THE LIGHTHOUSE JUNE 1994 DEGARMO & KEY Just a couple of guys rockin' like big dogs IDLE CURE DEITIPHOBIA CHARLIE DANIELS SANDRA STEPHENS THE STEVE TAYLOR TRIBUTE ALBUM THE LIGHTHOUSE JUNE 1994 VOL. 3 #6 IDLE CURE 3 Idle Cure has been creating music on the cutting edge of Christian rock since 1986. Not a full-time touring band, they have managed to have an impact on today's youth by playing weekend concerts. After a two-year break they are back, with a new member and a new album, ECLIPSE. Steve Shannon took a morning at GMA to talk with THE LIGHTHOUSE about the history of the group, the new album, and their goals for the future. SANDRA STEPHENS 6 If the name Sandra Stephens isn't familiar, then you should check the credits on albums by Jon Gibson, Scott Blackwell, and Magdalen and projects such as SHACK OF PEASANTS and BLUES FOR THE CHILD. She recently joined up with Lanny Cordola and Gary Griffin to record SHADES OF BLUE. THE LIGHTHOUSE recently spoke to her about that project and her plans for a solo album. STEVE TAYLOR TRIBUTE 8 R.E.X. Records recently released I PREDICT A CLONE, a tribute album for Steve Taylor. Given that most tribute albums are done for artists who have passed on to the next life, THE LIGHTHOUSE decided to look into the making of this album, and spoke to some of the artists involved in the project about Taylor and his music. DEGARMO & KEY 10 Eddie DeGarmo and Dana Key have been an important part of Christian music for seventeen years. They have just released their 15th original album, TO EXTREMES. While they could only spare a few minutes with THE LIGHTHOUSE, they managed to talk a little bit about the purpose behind the project, their involvement in other ministry programs, and some other things on their mind. DEITIPHOBIA 12 Choosing an interesting medium to portray their lyrical ideas--industrial music--Deitiphobia has recently released a new album, CLEAN. Group founder Wally Shaw talks about the group's background, industrial music, and their new album. CHARLIE DANIELS 14 After 24 years and 24 albums as a recording artist, Charlie Daniel's 25th release, THE DOOR, is his first gospel album. It's a project he's wanted to do for some time, and he talked with THE LIGHTHOUSE about the circumstances that enabled him to release this project. REVIEWS 15 Reviews of the Steve Taylor Tribute album, I PREDICT A CLONE, Chris Lizotte's LONG TIME COMIN', MERCY by Andrae Crouch, DeGarmo & Key's TO EXTREMES, Idle Cure's ECLIPSE, THE LIGHT INSIDE from Gary Chapman, Paul Smith's EXTRA MEASURE, FAMLEE AFFAIR from Cauzin' Efekt, Glenn Kaiser's SPONTANEOUS COMBUSTION, 20/20 Blind's NEVER FAR, and MUD ANGELS by Crashdog. NEW & SOON TO BE NEW ALBUM RELEASE LIST 16 A list of new releases and albums scheduled for release in June, July, and August. --- BROUGHT TO YOU THIS MONTH BY: Salt Inc. Music Christian Music Buyer's Club LAMBJAM '94 -- IDLE CURE ECLIPSE Since 1986, IDLE CURE has rocked you with mega-hits like "Breakaway," "Overdrive," "Frontline," "Pray," "Holy Mountain," and many others. Now, ECLIPSE is out! And it's full of great, straight-ahead, melodic rock that's made IDLE CURE famous. Producer Billy Smiley (WHITE HEART) brings out the very best of the band's gifted and right-on songwriting, ultra-clean vocals and superb musicianship. It's fresh. It's tight. It's hot. It's the best IDLE CURE yet. So get out of the shadows. Get into the ECLIPSE. In Christian bookstores everywhere. Salt Inc. Music -- SPECIAL OFFER: Any cassette or compact disc of your choice when you join the CLUB-FREE! Christian Music BUYERS CLUB inc. Get the Lowest Prices on the Largest Selection of Christian Music in America Join us today and receive.... *FREE Extra Savings Certificates--A $150 Value AND *FREE Cassette or CD of Your Choice... With your membership materials you will receive a certificate good for a free cassette or compact disc of your choice redeemable with your first purchase (up to $15 regular retail value). It's like getting the CLUB absolutely FREE! WHAT YOU GET Besides your FREE Cassette or CD and your FREE savings certificates, your $15 membership fee into the Christian Music Buyers Club guarantees you the best discount prices on the widest selection around (over 8000 items) of Christian recordings and products available. And your membership is for two full years! Whether it's Contemporary, Inspirational, Black Gospel, Rock, Southern Gospel, Rap, Metal, or Alternative.. we have it! And at prices much lower than those found in bookstores, mail order houses or other record clubs. Examples of savings: $10.98 cassettes ONLY $8.49 $14.98 compact discs ONLY $11.99 IS THERE MORE? Of course! 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Box 3710 Brentwood, TN 37202-3710 -- LAMBJAM '94 July 13-16 Milton, Delaware COME SWIM IN OUR OCEAN WE'RE LOCATED NEXT DOOR TO REHOBOTH BEACH MARGARET BECKER PHILLIPS CRAIG & DEAN CINDY MORGAN PLUS: BILLY & SARAH GAINES - D.O.C. JEROME OLDS - TWO HEARTS - JI LIM BOB CARLISLE - MAIA AMADA - JILLIAN BROTHER BROTHER - GREG X VOLZ BENJAMIN - PAUL ALDRICH OTHERS TO BE ANNOUNCED LATER CALL 302-424-1013 FOR A FREE COPY OF OUR 24 PAGE FESTIVAL PAPER OR WRITE TO: LAMBJAM '94 P.O. BOX K MILFORD, DE 19963 -- --- EXECUTIVE EDITOR/PUBLISHER: J. WARNER SODITUS EDITOR: BETH BLINN ADVERTISING MANAGER/ED. ASST.: VONDA WHETSEL EDITORIAL ASSISTANT: VANESSA L. CROOKS CONTRIBUTING PHOTOGRAPHER: PATTY MASTEN CONTRIBUTORS: ROGER APPELINSKI, BETH BLINN, VANESSA L. CROOKS, ROD GALLAGHER, MICHAEL A. KLEIN, STEVE TIMM SUBSCRIPTION INFORMATION: $1.00 PER ISSUE $10.00 PER YEAR (U.S.) $18.00 (CANADA) $29.00 (OTHERS) MAILING ADDRESS: THE LIGHTHOUSE 256 EAST COLLEGE AVENUE SUITE 302 STATE COLLEGE, PA 16801 (814) 238-6730 FAX: (814) 238-6730 THE LIGHTHOUSE (ISSN 1070-6690) IS PUBLISHED MONTHLY AND IS NOT INTENDED FOR PROFIT. COPYRIGHT: THE LIGHTHOUSE ©1994 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 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. THE LIGHTHOUSE JUNE 1994 Review Policy: Since we have limited space, we feel it better to discuss albums we like rather than criticizing albums we do not. Primarily, we wish to explain the style of music and message presented as objectively as possible. Naturally, opinions will be inserted and we hope that you will keep in mind that this is only one person's view. ELECTRONIC LIGHTHOUSE A text-only version of THE LIGHTHOUSE is compiled each month, sent electronically through the internet worldwide, and is permanently archived for anonymous ftp. If you use electronic mail, please send e-mail to lighthouse@sabine.psu.edu THE LIGHTHOUSE is now sponsoring a new service for the internet community. CHRISTIAN-MUSIC is a new listserver for e-mail users. For more information, send mail to: christian- music-request@sabine.psu.edu MOVING? Please send your old and new address at least one month prior to your move to assure that you don't miss an issue of THE LIGHTHOUSE (the post office will not forward bulk mail) UPCOMING FEATURES: THE CHOIR, PAM THUM, SOZO, CAUZIN' EFEKT, AND OTHERS IDLE CURE Idle Cure has always been successful in generating great rock music and achieving considerable radio airplay. I always wondered why I never saw the band touring. One of the group founders, Steve Shannon spent a bit of a morning with me at GMA to answer that and several other questions. For Shannon, music has always been a passion in his life, although it has not always been a positive force. He tells of sixteen years ago when he, "was involved with a very successful secular band--the whole thing--the late nights, the cocaine, the drinking, and the things that went along with being a secular band in those days. It wasn't working." It was then that Shannon began to see a bigger picture for his musical talents. "I had met my wife," he explains, "then my girlfriend. She and I had begun attending studies at Calvary Chapel in Costa Mesa. Through those studies, we began attending their concerts on Saturday nights and sometimes on Wednesday nights. I was overwhelmed. I never thought Christian music could be--that there would be REZ and SWEET COMFORT--this was just great rock and roll. It was monumental to me." And, more significantly was the realization that he needed to really accept the Lord. He admits, "I guess we were 'playacting' at being Christians. Then, at a Bible study headed by a guy that's a very dear friend (and I work for him now), my wife and I became saved on the same night and I proposed to her the next week." "So very shortly thereafter," he continues, "I became a married man and didn't want to lead that kind of lifestyle anymore. That's when I decided to dedicate my music, if you will, to God and pray that He might open a door to do so. I would see these bands playing at Calvary, but it was difficult for me to relate, as a musician, to doing this. It was really remarkable how the doors opened." So, he began praying that he could become involved in other Christian musicians who wanted to work on original material. It was by accident that he then met Mark Ambrose and the two clicked as friends. "Mark was a wonderful musician, teaching guitar lessons at a music store in Long Beach. He and I began taking his music and my lyrics and putting things together and culminating ideas. We went through several bands together--numerous personnel. In the course of that, I had known Chuck King. He and I had been good friends and had done some things musically. Mark and I had formed a band called Sojourn. Chuck King had formed a band called Eden. Pete Lomakin was a player for a short period of time in Eden. I had recorded a studio cut for Eden called 'Break Out of the Night.' Chuck and I being very good friends, it was kind of natural that the two different elements would come together." "So Chuck, Mark, Pete, and I formed a band. It wasn't really called anything at the time. We wrote up some songs and put together a demo through Bill Baumgart, who at that time had a studio, but had never done a record. He said, 'Well, let's do a demo. We'll market the demo and if something happens, the agreement will be that if you get a record deal, I'll produce the record for you.' So it was kind of a mutual understanding there. We took the demo to Jim Kempner of Frontline. Frontline was a sibling label at that time. In that first demo was 'Come Alive' that went onto the first album. We began writing material, the four of us, for the first album. The band wasn't really named until after the music was done for the first album." I had always wondered about the meaning of the name and I found an interesting story behind it. Shannon shares, "At that point in time, there were a lot of very heavy-handed Christian band names. Everything had to allude to something spiritually. We just wanted to be a little bit more tongue- in-cheek. It was Frontline's notion to begin to appeal to a secular audience and serve an evangelical purpose in that way. So, maybe the notion would be to come up with a name that wasn't so spiritually heavy-handed and you wouldn't create those sort of barriers that are generally created. We began batting things around. We had gotten so tongue in cheek that we were coming up with humorous notions." "Frontline wanted to split the difference a little. They came up with the idea to send a sampling of our music to radio stations and tell them we're doing a name search. We got some 800 names that were submitted. Out of those we picked about 20 and everyone got this list--ourselves, several representatives from Frontline--and ironically, even though nobody had really thought about what it might mean, or why we liked it, Idle Cure appeared on every ballot. It was the only name