The contents of this magazine are (c) Polarized Publications.
However, you may feel free to forward this to BBS�s and other people if you wish. I ask that you send this file along as well, and that you let me know where else THE LIGHTHOUSE is being sent. I need to keep records of what our circulation really is.

This should also be archived for anonymous ftp (along with the postscript files) at:
etext.archive.umich.edu    or
nic.cic.net      in /pub/Zines/lighthouse...

----------
The Lighthouse is not for profit and is published monthly.  This is an electronic version of the publication.

I consider this service:
PRAYER-WARE  (as opposed to share-ware)
If you read this, please pray for the work done in ministering to people through Christian music that God receive all the glory for what is accomplished.  And, please pray for me to be able to continue this publication.

If you read this regularly, I ask you to please consider sending a small donation (a couple dollars) for a year�s subscription to help cover the expenses here.  I run up quite a big phone bill each month (near $200/month) to track down the artists for interviews.

If you do not, or cannot send money, I ask you to send E-mail to let me know you�re reading--THIS IS IMPORTANT!

Thank you and God Bless.

Please send donations to:
THE LIGHTHOUSE
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Phone/Fax (814) 238-6730

Please send comments to:
[email protected]    or
[email protected]

Also:

Back issues are available

----------



THE LIGHTHOUSE  NOVEMBER 1993

Cover: Steve Taylor

Lanny Cordola
Al Denson
Michael Card

AL DENSON        4
Al Denson is an energetic, humorous man, who loves to have fun.
But, he's also very serious about his music ministry. Coming off
a very successful tour, he has recorded a new album that will
give people REASONS to believe in Christ. Denson talks about the
new project and his ministry.
LANNY CORDOLA        6
In the past two years, an incredible amount of recorded work has
been produced by guitarist and songwriter Lanny Cordola. In the
spring of 1992, Cordola and KEN TAMPLIN collaborated under the
moniker Magdallan to create BIG BANG. While waiting for the
release of Big Bang, Cordola's second solo effort, OF RIFFS AND
SYMPHONIES, showed him covering the musical spectrum, from rock
to blues to jazz to flamenco, which solidified his reputation as
one of the most talented guitarists around. Next, Cordola
indulged his love for the blues with not one, but two albums
under the name Shack of Peasants. Cordola has combined with a
new group to release REVOLUTION MIND as Magdalen, varying much
from the earlier Magdallan. Cordola talks about the various
aspects of his diverse musical career, and plans for the future.
MICHAEL CARD        8
Michael Card has long been one of the more popular adult
contemporary artists in Christian music. He has written numerous
songs that have become classics, including "El Shaddai," "I Have
Decided," and "Joy In The Journey." SLEEP SOUND IN JESUS, an
album of lullabies, however, has ended up being one of the most
successful of his career, at least commercially. Several months
ago, he released another children's album, COME TO THE CRADLE,
and he talked with THE LIGHTHOUSE about why he wanted to release
another album of lullabies.
STEVE TAYLOR        9
One of the most controversial Christian artists in the 1980's
may have been Steve Taylor. Weary of consistently having to
defend his actions, he gracefully retired from Christian music
to help form CHAGALL GUEVARA, who released a project with MCA
Records. Feeling the band had not excelled at defining itself
and had lost some of their vision, he has now returned to
Christian music and is releasing a new album, SQUINT. Taylor
took extensive time to chat with THE LIGHTHOUSE about the band,
his return, and the new album.
REVIEWS        12
Reviews of the latest projects by Steve Taylor, Sixpence None
the Richer, Magdalen, Crystal Lewis, Rez, Petra, White Heart,
Rich Mullins, Bruce Carroll, and Wayne Watson. Christmas album
reviews for 4Him, Kurt Kaiser, and Phil Driscoll. Also, quick
glances at the latest from Glad, Soul Mission, SONGS FROM THE
LOFT, and The Prodigal Sons.
INFORMATION CENTER        16
Get up-to date with new and upcoming release lists, Top Album
list, Classifieds, and some exciting news about THE LIGHTHOUSE
ON television.


EXECUTIVE EDITOR/PUBLISHER:
J. WARNER SODITUS
EDITOR:
BETH BLINN
CLERICAL ASSISTANT:
TAMMY SHOUP
CONTRIBUTING PHOTOGRAPHER:
PATTY MASTEN
CONTRIBUTORS:
ROGER APPELINSKI, BRYAN W. BRENDLEY, SCOTT AND MICHELLE DEERING, ANN HATHCOCK,
JULIE HENRY, MICHAEL A. KLEIN, RUSS NEUMEIER, ERIK SELLIN, KERRY STEPHENSON,
STEVEN C. TIMM
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OUR MISSION: TO ENCOURAGE PEOPLE TO ENGAGE IN A DEEPER PERSONAL RELATIONSHIP WITH
GOD THROUGH HIS SON JESUS CHRIST USING THE MODERN MEDIUM OF CONTEMPORARY CHRISTIAN
MUSIC. CHRISTIAN MUSIC, IN ITS VARIOUS CONTEMPORARY FORMS, CAN BE USED AS A TOOL
FOR ENCOURAGEMENT, CHALLENGE, CHRISTIAN OUTREACH, AND CREATING A POSITIVE INFLUENCE
ON MODERN CULTURE. THE LIGHTHOUSE SEEKS TO SHARE THE MINISTRY OF SUCH MUSIC
THROUGH IN-DEPTH FEATURES ON THE MUSICAL ARTISTS AND REVIEWS OF CURRENT RELEASES,
TO SHOW THE MINISTRY AVAILABLE FOR CHRISTIANS AND NON-CHRISTIANS ALIKE.

On the cover: Aberdeen Inlet next to the "world's largest floating
restaurant" in Hong Kong. Photo by Ben Pearson.

This being my first column, I wanted to explain some of the goals
and hopes I have for this publication. For a long time, music has been
a source of inspiration and education in my life. I have been
challenged, rebuked, encouraged, and taught through the efforts of
many artists over the past few years. And, I've been entertained. I
don't think that there is anything wrong with that, although I don't
think that is the only purpose of art and music. One of the things
that has long frustrated me has been the lack of knowledge about some
of the great music being produced by many Christian artists. I have
also been frustrated by the narrow vision that some people have about
the potential that music has in reaching out into the world. That is
why, over the next several months, I'll be exploring some ideas about
music, it's purposes, and ways that it can be used to connect with
people around us. I'll be sharing about some of the things that God
has taught me through the work of some different artists. That won't
always be limited to something in the "Christian" marketplace--there
have been some recordings in the musical mainstream that have spoken
to me just as much as some in the Christian. I don't think that God is
limited by our man-made definitions of what is "Christian" and what is
not.
I do not profess to have all of the answers--these will merely be
the thoughts of one person, and they won't always be right. What I
really hope to accomplish, is to have you think about the ideas put
forth, and form your own. I will look forward to reading your ideas
and thoughts, so drop us a note.
--BETH BLINN, EDITOR
NOTE: THE LIGHTHOUSE IS ALSO INTERESTED IN BEGINNING A COLUMN FOR
YOUTH LEADERS. IF YOU ARE A YOUTH LEADER WITH EXPERIENCE USING
CHRISTIAN MUSIC IN A YOUTH SETTING, WE WOULD ASK YOU TO SERIOUSLY
CONSIDER WRITING US A SHORT STORY CONCERNING YOUR EXPERIENCE. YOUR
HELP WILL BE GREATLY APPRECIATED. AS ALWAYS, ALL COMMENTS ARE WELCOME.
HAPPY THANKSGIVING!

CHRISTIAN ROCK"

FRIEND OR FOE?

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 *************
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   *   *    *
   *   *   **
  **   *   **
  **   *
       *

angelo de simone

Christian Rock: Friend or foe? deals with a highly sensitive and
controversial issue that is currently being disputed within the
established Christian church. Some very stern judgments have been
passed on Christian rock music and on the people who perform it, but
the musicians themselves, who see it as their personal ministry for
spreading the Good News, have not yet been given a fair hearing.

Here from a Christian musician's perspective, are thoughtful answers
to questions such as these:

* Who created music?
* Where does the Bible stand on music?
* What is the function of music for the Christian church?
* Is music an integral part of a Christian's life?
* Is "Christian Rock" a contradiction in terms?
* Are all the traditional Christian songs truly inspired by God?
* Is there any difference between secular and Christian music?
* Is the message of Christian rock songs a watered-down or shallow
  Gospel?
* Is Christian rock music too worldly, just another form of
  entertainment?
* Is Christian rock music a form of addiction or sexual perversion?
* How long had this controversy existed within the established
Christian church?

Over fifty reasons provided by Christians to the author for rejecting
rock music as an acceptable ministry from God are examined in detail,
revealing why there is such resistance to endorsing Christian rock
within the established Christian church. Each reason is discussed from
a logical, musical, and most important of all, scriptural standpoint.
To substantiate the discussion, 275 Scripture references are provided.
The reader is challenged to investigate the points raised by these
reflections and to reach his or her own conclusion as to their
validity.

Is Christian rock the friend of the established Christian church, or
its foe? Is it a dangerous obstacle to the growth of the church? Or is
it the great tool God has given us to further the coming of His
Kingdom?

The stakes have never been higher. Thoughtful Christians cannot afford
to reject an authentic ministry provided by God to bring to Himself
the people of this increasingly troubled world.


