that they share are Matthew
6:19, Romans 8:28 and 8:37-39, John 15:16, II Corinthians 1, and
Acts 2, especially verses 17-21 which was a major inspiration for
THE GREAT AWAKENING.
Their next release, due in early 1994, will sacrifice some of THE
GREAT AWAKENING's various stylistic dimensions for more
continuity with more of a band sound--more Dance and Pop.
Following this release, they are planning a tour of Europe in May
1994 and the U.S. for June and July of 1994.
Hopefully they won't face any strict noise ordinances of 65 dBA
on these tours.
--J. WARNER SODITUS



MAIA AMADA

Maia Amada's critically acclaimed debut release
has given her many opportunities to perform across
the country. But what is most important for people
to know about her? "I'd like people to know how to
pronounce my name," jokes Amada. "I've had people
call me Maria, or Mia, and I say, 'No, the name is
Maia, M-A-I-A.' So fine, we get Maia right, and
somebody announces "That was Maia Amanda", and I
say 'No, it wasn't, it was Maia Amada, and that's A-
M-A-D-A--No N.'"
Maia is of Spanish descent, but was born in
Scarsdale, New York and grew up in a very creative
family. Her father is a graphic artist, her mom
works for Conde Nast Publishing, and her brother is
an independent record promoter. "Everyone in my
family was somehow related to the arts, and
everyone was musically inclined," she says.
Music was just a natural part of her childhood. She
began singing when she was three years old, and
made her first semi-professional performance
when she was ten. She says teachers and
classmates used to be stunned when this little girl
would step up to sing and this big voice would pour
out. She recalls early performances where the
power of her voice would literally shake her small
frame.
When she became aware of her natural talents, she
was drawn to the people who performed that big,
emotional style of music. She counts SARAH
VAUGHN, SHIRLEY BASSEY, BILLIE HOLIDAY, CHAKA
KHAN, and PATTI LABELLE as her primary
influences, but maintains that her style is
definitely her own. "There's not one person that
you'll hear in my voice, but a bit of everyone," Maia
says. "I think we all borrow from everyone as we
are learning--of course we never stop learning, but
once you get beyond that you develop your own
style. When you hear my voice you may hear little
pieces of SHIRLEY or CHAKA or PATTI, but you can't
pinpoint it to one."
Maia developed her own style by amassing a wealth
of experience at an early age. One of her teachers
was so impressed with young Maia that he wrote a
couple of songs especially for her to perform
during a school play, just to showcase her
incredible voice. Not long after, she found herself
singing commercial jingles and traveling with
Broadway shows while being taught by a tutor.
At 15 she received a call from someone recruiting
talent for a new band. Though initially hesitant, she
decided to take the job. Little did she know it
would be in that band she would meet her future
husband, drummer, and principal lyricist Alan
Pugielli. It was also then that the classically
trained performer broadened her talents by singing
pop music.
However, it was when she and Alan found the Lord
in 1980 that her music really began to have a
direction. They began singing in churches and
traveling with their pastor. "I really felt the Lord
was telling me I needed to get out from behind the
church walls and take the message out to the
public," Maia says. With her Word debut release,
Maia is taking the message of Christ's love to the
public by wrapping her unique vocal power around a
set of well crafted tunes. Alan and his co-writer
Nelson Miranda wrote all but one cut on the disc,
with Maia contributing her writing skills to the
tune "What's A Heart To Do."
She is presently writing and recording a new
project although she admits, "I can't tell you when
it will be released, because I really don't know for
sure." She does, however, divulge that the album
will be a little harder with more of an edge but
still based in R&B. Amada also jokingly shares that
her husband may "let" her put a few songs that she
has written on the album.
"As far as a theme is concerned, I'm not quite sure-
-I think perhaps--on the first album, we talked
about the love of God, and how is love never fails,
love is for always, how you can count on him
through circumstances. Perhaps, the second album
is putting that love into motion--putting wheels to
the words. It's one thing, as Christians we have a
responsibility to let people know about God's love,
not just let them know about it, but how to get it.
This seems to be the direction that we're going in, I
think."
Like all performers, Maia finds her touring schedule
to be very taxing. Fortunately for her, she has a
very supportive husband. "Fortunately, my husband
is a great spiritual leader in our home, and he
comes with me as often has he can, and that really
helps. My management is Christian, the people that
I surround myself with are Christians, they love
the Lord, and they constantly, always keeping each
other in check and that is really important, really
important to keep each other in check. The first
thing that I want people to say when Maia starts
goofing off, is to say 'Hey Maia, you're goofing off,'"
She also extends her support group to her church,
where she is also involved in other ministries.
"There are many different ministries within the
church that are all very effective on the street,"
relates Amada. One of their most effective is
summer music ministry. Since people tend to
congregate on street corners, sit along the
sidewalk, and hang out open apartment windows to
stay cool, they take advantage by playing music on
street corners. Continues Amada, "Any day during
the summer, our church comes out, and what we're
doing is just letting people know about the gospel,
and that there's a church that teaches about the
gospel right there in their neighborhood."
Music is not the only street ministry supported by
Amada and her cross-cultural church. They also
have an "Iron Team" of powerlifters who lift over
700 pounds without the use of steroids. They also
sponsor activities for children including puppet
shows and skits.
Unlike most Christian performers who play for
predominantly Christian audiences, that is slightly
foreign to Maia. She explains, "I'm not used to
performing in front of, or singing for, all
Christians. My audience is definitely a non-
Christian audience, but the same message comes
across. I've been doing that for years, and I think
the Lord says you've got to be really grounded and
have a good solid foundation in order to have that
type of ministry, because it's really hard. It's very
discouraging at times, because sometimes there's
just no response from people. Yet at other times
it's such an overwhelming response, and you've got
to be ready to handle that as well."
"My responsibility is to show them the love of God,
and then, from there, someone can take them by the
hand and personally show them a church, and have
that pastor nurture them. I could never do that.
That's not how it was for me, you know, I came into
the church and then from there went out, but I come
back every Sunday, if you know what I am saying,
and I think that that is important, that people hear
of the love of God, but then find someplace to let
that seed to grow."
"I don't do anything to purposely be thought of as a
rebel, necessarily. I don't think that I'm a rebel at
all, but some people might think so because I'm a
little different looking--I think this is just where
the Lord has told me to be, and it's taken me all
this time to get here because I believe he's readied
me for where I am right now today."
"Young kids, young people are constantly worried
about, they want to be different, they want to be
unique. I say 'You want to be unique and different?
Follow the Lord with all of your heart and soul, and
body and mind, and the whole deal--and that is
different, and that is so unique, compared to your
other friends who might not be doing that. That's
really unique.' And the Lord will honor that."
With the schedule she keeps between her musical
career and family, it's only natural that her biggest
struggle is to remain focused. "I'm still a mom,
those are still my responsibilities, I won't, I'll
never give those things up. I waited eight years to
have my daughter, Amika, I'm not going to give that
up."
"So just keeping focused and having Him remain the
one who's always in control, having the Lord remain
the one always in control, it's something that I've
learned. As long as I'm doing things, you know, and
keeping my eyes focused on him, the doors will
continue to open. Wherever the Lord wants me to
place my feet, I will. I'm looking for footprints,
trying to keep my eyes on Him."
--J. WARNER SODITUS