that did, in fact. It was interesting. We started asking each other why we liked it and we just liked the sound of it. When it came down to it, we liked the notion of a name that sounded great but left what it meant up to the listener. So we've been asked numerous times [what the name means.] To be honest, I didn't think the name would create such a stir about what it meant." GOALS, OR NO GOALS? I thought it would be interesting to inquire about some of the goals that the members had for the band. Says Shannon, "I have to be honest with you. Everytime this band has set a goal, the Lord has knee-jerked it in a different direction. After a while, you have to say to yourself, 'I think what this means is that God is compelling us to keep an open mind about what our direction should be.'" One of the first incidents of goal-changing for the group was when their first album sent "Take It" and "Breakaway" onto the AC and ROCK charts respectively. Frontline wanted them to "jump out and be a full-time touring band," Shannon recalls. "Unfortunately, Idle Cure was never set up to be that. We were all pretty plugged in, even at the time we got the record contract. We all had homes, families, etc. Idle Cure was intended to be our ministry. It's a very precious thing to us and we don't want to turn this ministry that the Lord has given us into a business, because we've seen too many bands try to do that and fail. The downside is that you can't do it all the time--you can't reach as many people as you might, normally. But the upside was, 'let's make good records, play gigs when we can and make them high-profile so we can see as many people as possible, and praise the Lord that the ministry is available to us.' If you want to call us Sunday School teachers and not full-time ministers, that's okay, too. The world needs Sunday School teachers." But they saw the potential to tour and started setting that as a goal. "We set this goal," Shannon continues, "and the Lord said, 'No, that's not the goal.' We took our first trip to Europe--hugely monumental for us. The music on TOUGH LOVE was completely influenced by our experiences in Europe. So we thought, 'Oh, we're supposed to be an evangelical band and we're supposed to go to Europe.' Well, THAT wasn't the big picture either--it was just PART of the big picture. Shortly thereafter, Chuck left the band and that kind of sent things into a little bit of a tailspin. We were wondering about a sense of direction. Like I say, everytime we've felt, 'this is what the Lord is telling us to do,' boom, that door is closed and another door is opened. I think if you don't keep an open mind about those types of things, then you'll lose a sense of direction all together." The band never did become a touring band. They have opted to play weekend concerts almost exclusively--except for arranging a few weeks of vacation time to play Europe or summer festivals. They remain tied into their jobs and families. Shannon, who spent three years at law school, now manages apartment complexes. With a degree in International Finance, Ambrose is a consultant with one of the "Big 6" accounting firms in Los Angeles. Lomakin is a vice-president of HPL Mechanical, an industrial plumbing contracting firm. A NEW RECORD COMPANY, A NEW ALBUM, AND A NEW MEMBER After their last album with Frontline, the band began to explore other options. It was their good friend Eddie Huff who introduced them to the new label, Salt Inc. The group was impressed with the structure and spiritual and ethical base behind the company and decided to commit to an agreement. Their latest project comes after two years away from recording. Also notable is a new producer for the group. Since Bill Baumgart moved to Nashville and became heavily involved in other ventures, they decided to work with Billy Smiley. Accompanying their new release is a new commitment in the band to enhancing their live sound. To accomplish that, they opted to add a second guitar player, Glenn Pearce. Pearce, who works as a studio session player, was a player in LIAISON and had assisted Idle Cure in the studio on their last three albums. Shannon explains, "We've known Glenn for many years. Last year, we did several dates where Glenn played with us. It was one of those natural fits. We've been [sort of] looking for a second guitar player ever since Chuck left the band. Mark figured he could do all the guitar work and logistically, it made it more feasible to tour if we just had Mark on guitars. We're from California, so we're out there on the edge of the world, so logistically it was better to stay with a four-piece. We thought that since this was a new record with a new label and a completely new batch of tunes, we didn't hesitate to get Glenn to work in the studio. Since it had been such a natural fit with him live, we thought we would make the commitment to going with a second guitar player to try and beef up the live show a bit. When you've got one guitar player and he drops out to play a lead or something, all of a sudden you've got that vacuum." The past two years have afforded the band time to write and rewrite music for the project. Where their last few albums needed to meet company deadlines, ECLIPSE has the benefit of a lengthy creative process, not unlike their first album. Shannon says, "I think that one of the things that made the first album very fresh for us is the fact that we had an extended period of time to think about the material and then hone it and refine it. Sometimes that's missing when you're into the swing of it--where there's a target date. During the past two years, everyone was active writing. It was great. You've got a two year period where perceptions change and your attitudes change and you have time to take a song that's been on the shelf for a few months, listen to it again, and say, 'You know, now that I think about it, coming from this place, I ought to do this.' It gives you that leeway. Sometimes I think the creative process needs that in a song... It's kind of a fresh start for us, so to speak." A sense of freshness in the music also is added by not having a life solely devoted to music. In discussing the benefits and drawbacks to full-time touring, Shannon mentions, "If you're out on the road everyday, you're going to be a better player. If you're writing about how you look at things from a spiritual standpoint--about what's happening on the road or what's happening in your life--if you're out living it as a musician, you're probably going to have that in a better perspective. But I can't tell you how many burnout cases I've seen. It's not just a physical and a musical burnout, it's a spiritual burnout." "I like the perspective that Idle Cure is able to bring into a song. One of the things that's been most rewarding for me is people will talk about, 'You seem to be able to look at things from a different perspective than a lot of the other rock bands.' I think you can maybe trace that to how we're doing things and living life, normally. A musician's life on the road is not my definition of normal. It's a very extreme lifestyle. It kind of cuts both ways, and there have been times where we are getting ready for a gig and we have to practice something fierce. "We've encountered Christian artists that have said, 'Well, we don't really adhere to the particular philosophy that this church is teaching its flock, but the bus needs new wheels, so we better take the date.' To me, that defeats the purpose of a ministry band. To me, if you can't go out and be absolutely enthusiastic and sincere about the ministry that you're sharing with this particular body, then something's been lost along the way." Is there an easy way to sum up what Idle Cure wants to translate to kids today? Not really. Shannon admits, "I can't, because that summation always changes. It's always moving in some direction. With each record, it seems we have a different theme. In TOUGH LOVE it was the band going through a lot of changes and this love that we had for each other, [despite] the struggles that happened. For me, it represented love of any sort--the love you have for God, the love you have for a mate--it's always a struggle. You're always fighting it inside yourself, so it is a tough love. I think on SECOND AVENUE, we wanted to get a little bit playful, but we wanted to talk about going down the other road. INSIDE OUT was a very introspective album for us, so we tried to bring that out in the theme." "In this record, I think what kind of hits home is your walk with Christ is always a transition. You don't accept God and then all of a sudden become a perfect Christian." "I guess, from the perspective of completing this record and from where we're coming from now, there's too much expectation placed on BECOMING a Christian. You've got that incredible feeling of exhilaration when you're first reborn. Then you have that afterglow where you know everybody and 'it's a great close-knit group and I have somebody to go to. I have Jesus Christ in my life and I have friends and fellowship.' Everything seems to be a little unreal. Then you wake up and say, 'I have the same problems and the same insecurities and the same negative forces pulling at my life.' There's still a tendency to go back and do things yourself. There's still the tendency to say, 'But God, I prayed for this and I didn't get it.' Being a Christian is still a struggle. We struggle with the tendency of sin every day." "To me, once again, the importance of the record for us is it's a transitional stage. One of the things as we talked philosophically about the album, the one thing I thought about, is that it's interesting--I'm in tune with the ways in which I blow it as a Christian more than I ever was. I blow it more than I used to. Well, it's not that I do, it's that I notice when I blow it more. I hate to ramble, but I think that's our perspective now. It's a very transitional stage and you work on it every day." While they aren't setting any goals for the near future, they have discussed possibilities. Shannon shares, "We had a very big discussion before we headed into this album about the touring aspects. I think everyone's feeling is that if God opens up the full-time ministry avenue to us, we're obligated to fulfill that." "I think as you pray about such a thing, particularly as you pray about it as a group, you realize that if there's four of you and you're praying about it simultaneously and if one person has the interpretation that God's calling us into full-time ministry, that's great, but the answer to that prayer has to make sense to all four. If you've set this up as a democracy and one person is saying, 'God says this,' and everyone else says, 'God didn't say that to me...' That's the kind of thing. Our prayers are that we want to be open to that direction, but we honestly feel that it'll be in God's timing and that it will make sense." --J. WARNER SODITUS -- LAMBJAM '94 July 13-16 Milton, Delaware COME SWIM IN OUR OCEAN WE'RE LOCATED NEXT DOOR TO REHOBOTH BEACH MARGARET BECKER PHILLIPS CRAIG & DEAN CINDY MORGAN PLUS: BILLY & SARAH GAINES - D.O.C. JEROME OLDS - TWO HEARTS - JI LIM BOB CARLISLE - MAIA AMADA - JILLIAN BROTHER BROTHER - GREG X VOLZ BENJAMIN - PAUL ALDRICH OTHERS TO BE ANNOUNCED LATER CALL 302-424-1013 FOR A FREE COPY OF OUR 24 PAGE FESTIVAL PAPER OR WRITE TO: LAMBJAM '94 P.O. BOX K MILFORD, DE 19963 -- SANDRA STEPHENS The name of Sandra Stephens is probably not familiar to many people, but to fans of Jon Gibson, Scott Blackwell, Magdalen, and SHACK OF PEASANTS or the BLUES FOR THE CHILD Christmas album, the voice probably is. Over the past few years, the demand for her