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AL DENSON
If you meet Al Denson, you'll notice almost instantly that he likes to
have fun. He loves to tease and has a hard time passing up a practical
joke. He's a person that loves to fly a plane and water-ski. His
concerts are filled with energy and silliness.
Of course there is much more to Al Denson than his humor. He is very
serious about the ministry that he is involved in. He has toured the
country extensively, with many performances being in high schools. He
has been able to reach a staggering number of youth. On his last tour
alone, there were over 37,000 decisions for Christ, with over 9,000 of
them being first-time decisions. Approximately 46,000 Bibles were also
given away.
Denson has recently released a new album, REASONS, as well as another
of his "Youth Chorus Kits." He was able to take a few minutes out of a
very busy day and chat by cellular phone (maybe that's why he gave
much shorter answers than usual...) to explain his "reasons" for the
recording the new album.
YOU MENTIONED THE NEW ALBUM, TITLED REASONS. COULD YOU TELL ME A
LITTLE BIT MORE WHY YOU PICKED THE TITLE?
If you look up the word "reason" in the dictionary it says "something
that requires justification of an act or intent of purpose." You know,
people always tend to look at Christians and say "Well, if that's what
it means to be a Christian, then forget it." And what they're really
saying is "give me a reason why I should give my life to Christ." So
the record's got ten good reasons.
YOUR "TOP-TEN LIST..." WHAT ARE A COUPLE OF THE SONGS?
"The Door" talks about giving your life to Christ--you have to step
through the door. "Ideal Love," "Alcatraz," "Reasons," just all kind
of different songs that I played, but the relationship to Christ is
the bottom line.
YOU ALSO HAVE A NEW PROJECT OUT FOR YOUTH LEADERS. WHAT'S THAT LIKE?
It's ten crowd breaker, ten worship, and ten praise songs. On one side
of the tape I put the track where they can punch it and play. On the
right side of the tape I put my voice and the kids singing what
they're supposed to sing. They listen to it and learn it, and then
they flip it over. So all these churches that don't have music, can
start having "Lean on me" and they can start having all the fun stuff.
Our churches are so hungry for that. This is probably my best kit to
date, because we added a bonus tape in it. It has all Christmas carols
on it, so when youth groups get together to go Christmas caroling they
have all the tapes for Christmas.
YOUR AUDIENCE IS GETTING A LITTLE MORE SPREAD OUT NOW. ARE YOU TRYING
TO DO ANYTHING DIFFERENTLY TO MAKE SURE YOU KEEP THEIR ATTENTION?
I'm not being as "out there" so to speak, but I'm still keeping the
students' attention, so it's great. I'm just being a little more
mature.
YEAH, YOU'RE TRYING TO BE A LITTLE MORE MATURE. I'M TRYING TO PICTURE
THIS. WHAT'S "MORE MATURE" FOR AL DENSON?
I think I've changed. I definitely don't think I've been that way,
either. I don't do booger songs anymore. More of what I sing from
stage is still funny, it's just a little more mature.
WHAT ARE SOME OF THE PERSONAL CHANGES THAT MAYBE HAVE MADE YOU A
LITTLE MORE MATURE?
I think it's just one of those things where, you just cross this
barrier, and you kind of say, "it's time to grow up and get serious
about what you're doing." I'm just getting more serious about
everything that I'm doing.
WHEN YOU'RE OUT HANGING OUT WITH THE KIDS AFTER THE SHOW, HOW ARE
THINGS LIKE THAT?
I'm still funny, I still talk to them, but I stayed behind the table,
instead of coming out around.
IS THAT PARTIALLY BECAUSE THERE WAS A BIGGER CROWD THERE?
No, it's just they'll come up and grab you and hug you, and you grab
back, and now it's a little more, just a handshake. I'm still talking
to them. A lot of times it's the same conversation, it's just a
different way of presenting it.
IS THAT THE MOST REWARDING PART OF WHAT YOU GET TO DO THERE?
Definitely hanging out with the kids, yes. Kids, adults, just to be
able to meet people, that's the best part.
I WAS KIND OF CURIOUS ABOUT WHAT YOU REMEMBER FROM YOUR CHILDHOOD
DAYS. WHAT DO YOU THINK SHAPED MOST OF WHO YOU ARE TODAY?
My parents' influence on me. The relationships with the pastors at my
church.
YOU WERE ALWAYS INVOLVED IN THE CHURCH?
Yes. One set of parents and one pastor for 28 years, pretty much
consistent there.
SO YOU'RE OVER 28?
I'm 33.
I DIDN'T KNOW YOU WERE THAT OLD.
It's just that I'm starting to act like it!
HAVE YOU AND YOUR WIFE, TRACIE, THOUGHT ABOUT HAVING A FAMILY?
That's another step that's making it a little more serious.
ARE YOU STILL WORRYING THAT YOUR MOTHER'S WISH IS GOING TO COME TRUE
AND YOU'RE GOING TO HAVE KIDS LIKE YOU?
I think that's still going to happen, I'm just kind of accepting it
now.
SAY YOU HAD A KID THAT WAS STARTING TO TURN OUT LIKE YOU WERE WHEN YOU
WERE A KID, IS THERE ANYTHING YOU WOULD TRY TO DO DIFFERENTLY?
I think I would get to know my wife a little better, my wife's a good
person. I would just do different things, like I intend to pray every
night when the kids go to bed, just different things that I think will
instill principles.
BUT NOTHING IS PLANNED IN THE NEXT FEW MONTHS, AT LEAST?
No, can't break that story yet!
SO, WHY ARE YOU DOING WHAT YOU DO?
I have a burden to reach people, and I know that this is what the Lord
required me to do, from way back when I was a little kid. So He gave
me the gifts to go along with the burden.
WHAT DO YOU THINK YOU'LL DO WHEN YOU'RE NOT DOING THIS ANYMORE?
I'll still be believing the purpose and using the music somehow, to
communicate the gospel of Christ. Maybe by helping other people get
started, who knows.
WHAT KIND OF ADVICE WOULD YOU GIVE TO SOMEONE WHO IS JUST STARTING
OUT?
Sing as much as you can, minister to people, and stay in the local
church.
WHAT DO YOU THINK, IF SOMEBODY APPROACHED YOU WITH A SECULAR RECORD
DEAL? NOT INTERESTED AT ALL?
No.
WOULD IT CONCERN YOU, IF, SAY BENSON GOT SOME KIND OF DEAL WITH MCA
RECORDS, TO GET IT OUT THERE IN THE MAINSTREAM?
If that's better for them, great. I definitely believe in taking the
gospel of Christ to the world. I just don't think that I want to be
unequally yoked. Since God gave me a call to do Christian music,
that's where I'll stay.
WHAT'S THE STRUCTURE OF CELEBRATION MINISTRIES?
They provide support on the road, and follow up materials and
counseling and scheduling, and make sure that things kind of get done.
AND HOW MANY PEOPLE WORK THERE?
Eight.
AND HOW LONG HAVE YOU BEEN INVOLVED WITH THEM?
About three years now.
WHAT KIND OF FOLLOW-UP DO THEY DO WITH KIDS?
Quiet time books, and we give them Bibles at our concerts with the
thirty-four questions that they most often ask. We give them the
answers to the questions, plus a decision card that's three-part, that
we link back to the church. Those are the things that we do there for
the decisions.
THAT'S GREAT, BECAUSE SOME GROUPS COME IN, AND IT'S A ONE NIGHT STAND,
AND THEY'RE GONE. WHEN YOU WERE GETTING INVOLVED IN TOURING, WAS THERE
ANY GROUP OR MINISTRY THAT YOU TRIED TO PATTERN YOURSELF AFTER?
Yeah, I liked Wayne Watson, because he lived in Houston, where I
lived. He was kind of my favorite cause he was really successful. The
ministry-base I liked was Carman's.
WHAT KIND OF TRICKS ARE YOU PLANNING FOR THE TOUR?
I'm going to start out with a band this year. I've never had a band,
so that's going to be a big step. ...what we did last year [with the
lights and video screens] was phenomenal, it had never been done
before, now that we know how to do it, we're really gonna do it. So,
it's going to be incredible.
I WAS JUST WONDERING WHAT KIND OF MESSAGES YOU MIGHT BE TELLING PEOPLE
AT THE SHOWS.
The message I've been pretty much giving them is that it's time to
settle the fact question. Here are the reasons on the table, deal with
God, or don't deal with God, but sure don't be lukewarm. Either get
hot or cold, for Him or against Him. Make up your mind. Draw the line,
and live like that.
DO YOU THINK THAT KIDS TODAY ARE REALLY THAT SKEPTICAL, THAT YOU HAVE
TO GIVE THEM LOT OF PROOF?
Yeah, if you want proof, that's cool. We got it, no problem.
DO YOU THINK THAT IN DOING THAT, KIDS HAVE LOST A LOT OF EMOTION?
No.
I THINK THAT SOME PEOPLE GET REAL STRICT LIKE THAT.
I think they're like that, but at the same time, a relationship with
someone is usually an emotional relationship--it's factual, it's
spiritual, it's physical, it's emotional. That's a piece of it. I've
poured my guts out many times before God. So you don't want to take
the emotion out of it. I deal with the emotional side, but not a lot.
I focus on the [factual side]. You want reasons, here they are. Don't
grow up apathetic and passive, don't let the moment pass you by.
DO YOU SEE ANY COMMON PROBLEMS THAT KIDS ARE REALLY DEALING WITH MORE
NOW, THIS PAST YEAR MORE THAN BEFORE?
I see it's still geared in the same direction. They're still
struggling for their identity and they're pulling further away from
society and saying "I'll do it all on my own." Which is the cause of
loneliness, bitterness, and anger, it's a tailspin.
WHAT'S THE BEST ADVICE YOU COULD GIVE TO YOUTH LEADERS TO KEEP THE
ENERGY FLOWING THAT YOU'VE CREATED IN YOUR CONCERTS?
You know what students have figured out in the nineties? They know if
you're real, and they know if you're not. You know, the person who has
no musical talent, who can't sing a note, is afraid of a microphone,
and stutters, kids will respond to that person fifty times better than
somebody that's a singer that's got it all together, that doesn't
really care that much about reaching the kids and being real. I think
the number one secret is to make sure that that the platform you have
is protected by people who are real.
Two, I don't think it's reaching the masses anymore. I think it's
being able to walk off a platform and be one on one with them. Sit
down and have a Coke with them. Look them in the face and talk to
them.
Three, when you talk about the energy there, you get tired of the same
old thing. Make it different. Always make it different, think of
another way to do the same thing. What people help create, they
support. You want to have a fired-up youth group--get kids doing
something. That's why at my concerts, I pull people out of the crowd.
It just kind of makes you get closer and closer. So I would recommend
those things, then involve music, and involve speaking, and if you're
going to say it, don't take ten minutes to say it.
--J. WARNER SODITUS