AUDIO ADRENALINE

One of the most energetic groups in Christian
music today is aptly named Audio Adrenaline. The
four members of the group, Mark Stuart (vocals and
rap), Barry Blair (guitar/ vocals), Will McGinniss
(bass), and Bob Herdman (keyboards and effects),
should have no trouble keeping any further musical
success in perspective since they consider it a
"joke" that they got together in the first place.
Herdman begins the story of how they met at
Kentucky Christian College in Grayson, KY almost
three years ago, "The whole thing was a big joke.
These guys were in a college band. I helped write
the song 'DC-10' and put it on the air. Kids loved it
and I thought, I'd like to write another song like
that, so I wrote 'My God.'" Herdman decided to spend
some of his savings on recording the song and
talked the others into participating. Continues
Herdman, "We recorded it and somehow we got it on
a compilation CD that went around to radio
stations. All of a sudden all these stations started
playing it and we started getting calls from record
companies."
This song, most easily described as an aggressive
cross between speed metal and rap, packed an
equally aggressive, bold message that other
religions were not what they claimed to be, and
that faith in Christ was the only true religion.  It
charted and quickly gained the attention of
ForeFront President, Dan Brock, who happened to
hear it on a college radio station while riding in his
car. ForeFront's Ron Griffin, tracked down the band
and quickly got them in the studio.
Herdman laughs, "We were Education majors and
Bible majors and we were going to be high school
Chemistry teachers. These record companies
started calling and we were saying, 'We're still in
school and we don't really want to be in a band.'
Then we realized that the Lord must have called us
into this. So I quit school. Bill and I dropped out and
Mark and Barry graduated and we started doing this,
and here we are."
Amidst the surprise at their musical success,
they are not really surprised that they are serving
in a ministry. Even without a national contract and
national touring, the desire to ministry was there,
as McGinniss tells, "we could still keep a small
ministry together and go to camps, which we had
been doing for about five years. We felt like we
were called to do some kind of ministry, but we
never knew it would grow to this scale, or we ever
could have foretold we'd be here."
The spontaneity in embarking on their musical
career created an interesting musical situation.
Each member has musical tastes that barely, if at
all, overlap that of the others. The result was
combined musical influences from heavy metal to
rap to country. They worked to narrow down their
musical efforts into what they call NuRock. Stuart
explains, "It's just a combination of what's
happening in music all over the world. There's
alternative, techno, and hip-hop, it's just a mixture
of all elements of all modern pop music. There's so
many different areas of music that we try to cover.
That's why we call it Audio Adrenaline. We all come
from those different areas of music. We just try to
portray what each of us represents."
Taking what might have been a stumbling block in
the studio, Audio Adrenaline has turned this
diversity into a major asset in concert. "It does
break down walls though," Stuart continues. "We're
very energetic and there's usually a mosh pit and
there's stuff like that that goes on at our show.
There's also people that dance at our show. At our
show, we break down those barriers of art. People
take pride in who they are artistically. They say,
'I'm a Alternative kid,' or 'I'm a hip-hop kid.' We like
to say, 'We like to say, 'We're all God's kids.' We try
not to have any barriers in our music. It's a lot of
fun."
"We're trying to reach young people. It's not a
specific, moshing, head banging audience or a hip-
hop audience or an alternative audience--just pop
youth in general. We often get categorized in all
three categories because we have a variety of
styles because we come from different
backgrounds and try to throw it all together."
The group has had the opportunity to tour with
GEOFF MOORE AND THE DISTANCE which was a
valuable introduction to the Christian touring
schedule. They enjoyed and appreciate the time that
they spent "learning the ropes" from a more
experienced team of individuals, as well as the
friendships that were formed during the time there.
The time also showed them the need to remain open
and accountable with each other to be as effective
as possible during the challenges of road life.
While many secular performers and celebrities
are denying their function as role models in our
society, Audio Adrenaline recognizes this major
gap in out pop culture. "I think the farther along we
get, there's more of a call in our lives to be more
spiritual," shares Stuart. "Because, I don't know if
you've seen the Charles Barkley commercial where
he says, 'I am not a role model, I'm not paid to be a
role-model. I'm paid to wreak havoc on the
basketball court.' I think, if you're put in a position
of being up front, you should live a life in purity.
That's very hard to do. We can't be pure, we all sin,
but we're forgiven through Jesus. You can still take
on the responsibility of being a role model for
young people. I think that goes hand-in-hand with
what we do. The farther, the more exposed we are,
the more pure we need to be. You can feel the Lord,
when you're in front of people, you need to be on
track with who I am in our relationship, because
they'll see right through it."
It is important for kids to have an alternative to
secular music, as Herdman states, "There has to be
an alternative for those kids to listen to. For me,
you can't really be edified listening to [most of
secular music]. For me, it's a great substitute for
Christian kids that they can get a spiritual
message and listen to the music they like. That's a
real high for me; that's giving someone something
that I wish I would've had more of when I was a
kid."
"Our main objective, continues Herdman, "is to
proclaim the word of God with a challenge--He is
number one in our lives. We want kids to hear the
kind of music they like most, but with a clear
Christian message."
Most pressing to the group is their belief that the
Christian industry has been "censored" by secular
media. Stuart explains, "I truly believe that this
country is still Christian but the media has created
a facade like [Christians are] not the majority,
liberalism has taken over. It really isn't, it's just
who has control of the media."
This is the core of the new project soon to be
completed by Audio Adrenaline called DON'T CENSOR
ME. Continues Stuart, "It's speaking out to secular
media, like  MTV and regular radio stations, about
them censoring Christian art." Since Christian
bookstore sales are not included in best-seller
lists and in radio charts such as Billboard rankings,
the group sees this as censoring.
Stuart continues, "The Christian groups that are
really selling well would be on the Top-40
Billboard but they don't recognize the Christian
bookstores, but I think that's censorship. Another
way we're being censored is radio stations and
MTV won't play music or videos that are created by
Christian labels. They're afraid of Christianity."
In discussing the content of the album, Stuart
says, "Most of it deals with being bold and
evangelistic in a country where we're being
censored. Another song along those lines is 'It
Might as Well be Us.' The lyric on the chorus is,
'Who you gonna listen to, who you gonna trust, if it
doesn't really matter, it might as well be us.' So
many kids we talk to say, 'I listen to secular
music.' We're saying the lyrics are pretty weird and
they're not edifying the Lord and [they say] 'it
doesn't matter, I just like the music.' So that's our
question to those people. If it doesn't really matter
what the lyrics say, then put us in, because it does
matter--we think. If you can even sub-consciously
listen to our lyrics, then it'll make a difference in
your life. There's a song called 'A.K.A. Public
School.' It says, 'Government funded, paid in full,
also known as your public school. They paid to put
you in the classes, it's your chance to reach the
masses.' I think the public school system is the
biggest mission field around the world today.
There's tons of places to go and be a missionary,
but for a young person to stand and say, 'I want to
be a missionary in my public school,' has probably
had the most impact of any mission field."
Stuart also feels a sense of urgency with the
project in that, "I really feel like we're a
generation from Christianity being extinct if we
don't take this seriously. You can see in the media
and what's going on in the White House and
government that we need to start taking this
seriously or we're going to get wiped out. We're
going to become a minority."
They are a group with an energetic musical base
and now promise to add a great deal of urgency to
the message--something for kids to be excited
about. And probably the best compliment they could
get comes from ForeFront's Ron Griffin, "Audio
Adrenaline is the perfect mixture of the heart of a
pastor with the energy of a 16 year old!"
--J. WARNER SODITUS



P.F.R. (Pray For Rain)