talents as a back-up singer and featured vocalist has been increasing. As artist after artist has come upon her smoky, soulful voice, the desire to add her vocals to their albums has developed. All of this interest has lead to the discussion of Stephens recording a solo project, and there is now some dialogue to that effect. In the meantime, though, she recently collaborated with Lanny Cordola and Gary Griffin, the duo behind the SHACK OF PEASANTS and BLUES FOR THE CHILD projects, to produce SHADES OF BLUE. I recently had the pleasure of talking to her about the SHADES OF BLUE recording, as well as a lot of the events that have lead up to her preparation for a solo venture. It was one of the more enjoyable interviews that I've had, and it definitely was the longest. Possessing a warm, animated personality, she made what is sometimes a difficult and awkward process very easy. While Stephens was born in Tennessee, she has lived most of her life in Southern California. The third of four children, she grew up in a household "surrounded by Jesus," as she puts it. "My father is a minister, my brother's a minister, my brother-in-law is a minister, my grandfather is a pastor--so I was surrounded by Jesus." Her introduction to music, however, came from the female side of the family. "My mother sings," explains Stephens, "and she used to take me around to all of the musicals, and stuff like that. That basically got my interest up in it. [As far as professionally] I was singing in the choir of the church that I was at and this guy who does rap asked me to sing on his album. It's kind of snowballed from there." It was through the rapper that Stephens was introduced to Scott Blackwell, the man behind N-Soul Records and the creative force behind much of the burgeoning Christian dance and rave scene. "He [the rapper] was doing a song at Ocean studios, and Scott walked in and asked this guy if he knew any singers or songwriters, and this guy goes 'Oh, have I got the girl for you!' Scott gave me a tape and about two weeks later I came back with some lyrics for his songs and he liked them. Ever since then, we've been kind of like a team." Rave and dance, like many other forms of music, have not necessarily been welcomed with open arms by people throughout the Church, which is somewhat perplexing to Stephens. As far as she is concerned, dancing is one way of expressing the joy that she feels at being a Christian, not unlike the example of David dancing before the Lord. "A lot of people really cannot understand what the music is for. It's like, 'Why do they need to dance?' ...It's an emotion. What's inside is going to come out. A lot of people say 'You can't compare it to [when] David danced' and I'm like, 'Yes you can.' Especially when you turn on some rave music. Because, I know I just go ballistic when rave music comes on. People go, 'You're so crazy' and I say 'Just listen to the music!'" But there has been some positive feedback. Through some of the live performances, Stephens and Blackwell have met individuals who have affirmed their work. "It's really encouraging to see what the music has done, because a lot of people were skeptical about it, and that attitude was kind of creeping into Scott. So it's been really good to go and talk to people who listen to the music and like the music. Because some people really slammed him, and stuff, [asking] 'What purpose is this.' So for him to get reports back--a lot of testimonies and stuff like that--about how people have been encouraged by [the music], it's been a good thing for him." One of the reasons Stephens feels so strongly about the work that she and Blackwell do is because of the youth of today, and the amount of exposure to unhealthy influences that they have. She can relate because, like most teenagers, she went through a period of rebellion. "When you're in high school, you rebel a little bit. You go, 'Okay, I know the world. Please, leave me alone.' I went through that, and the Lord, He just kept His hand on me. One thing that I truly believe is that if you listen, the Lord will talk to you. Whether you're in rebellion or not, if you have a heart to listen to God, He will talk to you, and that is what kept me from going off the deep end." As Stephens sees it, the Church needs to use whatever tools it can to strengthen and support young people, so that they can be as strong as possible when dealing with the elements they meet every day. She feels that music is an important part of that strengthening. As she explained to the members of a church that she was performing at, "88% of your child's life is spent outside of church. Most of the time they've got headphones on, and you don't know what they're listening to. We need to put a hedge around them--100% around them. That goes toward the music that they listen to, also. We just want to surround them with Jesus. You [the Church] surround them with the Word and we'll surround them with music. We'll both do our jobs and we'll raise warriors for Christ." While her work with Blackwell has been in the areas of house and dance music, Stephens' various associations with Cordola have stretched her in other directions. The two met at a recording session for Jon Gibson, when Stephens and Allegra Parks were doing back-up vocals and Cordola had been brought in to do some guitar work. Cordola was impressed by what he heard and the two exchanged phone numbers. He called on Stephens and Parks to do background vocals for a Magdalen album and the SHACK OF PEASANTS project, but it was Stephens' work on BLUES FOR THE CHILD that really caught his attention. "Obviously I knew she was good, but I never really knew how good she was until last year, when we did the Christmas album," says Cordola. "I called her up to sing one song. We had someone else scheduled to sing another song and they couldn't do it. It was a jazzy thing, and when she [Sandra] sang it, I was [blown away]. She never really studied that kind of stuff, but I think that she's picked it up by osmosis. It's just part of her. She picked it up so quick and so fast, it was very painless. That's what inspired the idea to do the SHADES OF BLUE thing." What started out as a jazz-inspired project turned into "An eclectic gathering of songs," explains Stephens. "Really, it goes from one gamut to another. It started as jazz, but Lanny is so multifaceted in what he listens to." "So, it started out jazzy, but then we grabbed a MAHALIA JACKSON tune. We grabbed a VAN MORRISON tune. We grabbed BILL WITHERS' 'Grandma's Hand.' I'm going, 'Where are you getting these songs?' We started out with about 40 or 50 songs. He [Lanny] was, 'Okay, what do you want to sing? Are you comfortable with this?' For my benefit, I like songs to have a meaning. One of my favorites [on the album], just because of the words, is 'I Believe In You' by BOB DYLAN. And I was like 'Oh yeah, yeah, I want that song!' That was just a total feeling song for me." "But then, there's some favorites on the album that are like the blues, because we did 'God Bless The Child' which is a little on the bluesy side. And we did a different rendition of 'Amazing Grace.' And we did a DEFINITELY different rendition of 'On My Way to Canaan Land' by MAHALIA JACKSON. There's just different styles on there. In fact, I felt multifaceted by the time I was through with this album, because there were different personalities that I had to bring out in me in order to match the music. My voice is different, and it's totally to the extreme of Scott's stuff. It was a definite stretch for me. But I just thought, you know, he [Cordola] is really depending on me, and he asked me to do this, so obviously he thinks I can do this. So I just tried to put my best foot forward. They [Griffin and Cordola] are happy with it. It's still growing on me, because I didn't see myself doing it, but I did it. It trips me out, that it's so different--when I listen to it, it's like, 'Is that you? Or is that a facade of you? Or were you just moved by the music?' I think that it was all three. It was delightful. Working with Lanny is always fun. You can go from rock to jazz to blues to acoustic. He's a stretcher." As far as Cordola is concerned, he is happy with the results. "The way I look at it, the record is the three of us--myself and Sandra and Gary Griffin. It's kind of our band, with help from a bunch of great musicians. She's the primary vocalist. I did a couple. We picked a lot of the material together. She picked some original songs that I had written--ones that she wanted to sing--which kind of surprised me, because I don't know that I would have picked those. That was really pretty cool. And I picked some other stuff, and then I kind of let her go, 'Well, I'd rather do this,' and it worked out great." In talking with Stephens about music turning into a full- time profession, it is apparent that, although this is a desire of hers, she is willing to wait to determine if it is God's purpose for her life. It is pretty clear that worrying about the future is not something that she wastes much time on. An illustration of that came when she was relating a conversation she had with a visitor to California who was from Arizona. The man was questioning her about earthquakes and whether or not she was afraid of them. "I said, 'You know what--first of all, Jesus loves me, and in that I am so very sure. And second of all, I have a purpose in life, and until I've done my purpose, I know that God has got me totally in His hands. And because He loves me, everything that He plans out for me is for my best. So I'm not going to stress, and I'm not going to be worried about a simple earthquake,' because there are worse things to be worried about." "If people could just grasp the concept of how great God is, it would just blow them away. They'd be like 'Worry? Oh, please. God is God, and he loves me.' I live near the mountains, and as you're coming up to my house, if you look at the houses compared to the mountains it's like an ant on your back. And you go, 'God made this.' We who live near the mountains understand. If God could create this--it's like, puh-lease. Don't worry me--talk to Jesus." Stephens also feels pretty strongly about the importance of Christians reaching out with the love of God to those around them. We talked about the frustration of trying to reach out to people who don't seem to care, or choose to ignore the evidence of God all around them, and how sometimes it just seems easier to not make any attempts at all. To combat that, Stephens says, "You just need to say to yourself, 'He loved me and all that I was, and I'm no better than they are.' My fault may not have been an inability to see God, but it may be I don't think that He can bring true happiness into my life." "You know, I work with these people at my job [as a therapist for developmentally-disabled adults], and one day He asked me 'How much do you like these people?' And I said, 'Well, I work with them, Jesus, they're my friends.' And he was like, 'Well, how much of a friend are they? Would you let them--without trying everything that you have--let them go to hell?" And I was like, 'no, you're right' He says, 'Well then, you need to get on your job.' Anybody who says, 'This is my friend,' and that person is not saved, then they need to check themselves. Because, if that's your friend, and you're supposed to let brotherly love continue, and no greater thing that a man can do for his friend than he lay down his life for him--you should make sure that they don't go to hell, that they should receive Jesus, that they should engulf themselves in me [God]. And then, you can say 'that's my friend.' So, He