LANNY CORDOLA
In the past two years, an incredible amount of recorded work has been
produced by guitarist and songwriter Lanny Cordola. Involved in the
1980's with mainstream bands GIUFFRIA and HOUSE OF LORDS, in 1989
Cordola left HOUSE OF LORDS and decided it was about time he started
to get God involved in his life again. He eventually came into contact
with KEN TAMPLIN, a former guitar student and fellow believer, and the
two decided to work together. The spring of 1992 brought the long-
awaited release of BIG BANG, the collaboration of Cordola and Tamplin
under the moniker Magdallan. The album had actually been recorded some
time before that, but problems with the record company prevented its
release. Eventually Intense Records, a division of Frontline Music
Group, was able to release it, to the expected critical acclaim. By
this time, however, Cordola and Tamplin had decided to go their
separate ways, at least musically.
While waiting for the release of BIG BANG, Cordola did his first
solo album, ELECTRIC WARRIOR, ACOUSTIC SAINT. About a year ago,
Cordola's second solo effort came out. A musical tapestry entitled OF
RIFFS AND SYMPHONIES that showed him covering the musical spectrum,
from rock to blues to jazz to flamenco, the album only solidified his
reputation as one of the most talented guitarists around.
Next, Cordola indulged his love for the blues with not one, but two
albums on Metro One, under the name Shack of Peasants. Working with
other blues enthusiasts too numerous to mention, Cordola and company
produced two fine tributes to a genre that has long been ignored in
the Contemporary Christian industry, although that has been changing
over the past few years.
Then came the news the a new Magdalen album was forthcoming, with a
change in players and sound, hence the new spelling. Well, that album
is out now, and is every bit as compelling as the first, although the
two are in no way similar. I recently spoke to Cordola about his past
work and his plans and hopes for the future.
Born and raised in Southern California, Cordola started playing in
bands in junior high. He cut his musical teeth playing clubs in and
around the Los Angeles area, and eventually had some national success
with the aforementioned GIUFFRIA and HOUSE OF LORDS. Along the way,
he's also done some film and television work, appearing in "Tap," the
1988 movie starring Sammy Davis Jr. and Gregory Hines, and putting in
some 15 appearances on the television sit-com "Full House." The "Full
House" stints have been courtesy of his long-time friendship with John
Stamos, actor and musician, who also introduced Cordola to THE BEACH
BOYS, which has resulted in Stamos and Cordola touring as back-ups for
the legendary group. Stamos and Cordola went to the same junior high
school, but they didn't actually meet until ten or eleven years ago.
Raised in the church, Cordola pretty much drifted away from God
during his involvement in music during the 1980's--that changed in
1989. "After I got off the road with HOUSE OF LORDS was when, in 1989,
I started going to Hal Lindsey's church and, was really taken aback by
his approach, I really started getting back into it, at about that
point. I'd always believed, I grew up in the church. It's just taking
an active participation, of getting back into the Word, kind of
stimulating that part of your person, your spirituality, you know, the
message of hope. I was raised by a great family, I had a lot of
things, but I was kind of getting a little bit jaded and burned out by
the whole scene, which can happen, and I let it happen. So I just
needed that kind of thing to get my bearings back together. Whenever
you shy away from God, the ramifications can be quite far-reaching."
In dealing with his friends and acquaintances in the music business
after he made the decision to involve God in his life once again,
Cordola has been careful not come on too strong. "I've never been much
for trying to beat them over the head to believe what I believe. I'm
much more into. being a good person, trying to help others, being a
loving person, and whatnot [rather than saying] 'Oh man, you've got to
believe, man, you've got to repent,' or whatever, cause everybody
falls short. The Bible says that itself, you know, we all fall short
of the glory. So there was no big deal, [when he made his decision] I
think people have their different ideologies of what they think being
a Christian is, and part of what I like to do is help break down those
barriers of what it is. I have no problem going off and working with
somebody who is not a Christian, as long as they're an upstanding
person, because I've had my dealings with that [and they] have not
been that great. I have friends who are atheists, and we agree on
everything except God, and who knows when God will speak to them--we
don't know, that's a mystery of life."
Having worked on both sides of the fence, in both the mainstream
and Christian music industry, Cordola has found there to be some
similarities, unfortunately. "I think that, unfortunately, when you
are using God, like [someone saying] 'Okay brother, we really want you
to do this'---I have problems with that. You are going to get treated
badly in both arenas, depending on who the people are. I mean, in
becoming involved in the Christian music area, I've met some of the
greatest people, and some of the not-so-greatest people--as far as my
dealings with them. But when they start [manipulating God], I have a
problem with that. I'm uncomfortable trying to go to a Christian
bookstore, to sell my record, for my gain--I would much rather try to
set up, if I'm going to do that, set it up so that it benefits, maybe
the community, or abused kids, or homeless people, or whatever,
because those are the kind of causes that I believe in and would like
to get behind. Those were the kind of causes that Jesus was into, you
know, helping people, not just out for strictly selfish motives."
Some of Cordola's experiences have been such that he has elected,
for the moment anyway, to handle the management aspects himself--which
is a pretty unusual situation. "Basically, all I like to do is just
play music and write my songs and contribute to the community in a
positive way. But, unfortunately, in order to do that, I have to meet
with lawyers, publicists, promotion people. In order to do your music,
you have to do that too. We have people that want to manage us
[Magdalen] but I've had bad luck with managers. I spent a year trying
to get out of a contract...when the time's right and the right people
come around, we'll know."
Handling things himself has given Cordola that freedom to pursue
projects that he loves, but wouldn't necessarily produce lots of
money. Such was the case with the Shack of Peasants projects. A
friend, Mike Black, and Cordola came up with the concept, and were
able to interest a plethora of musicians into participating. What
resulted was two albums of great music, in tribute to some of the
artists who have had an effect on the musicians involved, especially
Cordola's heroes--BLIND WILLIE JOHNSON and the REVEREND GARY DAVIS.
With the second Magdalen album, Cordola repeated some of the
circumstances of the first one. "Philip is a guy that I've known a
long time. I used to give lessons to him and Ken Tamplin--I guess it's
developing into a thing, after ten years of taking lessons, you have
to play in a band with me," laughs Cordola. "He [Philip] is just a
real talented guy. We'll see how things roll in the future, but, he's
exciting.. With Ken, we never played live, so I didn't know what it
was like to work with him live, but it was kind of the opposite with
Phil, we played live first. He's got a real passion for the same
stuff. Me and Kenny didn't really see eye to eye on a lot of music--
he's really into the SCORPIONS, more hard rock stuff, and I'm more
into, like, blues and soul music. Like MARVIN GAYE, AL GREEN, and
Philip--that's his first love. He loves GLADYS KNIGHT, STEVIE WONDER,
VAN MORRISON, and I really like BOB DYLAN, his songwriting."
Magdalen has been playing in clubs in California, and Cordola is
hoping to have some touring in 1994. He would definitely be agreeable
to some mainstream exposure for Magdalen, through a distribution
agreement with a secular company, or through RGD Entertainment, a
label that he is currently working on starting. "I think, as an
alternative to a lot of these bands, like Nirvana, Alice in Chains, or
those kind of [negative] bands--there's a lot a negativity out there
for the kids, and for the people in general, that are troubled people
that really follow this stuff. I want us to have a kind of alternative
for them. You know, you have the really ministry-oriented bands, which
serve their purpose, and then you have a band like us, who look at the
world through our eyes, and if we can reach some people from that
perspective, who may not be into the ministry-oriented stuff--and
that's not a criticism, you have to follow your heart to wherever God
leads you, and this is where I think he's leading us. Every song on
the record is based on something that's happened to us, or we've seen,
and it's real honest, in that respect."
In the meantime, as if the amount of work he has produced in the
past two years isn't enough, he has more coming. This month brings a
Christmas album on Frontline, and he is going into the studio in
several weeks to cut a jazz album. Not to mention, a gospel album is
in the works, using all of the Magdalen members, but not under that
name. If he's able to maintain the energy to complete it all, the
amount of music produced by this man should be more than enough to
satisfy any fan.
--BETH BLINN