Faced with an interesting trademark technicality, the band that won
this past year's Dove Award for Best Rock Album has to change
their name. So now Pray For Rain has become....
P.F.R.
Lead singer Joel Hanson explains, "There's a group in California
named Pray for Rain. They do TV and movie soundtracks and their
lawyer got a hold of us right after we were nominated for the
Grammy award and said, 'Congratulations, guys, but you need to
drop the name.'"
The discouraging part of the problem is that the group followed
standard trademark searches and obtained a valid trademark for
their name. Hanson continues, "We trademarked the name, but
they've had it for seven years and have a number of projects under
that name, so by common law, if we try to continue to use the
name, they could sue us or ask us to pull the product from the
shelves. We don't want to do all that. So we were willing to
compromise and come up with a name that wouldn't go that far
from the concepts we already had." So they agreed to adopt the
name P.F.R. Hanson jokes, "P.F.R. means Pray For Rain, we just
can't say it."
But where did the original concept arise? Drummer Mark Nash
recalls, "We needed a name. We were called Inside Out for a
while. With being signed, we needed a name. I was looking at
some poems a friend of Joel's wrote and found it in there."
While they admit the origins of the name are less than inspiring,
Hanson shares how they have been able to use the name to begin
interesting discussions, "People have asked us a lot, 'What does the
name mean?' Pray For Rain means absolutely nothing to everybody
most of the time, so we can say this--the cleansing that comes from
a relationship with Jesus Christ. When the mighty storm comes and
washes away all that stuff, the storm is hard and there are some
things that are lost, but when it's gone, things grow again and
things are clean."
The trio remains based in Minneapolis, Minnesota, near where
they originally met. Joel and Mark met at a Christian summer
camp where they both served as counselors. Joel was also interning
as a youth pastor at a church two hours away, which is where he
first met guitarist Patrick Andrew--at the time, Mark and Joel had
just begun playing some small concerts. Joel tells, "Patrick was
following some girl around at the youth group--a true story, he'll
admit it. Pat started playing with us and two weeks after Pat played
with us, he became a Christian."
The band remains tied to the local youth groups in Minnesota,
since they made such an impact on the lives of the members.
Hanson takes the opportunity to joke about how that they use
music for the youth groups, "Mostly like a drug to subdue them."
Nash, pondering a little more seriously, recalls that it was his youth
pastor that started him playing music for the youth groups, "He
found out that I played drums, he played guitar, another guy in the
youth group played bass, and another friend of ours played piano.
From there, we started learning songs and then in the summers
we'd do little mini-tours. It started with bands and then people
would sing solos and do drama and puppets. He [youth pastor]
went to this other church, the church we go to now--they're
actually on tour now; that's another thing we do. We help the bands
there. There's maybe 15 bands there now. We help them with songs
and last year we went out on the tour with them. That's how we're
also involved."
Andrew jokes about the origins of the group's progressive rock
sound, "God in His infinite wisdom must have gone, 'Okay, these
three guys would make an interesting group,' and took three guys
who didn't listen to any of the same stuff and put us together. He
knew what He was doing. We had no idea."
They have turned this possible dilemma into an advantage, as
Hanson shares, "A lot of people are interested in our music because
it is a little bit different. Therefore, we get to talk one-on-one with
a lot of people and share our faith and they ask how we became
Christians, so God has opened a lot of doors just because what we
do is a little bit different--it's not the same old thing. That's exciting
for us too because we have that opportunity."
Hanson began playing guitar at the age of five, which apparently
set the stage for his life. The primary songwriter for the group and
only married member of the band, he remembers listening to
FOREIGNER and NIGHTRANGER as early influences.
Nash began drumming at age seven, and counts RUSH's NEIL
PEART, THE POLICE's STEWART COPELAND, and PETRA's
LOUIE WEAVER among his early influences. Before forming
Pray For Rain, he played in a Minneapolis garage band in the vein
of Twin Cities-based groups H�SKER D� and THE
REPLACEMENTS.
First trying out a guitar in the sixth grade, Andrew quickly
switched to bass the following year. "Two of my uncles are bass
players," shares Andrew, "so think l had it in my blood." He played
in a 1960's cover band, but left the group after meeting Joel to join
the early foundations of P.F.R.
Nash knew he would pursue a career in music. "I just never
thought about doing anything else," he states. "There was no
question that I would be doing this, in my mind--that was
obviously God."
However, the story is significantly different for Hanson. Despite
his strong musical tendencies from an early age, he was concerned
with his ability to keep a strong marriage along with a music
career. "I got married before the group got started doing what we
do," he recalls. "I really questioned if I could keep the integrity of
my marriage intact and be gone a lot, which is a hard thing to do.
It's really hard to leave every time. We see ministry happen every
time we go out and we see people get saved and we talk to people
who have heard our music and it's meant a lot to them. At this
point I don't think it would be right not to go do what we do
because God's using what we do. If it becomes evident that that's
not happening any more, then I think all of us would want to
pursue other things and let God do what He's going to do with us in
other parts of our lives."
Perhaps their most widely recognized song is "Do You Want to
Know Love," known for the vocal effects in the first verse. The
song begins with a BEATLE-esque nasally-sounding vocal that has
caught a bit of attention. Since the studio effects can't really be
duplicated live, Hanson was caught in "a panic situation" the first
time they performed it live.
Their solution was to use a small plastic megaphone to imitate
the sound. And, being fun and energetic, Hanson chose to throw
the item at the crowd at the end of its use in the first verse.
However, one time he hit Ronnie Cates' (Bassist for PETRA) wife
"right in the head," remembers Hanson. "So we decided not to use
that any more." That has left him scrambling for a plastic or paper
cup before each concert since "they don't fly as well."
What may get lost in the silliness of the performance of the song,
though, is the message. Hanson shares, "Love present in
relationships between husband and wife, between boyfriend and
girlfriend, and other friendships in general, is not the same kind of
love God has for us. That seems to be a theme that runs through the
songs we write--that there's one eternity, there's one God, and
there's only one kind of true love."
For the past year, the touring by the band has all been in a
Suburban along with two crew members. It's fortunate that this has
helped deepen some great friendships, that were formed before the
group began. Nash explains, "Joel and I were good friends before
we ever entertained the idea of becoming a group. When we met at
the camp, we were friends. Our brains were in the same universe,
not necessarily this one, and we just got along well. After a year,
Pat joined us in that universe."
Hanson quickly adds, "That doesn't mean that there's not tension.
We all don't like the same kinds of things. We don't live on the
same schedule, I'm married and these guys are just homeless bums
[laughter]. Actually, you guys have a home now--Mark and Pat
live together. Can you imagine being on the road together and then
living together?"
For Andrew, this is not the most difficult struggle. Although he
admits "the Suburban got smaller" each time they went out, what
challenges him the most is keeping this new career in perspective.
"I think [my biggest struggle] is keeping my priorities straight
between my ministry and my personal relationship. It gets
confusing to make sure our ministry is not taking over our personal
relationship with Christ."
The group has recently begun pre-production on a follow-up
album to PRAY FOR RAIN. Nash simply says to expect "fun."
Hanson, becoming slightly more descriptive says, "It's a little bit
harder. I think it's going to be more of a rock and roll type, more
rock and roll than the last album."
And, being understandably confident in their unique and full
sound from simply guitar, bass, drums, and an occasional keyboard
part, they emphatically state that they album will contain no
samples or sequencing and that P.F.R. albums "never will."
"True love is a theme we used a bit on this last album and it'll
follow through," adds Hanson, briefly mentioning the album's
content. Andrew, stepping in to take some song writing
responsibility, shares that he's writing about "having a deeper faith
and trusting God."
Despite an unfortunate name change, the group seems poised to
proceed back into the "sequencer/sample" saturated music world,
armed with only their guitar, bass, keyboard, drums, and some fine
vocals--and they appear to be set to make another big impact.
--J. WARNER SODITUS