prods me." Currently, Stephens is in conversation with a company about signing a solo contract, and hopes to have some firm plans soon. In the meantime, SHADES OF BLUE is due to hit stores in July, and should gain a lot more attention for this warm, talented woman. --BETH BLINN STEVE TAYLOR Everybody Loves A Clone A trend of recent years has been the tribute album. Usually an honor reserved for deceased artists, the phenomena of musicians recording covers of a respected performer's songs has now reached the land of the living. R.E.X. Music's Alex Parker was pondering the whole concept of tribute albums when he was struck with an idea--to do a tribute album for someone who wasn't dead. His choice of honoree--Steve Taylor, the sometime "bad boy" of Christian music. In Parker's words, "He accomplished so many 'firsts' in this industry--he was one of the firsts artists to do Christian alternative rock music; he was the first artist on a smaller label to have his music come out on compact disc; he was the first artist to talk his record company into letting him do remixes; and he was the first Christian artist to convince his record company to let him do a concept video. I thought it would be fitting for him to be the first person to have a legitimate tribute album. Besides, I've always loved his music. A lot of lyrics in Christian music tend to be more like milk--his lyrics were always full of meat." Parker pursued his concept by contacting Taylor's management to determine their feelings on the idea. After some consideration, the answer came back as an affirmative, as long as Taylor didn't have to be involved in any way. "He didn't want people thinking that he was behind the project," says Parker, "that he was being self-promoting." So Parker started sending the word out about the project and encouraged any artist who was interested to select a song and record a demo. After all the demos were in, he sat down and decided which should make it onto the final project--a difficult process. The result is an amalgamation of styles, ranging from the melodic alterna-pop of Sixpence None The Richer to the grinding industrial-dance of Circle of Dust to the Appalachian bluegrass of The Sanctified Glory Mountain Revival Family. The songs include cuts from every Taylor album. THE LIGHTHOUSE recently spoke to some of the artists, to find out why they wanted to be a part of the album and how they choose the songs that they covered. Some artists were exposed to Taylor's music when they were fairly young, while others have only recently caught on to what some people have known for years. Taylor's response after listening to the final project was, "The problem with these new tracks is they're better than my original versions were... This is the happiest day of my life. I am certainly undeserving of such an honor, but I thank all of you who contributed to the project for making it possible." R.E.X. designated the project a benefit recording, and Taylor chose Jesus People USA's Cornerstone Community Outreach as the recipient of all of the royalties from the album's sales. The ministry, located in Chicago, has several different outreaches for the homeless, including a shelter for women and children, housing for low-income senior citizens, and a daily meal for approximately 300 homeless people. --BETH BLINN STARFLYER 59 "SIN FOR A SEASON" MELTDOWN Hailing from California, Starflyer 59 recently had their debut album released on Tooth & Nail Records. The band covered "Sin For A Season" and Jason Martin, guitarist and vocalist for the band, says that when the opportunity arose, he was really happy to be involved in the project, considering the influence that Taylor had on him when he was young. "I used to listen to him [Taylor] and DANIEL AMOS, because my parents wouldn't let us listen to secular music," explains Martin. "I picked up MELTDOWN when I was in 4th grade. 'Sin For A Season' is my favorite Steve Taylor song-- in my opinion, one of his all-time coolest. With the chord changes--it's just a good song. It's pretty fun to do a cover song--to change it around and mess with it a little bit." HOT PINK TURTLE "A PRINCIPLED MAN"--I PREDICT 1990 We caught up with Jamin Rathbun of Hot Pink Turtle at home in Kansas City, Missouri. For Rathbun, wanting to be a part of the tribute album was natural. "One of the first three albums I had was MELTDOWN. I thought that it was awesome--'Hero' is still one of my favorite songs. When Alex asked us if we were interested in being involved with the project, we said yeah. We kind of reviewed some songs and we liked the time signature of 'A Principled Man.' It kind of had a 3/4 feel to it. Just listening to it, we almost instantly had some ideas of how we could completely tear up the schedule," he laughs. "My favorite part is when we break down this one part, and the timing is completely trashed. For the most part, I think I was the only one familiar with Steve Taylor--a lot of the other guys just didn't listen to the old Christian music." THE WAYSIDE "TO FORGIVE"--ON THE FRITZ John Thompson, vocalist and guitarist for the Chicago-based The Wayside, totally blames Taylor for the fact that he is in a band today. "Rob Anste [the bassist] and I started the band back when I was fourteen and he was thirteen, simultaneous to the release of CLONE. We went with our youth group to a REZ concert in the fall of 1983 and Steve opened. No one had ever heard of him--it was his very first tour. It just blew us away--I mean, we had never heard Christian music that was so sarcastic and quirky. It definitely was right in line with what we were into, in terms of OINGO BOINGO and that early 80's pop/new wave kind of stuff. So we bought his tape... He and THE ALTAR BOYS were the main inspirations for us to want to be in a band. I just completely freaked over his lyrics, and musically, Rob found it real interesting and challenging. Rob and I would get each other a little something for Christmas--usually a little toy or something. The Christmas after MELTDOWN came out, we both bought each other the MELTDOWN songbook--I got it for him and he got it for me. So we learned every song on MELTDOWN. I used some of the stuff for my guitar lessons and I wrote a lot of lyrics that were-- I just plain ripped off his lyrics. We were huge fans from early on, and when Alex mentioned to me the concept of doing the album, I told him it was a great idea. When he asked if we wanted to be involved, I didn't even have to ask Rob--I just said yes. The hardest part was picking the song to do. Our guitar player, John Estling, was also into Steve very early on, and was very influenced by him. There were obvious songs that came to people's attention right away--'I Want To Be A Cone,' 'Meltdown'--kind of the bigger, more trademark kind of songs. 'To Forgive' was sort of a sleeper hit. I thought it was such a great song. It's so simple, and so direct, and it really allowed a lot of room for us to sort of reinvent it, while still staying true to what the original feel was. We wanted to be sure to keep the same emotion and the same vibe, but we wanted to make it a Wayside song, to kind of color it with our own box of crayons." SIXPENCE NONE THE RICHER "BOUQUET"--THE BEST WE COULD FIND While most of the artists we talked to were introduced to Steve Taylor through his first two albums, Matt Slocum, guitarist for Sixpence None The Richer, was first exposed to Taylor's music with the release of I PREDICT 1990, the last album Taylor did for the Christian market before taking a long hiatus. "I saw the video for 'I Blew Up The Clinic Real Good' somewhere, so that kind of turned me on to I PREDICT 1990. I never really got into Steve Taylor fanatically, or was a die- hard fan, but I liked that record. And there's the fact that he kind of pioneered Christian alternative music. We wanted to do 'To Forgive'--I think that's my favorite song, but the Wayside took that before we could get to it. I thought 'Bouquet' was cool--that we could do something good with it. Plus, I thought it was cool that it actually had never been released [as a single.] So it's kind of an obscure cut." CIRCLE OF DUST "AM I IN SYNC?"--MELTDOWN Scott Albert, vocalist for Circle of Dust, had an unusual introduction to Taylor's music--through his parents. "When I was a young'n, I was basically forced to listen to it--I had no choice. That's not TOTALLY true, but my parents wanted to get us some kind of radical music, so that we would have something to listen to. Steve Taylor just happened to be the man. I was listening to him since I WANT TO BE A CLONE, since way back when. As I said, I was forced into it, so I really didn't like it that much," he laughs. "No--it is kind of true, in the sense that it was what was around, so I listened to it. It may have something to do with the fact that I have such a sarcastic nature. I don't know--I can't blame it directly on him. I just totally dug that. It was cool-- somebody asking questions and not in a formatted or typical way. Alex had asked me a long time ago [about being involved in the project,] before it was even going to come out through R.E.X. I immediately said yes, because I grew up listening to his stuff and totally dug it. I didn't even have a song in mind, I just knew I would love covering his stuff. I was one of the first bands that said yes, but I was one of the last to get my choice of songs. Just listening to that song--first of all, I've always loved it, because it had such groove to it, but it was definitely recorded in 1984. That's not an insult, it was just a totally different era. So I just came down, fiddled around with my sequencer, and said 'Yeah, I can do something with this song.' And I totally dig the lyrics to it--just, everybody has to fit in, and everybody going through this peer pressure type stuff--it's just cool." -- IDLE CURE ECLIPSE Since 1986, IDLE CURE has rocked you with mega-hits like "Breakaway," "Overdrive," "Frontline," "Pray," "Holy Mountain," and many others. Now, ECLIPSE is out! And it's full of great, straight-ahead, melodic rock that's made IDLE CURE famous. Producer Billy Smiley (WHITE HEART) brings out the very best of the band's gifted and right-on songwriting, ultra-clean vocals and superb musicianship. It's fresh. It's tight. It's hot. It's the best IDLE CURE yet. So get out of the shadows. Get into the ECLIPSE. In Christian bookstores everywhere. Salt Inc. Music -- DEGARMO & KEY OVER THE PAST 17 YEARS, DEGARMO & KEY HAVE CREATED 15 ALBUMS OF ORIGINAL MUSIC, BEEN INVOLVED IN CREATING A 13 WEEK SUNDAY SCHOOL CURRICULUM BASED ON THEIR SONGS FROM THE ALBUM GO TO THE TOP, WORKED WITH ZONDERVAN TO PROMOTE THE NIV STUDENT BIBLE, AND GIVEN AWAY OVER 150,000 COPIES OF THEIR D & K ALBUM. They have also produced several award-winning videos and written songs for other artists like AMY GRANT and SANDI PATTI. Dana Key has recorded a solo album, written books, and been a part of the album collaboration, MESA, with other veteran Christian musicians DALLAS HOLM and JERRY WILLIAMS. Eddie DeGarmo has recorded two solo projects and produced several albums for other artists. These two have been incredibly busy, in pursuing their desire to share the Gospel. But as meaningful as their individual work has been, nothing is as important as what they do together. After releasing GO TO THE TOP and doing a small amount of touring to follow it up, DeGarmo & Key took a break from the road. "Not touring is the best thing we have done in a long time," states DeGarmo. "We used that time to reflect and to figure out what kind of music we wanted to be doing." It has added a sense of energy and fun to their recording. As DeGarmo