MICHAEL CARD
Michael Card has long been one of the more popular adult contemporary
artists in Christian music. He has written numerous songs that have
become classics, including "El Shaddai," "I Have Decided," and "Joy In
The Journey." His albums are known for their serious, scholarly
approach to subjects, and he tends to write in themes. Holding a
master's degree in theology, he has written two musical trilogies--one
on the life of Christ, and the other on the Old Testament.
With such a background, there was some surprise when he came out
two years ago with SLEEP SOUND IN JESUS. An album of lullabies, the
record ended up being one of the most successful of his career, at
least commercially. With a companion book that had the lyrics from the
album, as well as other writings by Card, the album sold more than
400,000 copies.
Although the record was very successful, Card really had no plans
to repeat it. Then came Nathan, Card's third child. "We thought we
were done having kids," says Card, "and then the third one came along.
And I started writing lullabies again--that sort of puts you back into
lullaby mode."
Card has long been a believer in the power of music, and in the
ability for children to teach adults. "In American Christianity, in
general, I think there's probably somewhat of a dearth of considering
children as a spiritual resource, which is what they are. I don't
think that we could be doing enough really good music for children. I
think that a lot of the children's music underestimates kids' ability
to understand spiritual things. And when I say that I believe that
kids are a spiritual resource--I mean that. I think that children
teach us more about God then we teach them. And certainly we need to
be responsible, and keep encouraging them, and keep instructing them,
because that's part of our responsibility. I think, when I write
lullabies, it's as much in tribute to children as it is, in a
premeditated way, trying to teach them something. I think that point
of view is needed more in American Christianity."
In comparison to recording his other work, doing the lullaby albums
has been relatively easy, both in writing and recording. "Lullabies
are fairly easy to write. The other records I write take years, but a
lullaby record, I mean, in two or three months, it's not very hard
write ten or fifteen lullabies... Daily I'm singing my kids to sleep,
and working with them. And they give me ideas for songs, so I have a
great resource for song ideas. They're shorter, and they are just
easier--the music needs to be a little easier. Even recording them is
easier, because we didn't use many big string sections or anything
like that. It's just a lot more enjoyable process."
Although Card has enjoyed doing the lullaby albums, he doesn't
really foresee any more in his future. "My intuition is sort of that
two albums of lullabies are probably enough. I think I will be writing
more kids records, and in fact, I am working right now--Calvin Miller,
who's a good friend of mine, has a book of children's poetry. And I'm
working right now on putting those to music, for a tape that will go
along with that book. It's called 'When the Aardvark Parked in the Ark
in the Dark."
While the lullabies are written for children, there are some things
that Card hopes the parents get out of them. "I think, in general,
it's an encouragement to parents to invest themselves in the life of
their children. I think that the kind of people that would buy a
record like that in the first place are probably people that are
already somewhat sensitive to that. I think the record serves as a
reminder that children are a blessing, and all of us need to be
reminded of that, because children are fallen like the rest of us, and
they can be difficult," Card says. "I think beyond that, there's a lot
of smaller messages. I think the idea of a child's willingness to
accept a free gift, a child's simplicity--those sorts of things."
While the album is perfectly able to stand on its own, Card created
the companion book to further its ability to communicate. "It's to
help clarify things. It's illustrated, so that parents and children
can look at it together. Some of the songs are purposely written so
that kids will ask questions. I hope that people don't just put the
tape on, and leave the kids in there to go to sleep. I hope that it
becomes an interactive thing. That time of day, I think, is a crucial
time, because it can go one of two ways. When you're trying to put a
kid to sleep, it can become a tense thing, because most of the time
they don't want to go to sleep, especially the younger ones. Or, it
can become a redemptive time. And the record will hopefully help swing
it that way."
While Card has enjoyed doing these albums, he is ready to get back
to the type of music that he is best-known for. "I have the next
several years probably pretty well mapped out. I'm finishing a
commentary on the gospel of John, that I've been working on for about
three years. It's supposed to be done by January first, but I don't
think it will be. I'm writing the next record right now. In fact, I
finished a song last night for that. The basic idea of the record is
listening to your life, that God speaks through the parable of your
life, that your life is a poem. And then, I'm eventually going to do a
record on the book of Hebrews and one on Revelations. And there are
other books that are in the works--one book on creativity, that I've
been working on for a long time. So, I've probably got too many irons
in the fire."
So, for fans of Michael Card, there are many good things to come.
--BETH BLINN