CINDY MORGAN

New Artist of the Year--quite an honor. But, after
the year Cindy Morgan just had, it's hardly a
surprise. From four number one hits (including a
duet with Carman) to being the first debut artist to
perform on THE YOUNG MESSIAH TOUR to netting
five Dove Award nominations (including Female
Vocalist of the Year and Contemporary Album of the
Year), it was an exciting and successful year for
this 25 year old performer. That's not bad,
considering two years ago she was working in an
clothing store, and singing on sound-alike demos at
a Knoxville recording studio.
Morgan got an early start in music at her home near
Knoxville, Tennessee. Her parents were both
songwriters and there was always music in the
house. Learning to play the piano by ear at age 11,
Morgan soon realized that music was "the only
thing that I wanted to do." After high school, she
took the first significant step in realizing that
dream. She entered a competition at The National
Mountain Music Festival at Tennessee's Dollywood.
Morgan was selected as the winner out of 7,000
contestants and from there, she began working at
Dollywood and as an in-house background vocalist
at a studio in Knoxville. The studio work exposed
her to some more urban and R&B sounds that
appealed to her more than the country that she had
previously worked with, sounds that were very
apparent on her debut release REAL LIFE.
Her parents and five brothers and sisters remain a
vital part of her support network, completely
supporting all she has done, although remaining
somewhat naive about the Christian music industry.
She jokingly shares, "If you can believe this, my
family's never been to Nashville where I live. I've
lived there for two years. If they came here
[speaking of the Creation festival], I think they'd
pass out. Because they're just such small town
people and I am too."
"Mom sang and traveled a lot when we were young,
and Dad gave up what might have been a promising
career in Nashville--turned around and never looked
back, because he had a family at home to support,"
Morgan shares. "He went to Nashville with a demo
when I was about five and took it in to RCA. They
wanted him to spend the night and play his demo
for some guy in the morning. He said, 'I can't afford
a hotel room and my family's back [at home.]' [The
person told him], 'If you're going to do music, you've
got to learn to do that.' He said, 'I can't do that. I
have a family.' Unfortunately and fortunately, he
surrendered and sacrificed his career to give me a
normal childhood."
When asked about the person who has made the
biggest impact on her life, she wastes no time in
telling about her father. "He's just been an
incredible example in me and an uncompromising
person. He's not perfect, which is maybe what I
love most about him, because he doesn't pretend to
be perfect." And, on the lighter side, "He was a
Volkswagen mechanic for years. I drove
Volkswagens most of my life; I went through about
four of them."
With that in mind, Cindy used her inherited gift for
songwriting to pen a tender song on her new album,
"Someone Believes In You," inspired by the
sacrifices made by her parents on her family's
behalf.
The faith of her parents also made an impact on a
young Cindy Morgan. She recalls, "It's funny, I don't
ever remember not knowing the Lord. My parents
were really strong Christians and I think I
remember that I walked up the aisle when I was
about five. It wasn't like that's the first time that I
knew Him. I've always known the Lord." They
nurtured her childhood faith to maturity and have
firmed a foundation to keep her on track in the
midst of her new "celebrity" status.
As you might expect, despite the music industry
success, there have been personal struggles for
Cindy. "Professionally, it's been a great year," she
begins, "personally, it was hard... looking back in
my diary, I can see how God used difficulties in
relationships to make me grow. My perspective is
so much different because I had to go through hard
times emotionally. It's probably the same thing
that everyone that's 24 goes through--not being
happy with where you're at and just dealing with
life. The same things everyone else deals with--the
challenges of living and not understanding why
some things happen and some things don't."
"I think that one thing that's real dangerous and in
Christian music and Christianity, period, is that we
give people the impression that if you're a
Christian that everything is perfect and everything
is easy and you don't have any problems and you
shouldn't have any problems or you're not what you
say you are. It's my desire to present my life in a
very imperfect and a very real way to let them
know I have problems and I struggle with my
relationship with the Lord on a daily basis and that
it's okay to struggle."
"The thing that I've been trying to struggle with the
most and learn about the most is contentment,
being content with what you have. Today, I'm not
completely happy with what I'm doing, because I
don't think you can find contentment in your career.
Contentment is in the Lord. If I've learned anything,
I think that's it--this job cannot make me happy.
Except for her diary, there's probably no place
where these struggles and lessons are more
apparent than in her new album A REASON TO LIVE.
"That's exactly where all the songs came from,"
Morgan confirms. "They're about some things I and
some friends close to me went through and how we
don't have the capability of understanding what
this life is really all about--why things happen."
"The writing on the album is a lot about my journey
through this last year and some real hard times I
had to go through and some real hard lessons that I
had to learn. When I'm sad about something, that's
probably when I do my best songwriting. My A&R
director calls my songs the 'razor blade songs'
because they're so depressing. It sounds like I'm
about to end it all when I'm writing. I rarely write
happy songs. They're real introspective, real
analytical about life. When I wrote 'How Can I Ask
for More?' I was at the breaking point. I was just
very depressed. But what's great is that the Lord
comes in and gives you hope. In the Bible it says
that it's good to be sad. It's good for your heart to
be sad because it makes you think and makes you
appreciate things."
"I think the overall message in the record is
through the questions and the problems and the
'Why's' of life, that no matter what, that there's a
reason to live. We find that reason in Jesus Christ.
I just felt like it was keeping with everything that
the record was about. It was the obvious title. We
never even bounced around any other ideas."
While the songs may have come out of tough times,
they are not dark; they share a great hope. "The
hope in that is that we don't have to understand to
know that Jesus loves us and that there's hope in
Him. To me, those songs aren't unhappy songs,
they're about real life. I think they're hopeful. I
think they're realistic"
What else keeps her balanced? "My church... writing
prayers in my journal ... and accountability. Several
good friends, holding my feet to the fire. It's
important to me to keep my life open to a few
people... to make sure I'm not hiding anything."
Despite her very energetic performance and stage
presence, away from the energy of the concert,
Morgan is not always the outgoing person you'd
expect. Morgan admits, "In a room of strangers,
that's where I tend to be really shy, because I don't
know what to say. I've always been shy in that way.
I had to learn to communicate with people."
Somewhat surprising as well is the importance
Morgan places on the slower and quieter portions of
her concerts. "I think that my real ministry time is
when I'm at the piano and the songs that I just play
piano and vocal. Hopefully, when I've got a couple
records under my belt, I'll have more songs that I
can just sit down and play."
Morgan cites very few goals for her near future.
She naturally wants to improve her songwriting,
singing, and communication, but also desires to
"lose self to where the Lord is really on the
forefront of my life."
This fall she'll be taking her message on the road
with Petra and P.F.R. Besides her introspective
analysis showing God's hope, she also has a
message for teenagers from her own teen years. "I
was a very overweight teenager. I felt very
insecure about my appearance, about who I was and
kind of let the world beat me down a lot. I would
really encourage teenagers that no matter who they
are or what they look like that they need to find a
contentment within themselves and with the Lord.
And to make wise choices along the way because
the decisions of today shape tomorrow. It's so easy
to say, 'I was young, that's why I did this.' It still
changes you. It still makes an impact on your life. I
would say to just be careful about the everyday
choices."
Naturally struggling to remain a "normal person"
among her accumulating accolades, Morgan affirms,
"My happiness better not be wrapped up in that, and
I can't build my life on it... it could be gone
tomorrow. All the great things that have happened...
as I look back on them, they've all been gifts from
God, and I'm so thankful. But success has not made
me happy--it's made me grateful." Well, a quick
listen to her new album will show that there
should be many more great things to come for Cindy
Morgan.
--J. WARNER SODITUS



REVIEWS:

Cindy Morgan  A Reason to Live (Word)
The latest album by Cindy Morgan, A REASON TO LIVE,
is the sophomore project on the heels of her debut REAL
WORLD, also with producer Mark Hammond. The album
shows a slight change in style from her debut, which
showcased a number of highly upbeat danceable tunes,
focusing more on ballads and mid-tempo music. While this
change may be disappointing to those who were anxiously
waiting a new album of dance tunes from Cindy, there are a
number of quality songs on this latest work to keep them
grooving, keeping the heavy R&B influence, although some
are at a different, slower tempo. While the stylistic change is
obvious, some of the other factors that influence the sound
and direction of the album must be noted, and these include
the theme, the level of production layers, and the way Cindy
Morgan fits into the album as a whole.
A REASON TO LIVE has lyrics that are deep and
insightful with enough complex ballads to capture the
listener in an intimate setting of expression. Thematically,
the main focus of the album is that of life and it's short
comings, pains, and joys. A subtheme that runs throughout
the album points out that true living and life is found only in
God and in an experience of His love. The title track is a slow
piano ballad that shares about the many things that people
dream about accomplishing in the future or wishing that
they had done in the past instead of realizing that they need
to live in the present. It's a cautionary song about how it is
easy to miss out on living in the now. The song points out
that "You can turn back to all the memories, but you can't
turn back the clock. You can make life all it can be, but you
can't make it something it's not. Yesterday is Yesterday, and
tomorrow's still a day away, so what do you say there's a
reason to live today"
As with many of the pieces where Cindy Morgan sings
while playing on the piano, this song takes a simple melody
combined with Morgan's distinctive voice to produce a
touching, soft piece. Another of the strong piano pieces,
"Someone Believes" is dedicated to Morgan's father and tells
of the many unseen, unheralded sacrifices made by caring
people that set the stage for others to go on to greatness. The
combination of simple chords and her outstanding voice
make this a quietly passionate testimonial to the deeply
sacrificial giving that allows others to live well. This is
definitely a Father's/Mother's day request classic. These
pieces are some of the best songs on the album, showcasing
the ability, vocal range, and lyrical depth that make
Morgan's music stand out from a lot of other artists. Her
talent at taking simple and soft melodies and producing
powerful, touching music is quite special and it adds to her
appeal as an open and quietly passionate musician.
This ability carries over somewhat to the other, faster
pieces, although the higher amount of production does
influence the sound somewhat. A song which is an example
of this is in the R&B styled "Love's Still Love" which points
out the true aspects of real love, namely God's unconditional
love and constant faithfulness. This song is a strong
statement of the permanence of this love, comparing it to the
temporary, conditional love we usually experience in life. A
section of the lyrics states that real "Love will endure, Love
believes in you, Always forgives, always is true. Love knows
no wrong, always understands, it heals the heart, given half
a chance... in spite of us, Heaven's love is faithful... Love's
still love." This song correlates with the slow R&B ballad "Let
Somebody Love You," which is a quiet plea for a lonely
person to let someone else get close enough to love them.
Both songs showcase a strong bass rhythm section and are
some of the few pieces which are danceable in the same style
as much of Morgan's REAL LIFE work. Unfortunately, these
are also pieces where some of the production is a little heavy
at times, sometimes to such a degree that Cindy's voice is
almost swallowed by the layers of synthesizers. This factor is
one of the aspects of the album that was not handled as well,
and in places smothers the strength and fullness of Morgan's
voice when it should be coming through clear and strong.
This isn't a major error in the album, but it does detract a bit
from the listening experience. It does serve to underline the
appeal of the piano based pieces like "Someone Believes, "
"Storybook," and "I Will," where the full range and clarity of
Morgan's voice is easily heard.
A REASON TO LIVE is an impressive second effort by the
team of Cindy Morgan and Mark Hammond. While there are
some difficulties with over-production, the Morgan manages
to avoid the standard trap of pumping out a retread of her
debut album by changing focus slightly. This change
provides a better picture of some of the talents of Cindy
Morgan that attracted listeners in the first place, while at the
same time confirming the original hopes in her ability to do
more works of a similar depth and high level of quality.
--SCOTT DEERING