shares, "It was a lot more fun. It's really a drag when people HAVE to tour to make a living and they don't want to--sometimes that comes through in concert. Fortunately, we've gotten to a place where we really don't have to tour to make a living. We had gotten to the place where we were burned out. Let's just be honest--we were tired of traveling and tired of doing it. After we took some time off, I think it did help us to refocus and just enjoy the music." "MINISTRY INNOVATORS?" DeGarmo & Key have been called "ministry innovators" in the past because of their curriculum and devotional guide for GO TO THE TOP and their program to give away the D & K album. For the last three years, one of their major focuses has been to encourage kids to read their Bibles. Key tells, "One of the real famines we see in American Christianity is the fact that there's a lot of Christians that have mastered all the Christian clichˇs, but don't have any content. They have all the right T-shirts, but they don't know what the slogan on the T-shirt means in terms of what God says in His Word. We're trying to get people to read the Bible on a daily basis." I have been truly impressed by the promotions they recently began and their close ties to Bible distributors. I chuckle at the term "ministry innovators." They haven't reinvented ministry opportunities in as much as they consistently involved themselves in a ministry program, to expand their musical impact. Their newest involvements are with the True Love Waits campaign and the Biblical Literacy Foundation. The former is a program to get half a million youth to pledge to be abstinent until they get married and will culminate with the signed pledge cards being displayed on the Washington mall-- the largest display to ever be there. DeGarmo & Key will be performing a concert, along with several other artists, to promote the campaign. For several years, they have made a strong commitment to encourage Biblical literacy among teenagers. They have now started the Biblical Literacy Foundation. "Its aim," Key explains, "is to get a million kids reading the Bible at the same time on one spring day in 1995." This day will be during the Word to America Weekend, highlighted by a 24-hour Bible reading marathon and a nationally televised program featuring DeGarmo & Key, among other artists. Key concludes, "If we can get a Bible sponsor for every tour it would be great, so we can put Bibles into the hands of people and reiterate how important it is for young Christians to spend time in God's Word." While they state that there may be no better way to share the message of Christ with teens, their dedication to these other programs confirms that they understand that music is not the end all and be all. I personally find it refreshing to see a group so strongly strive to have their music reach out beyond their concerts, as the outreach that contemporary Christian music (or Jesus Music) was originally intended to. JUST SO THE PEOPLE LIKE IT I guess I opened the proverbial "can of worms" when I asked them what they thought of the support they had gotten by the media as far as album reviews and such. Apparently this is a subject they've developed some opinions on. DeGarmo begins, "Somebody told me why BOB DYLAN was a great singer. It never dawned on me why. It's because he could care less what anybody says. If you want to know the honest truth, I COULD TRULY CARE LESS WHAT YOU THINK ABOUT ME." Key laughs before he adds, "One of the things that we never forget is that, first we work for God, second we work for the people that pay for our records and our concert tickets-- those are the people we work for. The real review that is important to me, when it's all said and done, is the one that comes from Christ. The other one is what people say about our records when they buy concert tickets. Our last few albums have been the most successful albums, commercially, in our career. Some of our most highly-acclaimed albums, we could hardly give away. There were times when we thought we were putting out the kind of music people wanted to see live and we couldn't get people to come see us in concert. You may read the reviews--I don't read them." DeGarmo chips in, "There's an industry statement that makes a lot of sense to me: 'Nobody liked it but the people.' And that's very true for a lot of our records... If you ever get to the point in your life if you're an artist or whatever you are, where you have a tendency to listen to all the voices, you'll end up going crazy." "You start doing music by committee and that's really bad music," quips Key. DeGarmo concludes, "Nobody can make a record on what they think people will like. You can only make one that you like and that you hope everyone else likes. Sometimes they do, sometimes they don't." TO EXTREMES In speaking of their new album, DeGarmo shares, "The title of the record, TO EXTREMES, can mean a couple different things. The song was talking about a radical approach to your Christianity. There's so many Christians today that seem to stand in the middle. They have one foot in the world and one foot in the church. I don't think this is anything new, but it seems to be getting more prevalent. We don't have people really taking a stand and counting the cost of what it means to be a Christian. The chorus says, 'We've got to take it to extremes/live on the edge, not standing in between/and walk with Christ so that all can see/telling broken hearts God can intervene/We've got to take it to extremes.'" "I think it addresses the theme in my life, or the feeling in my life--you look at what's going on in the world and you read your newspaper and you watch the news and see what's happening with guns in school and you feel overwhelmed and helpless to make a difference in this world. That's such a wrong feeling to have, because the Lord has given us a mission to bring light into this world--not to give up. You have a tendency to move into the Rocky Mountains somewhere and be a hermit, but that's not what you should do. I think that there's probably five songs on this record that address that personal sin that I have. We're really not helpless. We can still do something to make a difference." One of the songs that reminds us of making a difference is "Judgment Day." Key explains, "If you abandon your kids to a local mall, then you shouldn't wonder why, when they reach teenage years, that they're out of control. We took a shot at parents, but let me add this: I am a parent. I understand parental commitment. I'm taking my responsibility seriously." DeGarmo tells about another track, "There was one of the major corporations that did this multi-million dollar research program to find out where teenagers were. We could have told them for about $10. What they determined was that the kids are angry. They're just mad. They're hacked off at us because they think we've messed their planet up. They're hacked off at us because they think that our generation's made all the money and their generation won't have any. They're hacked off at us for all kinds of things. The song 'Rebel for God' really talks about taking those energies and being a rebel FOR God rather than against Him." One of the biggest questions, however, may be concerning their album cover. Anticipating that, DeGarmo explains, "People are going to wonder why we have this beautiful dog on the cover. This dog lives with me. His name is Woolly Bully. He had a great part in making this album because he motivated me to a bit of the insanity that I've gone through in the studio. For those of you looking for great meaning in the cover, you won't find it. There is none." While insanity may not be the word for it, the last two albums recorded by the band since taking their little break have been very energetic and evident of the fun they had making them. "I don't think there's, in the strict sense, a ballad on the record," Key interjects. "We just weren't in the ballad mood this year. I don't think we sat down and said, 'Eddie, let's not do a ballad this year.' We just weren't in the mood for that. We wanted to stay away from middle ground stuff. We either wanted to make it real acoustic or real rock and less, how you would describe, pop music. We felt like the audience was digging the rock feel of HEAT IT UP. We went ahead and stayed in that direction." DeGarmo adds, "Our heart is still with kids--the message of Christ and the message of hope. We still feel it's our calling to tell kids about that and there's no better way than through rock music. We have definitely made a rock record." This fall they will be embarking on an acoustic tour--dubbed the Acoustic Cafe Tour. Key explains, "The intention is to be in churches, to let families come. One of the things that we noticed last year was a lot of fans in their thirties were coming and bringing their kids, which is quite an expensive proposition for $15 tickets. So we want to do a low-ticket concert that would be family oriented--not excessively loud, but real quality with moving lights and a stage set. So that's why we're doing the acoustic tour. It's probably something we will never do [again], but in a 17 year career, at least one time, you ought to give everybody a chance to come see you play and this is the opportunity." It is an opportunity I hope to take advantage of, and hope that you can too. --J. WARNER SODITUS DEITIPHOBIA Industrial music may seem an interesting choice to convey Christian ideas. Deitiphobia is one of several groups that has chosen to minister through this modern musical format. The following is a portion of a phone conversation that I had with Wally Shaw. FRONTLINE SAID THEY DIDN'T HAVE ANY BIO INFORMATION FOR YOU, SO LET'S START WITH WHERE YOU GREW UP. I'm originally from Texas. I spent about the first twenty years of my life there. WHAT PART? Actually all over, my dad was a minister when I was young. He was kind of cutting-edge you might say, so we moved around a lot. [Laughter] STAYED UNTIL YOU GOT KICKED OUT OF AN AREA, HUH? [LAUGHTER] Yeah. [Laughter] I guess you know that story. I guess my longest time was in Austin. WAS THERE ANYTHING THAT DREW YOU TO MUSIC? Yeah. My family was always really encouraging to do whatever you felt you had a passion for. I got into music really early, when I was in fourth grade. I joined the school band and all that. When I got my drivers license I started going to the dance clubs in downtown Austin. Even thought I wasn't old enough, it's easy to get in there. GOOD OLD SIXTH STREET. Yeah. I started going down there and that's when I started getting into the dance scene. About that time was when I decided to take out a loan to buy my first set of gear. Up until then, I was a percussionist and trumpet player. I was in a few bands as a drummer. In one particular band, the keyboardist had no idea what he was doing, so I had to learn his parts to show him. That's where I started to pick up that. So I picked up a keyboard and got into the dance thing. YOU SAID YOUR FATHER WAS A PREACHER. SO YOU GREW UP IN THE CHURCH? Actually, when we moved to Austin he left the ministry and went back to civil engineering. That's what he had done before seminary. But most of my childhood he was a pastor. So I had a good foundation. I would say that's the main reason I'm saved now--because I had that to fall back on when I came to my lowest point--I remembered somewhere in the back of my head. [Goodbye to someone in the background] I ASSUME THAT WAS YOUR WIFE? Yeah. HER NAME IS? Sheri. DO YOU HAVE ANY KIDS? No we don't. HOW LONG HAVE YOU BEEN MARRIED? We've been married for eleven months. WHEN WAS THE REAL FORMATION OF DEITIPHOBIA? We've