STEVE TAYLOR
ONE OF THE MOST CONTROVERSIAL CHRISTIAN ARTISTS IN THE 1980'S MAY HAVE
BEEN STEVE TAYLOR. AFTER RECORDING AN ALBUM ON A SECULAR LABEL WITH
FELLOW CHRISTIAN MUSICIANS UNDER THE NAME CHAGALL GUEVARA, TAYLOR HAS
RETURNED TO A CHRISTIAN LABEL WITH A FRESH OUTLOOK ON CHRISTIAN MUSIC.
Before beginning his musical career, Taylor worked in Colorado as a
youth pastor for five years. "As a youth pastor," he remembers, "it
was sometimes difficult to bridge the gap between contemporary culture
and what is perceived as traditional church ways, or something like
that. I suppose music, in one sense, helped bridge that gap. Probably
the thing that drew me towards writing the kind of songs that I do is
because I think you have to engage people's minds, as well as their
emotions, in an effective presentation of Christianity, and it's very
hard to do that. Much of modern Christian songwriting does a really
good job of engaging the emotions, but doesn't do a very good job of
engaging the mind. Probably some of the satire and word play in the
songs that I write is a result of feeling that that's an important
element of it all."
Much of this "intellectual stimulation" came through sarcasm,
satire, and sometimes cynicism--not at all welcome by most American
Christians. This always seemed to leave Taylor struggling to defend
his songwriting. From his 1983 debut EP release, I WANT TO BE A CLONE,
with "Steeplechase," "I Want to be a Clone," and "Whatever Happened to
Sin?" to his final album I PREDICT 1990 with "I Blew Up the Clinic
Real Good" and "Since I Gave Up Hope I Feel a Lot Better," questions
over the satire were always being raised, and eventually led him to
"retire" from the industry.
Taylor's departure from the Christian market was not sudden or
dramatic. "I actually told my band a year before we did our last
concert to be ready because this might be the last tour we do," he
remembers. His main reason for the exit was that he grew weary of the
controversy.
Probably the biggest controversy revolved around the album cover
for his I PREDICT 1990, which was designed by his wife, Debbie. To
some, it looked like a tarot card. He shares, "That, combined with a
pretty successful author who was writing that I was a new-age guy. It
wasn't like a couple people shooting off, enough people were believing
it. At a certain point, I was spending more time defending myself than
I was talking about music and the mission and all that. I'm very
seldom angry. I'm usually a very happy guy. It was uncomfortable to
always be defending those things that I felt were so ridiculous--[I
felt like asking] 'Should I not at least get the benefit of the doubt
on some of the issues that seem pretty absurd?'"
"Some of that I didn't mind because, when you're talking about
controversial songs like 'We Don't Need No Colour Code' or something
like that, I'm happy to talk about that stuff, because that's worth
talking about. When you're talking about tarot cards and new age hand
signs, that's no fun--that's just silly."
"That, combined with just the sense that if I wanted to keep doing
this, I wanted to be able to achieve certain artistic goals, as far as
concerts, the production, making records, and being able to achieve a
certain standard there. It was really going to require toning down or
becoming more mainstream as a gospel artist to keep selling that
number of records and all that stuff. To me, whatever I'm doing, there
needs to be joy and there needs to be enthusiasm. I felt like I could
leave at that time with all those things intact, but if I would have
stayed in and did another album and did another tour that I would be
definitely flirting with carrying on for the wrong reasons. It was a
good time to bow out gracefully."
CHAGALL GUEVARA
Following his "exit" from Christian music, Taylor teamed with Wade
James, Mike Mead, L. Arthur Nichols, and Dave Perkins to form Chagall
Guevara, which released a self-titled album on MCA Records. Working
with a secular record company was not an entirely positive experience,
perhaps partly due to their unique situation.
"We formed the band aiming for a pop deal and sort of setting our
sights down one road. In some ways, part of the problem was there was
no good model for what we were trying to achieve. To my knowledge,
there was not a situation where a group of Christians who had all been
involved in gospel music got together and went specifically for a
[mainstream] deal, particularly in the alternative vein that we were
in."
Many external problems plagued the band. However, Taylor now
recognizes that an internal problem may have been that, "We had done a
better job at defining what we weren't than what we were."
"All of us are Christians. None of us are ashamed of our faith, but
it's like everyone had their guard up, and I think some of us in the
band were almost paranoid about being associated with gospel music. I
was not particularly, because I was very happy with what I had done in
the past and I felt that, at a certain point, it becomes inevitable
that if we achieved any measure of success, the press will start
sniffing around and will find out everything about us anyway. So,
there's no sense trying to act like we're something that we're not
from the beginning. For me it's no fun to try to reinvent your past,
trying to say that you came from some place you didn't come from--not
that that necessarily happened. I've seen other incidents where gospel
musicians are trying to make a cross-over and they sort of act like
they're someone that they really aren't. I think that always creates
problems."
Past experience as a band leader while a solo artist did not quite
prepare him to become a member of a band. "It's just a whole different
dynamic that goes on in a band that I hadn't dealt with before," he
explains. "Even though I had a band as a solo artist all the time, it
was a different thing--it wasn't a democracy. Decisions were made a
lot quicker than in a band."
"The decision to play Cornerstone or Greenbelt, those were
decisions that were very hotly contested within the band and probably
took a lot out of us by the time we decided to do it. Once it was
done, everybody was glad we had done it, but it was like every single
move was analyzed to death."
"On the creative side, the musical side, there's a different kind
of satisfaction that comes from making music as a group and everybody
being sort of equal partners. It's not always necessarily better or
worse, it's just different."
Taylor still has come to no firm conclusions on the band
experience. "I still have mixed feelings about it. I really like the
record we made, but towards the end, the pressures of trying to make a
living trying to do it, especially for the guys who have families,
just became overwhelming. It's still a hard thing to put my finger on.
I would love to do some more stuff in the future, but I think I made
the comment in the band's last year of existence that it was starting
to feel like it was more of a hobby than it was a real band,
especially since we weren't playing live much--which was one of the
cornerstones of being a band in the first place. I think there was a
certain sense of mission that, if it ever did exist, which it might
have at first, it was starting to get lost. For myself, I was really
missing that sense of purpose, beyond just making a good record or
being successful or the normal things that go along with making a
record. There was definitely a sense of mission that I felt when I was
a solo artist that I was becoming wistful for. It was that thing that
can propel your writing a lot more succinctly sometimes. When that
starts going, other forces start to take over. Those are the things
that sort of pulled it apart."
THE RETURN TO CHRISTIAN MUSIC
Taylor's much awaited return will be produced through Warner
Alliance. The decision to sign there was partly for the same reason he
originally signed with Sparrow Records for his debut. He explains,
"They [Sparrow] didn't have anything even remotely like what I was
doing. In many ways, Sparrow was at that time, more middle of the road
and had nothing rock and roll at all. Warner Alliance was in the same
position, but they really wanted something, they had been waiting for
a long time trying to make sure it was the same thing. One of the
things that's happened is that I've gotten so much enthusiasm from the
people at the record label. It's so far from what they normally do,
that it makes for a lot more fun. That was the theory and so far it's
proved to be true."
Taylor depends most heavily on his pastor for guidance in his
career decisions, who he gives much credit for encouragement in
deciding to pursue another Christian album. "My pastor probably had
more to do with ultimately making the decision to do this record than
probably anyone else," he tells. "He was a fan of the band and liked
what we were doing and liked the idea behind it, but I think he used
the word, 'I PLEAD with you to go and do this.' So that was good to
hear. Fellow Christian friends were also very helpful in giving their
perspective on the decision as far as what they felt."
"I doubt that it would have happened without the experience of the
band, in that I saw a very hard contrast. There was something to it,
in that doing a gospel album seems like a privilege now."
"I think there's a freedom as well in being a solo artist. I don't
talk about this a lot, but one of the reasons I never considered
becoming a pastor was because my dad is a pastor and I couldn't
understand how he could take all those committee meetings. I was in a
band and every decision we made had to be made by a committee and it
was really draining. It was great to make decisions quickly and see
the whole thing come together instead of laboring over every
decision."
SQUINT
For his new release, Taylor is joined by Chagall-mates Mike Mead
(drums) and Wade James (bass), along with Phil Madeira (keyboards)
and, somewhat surprisingly, Jerry McPherson (guitar). Taylor comments
on McPherson, "I hadn't actually thought of him. He's a really good
friend, but his main work has been far different types of music, but
he really wanted to do it. I was really happy with the work he did."
One of the songs that has received advance airplay, and crested
some excitement is "Bannerman." Taylor explains the significance,
"After the band experience, the idea of some, possibly goofy, guy,
standing up at football games holding up a banner with 'John 3:16,' in
many ways totally artless and very naive by contemporary standards--
that idea really appealed to me. It made me remember that much of the
reason I'm a Christian today is not because of cool artist guys who
were Christians who really made me want to become like they are, but
because of people preaching the Word, pointing people to the Bible,
sort of the basics of the faith. I think there's a good place for
that."
"In making this album, I think I was originally going to call it
THE KITCHEN SINK. If there was an idea that I had, I wanted to try it,
I didn't want to decide if it was an alternative sound or not. The
record just kind of came out the way it came out. I also wanted to
make sure that people didn't need an encyclopedia to figure out what
the songs were about. I tried to make sure that these songs weren't so
obscure that nobody would have a clue."
Noticeable on the new album are several, what appear to be, more
personal songs. While Taylor admits that these and all his past songs
are not autobiographical, he shares, "It is probably true that I've
written songs in the past, sort of cautionary tales and they were
cautioning myself as well as the listener. I suppose I've set my
markers on life's path as far as different songs to nail down a stake
in the ground to, 'Don't cross off into that direction because you
wrote songs like that and you're going to look like an idiot if you
do.' The fear of embarrassment can be very potent."
In preparation for the album release, Taylor took a trip around the
world and recorded segments for videos. He is now diligently working
on editing those clips for a video project, which he almost brags,
will include "the first music video ever filmed in Vietnam."
He also will spend some time with his wife, Debbie (who is becoming
very successful as a painter) before embarking on a college tour in
the spring--which he will probably enjoy since he will be able to get
away from Nashville for a while.
--J. WARNER SODITUS
ED. NOTE: SOME ADDITIONAL INFORMATION FOR STEVE TAYLOR FANS--
SPARROW IS PLANNING A BOXED-SET FOR EARLY 1994. REX MUSIC IS ALSO
BEGINNING WORK ON A TAYLOR TRIBUTE ALBUM ENTITLED I PREDICT A CLONE
THAT WILL FEATURE VARIOUS ARTISTS COVERING HIS SONGS--IT IS SLATED FOR
A MAY 1994 RELEASE.

All photos by Ben Pearson. ABOVE: at Power Station Falls outside
Dublin, Ireland. LEFT: Ashburn Place near Battle, England. UPPER LEFT:
Roman amphitheater ruins at Pamukkale, Turkey. PREVIOUS PAGE: In a
bicycle taxi near Ho Chi Min's tomb in Hanoi, Vietnam.