First Call   Sacred Journey (Myrrh)
SACRED JOURNEY is the latest work created by First Call,
and represents a change of pace stylistically for the band, as
well as an effort to experiment with a different approach to
producing their albums. The goal of this album was to create
an album with more of a "live" sound to it, losing some of the
layers that are usually added in production. This has
changed the feel of the album in the direction of a lot of their
earlier albums but provides the listener with some
interesting examples of the broad range of harmonies and
style combinations the band is adept at. Initially, the band
seems to wander randomly from styles that include pop,
country, rock, and worship music, but because of the
presence of excellent harmonies and strong themes, the
album commands the listener's interest.
One of the major themes explored in this latest effort is
freedom in Christ, and the greatness of that liberty in the
light of God's love and mercy. The song "Freedom" clearly
expressed this, stating, "Where there is faith you can move
any mountain, where there is hope you can learn to believe.
Where there is love there is strength you can count on.
Where there is truth, truly there's freedom.." In, "Lazarus
Unwound," First Call expands upon this theme by pointing
out the special help believers can offer to one another to
achieve the fullness of their freedom in light of God's
deliverance, "Follow the voice of my salvation. I'm still tied
up head to toe. God send me brothers and sisters to loose me
and let me go... What a day for a true believer." This album
follows the perspective of that of a believer reveling in God's
grace throughout the album, with an intimate sharing of that
believer's testimony about God.
Another underlying theme of SACRED JOURNEY is that
of love; God's special love for his people and the special
adoration that He receives in return from sincere, grateful
hearts. The title track, "Sacred Journey" outlines a
manifestation of this love by describing the close presence of
the Lord in the midst of all the aspects of a believer's journey
forward with Him. This presence is experienced in "every
road, every stream, every prayer, every dream, You are there
my Lord." The song "Evidence of Love" parallels this theme
by describing the love that is "written in the colors of a
thousand autumn twilights, painted in the eyes of a child..."
Lyrics like these are pretty common on this album, and
while they are at times penetrating and at other times
challenging, their main characteristic is that of Truth.
For those who have come to enjoy the vocal gymnastics of
earlier First Call albums, SACRED JOURNEY will be a
welcomed addition to their collection. Comparable to
SOMETHING TAKES OVER with more of a country flair on
songs like "Freedom," plus a large number of ballads like
"Sacred Journey," "Thank You Lord," and "Evidence of Love"
which range from worshipful into pop. The variety of styles
on this album is a little confusing at first ("Lazarus
Unwound" is reminiscent of the acapella style of TAKE SIX,
while "Under the Water" recalls the Celtic style of IONA),
but the strong harmonies in each song provide continuity
and a point of reference.
While this album is not as "produced" as GOD IS GOOD
album, the band scores in terms of harmony and thought-
provoking, insightful lyrics. The band achieves their goal of
creating a more "live and unplugged" sound and a showcase
of harmonies.
--SCOTT AND MICHELLE DEERING



hoi Polloi   Spin Me (Reunion)
The newest effort by hoi Polloi, SPIN ME, rates as a solid
album with a combination of deep lyrics, hard-hitting guitar
work and the throaty vocals of Jenny Gullen. The tone of the
album is best described as "gritty and tough" and for fans
who eagerly awaited an album that captures more of the live
sound of this group, this should be a keeper. For the newer
fans or those looking for good rock, this album also manages
to give a good introduction to the group's high energy,
highly danceable style, and solid focus. This is an album that
should please most rock fans while packing enough hop to
be a good dance album as well. Stylistically the album
alternates from fast, rocky song to slow ballads, while
maintaining a folksy, introspective tone similar to some
classic MARGARET BECKER.
In terms of lyrical content, one of the main strengths of
SPIN ME is the lyrical depth of virtually all the songs. These
thought-provoking lyrics focus on God's desire to have a
relationship with man, and the myriad ways in which
mankind stumbles, strives, and struggles to respond in
return. None of the lyrics on this album could be considered
fluffy, and leave the listener thinking about life and choices
long after the song is over. A good example of this is the title
track, which involves the search for meaning and justice in a
world filled with the "noise" of fashionable causes and a blur
of movements with solutions that stand in contrast to the
unshakable truth of the imminent return of Jesus as Judge,
"Kingdom rise, kingdom fall, King coming to end it all, Play
the part to fill the void, The beat goes in an endless noise."
Several other tracks like "Lies in the Temple," "Love for the
Living," and "Back to Zero" are equally as stark and point to
the reality of our need for God in everything. The band
carefully wove this theme throughout the album. They also
prove that they have lost none of their ability to jam on
songs like "Back to Zero" and the opener "Dance."
On the more "rocky-folk" side of the album, hoi Polloi has a
fair number of ballads including a new version of the 60's hit
"Turn, Turn, Turn" based on Ecclesiastes, which is a decent
effort and managed to put a fresh spin on this classic rock
song. Other melodious tracks like "Take Me Home," "Angel,"
and "Show Me" are some of the more introspective, folksy
songs on the album, but hoi Polloi manages to deliver
quality music with enough rock to keep you grooving long
enough to listen and think.
With the strong lyrics, vocals, and tight music of SPIN ME,
hoi Polloi manages to combine some rock and "rocky-folk"
tunes into a collection that's fresh and interesting to listen to.
--SCOTT DEERING



Dick & Mel Tunney   Left to Write (Warner Alliance)
This album is the second album from the husband and wife
duo of Dick and Mel Tunney, after Mel Tunney's three
album run with FIRST CALL. Like their first, it features Mel
as a solo vocalist and Dick playing keyboards. The musical
backup is provided by veteran studio musicians such as
Leim, Hemby, and Brigdarnello. Background vocalists
include Bonnie Keen, Mervyn Warren, and Donna McElroy.
The musical base of the Tunneys has been evident since the
days of FIRST CALL. Any inspirational song on those first
three albums was probably written by them. They are also
talented at doing upbeat praise songs such as "Let there be
Praise" which they wrote for Sandi Patti. The musical style of
the album is again in the inspirational vein, but perhaps a bit
more upbeat this time, with a few more drums, and a
quicker pace, including one instrumental piece, "Horizons."
A chorus of children including the two Tunney children join
the opening cut "Perfect World." "When I Look At You" is a
love song written for a friend's wedding, and is appropriate,
touching, and romantic.
All the memorable songs from this album are on the first
side, including "We Have It All", a catchy chorus that is
talking about how Christ meets all our needs. "I Want To
Know Christ" and "To Be Like Jesus" are introspective to a
degree, focusing on the vertical aspects of a relationship with
God. There is a bit of spoken banter between the Tunneys
before "Pilgrim's Progress." This song focuses on the other
main theme of their songwriting--putting their personal
experience with Christ to work in everyday lives.
Apart from the instrumental and the remake of the old
hymn "My Faith Has Found A Resting Place", the second
side comes up a bit short. The tunes of "If You Are My
Friend" and "Left To Write" are similar to each other and
both are slow and repetitive. The lyrics of both are inward-
directed, one describing how friends should respond to each
other, and the somewhat ambiguous lyrics of the other
thanking God for the gift of music. The effect of the two
songs is an anticlimax to an otherwise exciting album with a
great message.
The debut album of the Tunney's, "Let the Dreamers
Dream," carried more lyrical originality and a deeper
message than this one, but this one is still a quality album
that will give lots of good listening. Given the songwriting
material they started with, they produced and performed it
very well. This is probably also the type of album which,
although it does not make you say "wow" at the first listen,
will eventually grow on you and become a favorite.
--STEVEN C. TIMM