kind of had a rough history. I'm only 21, so I'm like-- wow. In early 1990, there were a couple Christian alternative bands in the area formed and split and formed and split. I ended up on my own and there were a few people from the past that I still wanted to work with. There was a vocalist in particular that I really wanted to work with, but he wasn't saved at the time. I started witnessing to him and he ended up giving his heart to the Lord. He's younger than I am, and at that time he was married and had a child. He was seventeen at the time. We formed under the name Imagery. That was the first industrial music I did with someone. We decided that since we didn't have much of a show with two people, we decided we wanted a drummer. I was playing on a worship team at church at the time and our leader asked if we had met Brent, who had only been there a few weeks. He was from Texas as well, but he had gone to Wheaton. He ended up charging a set of electronic drums on his Mastercard--we were young. And our vocalist began to have marital problems, as you can understand being that young. But he didn't let us know and all we saw was that he wasn't getting his band work done. He was opting to do marriage stuff instead of band stuff--which was the right choice. When we found that out we told him he should concentrate on that. We had a guitarist after that time and a number of personnel changes. It ended up at our first show, it was just me and Brent, and Donderfliegen was born--that was our original name. At Cornerstone that year, we played and on the way up there we decided to change our name to Deitiphobia. WHAT WAS THE REASON FOR THAT? We had decided to go with a fake German [image] because of the name and we had these cool shirts and posters, but we made a stop in Tulsa on the way up to see my aunt and uncle and showed them the stuff and the first thing out of my Uncle's mouth was, "My, that looks like Auschwitz." So I was like, "Wait a minute, Brent. Is that what we really want to be portraying?" So we decided that it wasn't and to leave the whole thing behind. Paul Q-Pek was our manager and when we got there and told him, he was like, "This is your biggest break and you're going to change your name?" But it really worked out. About a year later we went through some more personnel changes. When I moved up here [near Chicago] Brent left. He was married at the time. He's still in Texas. Now Sheri's playing keys and singing and we have a guitarist named Josh [Plemon] who's incredible. I'm really excited because I've never had more of a chemistry with the band before. I wrote all the music on the current album, but now we're writing as a band for our newer stuff. Even with me and Brent, he would write a song and I would write a song (there was not much chemistry as far as collaboration.) We got along great as friends, but as a band--we were like two different bands. That was part of the reason that we split. It wasn't a bad thing. SO WHAT'S THE NEW ALBUM LIKE? Well, it's been two years since we did a record, so it's my last two years of writing. In relation, the other two records were about two months of writing each. I feel like I got to put more work into this and really do what I wanted to do. We've been in the studio for a while. I feel like it's several notches above anything we've done so far. Musically, I never intended to have a concept thing. But I've been doing some interviews, so I've been forced to analyze my own music. It turns out it is a concept. I wrote lyrically from my experiences over the last two years. That really involved a lot of things. It involves getting married, moving a thousand miles from my security (because I had a really close family). A lot of it's relational--God and man things. Everything from anger to hurt to frustration to immense joy and excitement. What I've tried to do is relate those feelings in the music so that even if you didn't understand the phrase I'm saying, you might get it from the music, or at least get the idea. I tried to illustrate my points with the music. As far as being a genre, you could say it's still industrial, for lack of a better word. I've adopted the phrase "Aggro." I heard that when I was reading Mix magazine. DID YOU PRODUCE? Yes. I had some help from a friend, Michael Black. Our engineer Darren Ford helped. Sheri helped some. Luke Mazzerri from ZERO helped with some of the engineering. DO YOU GET A LOT OF PEOPLE WONDERING WHY YOU USE INDUSTRIAL MUSIC, WHICH TENDS TO BE DARK, TO REPRESENT CHRISTIAN IDEAS? Actually, I do. I think I explain it pretty well. I am not one for sugarcoating things. That's one of the reason that I enjoy Mike Knott's company so well, because he's very honest. I'm a very honest guy, as far as if I've got pain or frustration. I don't mind talking to God about it. I don't think that's wrong. I've found biblically, a lot of people that do that. Paul, who wrote most of the New Testament, does that quite often in his epistles. He'll tell people, "I'm going through a lot of crap right now and I need your prayer." He doesn't mind saying it. I think that with industrial being aggressive--I equate that with a lot of power. Inherently, the style is a very powerful style of music. I don't find any inhibitions displaying God's power in that. I tried to write my own lyrics for a reason. Some people write them, as far as industrial goes, to add a rhythm track or to add noise. I tend to shy away from that. I do a lot of love song kind of things, and a lot of prayers and pleading with God. I think those types of ideas lend themselves very well to a powerful and moody and expressive form of music. A lot of people would say, "Industrial-- expressive? It sounds like klangs and beeps." I think if you listen to our new record, you'll find that with what we've done, it becomes a very expressive form. I wouldn't have it any other way. Does that answer your question? YEAH. I'M JUST PLAYING DEVIL'S ADVOCATE WITH YOU. SO, I ASSUME YOU'RE NOT DOING THIS FULL TIME? Off and on. I guess that means no. I have a full-time job and my wife does too. But we take a lot of time off from those jobs to go and do shows. We are trying to balance that until we can get on our feet. We're doing several things--moving into more of a production stance with some other bands and we are going to open a club in Chicago this fall. We're hoping to move into that full-time so we can get away more. THAT'S A CHRISTIAN CLUB? Yeah, a Christian dance or music club. Whatever you want to call it. Some people shy away from the word dance. I don't care. [Laughter] I was raised in a church that actually had in their bylaws that you could dance as long as you kept one foot on the ground at all times. THAT'S INTERESTING. DO YOU HAVE ANY FAVORITE SCRIPTURE? It's I Timothy 4:12 which says, don't let anyone look down on you because you're young. Show yourselves to be an example in faith love, purity. It lists a few things to show yourself as an example in. I really feel that as the so-called "Prozak- generation" or "Generation-X," whatever you want to call it, we have a real open door because a lot of people are looking at us like, "What do you guys have to do to make a name for yourself?" I pray to God that we don't make a name for ourselves by falling off the face of the Earth in this cloud of apathy. That would be sad. I really think that we have a chance to turn some heads and cause ripples in the water of faith by saying that, even though we're on the fringe, we can become well-educated, well-rounded, and be Christians that are solid and not going around by every wind of doctrine that blows by. We can become a people of balance. YOU PLAY A LOT OF CLUBS? Yeah. HOW DID YOU SIGN WITH FRONTLINE? When Blonde Vinyl began to go under, Frontline approached Michael [Knott] because they went under new management and asked if they could give him some things he wanted to get Deitiphobia--he wanted his masters back to SHADED PAIN. He called me up and asked, and Frontline bought out my contract. It's a whole different ball game simply because they have a lot more staff. DID THAT MEAN CHANGES AS FAR AS RECORDING AND GETTING THINGS APPROVED? Actually, our budget went up about twenty-fold. As far as getting it approved, I pretty much had it all when I signed, so they never had a problem with what I'm doing. They've been really supportive of my ideas. We're beginning to do the Slava [Slava Music was a small label responsible for producing albums for Blonde Vinyl] thing over there [Frontline] now. We'll be doing four to five records there for different bands. TELL ME A LITTLE MORE ABOUT SLAVA. It kind of died about the time that Deitiphobia split the last time, because Brent was my partner in all that and it's taken time to build up from ground zero again. We're over at Frontline now and we'll be producing more dance and industrial and other related stuff, as well as doing vinyl remixes and compilations for unsigned bands. We're doing a lot over there. I HOPE I CAN SEE YOU PERFORM SOMETIME. --J. WARNER SODITUS CHARLIE DANIELS Charlie Daniels is practically a musical legend. As a recording artists, his career spans over 24 years with a long list of awards for album sales and radio play. This year, however, he took a different step by releasing THE DOOR--his first Christian album. Daniels, a North Carolina native, learned to play the guitar, mandolin, and fiddle in his teens and played with a local bluegrass band. Once he moved to Nashville he developed a reputation as a songwriter. After ELVIS recorded a song and BOB DYLAN had him work on an album, Daniels obtained a recording contract. For Daniels, a gospel album has been a desire for some time. His only concern was making sure he was able to write the songs. He quips, "I didn't want to do 'Will the Circle Be Unbroken' and 'How Great Thou Art' over again." So, he took the Charlie Daniels band into the studio with producer Ron Griffin to work on a collection of music that he wrote specifically for the project. The result was THE DOOR, in his renowned southern rock style. The album came about through the interaction between Daniel's label, Liberty, and Sparrow--both are owned by EMI. According to Daniels, Jimmy Bowen of Liberty is very interested in gospel music. "He feels like it's a very lucrative market, that the records need to be put back in the record stores as opposed to being just in the Christian bookstores. They were looking over the roster and seeing if Liberty had anybody they felt they would like to have do a gospel album." So, Daniels, who has always been open about his Christian faith, got a nod to record the project that he's been wanting to do. It was something that was a bit of a rush for him. "I didn't even have time to put the things down for Sparrow people to listen to," he recalls. "Right up until we got ready to record, I kept saying, 'You'll have to trust me.' They did, they were awfully good people. We got along great and they're very happy with the record." "I never looked at this record as just another record," continues Daniels. "This one was special. I had certain things that I wanted to say. I wanted to be sure they were said in a way people could understand. I had a lot of help with this record and it wasn't all human help. It came together too well to have been any other way." With this his first release on a Christian label, Daniels admits that he is at a bit of a loss as far as knowledge of the Christian industry. He shares, "There's a whole different set of radio stations, a whole different set of marketing approaches, a different set of publications and that sort of thing and it's really hard for me to