REVIEWS

STEVE TAYLOR SQUINT (WARNER ALLIANCE)
For fans who have awaited Steve Taylor's return, SQUINT should not
disappoint. In a modern rock/alternative vein, ala CHAGALL GUEVARA, he
continues his lyrical assault on "Smug" Christians and has forged some
more emotional, personally revealing, and cautionary tales that have
grown much more metaphorical than his early work. He delivered on his
promise to try almost anything on the album--it is the most diverse
ever seen from Taylor, who naturally wrote and produced the project.
The album begins with "The Lament of Desmond R. G. Underwood-
Frederick IV," an aggressive pseudo-industrial tune with edgy guitars
that talks about a man that has been to a few too-many self-help
groups. Desmond gets word from God that it's his time to go and is
upset because he had "just found the lost key to my mythic life."
Needless to say, Jesus wasn't the key to his life. "Bannerman" follows
as maybe the catchiest song on the project, with some excellent
backing guitar work by Jerry McPherson lending to a slightly popish-
rock feel. "Bannerman" is a tribute to the person that holds the "John
3:16" sign in the end-zone during football games.
"Smug" continues in the alternative rock format with a hard-hitting
slam on Christians being proud and smug and accomplishing nothing
worthwhile. In a slower, more alternative feel, "Jesus is for Losers"
metaphorically tells his version of the story of CHAGALL with a stark
reminder that we could never earn our salvation--Jesus died for all
"losers." "The Finish Line" regains a bit of the edge, artfully
describing the race of Christian faith as he observed some friends
struggling. "The Moshing Floor" is another of the edgy tracks that
points at parent's lack of concern and effort in caring for their
children.
Next, the album takes a turn to the strange side. Taylor points
another cautionary finger at today's lazy, wishy-washy Church in "Easy
Listening" with a bizarre almost reggae sound. He takes a theoretical
look at what today's Christians might sound like in 2044, in
remembering the times when they "didn't hear none of this 'sacrifice'
bull," when "the sermons were affirming," and when they felt "I'm ok,
you're ok, we're ok." "Curses" continues the commentary on family
disintegration begun in "The Moshing Floor" in a rough alternative
setting. Taylor continues the CHAGALL story in "Sock Heaven," getting
almost autobiographical through some awkwardly dry vocals. But, the
strangest tune is saved for last, "Cash Cow (a rock opera in three
small acts)," beginning as almost a monastery chant. With almost
spoken lyrics, it is vaguely reminiscent of a sped-up "Harder to
Believe" from I PREDICT 1990. Despite the strange, yet enjoyable
musical setting, the lyrics caution against to much dependence on
money.
SQUINT should appeal to fans of CHAGALL GUEVARA and that brand of
alternative rock, and to people who like a little "bite" to their
lyrics.
--ROGER APPELINSKI
SIXPENCE NONE THE RICHER FATHERLESS AND THE WIDOW (R.E.X. POP�U�LI)
When I first heard the title cut "Fatherless and the Widow" on a
sampler CD, I was immediately struck by the song's profound simplicity
in its musical arrangement and production quality. The melody eased me
so effortlessly into a relaxed contemplative mode that I knew that a
great deal of skilled artistry had been poured into each stanza. I
didn't initially know what they were singing about, and later realized
that it was a touching portrayal of the loss of a loved one to death
and how behind closed doors, they reveal their fears to the God of
Heaven above. It was then that I realized that this group, Sixpence
None the Richer, was a group whose complete album I eagerly awaited.
Their freshman debut, FATHERLESS AND THE WIDOW was NOT a
disappointment.
From the CD cover it is apparent that this young duo is being
marketed as an "artsy type" alternative group, and truth be told,
their style is rather unique. The first cut, "Field of Flowers" is a
very carefree tune that showcases a few acoustic and electric guitars
accompanied by a drum. Nothing of any great spiritual significance is
conveyed as Leigh Bingham's youthful mezzo-soprano voice ably flits
through every guitar rift singing, "these lyrics are so frivolous they
really have no meaning, but I wrote them for you." While this fun song
seemingly sets the initial tone for the album, the rest of the songs
very consistently fit in with the overall theme of the album; that of
life and the ways a believer faces various aspects of it.
The title cut is a heart wrenching, yet soothing, song for anyone
who has ever lost a close family member and dealt with grieving. The
song cuts to the heart of adjustments undergone by the deceased's
survivors, but offers hope that there is still a God who is very near
to them--listening to their crying.
Overall, this album is one where every song could really stand on
it's own merit. When compiled together, however, they paint a unique,
ministering picture of the variety of thoughts and struggles undergone
by someone who has cried out to God.
--SCOTT AND MICHELLE DEERING
MAGDALEN REVOLUTION MIND (ERG)
Fans of BIG BANG, the first release under the name Magdallan (note
the different spelling) should not be expecting a repeat of that
style. The first project, a collaboration between KEN TAMPLIN and
Lanny Cordola, carried many of the TAMPLIN trademarks of heavily
layered vocals and straight-ahead rock and roll. This time, without
the presence of TAMPLIN, who has gone on to form his own group,
Cordola's influence is at the forefront.
Consequently, the music has become funkier, bluesier, and more
soulful. Teaming up this time with vocalist Philip Bardowell, bassist
Chuck Wright and retaining drummer Ken Mary from the first album,
Cordola has forged a standout, definitely one of the best I've heard
this year. The musicianship is tight--Bardowell has a great voice for
this type of music, and has some awesome moments. Cordola displays his
well-known talents, without overwhelming the songs, as some guitar
"heroes" are known to do. Wright and Mary provide a solid, grooving
frame from which Cordola and Bardowell can take off from.
Those familiar with Cordola's solo albums and his work with Shack of
Peasants are well aware of his love for blues music. Coupled with
Bardowell's penchant for funk and soul, the duo has crafted a bunch of
songs that combine these elements with rock to create a sound that is
fresh.
Although there isn't a bad song in the bunch, some standouts are
"Revolution Mind," "Baby Insane," "Soul Child," "Waiting For the Son,"
and "Testimony." The first two are rockers, with some great rhythm
work by Wright and Mary. "Soul Child" and "Testimony" are acoustic,
with nice percussion work and touches of violin on "Testimony."
"Waiting For The Son" is a cool, bluesy number that has a great solo
by Cordola.
Lyrically, Cordola and Bardowell comment a lot on the state of the
world around them, pointing to God as the only answer to all of the
problems. This isn't a praise album, but one that confronts some of
the things that people try to ignore--apathy, poverty and violence are
just some of the topics.
Highly recommended for anyone who likes music that grooves and
lyrics that provoke thought.
--BETH BLINN
CRYSTAL LEWIS THE BRIDE (METRO ONE)
I must admit that I was totally unprepared when I first listened to
this album. I expected to hear some light, fluffy pop--needless to
say, I was very wrong. Instead, the album is set primarily in a jazz
setting, with several heavy gospel and R&B influences being felt.
The first half of the album is definitely jazz based, with slight
pop tendencies. "Don't Worry" and "Little Jackie," with jazzy and
almost scat-like vocals, encourage us to trust the Lord and to live to
show the people of the world what they need, despite their mocking.
"The Mother and the Bride" basks in the wonder that God calls us his
bride and how He will take us home. The most jazz-like tune, however,
is "Jesus Belongs in Your Heart," which encourages a friend to accept
The Lord.
"You'll Be Back For Me" is a sort of pop-rock tune, which is
followed by "Holy Place," a straight-ahead gospel track. Lewis plays
well off the gospel choir providing good energy.
Most of the lyrics were penned by Lewis and husband/producer Brian
Ray. They are direct and accessible, primarily expressing thanks for
the wondrous aspects of God's expressions of love towards us, and the
comfort we feel in return.
Lewis' vocals are crisp, enunciated wonderfully, and versatile--
blending with the jazzy and turning more soulful on the gospel-ish
tunes without straining. The only drawback on the album is that even
though the versions are completely distinct (one being a very soulful
acapella version with the other a more reserved jazzy rendition), and
truly enjoyable in their own right, two recordings of "Amazing Grace"
on the same project was still a little awkward. Apart from this, the
project shines with a unique musical setting.
--ROGER APPELINSKI
REZ REACH OF LOVE (GRRR)
REACH OF LOVE, the newest album from one of Christian rock's oldest
and best group of musicians, is a definite standout for this year,
with the kind of lyrics and production that makes fans eagerly look
for more in the future. This group can really rock, and their
musicianship is without question, some of the best I have heard in a
long while. This album is also unique enough to be readily accessible
for both hard-core fans of Rez and for newbies like myself who want to
find out what all the fuss is about. Neither group is likely to be
disappointed by the music, which is both smooth and tight in a way
that few rock albums can match.
Part of the reason for the high quality are the penetrating lyrics,
written mainly by Dave Canfield, which both motivate and convict. The
main theme of the album is the lengths and extremes that God's love
will go to and the need for our love to extend as far to a
tremendously needy world. The title track is a quietly touching song
which vividly describes the desire of a man to always be able to feel
God's loving touch. "Heart's Desire," describes the appreciation for
the One who, for the sake of love, became a "Cursed Blessing, Blessed
Curse." Both of these songs are very intense, yet touching, and
express the breathless passion of someone receiving a love that they
realize they can never deserve or earn.
Another aspect of the theme of love in this album is the need for
the far-reaching, ever patient love of God to be expressed to the
world at large through believers. These songs are particularly
convicting and strong with vivid imagery of a cold, lost world without
hope for relief apart from selfless love.
REACH OF LOVE is an album full of classic rock that is challenging
musically and morally, and will earn a much deserved place in any
collection of classic, hard-hitting, and current rock.
--SCOTT AND MICHELLE DEERING
PETRA WAKE UP CALL (DAYSPRING)
With their latest, Petra made a major production switch to team up
with Brown Bannister. The results are noticeable in a smoother, less
harsh sound, with some nice background vocals.
The bass is more gracefully blended with the drums to provide the
rhythm layer, playing off very heavy keyboard sounds and effects
throughout much of the project. Another obvious change is that except
for the first song, John Schlitt actually sings on the project, saving
the screamed vocals that were so over-used on UNSEEN POWER for
punctuation and emphasis here. The tunes aren't much less urgent and
aggressive than UNSEEN POWER, they just rely on the rhythm and chanted
background vocals, rather than the lead vocals, to convey the urgency.
Perhaps what shines most on the album, however, is another great set
of lyrics, primarily from Bob Hartman. Topics range from the urgent
"Midnight Oil" (being ready for Christ's return) to "Strong
Convictions" (remaining true to our faith) to the excellent ballad
"He's Been In My Shoes," (the wonder and mystery of Christ's human
existence) to the rocker "Underneath the Blood" (the forgiveness we
receive through Christ). Ronny Cates composed much of the music,
working with Hartman on several tracks. John Lawry contributed
"Praying Man," which packs a great hook discussing the importance of
prayer. John Schlitt chips in an excellent ballad "Just Reach Out,"
promising that, if we do, "He'll reach in. Take your broken heart and
make it whole again." Continuing in grand tradition, Petra has created
ten songs focusing on Christ and about remaining faithful to Him in
our lives.
WAKE UP CALL seems to be a little smoother than UNSEEN POWER, both
musically and vocally without losing much of the standard Petra
aggressiveness and urgency. It should delight most hard rock fans.
--ROGER APPELINSKI
WHITE HEART HIGHLANDS (STAR SONG)
With Highlands, White Heart has taken its music to new heights.
Forging a sound that is truly distinctive, this veteran group has
continued to stretch and grow. From the opening strains of "You Can
See the World From Here" to the closer, "The Flame Passes On," the
group presents an album that is varied in sound and texture, but is
cohesive. This probably is partly due to the fact that it is the first
album in four or five years without any personnel changes between
recordings. As a result, the influences of the different members have
gelled, allowing the group to present a strong, blended sound.
Lead singer Rhic Florian (who continues what has become a tradition
of spelling his name differently on every album) is in fine voice. He
continues to be one of the best in this genre, able to vocally present
the mood of each song well. The group uses keyboardist Mark Gersmehl's
voice as a textural contrast to Florian's, to an even greater extent
than in the past, making the vocals one of the strongest elements of
this album.
Not to say that the musicianship isn't top-notch--guitarists Brian
Wooten and Billy Smiley, bassist Anthony Sallee and drummer Jon Knox
turn in wonderful performances. Wooten's lead guitar work embellishes
songs, without overwhelming them. Sallee and Knox have really meshed
as a rhythm unit.
Lyrically, the album goes beyond TALES OF WONDER in talking about
how people need to explore their faith, and utilize it in their lives.
Some of the best cuts are the rocking "Excuse Me, Forgive Me," the
beautiful "Heaven of My Heart," and "The Cry," which has a great vocal
harmony beginning, and turns into a mid-tempo rocker.
Full of great songs, this album is a definitely one of--if not the--
best in the White Heart catalog.
--BETH BLINN
RICH MULLINS A LITURGY, A LEGACY AND A RAGAMUFFIN BAND (REUNION)
There was some speculation that, at the end of his previous two-
volume work, Rich Mullins would quit Christian music. He was in
college, he was a founding member of a two-member Protestant monk
order, and he was writing for a magazine. But thankfully, Rich has
come back to doing what he does best--singing from the soul.
Once you get past the absurdly long title, the old Mullins is still
present in the music and in the lyrics. This album is not exactly like
Rich's other works--he has certainly changed a bit. The production on
this piece is less "finished." The rough edges coincide with his
outlook and his attitude--one can't be too clean or too neat.
I feel the story behind this album is a trip; a journey
corresponding to Paul's "pressing on towards the prize." Songs such as
"Hold Me Jesus," "Hard," and "I'll Carry On" tell the tale of a man in
trouble--in trouble with life. A man who knows the way out of trouble
lies in the arms of a strong Savior. From interviewing Rich
previously, I know he holds some unorthodox views on certain things,
but Rich knows what he cannot compromise--preaching the Gospel message
firmly and boldly within his albums; this has not changed!
The less polished feel made it a bit of an adjustment, but anyone
who truly enjoys intricate tapestries of guitar magic woven together
with some of the most heart-felt lyrics anywhere would enjoy this
album. Rich continues, in my opinion, to be one of the most productive
artists who can turn out good projects without sounding identical on
every album, or resorting to trite Christian phases and "bumper-
sticker theology."
Rich also includs a neat Christmas song on this album called "You
Gotta Get Up" making use of the old bugle wake-up anthem to drive home
the point of Christmas.
--BRYAN W. BRENDLEY
BRUCE CARROLL WALK ON (WORD)
WALK ON demonstrates Carroll's versatility and proves that his win
of the Southern Gospel Grammy last year was more than just a stroke of
luck.
I don't find the opener, "Walk On," to be much of a stand-out--it's
quiet and mellow. "Good Life," the second song, moves a bit more
toward the Southern Gospel. The solid lyrics remind the listener of
what the "good life" really consists of, as well as what the Christian
has to look forward to, no matter how things may currently appear.
"Road Back Home" provides some nice, quiet guitar work to back up
disturbing lyrics that bring us face to face with what so many of us
come FROM before we come TO Christ. "It Took You" is a standard
snatched-from-the-jaws-of-misery love song set in an engaging
bluegrass tune. "Answer to Prayer" is one of my favorites. It is very
mellow, gentle reminder that being a Christian means not only
believing that He will answer YOUR prayer--but also that He might well
be calling YOU to be the answer to someone else's.
"Middle Ages" tells the story of the internal struggles of a 42-
year-old man to come to terms with being of an age that's "neither
young nor old." It has a nice, soft sound with just a hint of the
Southern gospel fiddle to provide a bit of spice. An interesting
African flavor comes through on "There is Prayer," telling the stories
of hurting people whose only hope seems to be the power of prayer--and
that it works.
The song "Sometimes When We Love" won't come as much of a surprise
to those who remember "Sometimes Miracles Hide." This new effort is a
strong pro-life statement, telling the story of a young girl's
decision to give her unborn child life by choosing to put him up for
adoption. "What We Were Fighting For" is a soft Southern rocker that
speaks sadly of the futility of striving against one another in a life
as short as the one we get on Earth. "Right at Home," closes the
project with a finely orchestrated love song reminiscent of JAMES
TAYLOR.
WALK ON is a fine effort, and one that should give Bruce Carroll
another crack at a Grammy.
--KERRY STEPHENSON
WAYNE WATSON A BEAUTIFUL PLACE (DAYSPRING)
1993 marks a change for Watson: the hair is short, the beard is
gone, and the voice has become pre-eminent in the music. I see this
album as a sort of milestone for Watson. After so many years in the
business, it may be hard to label one release as a milestone, but this
album reflects beauty, both lyrically and musically. Gone are the
rocky guitar riffs, the driving beats, and present is the voice that
recently toured with the Young Messiah Tour.
The core of this album focuses on hard times in the life of a
believer, as well as moving Christians out of their comfort zone. The
title track introduces the listener to the concept that a rough and
rocky road of trials and tribulations that can lead to a beautiful
place where you can truly meet God. The theme is continued in "Walk In
The Dark" and "Hard Times," where Watson gently reminds that Jesus
must be first in our life, so when darkness and trouble come we won't
be shaken.
An abrupt jolt appears in "Say What You Say" when Watson warns the
listener to say what we say out of love and compassion for the lost,
or we will be hypocrites. Other topics are old friendships, our
predisposition to think we can totally understand God, and the fact
that a truly godly husband simply wants to reflect Jesus for his wife.
At first, I was taken back by the toned-down approach of the music,
but after two listen-throughs, I found myself loving the music and,
more importantly, the message. If you have never heard Watson and are
in need of some comforting music, aimed at soothing trials and
tribulations by instilling hope in God, then this release is for you.
--BRYAN W. BRENDLEY