Dakoda Motor Co.   Into the Son (Myrrh)
Dakota Motor Co. (formerly Dakoda) is one of the newest
rock bands to appear on the Christian rock scene, and they
easily make themselves stand out with a sound that is both
distinctive and fresh. In terms of musical style they combine
90's head-banging rock with late 70's and early 80's rock,
while adding a touch of the blues and surf music to round it
all out. The mix is very smooth--one minute you can be
thrashing to an interlude of staccato drums and electric
guitars, and the next minute be bopping your head to a
melodic California crusing song and not miss a beat.
Throughout the changes, the lyrical content is not
compromised a bit nor is it anecdotal or trite. Songwriters
Peter King and Davia Vallesillo make a powerful duo, and
artfully steer the lyrics away from the standard and the drab
and into the realm of poetic and vivid imagery. For baby-
boomers of yesterday or the twenty-somethings of today,
INTO THE SON is an album that skillfully meshes 3 decades
of rock styles into a new blend that is sure to be enjoyed by a
lot of people.
One of the aspects that makes this album attractive is the
use of strong imagery combined with simple expressive
lyrics. In the song "Grey Clouds," Vallesillo, handling lead
vocals, describes the faithfulness of God in tough times
using a metaphor for cloudy days and the hope of sun (or
more directly the Son). "Grey clouds in the sky, clutter up
my mind. Blue skies aren't a part of me, as far as I can see.
You are the light, guide me through the night..." Imagery
relating to God and aspects of nature, particularly using the
comparison of Jesus, to the sun, run through several songs
on this album like "Wind 'an' Sea" and "Ocean Seems" which
give the album an earthy feel that's appealing and
refreshingly honest. The main theme of this album is Jesus;
who he is, what he has done, and what he still does for those
who trust in him, and Dakota Motor Co. skillfully
communicates this from a perspective that is both fresh and
novel. The lyrics tend to be simple, but the addition of solid
acoustic and electric guitars, tight drum work, and an
occasional harmonica, transform something that would
otherwise sound a little bland to an enjoyable experience.
One of the key strengths of this album is that the band is in
a field all by themselves in terms of style compared to the
rest of Christian music, and the change is very refreshing.
The music is actually a lot of fun, a quality sorely lacking in a
lot of other genres, while at the same time it sacrifices none
of the same truthful retelling of the Gospel. This is an album
for anyone interested in new and interesting sounds, or just
some good cruising music for the car.
--SCOTT AND MICHELLE DEERING



Ashley Cleveland   Bus Named Desire (Reunion)
Ashley Cleveland's debut album, BIG TOWN, didn't
receive any airplay on Christian radio, to my knowledge. But
that's not surprising, given several facts about it--it was
released on Atlantic Records, a secular label; not all of its
subject matter dealt directly with God; and Cleveland
sounds nothing like SANDI PATTI.
Possessing a raw, gutsy, and impassioned voice, Cleveland
is far from what most listeners of contemporary Christian
music are used to. She writes honest music, being as
comfortable with singing about her feelings for her husband
as she is with singing about her relationship with God.
Fortunately, this type of writing has become much more
acceptable in the Christian music scene over the last few
years.
Her second album, BUS NAMED DESIRE, is released by
Reunion Records, and differs somewhat from her first
project.
Musically, BIG TOWN had a distinct R&B feel, while BUS
NAMED DESIRE leans more toward the pop arena.
Produced by Cleveland's husband, Kenny Greenberg, and
Wally Wilson, the album still has some bluesy attitude, but
not as much as the last one.
Lyrically, the subjects remain nearly the same. Cleveland
sings about love, both human and divine, although this
album has less overt references to God. One of the standouts
is "Henry Doesn't Care " in which Cleveland writes about the
innocence of her son, and how she wishes that he wouldn't
learn how to build walls to protect himself against the
world's pressures and hurts.
Some of the other highlights in include "Better You Get
Ready," "Feel Like Falling," and "Water." After listening to
this album, it is clear why Cleveland is respected by her
peers, both in the secular and the Christian music industry.
--BETH BLINN



Randy Stonehill   Stories (Myrrh)
Randy Stonehill has been around the Christian music scene
long enough to be considered one of the founding fathers.
Known for his off-beat personality and thought-provoking
(although sometimes wacky) music, many of his songs
feature a storyline, illustrating pieces of his or other's lives.
Which leads us to STORIES, a collection of Stonehill tunes
that he has recorded over the years, plus two new cuts.
Acoustic in vein, the songs clearly show how Stonehill
achieved his position in the history of contemporary
Christian music
While I have always appreciated Stonehill's sense of humor
as evidenced in songs like "American Fast Food" and
"Cosmetic Fixation," his story-songs were usually the ones
who spoke to me the most. Stonehill has a penchant for
illustrating individuals who are in hurting situations and
showing how God has love and compassion for those
individuals.
The cuts "Rachel Delevoryas," "Starlings," "Weight of the
Sky," and "Christmas at Denny's" are the most obvious
examples of this. All are about individuals who are battling
against the harsh elements of the world, be they physical,
mental, or emotional, and of the One who can heal those
hurts. The arrangements are very sparse, with Stonehill
performing "Weight of the Sky" acapella.
"Bells," "Coming Back Soon ," "Letter to My Family,"
"Turning Thirty," and "Singing in Portuguese" are all
snapshots of Stonehill's life, and how various incidents have
affected his walk with God.
"Charlie the Weatherman" and "I Thirst For You" are the
two new songs, produced by Terry Taylor and recorded
with the Lost Dogs (Mike Roe, Terry Taylor, Gene Eugene
and Derri Daugherty). They fit smoothly in with the others,
both musically and lyrically.
The album concludes with an acoustic version of "Hope of
Glory" that pulls the themes of the album together with the
reminder that the central theme of our lives is Christ and his
compassion and love for us.
--BETH BLINN



Steve Camp   Taking Heaven by Storm (Warner Alliance)
Steve Camp's music. When I think about it, the first thing
that comes to mind is a series of songs with an up-tempo,
driving beat usually coupled with some incredible piano
licks. The words pour out from Camp as if he were a man
possessed (with the Holy Spirit, of course). In short, those
albums were a roller-coaster ride of epic proportions. For
those who have listened to JUSTICE and CONSIDER THE
COST, you know what I mean. For those who haven't, they
would certainly be valuable additions to any mature
Christian's music library. Mature is the key word here.
Camp has always targeted more established Christians with
his musical challenges, and challenges they are from songs
like "Do You Feel Their Pain?" to "Shade for the Children."
Camp bangs away at the Christian's comfort zone
challenging them to lead a life filled with complete
surrender to the cross of Christ.
Camp's musical and lyrical style has changed a bit with the
release of his new album, TAKING HEAVEN BY STORM.
The tempo of the songs has come down quite a bit and
headed towards the R&B, with the exception of the title
track. I feel as if the message of the album is reflected by the
barren tree on the cover--no gloss, no hype--just a message
that Jesus is all there is, with no need to fill time with
rousing choirs singing backup or raging piano solos. The
hard-edged challenges are gone but the words are still
directed at mature Christians, and still with a firm Biblical
base. Topics he addresses are spiritual inadequacy ("Give Me
Some Time"), commitment to God and spouses ("I'm Not
Ashamed" and "I'm Committed to You"), and God's love and
faithfulness ("The Love I Found in You," "All Things For
Good," and "In the Hands of God").
Overall, being a Camp fan for many years, I was not
expecting this from his latest project. I think I need some
time for this album to grow on me. It is always strange when
an artist changes an enjoyable style, but I'm sure it continues
to be for the glory of God.
--BRYAN W. BRENDLEY



Bob Carlisle   Bob Carlisle (Sparrow)
Bob Carlisle has recorded his first solo album, notably
leaving behind his work with THE ALLIES, both literally
and figuratively. He has put away the rock style for an
intimate soul album that draws from some older soul and
R&B and mixes in just a little pop to create his "blue-eyed-
soul." His gritty, expressive voice is the perfect springboard
to send his message in this medium. While his vocals may
sound a slight bit like MICHAEL BOLTON, the musical
setting is completely different.
While Carlisle was not involved in the writing of six songs
on the project, you certainly can't tell from listening. In the
album jacket he states "it comes directly from my soul," and
he means it. There is sweat and passion flowing through the
vocals all through the album. It's such a joy to hear the
vocals that you might ignore the instrumentation, but it's top
notch as well. The B-3 organ by Mike Escalante is excellent!
His main message is about a deeper commitment to allow
Lord to use us as servants. Songs like "Mind, Body, Heart
and Soul" ("Take me anywhere You want me to go"), ""Use
Me," "Every Step I Take," and "Giving You the Rest of My
Life" show a deep and sincere desire to be used as the Lord's
servant.
Carlisle turned the production reigns over to Bill Deaton (7
tracks) and Charlie Peacock (3 tracks) who also helped write
several tracks. The presence of Peacock is noticed primarily
in the arrangements of the strong background vocals of Vicki
Hampton, Chris Rodriguez, Lisa Bevill, and others.
For me, the standout was the final track--and it is worth
waiting for! Carlisle sings over a piano accompaniment in a
very simple yet touching remake of Erick Nelson's "Goin'
Home."
The message is direct and serious, appropriate for any
committed Christian, and the music is perfect for anyone
who enjoys some good soul music.
--ROGER APPELINSKI