know this market. I know that some of our fans are very excited about a gospel album coming out. I don't know the gospel market. I don't know who buys what. I'm just lost. I'm hoping to find a niche somewhere." "It's not intimidating at all, it's just the unfamiliarity. I'll learn it. I am learning. This thing came up in a pretty big hurry. We decided to do this and first thing you knew, we were in the studio. We didn't have time to learn anything about it. We were writing songs and trying to get this album done. All of a sudden, here it is released and I come to find out I'm on unfamiliar ground. Not unfriendly, just unfamiliar." His favorite piece on the album is "Jesus Died for You. I think that covers what I'd like to think the album's about," he shares. So, how does he expect to be accepted by the Christian market? "I'm probably gonna be perceived favorably by some people and not favorably by others. I'm gonna do this like I've always done. I'm gonna chop my log and let the chips fall wherever they will. I'm not trying to be an icon of the religious world. I'm not the kind of Christian that should be held up to people to live like. I certainly don't want anybody imitating my living." "Whoever listens to this album and says it is too worldly, or says Charlie Daniels is too worldly for them, that's totally their prerogative. But I tell you one thing, I'm not hiding my head in the sand. I'm not hiding from problems, I'm not hiding from people. If someone wants to come up and talk to me about the Lord, they can find me out here in the world doing my thing about 150 nights a year. That's just the way I feel." "I'm not afraid of controversy," Daniels continues. "I've been controversial. I'm sure we'll have some controversy on this. If we do, I would love to respond to some of the controversy because I have some things to say back. Another thing, a lot of these people aren't used to being talked back to. I don't know anybody I'm afraid to talk back to--any human being. People criticize me. I can criticize their attitude for being that way, because they don't know me." While trying not to dwell too much on potential conflict, I asked him what he would say to people that would choose to criticize his work. "That's not their business--that's the way I look at it," he starts. "I'm not a religious person. I'm a person that's been bought and paid for by the blood of Jesus Christ. I'm not religious, per se. I'm not a Pharisee. I don't believe in certain rules and that things have to be that way. I don't like to judge people. I get judged a lot by critics and that sort of thing. They say things that, if I let them, would hurt my feelings because they completely misjudge what I am, what I'm about, and what I'm doing. I'm sure that's going to happen to this record with some people, but I haven't started preaching. I just cut a Christian album, a gospel album. I'm going to keep on doing what I'm doing. I'd love to do another gospel album. We'll have to see how this one does." But he doesn't mean that this album is the only way that his faith impacts his career. He is careful about the music he now records on his secular label and what he performs in concert. "I have certain standards that I go by when I write for secular albums. Though they may not deal with things that are biblical or religious (for lack of a better word to say), I try to keep them on a plane that I never let the bad guy win. I don't glorify things I don't believe in. I used to, but I don't anymore." Daniels' casual, down home sensibilities transfer to his faith as well. "I don't want to offend anyone's sensitivities, but I live in the real world. I don't shut myself up in closets and pretend that certain things don't happen and that there isn't a lot of hurt going on in this world. I would advise some of those 'closet-living' Christians to get out in the street where the hurt is and try do some people some doggone good instead of sticking their head in a hole. There is a lot of hurt in the world. There are people that need a lot of help. There's people that need you to pat them on the shoulder and say, 'You're okay. The Lord died for you.' Instead of holding up in their churches every Wednesday night and Sunday morning and pretending that none of this is going on (because it is going on.) There is a whole lot of world out here that could use people's help. One of the things that I wish did not exist in the Church, in the Body of Christ, is people going against each other, saying, 'I don't believe the way you do, so you're wrong and I can't have anything to do with you...' and so on--existing as if their own little corner of the world is the only part of it they should live in. I don't believe in that. I think that's wrong." Remaining grounded in his beliefs, but not pushing his faith on others, he has earned a reputation for being a casual and very approachable person who is fun to hang out with. He explains, "I've never been perceived as anything other than a down-to-earth person who hangs out with everybody. I don't throw Jesus in people's faces... I don't walk into a room and start spouting off my beliefs. I don't make any bones about being a Christian. I'm on Christian television. It's not a secret at all, but I try to stay pretty approachable." "I think Christians have been ill represented by some of the talk shows and I think some of the people that have been on are not particularly articulate or are not particularly versed--they're good people, but some are a little radical. I think some people get the idea that all Christians are that way. I think something that turns people off really fast is a holier than thou attitude. The idea that you're beneath me and I can't associate with you." A remarkable fact, considering the music industry's reputation concerning marital commitment, is that Daniels and his wife, Hazel, have been married 30 years. She's been traveling with him for the last 10. They have a 28 year-old son, Charles. He is excited to finally record a Christian album, and is scheduled to perform at this year's Cornerstone Festival. Besides that, it's on the road for him and his wife, with plans to record another secular album in December. I found Daniels to be a warm, honest, straightforward gentleman. He was an absolute pleasure to talk with. --J. WARNER SODITUS THE LIGHTHOUSE New & Soon to be New Album Release List Brought to you by: CHRISTIAN MUSIC BUYERS CLUB NEW RELEASES 20/20 Blind NEVER FAR (Intersound) Benjamin BENJAMIN (Star Song) Cauzin' Efekt FAMLEE AFFAIR (Grrr) Gary Chapman THE LIGHT INSIDE (Reunion) Crashdog MUD ANGELS (Grrr) Idle Cure ECLIPSE (Salt Inc.) Deitiphobia CLEAN (Frontline) Divine Hope DIVINE HOPE (Star Song) Keith Dudley KEITH DUDLEY (Benson) Gospel Gangstas GANG AFFILIATED (Frontline) John P. Kee COLORBLIND (Star Song) Kid Promise MY GENERATION (Star Song) Crystal Lewis LA ESPOSA (Metro One) Chris Lizotte LONG TIME COMIN' (Metro One) Maranatha! Praise STANDING ON THE ROCK (Maranatha) Promise Keepers SEIZE THE MOMENT (Maranatha) Rhythm Saints DEEP SUSTAINED BOOMING SOUNDS (N-Soul) various A LIFE THAT SHOWS (PROMISE KEEPERS) (Sparrow) various DEMO-LITION (R.E.X.) various I PREDICT A CLONE (R.E.X.) JUNE RELEASES Aaron Jeoffrey UNTITLED (Star Song) Jimmy A SECRETS (Vision Artists) The Choir SPECKLED BIRD (R.E.X.) Color Series RAINMAKER (Maranatha) Dakoda Motor Co. WELCOME, RACE FANS (Myrrh) DC Talk/Audio Adrenaline/Code of Ethics REMIXES (ForeFront) DeGarmo & Key TO EXTREMES (Benson) Don Francisco GENESIS AND JOB (Star Song) Steve Green HIDE 'EM IN YOUR HEART (SPANISH) (Sparrow) Steve Green UNTITLED (LIVE SPANISH) (Sparrow) The Heart of Worship Series (acapella) (Star Song) Hokus Pick BROTHERS FROM DIFFERENT MOTHERS (Vision Artists) Glenn Kaiser SPONTANEOUS COMBUSTION (Grrr) Phil Keaggy WAY BACK HOME (Sparrow) John P. Kee & New Life Community Choir WE WALK BY FAITH (VIDEO) (Star Song) Crystal Lewis THE REMIX COLLECTION (Metro One) LSU GRACE SHAKER (Frontline) Geoff Moore and the Distance LIFE TOGETHER (VIDEO) (ForeFront) Mortal RIFT (VIDEO) (Frontline) Mortification BLOODWORLD (Frontline) David Mullen DAVID MULLEN (Warner Alliance) Rich Mullins PURSUIT OF A LEGACY (VIDEO) (Reunion) Carlton Pearson and the Higher Dimension Choir LIVE (Warner Alliance) Perfect Heart LIVE AT THE FORUM (Star Song) Private Boiz CHECK DA FLAVA (N-Soul) Brothers HOMEBOY BALLET (Star Song) Six Feet Deep STRUGGLE (R.E.X.) Rebecca St. James REBECCA ST. JAMES (ForeFront) SOZO PURITY (N-Soul) Submission Blue CHILL (Broken) Take 6 JOIN THE BAND (Warner Alliance) Kathy Troccoli KATHY TROCCOLI (Reunion) Vickie Winans UNTITLED (Intersound) various ACAPELLA 2 (Maranatha) various HARD SAMPLER (R.E.X.) various SEEDS (Metro One) JULY RELEASES Paul Aldrich THE HISTORY OF GOD & MAN (Broken) Ray Boltz ALLEGIANCE (VIDEO) (Word) Steven Curtis Chapman HEAVEN IN THE REAL WORLD (Sparrow) Brian Goodell SIMPLE LOVE (Essential) Larry Howard/Glenn Kaiser/Darrell Mansfield/Trace Balin THE BLUES NIGHT (ForeFront) Cheri Keaggy CHILD OF THE FATHER (Sparrow) Catherine King WINDOWS & DOORS (Urgent) Karyn List UNTITLED (Intersound) Love Song WELCOME BACK (Maranatha) Mission of Mercy UNTITLED (Etcetera) David Mullen DAVID MULLEN (Warner Alliance) My Little Dog China VELVIS CARNIVAL (Frontline) Newsboys GOING PUBLIC (Star Song) Pam Thum FAITHFUL (Benson) Carlton Pearson and the Higher Dimension Choir LIVE (Warner Alliance) Praise Band TELL THE WORLD (Maranatha) Phillip Sandifer ARIZONA HIGHWAY (Urgent) Sisters SONGS OF FRIENDSHIP, JOY, AND ENCOURAGEMENT FOR WOMEN (Warner Alliance) Whitecross VII: UNVEILED (R.E.X.) World Wide Message Tribe DANCE PLANET (N-Soul) various CAPTURED BY YOUR PRESENCE (Warner Alliance) various THE GLORY OF THE LORD (Warner Alliance) various GRRR VIDEOS (VIDEO) (Grrr) various TIES THAT BIND/THE BEST CHRISTIAN COUNTRY (Word) AUGUST RELEASES Maia Amada UNTITLED (Intersound) Susan Ashton, Margaret Becker, & Christine Dentˇ ALONG THE ROAD (Sparrow) Helen Baylor THE LIVE EXPERIENCE (Word) D.O.C. UNTITLED (Star Song) King James UNTITLED (Star Song) Lisa Bevill UNTITLED (Sparrow) Mark Lowry MARK IN MOTION (Word) Terri Lynn UNTITLED (Intersound) Mortification LIVE PLANETARIUM (VIDEO) (Frontline) Paramaecium EXHUMED OF THE EARTH (R.E.X.) Michael Peace UNTITLED (Star Song) Prophecy of P.A.N.I.C. MANIC PANIC (N-Soul) Linda Richards UNCHAINED HEART (Urgent) Randy Stonehill UNTITLED (Street Level) Swirling Eddies ZOOM DADDY (Frontline) Tourniquet VANISHING LESSONS (Frontline) -- SPECIAL OFFER: Any cassette or compact disc of your choice when you join the CLUB-FREE! Christian Music BUYERS CLUB inc. Get the Lowest Prices on the Largest Selection of Christian Music in America Join us today and receive.... *FREE Extra Savings Certificates--A $150 Value AND *FREE Cassette or CD of Your Choice... With your membership materials you will receive a certificate good for a free cassette or compact disc of your choice redeemable with your first purchase (up to $15 regular retail value). It's like getting the CLUB absolutely FREE! WHAT YOU GET Besides your FREE Cassette or CD and your FREE savings certificates, your $15 membership fee into the Christian Music Buyers Club guarantees you the best discount prices on the widest selection around (over 8000 items) of Christian recordings and products available. And your membership is for two full years! Whether it's Contemporary, Inspirational, Black Gospel, Rock, Southern Gospel, Rap, Metal, or Alternative.. we have it! 