CHRISTMAS REVIEWS
4HIM SEASON OF LOVE (BENSON)
Needing something to put you in the Christmas mood? 4Him has
released SEASON OF LOVE, their first Christmas album ever. They
combine old favorites with a new selection of yule tide songs, sure to
put you in the Christmas spirit. The title cut, "Season Of Love,"
leads off the album in a traditional 4Him style, telling us "the world
would be better if Christmas becomes the season of love." Next up is
the old classic, "White Christmas," which is performed with a fresh,
jazz beat that leaves you wishing for snow. Another oldie, "Little
Drummer Boy," is lead by Andy Christman, who adds a light sound to a
somber tune.
"A Night To Remember" reminds me of a TRUTH cut with the Big Band
sound and ends up with a traditional carol, "O, Holy Night." "A Carol
Medley" is next on the album and includes all of my old favorites, "O
Little Town Of Bethlehem," "Away In A Manger," "It Came Upon A
Midnight Clear," and "Silent Night," all done with crisp harmony. A
very soulful, jazzy version of "Do You Hear What I Hear?" is next on
the album, with Marty MaGehee taking the lead vocals. A new song with
a powerful message, "In His Care," gives us the assurance of Jesus'
watch care in our lives.
"Hold On To Christmas This Year" sounds like a traditional carol
with an orchestration of strings and horns. It informs us to be a
dreamer and hang on to the joy of Christ's love all year long. "God
Rest You Merry Gentlemen" is more upbeat than the traditional carol
and has a baroque style with a blend of 4Him's standard. The last song
is probably my favorite on the album, "Strange Way To Save The World."
It illustrates that we feel unworthy to serve Him as Joseph and Mary
did, but He still chooses to use us anyway. SEASON OF LOVE is one of
the best Christmas albums that I have ever heard. The vocal harmonies
of the four guys blend well to create a feeling of nostalgia for our
old favorites and excitement for the new songs.
--ANN HATHCOCK
KURT KAISER CHRISTMAS FAVORITES (SPARROW)
If you are looking for festive holiday party music, this is not the
album for you! But, if you want a dignified approach to the
traditional Holy music of the Christmas season, you'll probably
appreciate Kurt Kaiser's Christmas Favorites. This is subdued piano
with little flourishing and a few background instruments (like a
french horn, violin, etc.) that would make good background music for a
sit-down dinner or as a prelude to a Christmas program at church.
Kaiser has divided his "Christmas favorites" into five parts:
Celebration suite, Evening suite, Carols of the birth, Christ Child
suite, and Finale. In all, there are 17 beautiful songs. They range
from the familiar "First Noel" to lesser known classical pieces such
as "Shepherd's Farewell to the Divine Family" from Berlioz's Childhood
of Christ. There is the beautiful Italian carol "Gesu Bambino" and the
Old French traditional "Whence is That Goodly Fragrance?" There is an
unusual arrangement of "I Wander As I Wander" where Kaiser combines
"Twinkle, Twinkle, Little Star" with the anthem for a very effective
arrangement. Some of the other songs chosen for the tract are "Silent
Night," "O Little Town of Bethlehem," "Rocking," and "Thou Didst Leave
Thy Throne."
Most of Kaiser's arrangements seem very somber, almost melancholy,
but one more peppy tune is the "Go Tell It On The Mountain-Joy To The
World" medley.
I enjoyed all the selections and I think you will too, if you keep
in mind that this is not a dynamic or energetic approach to holiday
music. Kaiser has produced a very respectable selection of traditional
and classical piano pieces for the Christmas season.
--JULIE HENRY
PHIL DRISCOLL HEAVEN AND NATURE SWING (WORD)
If you like the big band sound, and brassy, up-beat Christmas tunes,
then this latest Phil Driscoll album is right up your alley. This
collection of secular and religious holiday melodies is a real
showcase of the versatility of the great trumpeter. This is the guy
who brought you GABE AND THE GOOD NEWS GANG FOR KIDS, the beautiful
symphonic CLASSICAL HYMNS (Volumes 1 & 2), and who can forget his
version of "The Trumpet Shall Sound" from THE YOUNG MESSIAH?
Driscoll's horn and voice are in fine form as he belts out this
assortment of melodies, old and contemporary. There is the more
relaxed "Silent Night," and the really hip "Winter Wonderland." There
is a laid back "I'll Be Home For Christmas" and the very modern
rendition of "God Rest Ye Merry Gentlemen." Two of my favorites are
"The Greatest Love Story" and "Over In Bethlehem." The album ends with
"O Come All Ye Faithful" and "Spirit of Christmas," both in Driscoll's
inimitable style. There is a lot of Ralph Carmichael's influence on
this unique album, too. The orchestra really blends with Driscoll
well. It never overshadows his solo parts, but it stands well by
itself when it carries the songs without his distinct participation in
the piece.
I think I'm going to keep my copy in the car for those "I'm stuck in
Christmas traffic, can't find a parking place, hate to spend money I
don't have anyway" blues!
--JULIE HENRY