Glenn Kaiser   All My Days (Grrr)
ALL MY DAYS--SONGS OF WORSHIP AND WITNESS is
the latest offering from Glenn Kaiser, who is best known for
is leadership of REZ BAND and his blues work with
DARRELL MANSFIELD. This time around, Kaiser has
recorded an album of praise and worship music, a lot of
which is used by the organization that he is a part of, Jesus
People USA. It compiles songs written one-at-a time from
Kaiser's quiet times with the Lord spanning the past 20
years. Over six years of intermittent studio work culminates
in this unique project that serves a very important function
in Kaiser's mind--praising and worshipping God. There is
also a songbook available.
Judging by his past work, I was expecting this record to be
somewhat different, more along the lines of what STEVE
HINDALONG and DERRI DAUGHERTY had done with the
AT THE FOOT OF THE CROSS recording, but more in a
blues vein.
Instead, it was more along the lines of Michael Card. That's
not saying it's bad, just more traditional than I had expected.
As a whole, I enjoyed the album. Primarily acoustic, Kaiser
and company make good use of touches of other
instruments, including the violin and dulcimer. Several of
the cuts featured the Grace and Glory Choir, that added
nicely to the production. I especially like "All My Days" and
"Lord of All." And "Wedding Prayer" is sure to show up at a
few nuptials over the next year.
--BETH BLINN



DeGarmo & Key    Heat it Up (Benson)
DeGarmo and Key are a landmark in Christian rock music.
Over the years they continue to endure together, with such
fun things as solo projects and assorted books on the side.
Over the years they have experimented with some slight
musical variations, but overall D&K is well-known for
pumping out fun, yet still scripturally sound and spiritually
challenging songs. Their new release, still on Benson after all
these years, HEAT IT UP, is rife with pretty "cool" pictures of
DeGarmo and Key looking like they've just stepped out from
the fiery furnace, toasted instruments in hand.
The album kicks off with a catchy tune entitled "God Good,
Devil Bad" that describes an encounter in a Nassau bar with
a man who has tattoos of both Jesus and the devil side-by-
side, and telling him that he must be confused--you can only
serve one. This begins one of several references to the people
that are out to make Christians look foolish or that mock
Christianity outright by wearing crosses simply as
adornments, etc. This is never more prevalent than in the
song "I Use the J Word," a powerful tribute to the" one name
under heaven by which man might be saved," used today
more as a curse or a joke rather than the name of the Savior.
Several tracks come as the mini-stories that D&K are
famous for, while the others are outright assurances and
slight twists on scriptural themes, such as in "Selective
Amnesia" which shares the fact that God remembers the sins
of his children no more. "It's my Business" takes a firm stand
stating that it's our business to watch each other for
accountability.
Gone are the pop sounds of THE PLEDGE and GO TO
THE TOP, back is the rock. Key jams on his Strat, while
DeGarmo wails on the B-3 Organ and even joins with some
lead vocals in spots. Their time spent exploring the pop
arena pays high dividends, with some excellent pop hooks
being flawlessly integrated into the rock style, creating some
catchy choruses that are hard to forget. Even the ballads
drop a little of the pop style for a more rock feel.
The album is an all out return to the more rocking days of
this pair's fifteen-year musical past, but shouldn't alienate
any of the pop fans from the past years due to some
memorable hooks and ballads.
--BRYAN W. BRENDLEY AND ROGER APPELINSKI



Newsong   All Around the World (Benson)
ALL AROUND THE WORLD, Newsong's latest release
holds songs that are fresh and crisp with a prevailing theme
revolving around the idea of sharing the Gospel "all around
the world."  This message is set in an adult contemporary
style with upbeat tunes bordering on pop and light rock and
with ballads almost falling into the inspirational category.
One of the highlights of the collection is "Reach Out, I'll Be
There." Minor changes were made to the 1960's golden-oldie,
to use this popular secular song to share a contemporary
Gospel message. After you've heard Eddie Middleton's
rendition, you'll may never listen to the original FOUR
TOPS' version without thinking about Christ's invitation to
"reach out" to Him.
Another special song is the quartet's tribute to Billy
Graham. If you ever have the opportunity to attend one of
Newsong's concerts, you'll be stirred by the video
presentation that they show as they perform the ode.
One of the most charming songs is "Fingertips & Noses,"
which is inspired by an actual school in Kentucky for special
children. The excitement and anticipation they demonstrate
repeatedly upon hearing of Jesus' return should be the way
we "more mature Christians" feel regarding the second
coming.
A poignant ballad, "From This Moment On," reassures the
new believer that even though there will be times of doubt
and confusion on the road of faith, Christ will see us
through. The upbeat "Field of Faith" tells us "There's a great
big world out there with a great big need." "Simple Things"
reminds us that a childlike faith is all that God asks from us.
If lyricist Eddie Carswell keeps turning out this same high
quality as always, no doubt these real life soul winners will
impact the contemporary Christian music world for a long
time.
--JULIE HENRY



Lost Album Review:
Tavanni   Urban Missionaries (Broken)
The dynamic husband and wife duo Stephen and Linda
Tavani is responsible for the delightful album URBAN
MISSIONARIES. Linda is better known as "Peaches" from
the former duo Peaches & Herb. In the meantime, Stephen
wrote and produced for SMOKEY ROBINSON on the hit
"Love Don't Give No Reason." This is their first Christian
album together, which contains smooth flowing ballads with
a hard-driving contemporary R&B/pop sound. This couple
probably could have continued in the secular industry, but
they have obviously felt a calling to minister to youth and
troubled people.
Although Tavani penned all of their lyrics, Bill Schnee
produced, and Michael Omartian arranged (and played
keyboards on) most of the songs. Tavani has done an
exceptional job at bringing out the light of Christ to others.
The main message presented is the truth of the Gospel,
targeted in a straight-forward fashion to anyone who will
listen. "Give Me Jesus" describes how one can have
everything on this world but how worthless is it without the
Lord.
This fresh album is one to listen to anywhere.
--LA'TONYA MATTHEWS



Video:
Mark Lowry   The Last Word (Word)
Anyone need a laugh? Mark Lowry will deliver with his
new release THE LAST WORD. As with his last two
recordings, Mark has combined personal stories of his life
with a lineup of seven unique songs. His stand-up comedy is
represented much better on the video better than the audio
although the material is the same since the video captures
Mark's personality and his crazy expressions. The first song
"If Your Heart Belongs To Jesus" is an upbeat reminder of
our kinship through Jesus Christ despite our diverse
backgrounds and church denominations. He continues this
theme into his first story, "Presbyterian Baptismal." In the
next story, Mark shares about being a single adult in
"Praying To A Single Adult." He shows us that it is okay to
be single because Jesus was a single adult. Following this,
Mark shares "Baby Why Not Me," which is a parody of AMY
GRANT'S "Baby Baby." The song is about Solomon and how
Mark is trying to get tips (and "pick-up-lines") from the man
with over 700 wives. The only problem is that Solomon tells
us in the Bible that his women had "a tower for a nose, legs
like cedar trees, and teeth like sheep." This is obviously not a
90's kind of woman--but the song certainly is creative. The
next three stories are about Mark's personal life. "The New
Dentist," "The Old Sanctuary," and "All Mama Ever Wanted"
show how a hyperactive child got through childhood by
torturing all those around him.
"The Last Word" reminds me of a Carman-style tune that
tells of a conflict with Satan wanting the last word. We must
fight to give Christ the final word and dominion in our lives.
"Fritzy and Helen Hanft" is a story about Mark's neighbor
who thought that Mark would never make anything of his
life. "I Know, I Know" tells us that God can and will use us if
we are submitting to His will. The next stories, "Flying With
A Baby" and "Life Backwards" talk about reality of everyday
life. Mark tells his theory that the life cycle is backward and
that we should go from death to birth. Sounds good to me!
At this point in the video and audio, the laughter stops and
an altar call is given for those who do not know Christ to
accept Him as Savior and Lord. Mark then sings two
beautiful songs that he wrote. "Rest In The Arms" gives us
the calm assurance of our Heavenly Father holding us for
eternity. Would you trade anything in this world for a
glimpse of Jesus? Mark expresses his desire to give any of
this world's pleasures "For A Glimpse Of You." The audio
ends with a reprise of "If Your Heart Belongs To Jesus." An
extra treat is in store for those who view the video with a
guest appearance by Bill Gaither, Michael English, and Sandi
Patti. This concept tops off a great recording for Mark
Lowry. I would highly recommend this video or audio for
anyone who would like to lighten your day with laughter
and reassure the soul of rest and peace in the Heavenly
Father.
--ANN HATHCOCK


NEW RELEASES
MICHAEL CARD  COME TO THE CRADLE
ASHLEY CLEVELAND  BUS NAMED DESIRE
FIRST CALL  SACRED JOURNEY
ANNIE HERRING  ALL THAT I AM
CINDY MORGAN  REASON TO LIVE
JOHN MICHAEL TALBOT  MEDITATIONS IN THE SPIRIT
AUGUST RELEASES
BELIEVER  DIMENSIONS
BETRAYAL  THE PASSING
Steven Curtis Chapman  THE LIVE ADVENTURE (AND
VIDEO)
KARTHI CHELLAPPA  KARTHI
JIM COLE  MERCIFUL GOD
DIG HAY ZOOSE  MAGENTAMANTALOVETREE
JON GIBSON  JG
DALLAS HOLM  COMPLETELY TAKEN IN
BETTY GRIFFIN KELLER  BETTY GRIFFIN KELLER
ANDI LANDIS  STRANGER IN A STRANGE LAND
RICHARD SMALLWOOD SINGERS  LIVE
SCOTT SPRINGER  HELLO FOREVER
THE WINANS  ALL OUT
SEPTEMBER RELEASES
4HIM  SEASON OF LOVE
CARMAN  THE STANDARD
ERIC DARKEN  A DRUMMER BOY'S CHRISTMAS
CYNTHIA WILSON FELDER  NEW SONGS OF ZION
KATHY LEE GIFFORD  CHRISTMAS CAROLS
KURT KAISER  CHRISTMAS FAVORITES
PATRICK KAVANOUGH  A TASTE FOR THE CLASSICS
GEOFF MOORE & THE DISTANCE  EVOLUTION
STRAIGHT COMPANY  SO EXCITED ACAPELLA
TAMPLIN  TAMPLIN
TWO HEARTS  GIVE'EM THE WORD
VARIOUS  THE NEW YOUNG MESSIAH
MICHELLE WAGNER  HEART OF THE JOURNEY
SCOTT WENZEL  HEART LIKE THUNDER
WHITE HEART  HIGHLANDS
BRETT WILLIAMS & IN REACH  POWER & PROMISE
OCTOBER RELEASES
ANGELO & VERONICA  A & V
SUSAN ASHTON  UNTITLED
ANDRAE CROUCH  UNTITLED
AL DENSON  REASONS
GLAD  ACAPELLA HYMNS
IAN ESKELIN  BRAND NEW LANGUAGE
DON FRANCISCO  PROMISE AND COVENANT
BEBE & CECE WINANS  FIRST CHRISTMAS
NOVEMBER RELEASES
STEVE TAYLOR  UNTITLED
DECEMBER RELEASES
BRIAN BARRETT  UNTITLED
LISA BEVILL  UNTITLED
BRIDE  UNTITLED
ALLISON DURHAM  WALK INTO FREEDOM
P.F.R. (PRAY FOR RAIN)  UNTITLED
TWILA PARIS  BEYOND A DREAM
PHILLIPS, CRAIG & DEAN  UNTITLED


BACK ISSUES
June '92  HEATHER & KIRSTEN, JAG, LISA BEVILL, JON
GIBSON, RICK ELIAS, Vireo Records, Lion & Lamb
July '92        MIKE-E, NEWSBOYS, STEVEN CURTIS
CHAPMAN, D.C. TALK, WES KING, Pakaderm Records
September '92  RICK CUA, E.T.W., RHYTHM HOUSE,
DAVID AND THE GIANTS, Why a Lighthouse?
November '92  LARRY HOWARD, PETER SHAMBROOK,
LUST CONTROL, SUSAN ASHTON, FIGHTER, "Started
as a Whisper"
December '92  BRYAN DUNCAN, MARK FARNER, TOM
MCCAIN, WHITE HEART on TALES OF WONDER,
"Dancing in Heaven"
January '93  PHIL KEAGGY, D.O.C., Updates on HOI
POLLOI and THE NEWSBOYS, "The Door of Heaven,"
TWILA PARIS on A HEART THAT KNOWS YOU and
"Destiny"
February '93  WHITECROSS, HALO, SARDONYX, Urgent
Music Group
March '93  GEOFF MOORE AND THE DISTANCE,
PHILLIPS, CRAIG & DEAN, AVB, MID SOUTH, A Look at
the First Year of THE LIGHTHOUSE
April '93  KAISER/MANSFIELD, STEVE CAMP, ROC-T,
KARYN LIST
May '93  RACHEL RACHEL, CODE OF ETHICS,
S.O.H.L.4UR TRIBE, RON DAVID MOORE
June '93  OUT OF THE GREY, A Look at Quest for
Freedom, KEITH BROWN, MICHAEL ANDERSON, GLAD,
TERRI LYNN
Prices are as Follows:
       1:      $.75    2:      $1.50   3:      $2.00   4:      $2.50
       5:      $3.00   6:      $3.50   7:      $3.75   8:
       $4.00
       9:      $4.25   10:     $4.50
Please allow 2 weeks for processing.


CLASSIFIEDS:
- LIGHTSHINE MAGAZINE- Lightshine is sent out to many
people who really need to be encouraged and challenged by the
Gospel. Hundreds of secular bands and their fans receive the
magazine free of charge. If you share our sense of urgency for
reaching out to this culture, join us in this endeavor. A tax-
deductible donation of any size will tap you into the Christian
metal underground and be a blessing to those without the Light (2
Cor. 4:4-6). P. O. Box 456 Paradise, PA 17562 (717) 397-7217.
THE SACRIFICE MAGAZINE: c/o Scott Hileman, Rte. 1 Box
596, Jonesboro, IL 62952 (bi-monthly $11.00 U.S.).
"FUNKY NEWS LETTER FROM HEAVEN" issue #2 "The
Rock-n-Roll Tribute/Creation 1993 special issue" will be out near
the end of August. Interviews with The Brave, Guardian,
Crashdog, and Dakoda Motor Co. Also includes tons of artwork,
30 or more demo & album reviews (40 pages.) Send $3.50 to:
F.N.L.F.H., 1752 N. Atherton St., Lot 149, State College, PA
16803.

UPCOMING FEATURES:
MARGARET BECKER, TWO HEARTS, THE PRAYER
CHAIN, WHITE HEART, THE STAND, JULIE MILLER, JI
LIM, AND TAMI GUNDEN



Top Albums
       1.      LE VOYAGE, Sandi Patti, Word
       2.      FREE AT LAST, D.C. Talk, ForeFront
       3.      HOPE, Michael English, Warner Alliance
       4.      CHANGE YOUR WORLD, Michael W. Smith, Reunion
       5       THE ABSOLUTE BEST, Carman, Sparrow
       6.      THE GREAT ADVENTURE, Steven Curtis Chapman,
Sparrow
       7.      ONCE IN A LIFETIME, David Meece
       8.      SOUL, Margaret Becker, Sparrow
       9.      THE BASICS OF LIFE, 4Him, Benson
       10.     CONGRADULATIONS 2 YOU, various, Inter'Linc
       11.     TAKING HEAVEN BY STORM, Steve Camp, Warner
Alliance
       12.     HEAT IT UP, DeGarmo & Key, Benson
       13.     A HEART THAT KNOW YOU, Twila Paris, Star Song
       14.     SET ME FREE, Acappella, Word
       15.     FACE THE NATION, 4Him, Benson
       16.     NU THANG, D.C. Talk, Yo! Forefront
       17.     AMERICA'S 25 PRAISE AND WORSHIP CHORUSES,
various, Brentwood
       18.     4HIM, 4Him, Benson
       19.     MOMENTS FOR THE HEART, Ray Boltz, Diadem
       20.     MERCY, Bryan Duncan, Myrrh

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.