A QUICK GLANCE

GLAD ACAPELLA HYMNS (Benson)
Tight, upbeat harmonies make the distinction that sets Glad's latest,
"Acappella Hymns" apart from many other Christian acapella groups.
There's plenty of their usual embellishments and ornamentations to
these old favorite hymns. The project includes the peppy and forceful
"This Is My Father's World" and "For The Beauty Of The Earth." "I Sing
The Mighty Power Of God" is another popular classic which is performed
beautifully without music.
Combining popular hymns of today and yesterday, the "Word Medley" is
one of Glad's best arrangements. It consists of "O Word Of God
Incarnate," "How Firm A Foundation," and "Thy Word." The Crusader's
hymn, better known as "Fairest Lord Jesus," seems a proper addition to
the album, since acapella music has its root in that time period.
"Immortal Invisible," "Breathe On Me, O Breath Of God," and "Love
Divine, All Loves Excelling," have powerful classic messages sure to
bless the listener. The last two songs of the album, "The Master Has
Come," and "O Worship The King," encourage us to praise the Father.
--Julie Henry and Ann Hathcock
SOUL MISSION SOUL MISSION (Myrrh)
The important elements of any gospel choir album are solid soloists, a
good choir, and instrumentalists, who add to the sound without
detracting from the vocals. In all cases, this project succeeds--
combining the feel of a gospel choir with the Motown sounds of the
1970's. One of the joys of the album is to pick out the different
styles of each song and match it to a Motown artist.
The long list of soloists, manage to span not only a wide vocal range,
but a variety of styles as well. From funk to blues, each of the
soloists comes across solid and clear, avoiding the temptation to use
the same vocal stylings in every song. The choir's presence is felt
and appreciated without having them get in the way of the soloists.
The choir parts tend to be either in unison or two part harmonies, but
what they may lack in ambitious arrangements, they more than make up
for in strength.
The musicians are an integral part of the sound. Names like Booker T.
Jones on the organ, Freddie Washington on the bass, and Michael
McDonald on piano stand out.
The message of this album is strongly Biblically based. The lyrics,
whether being sung by the choir or the soloist, are clearly
pronounced, allowing the full message to be appreciated. It is not an
album that one would use to as a "stealth" conversion tool, but any
non-believers who like the old Motown sound would enjoy this album.
--Michael A. Klein
VARIOUS SONGS FROM THE LOFT (Reunion)
This album is a collection of songs that have been used at "The Loft,"
a group which meets in a barn at Amy Grant and Gary Chapman's farm. It
is a studio recording, but, there's a large chorus of kids and leaders
singing along and some applause and cheers, so there is a "live" feel
of group singing on all the songs. The songs are all written or co-
written by Amy Grant, with Wes King collaborating on some.
Lead vocals are contributed by Michael W. Smith, Donna McElroy, Susan
Ashton, Wes King, Ashley Cleveland, Gary Chapman, Amy Delaine, Kim
Hill, Michael James, and Amy Grant.
Highlights are "Joy!" (a new tune on the chorus "I've got the joy down
in my heart"), "Salt and Light," and "We Believe in God."
Although this is not really an Amy Grant album, her presence as
leader, songwriter, and executive producer, not to mention co-founder
of the group it was written for, is unmistakable.
In every song we see the rare combination of real praise content,
upbeat exciting tempo, and singability. This provides another way to
lead youth into praise without putting them to sleep. If you are a
youth, a youth leader, a worship leader, or just like to sing good
songs, this album is for you.
--Steven C. Timm
THE PRODIGAL SONS RETURN (Metro One)
Since I wasn't familiar with The Prodigal Sons, I didn't know what to
expect. However, their energy, creativity and complexity kept my
attention from beginning to end of this almost all instrumental
effort.
Greg Hobgood (keys, programming, sampling), Chris White (D.J.,
samples, scratching), and J.R. Barbee (M.C.) start quickly with
"Exalt" and don't slow down at all. The intricate rhythms and
programming show that they are serious about what they do, but they
also have fun, as evidenced in "Apricot Tree" ("I looked through the
window and what did I see/popcorn popping on the apricot tree"). I
don't know where they got that sample!
The song that most effectively sums up who they are and what they
stand for is "Ravival." In it there is a sample of talk-show host Bob
Larson questioning one of the members of the group, ("You're a
Christian?/yeah/You're a raver?/yeah/but you don't do drugs?/no/you
don't do anything immoral?/no.")
With the exception of "Polyphonic," which got to be a bit repetitive,
I have continued to listen to everything else again and again. If you
like rave, you might want to check this one out.
--Russ Neumeier

NEW RELEASES
Angelo & Veronica A & V
Susan Ashton SUSAN ASHTON
Bruce Carroll WALK ON
Carman THE STANDARD
David and the Giants GIANT HITS
Al Denson REASONS
Phil Driscoll HEAVEN AND NATURE SWING
Glad ACAPELLA HYMNS
Ian Eskelin BRAND NEW LANGUAGE
Pam Mark Hall PALER SHADE
Two Hearts GIVE 'EM THE WORD
Hot Pink Turtle TICKLEWIGGLEJIGGLEPICKLE
Joe Linn Trio MIDNIGHT CRY
Legend Seven BLIND FAITH
Lost Dogs LITTLE RED RIDING HOOD
Babbie Mason STANDING IN THE GAP
Rich Mullins A LITURGY, A LEGACY AND A RAGAMUFFIN BAND
Petra WAKE UP CALL
Point of Grace POINT OF GRACE
Poor Old Lu MIND SIZE
REZ Reach of Love
Rivulets and Violets RIVULETS AND VIOLETS
Sixpence and None the Richer THE FATHERLESS AND THE WIDOW
Wayne Watson A BEAUTIFUL PLACE
White Heart HIGHLANDS
Brett Williams & In Reach POWER AND PROMISE
BeBe & CeCe FIRST CHRISTMAS
various MYXED TRIP TO A GOSPEL HOUSE II
NOVEMBER RELEASES
Audio Adrenaline DON'T CENSOR ME
Calvin Bridges BY THE LORD'S MERCY
Lisa Daggs ANGEL IN YOUR EYES
Detrius IF BUT FOR ONE
Eden Burning SMILINGLY HOME
Mark Heard HIGH NOON
Nancy Honeytree PIONEER
Michael James CLOSER TO THE FIRE
Crystal Lewis THE BRIDE
Love War SOAK YOUR BRAIN
Riki Michele ONE MOMENT PLEASE
Mike Menard GRACE (AND OTHER STUFF)
Mortification LIVE PLANITARIUM
P.I.D. VIOLENT PLAYGROUND
Sparks FIELD OF YOUR SOUL
Steve Taylor SQUINT
various BROW BEAT
various PRECIOUS CHILD
DECEMBER RELEASES
Brian Barrett BRIAN BARRETT
Deitophobia CLEAN
Allison Durham WALK INTO FREEDOM
Gospel Gangster GANG AFFILIATED
Jan Krist UNTITLED
Crystal Lewis LA ESPOSA
PFR (formerly Pray For Rain) GOLDIE'S LAST DAY
Twila Paris BEYOND A DREAM
various CORAM DEO II
Phillips, Craig & Dean UNTITLED
JANUARY RELEASES
Clay Crouse MY PLACE IS WITH YOU
Rob Frazier THE LONG RUN
Nicholas Paul Giaconia MY EYE PLAYED THE PAINTER
K2S HOW YA LIVIN'?
Catherine King WINDOWS AND DOORS
Ben Okafor UNTITLED
Passafist PASSAFIST
Linda Richards UNCHAINED HEART
Phillip Sandifer FOLLOWER
David Zaffiro YESTERDAY, LEFT BEHIND

TOP ALBUMS (September 1993)
       1.        LE VOYAGE, Sandi Patti
       2.        FREE AT LAST, D.C. Talk
       3.        HOPE, Michael English
       4.        A REASON TO LIVE, Cindy Morgan
       5.        THE GREAT ADVENTURE, Steven Curtis Chapman
       6.        CHANGE YOUR WORLD, Michael W. Smith
       7.        SOUL, Margaret Becker
       8.        NU THANG, D.C. Talk
       9.        THE BASICS OF LIFE, 4Him
       10.        THE ABSOLUTE BEST, Carman
       11.        A HEART THAT KNOW YOU, Twila Paris
       12.        NOT ASHAMED, The Newsboys
       13.        SACRED JOURNEY, First Call
       14.        SET ME FREE, Acappella
       15.        MOMENTS FOR THE HEART, Ray Boltz
       16.        THE ROBE, Wes King
       17.        MICHAEL ENGLISH, Michael English
       18.        TAKING HEAVEN BY STORM, Steve Camp
       19.        LIFT HIM UP, Ron Kenoly
       20.        LORD OF HOSTS, various


For Your Information
On November 17, 1993, THE LIGHTHOUSE publisher, J. Warner Soditus,
will be a guest on HIS PLACE live at 9:30 pm EST, discussing the
mission and ministry of the magazine. HIS PLACE is produced by
Cornerstone Television (home of Lightmusic) and is nationally
syndicated. For station information and times in your area, call (412)
824-3930. If you have a satellite dish, you can view the program on
spacenet 2 channel 2.


ON THE COVER
NEXT MONTH:
CRYSTAL LEWIS
OTHER UPCOMING FEATURES:
NEWSONG, KENNY MARKS, POINT OF GRACE, TROY JOHNSON, KARTHI, AND
CATHERINE KING


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