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Call 1-800-695-2622 to Join the Club 30 day Unconditional Money Back Guarantee IF NOT COMPLETELY SATISFIED Offer calid only in the U.S. and Puerto Rico Write for foreign membership information: Christian Music Buyer's Club P.O. Box 3710 Brentwood, TN 37202-3710 -- REVIEWS VARIOUS ARTISTS I PREDICT A CLONE (R.E.X.) Calling all clones! Here's the album to honor one of the pioneers of Christian alternative music--Steve Taylor. While Taylor had nothing to do with the project, he admits that he is pleasantly surprised with the results, except, "The problem with these new tracks is they're better than my original versions were!" Don't expect true covers, though. Most tracks are worlds apart in style and arrangement. Be prepared for a listening experience that will take you across the entire realm of alternative styles and rescue many of Taylor's songs from (as he puts it) "the trash bin of obscurity." Circle of Dust brings an industrial edge to the original arrangement of "Am I In Sync?" with some catchy screaming vocals. Hot Pink Turtle turns "A Principled Man" into a much more upbeat rendition than the original, with an aggressive guitar-driven feel. They keep most of the vocal arrangement intact, but the musical background changes rather radically at times. "Sin for a Season" is a slow, dark, shoegazer/grunge twist performed by Starflyer 59. Sixpence None The Richer lightens the experience with a light, acoustic alternative cover of "Bouquet." Dig Hay Zoose's extensive medley of "Steeplechase" and "I Want to be a Clone" clocks in at well over seven minutes. The first is a schizophrenic collection of styles. It's intriguing, but hard to describe. After a heavy Zeppelin/Zappa-ish bridge, they do a rough alternative rendition fairly close to the original "...Clone," which is something I could imagine coming from The Red Hot Chili Peppers. Fleming and John's "Harder to Believe Than Not To" is a more melodic take on the original, while still including the operatic pieces. "Drive, He Said" by Argyle Park is the most radically changed tune. With an excellent techno feel, it mixes samples from the original with others. Musically, it's my favorite, but it kept so little of the story intact that the point of the song was completely lost. Deliverance adds a cover of "On the Fritz" with grunge/metal/industrial vocals, heavy guitars, and extra effects. "To Forgive" is light alternative rock--an expressive cover by The Wayside. Bride seems to holds to the tame side of a metal attack of "Color Code." For me, it was the only disappointment, because they were the only band to alter lyrics, and they distorted the words "color code" into something like "cholor chode." Probably the most unusual rendition is the last, the Sanctified Glory Mountain Revival Family's "Guilty By Association." It is a bluegrass, banjo-laden tune--think "The Beverly Hillbillies." Taylor has designated that all royalties from the project will go to Jesus People USA's Cornerstone Community Outreach program to help provide services for homeless and low-income senior citizens in Chicago. Be prepared for some totally unique interpretations of Taylor's work. --ROGER APPELINSKI GLENN KAISER SPONTANEOUS COMBUSTION (GRRR) "Blues, Chicago style..." is the billing of Glenn Kaiser's new solo album. Kaiser, long-time member of Jesus People USA and founder of REZ, has been very involved in taking Christian music into the blues realm over the last few years. He was a part of the LARRY HOWARD'S CORNERSTONE BLUES JAM album and teamed up with Darrell Mansfield for two acoustic blues projects. For the electric blues of SPONTANEOUS COMBUSTION, he gathered some "real Chicago guys who knew the vibe and were willing to pound it out pure and simple... we hit the switch and came out jammin'." The project covers the range of electric blues styles-- twelve-bar slow blues, rougher, club blues, shuffles, boogies, and some really grooving pieces. Kaiser's rough voice is a natural for blues and his strongly emotional vocals help bring the tunes alive. He does know when to bail out, and just let some extended jams continue. Two tracks are impressive instrumentals. With a blues album you would expect some of the subject matter to reflect sadness and, well, the blues. Kaiser offers some of that on "Everybody Sings the Blues" and "Ain't Much Difference." But the album doesn't stay on the down side. Several songs talk about human love and commitment. "Queen of My Heart" offers "You and me followin' the Savior from the start/He's the King of my life, oh and you are the queen of my heart." "Queen Bee" contains the lines "She blesses me so that I just can't stand it/I know that I don't deserve/This woman called wife is the love of my life/Love that God'll preserve." If you know anything about Kaiser, you know the album centers on his relationship with the Lord. Statements like "Lord, you took me outa trouble" ("Trouble"), "...But God ain't failed me yet/He's my Savior, my Deliverer/I'm just as saved as you can get" ("If I Leave This World Tomorrow"), "Where would I live; outside your forgiveness/Without the risen Son" ("Where Would I Be?"), and "God of mercy/You brought me safely through the night" ("Through the Night") show his devotion to God. I was impressed by how fresh the album has stayed to me. With so many styles represented, SPONTANEOUS COMBUSTION has been easy to listen to again and again. --ROGER APPELINSKI DEGARMO & KEY TO EXTREMES (BENSON) Last year's HEAT IT UP ended more than a year of hiatus for Eddie DeGarmo & Dana Key, two men who have been powering Christian music since 1978. The time proved valuable, as they generated one of their most powerful rock albums. Now, less than a year later, they complete a one-two punch with TO EXTREMES, in many ways a continuation of last year's album. Both were produced by John Hampton and feature Greg Morrow on drums and Tommy Cathey on bass. The lyrical base of the project is set in defusing the myth that we should feel helpless against the world's problems-- that we have the power to change the world. The title track is the center-piece of the album, strongly encouraging the listener to take a bold approach to the Christian faith--also continued with "Hyperfaith" and "Rebel for God." "Judgment Day" warns that, unless they have provided strong guidance, parents should not be surprised if their kids develop problems. The music is a great match for the urgency of the message. Losing many of the pop hooks of HEAT IT UP for a stronger rock edge, the slowest the album gets is with a few rock anthems. TO EXTREMES is unmistakably DeGarmo and Key, but isn't simply more of the same. Mixed in are classic and hard rock influences and some excellent guitar parts. They left a few rough edges and kept the sound pleasantly thin, offering a more live feel. "People Gotta Be Free" is an acoustic rock track that is a prelude to their upcoming Acoustic Cafe Tour. With a lower cost acoustic set, the hope is that it will enable more people to attend--especially those wanting to bring along their whole family. If you like fairly hard rock, this should be an excellent project to add to your collection. --ROGER APPELINSKI IDLE CURE ECLIPSE (SALT INC.) Time and again we have seen that some time off helps a group return with a great album. For Idle Cure, this seems to be the case. While their record company (as most do) touts that this is their best release to date, I think they might be right. Most of the album is the rough rock style that Idle Cure is known for. It brought back great memories of their debut release. The thing I like best about the group is how effectively they play their edgy background vocals off of the gritty lead vocals of Steve Shannon--commonly trading lines in the chorus. Mark Ambrose (guitars & bgvs) and Pete Lomakin (Keys & bgvs) are joined by new member Glenn Pearce (guitars & bgvs) and several studio musicians (Jon Knox on drums, Mark Hill on bass, and others) to round out the sound. The band also works for the first time with Billy Smiley at the production reins. The guitar intro of "What's Your Point of View" quickly leads to a rough and hearty "Yeah!," which sets the stage for this cooking project. It offers to share about God with a friend and to get him to qualify his "point of view." "Pour Out My Soul" has an anthemic touch as it affirms a commitment to the Lord. "Two Hearts" is a driving arena rock track encouraging a man to honor his wedding vow, to "give it all you've got/don't give up, give it one last shot." "Never Say Goodbye" is the first time the project takes a breath. It's a ballad about Lomakin's father passing away. It's not a worn- out AC-type ballad--there's some grit to it. The guitars immediately fire up for another hot track, "Burning Gomorrah." It compares our society to Gomorrah, as "for sin, there's a price to be paid." "Living Water" is a slower rock tune, sharing the realization that after we get tired of searching for pleasure in the world--we'll live forever drinking the living water. "Shake it Up," my favorite track, follows. A hard rock tune with a driving bass beat, it encourages us to shake up the world by sharing our Savior with them. "Merciful Man" starts with a gentle piano background, but by the second verse sounds like a ballad that BRYAN ADAMS would come up with. Another song encouraging us to share with the world--it offers "if we have the heart that lends a hand/God will bless this merciful man." "The Only Thing" affirms that "the only thing that's left for me/is to serve the One who set me free" in a lighter, almost pop-rock format. Closing the project is "Bring Me Through the Day," a rocking reminder that "when we're walking together [with the Lord]/no one can get in the way." If you haven't heard the band before, and you like rock with some grit, then you should appreciate this one. If you are familiar with Idle Cure, I think this will have everything you like about the band in one nice package. --ROGER APPELINSKI PAUL SMITH EXTRA MEASURE (INTERSOUND) It has been a while since we've heard from Paul Smith, former member of THE IMPERIALS. He has is back with new strength and depth, both musically and spiritually. The theme for EXTRA MEASURE is the journey of faith. He offers not only a glimpse of what his personal journey has been like recently, but also challenges his brothers and sisters in the Body to reach out and trust God where they are right now. One of the strongest songs on the album is one that he wrote in response to a true story he heard, "Daddy Came Home Last Night." It is a testimony to the power of prayer in what may seem to be hopeless situations. The album is filled with other messages of hope and encouragement. While less orchestrated and full sounding than his past music, he takes a primarily adult contemporary approach to R&B flavored pop music. When he was asked to describe it, he said, "a little more acoustic feeling for me musically, a little more down home. I wouldn't really necessarily say it's country music, but it has some of those elements. Somebody said, 'It's not country music, but it's surely not urban. So it must be kind of the edge-of-town music.' It's the music and influences that I grew up with." It's a pleasureful return for Paul Smith. He belts out words of exhortation and inspiration over some bright, acoustic influenced pop music. --VANESSA L. CROOKS GARY CHAPMAN THE LIGHT INSIDE (REUNION) Since first listening to Gary Chapman many years ago during an Amy Grant concert, I have often wondered why his music hasn't been more widely embraced. He has a distinctive, powerful voice and plays a variety of instruments, including guitar, bass, and piano. He offers a warm and humorous stage presence and has demonstrated ability as an artist, producer, and performer. He is also a gifted songwriter, yet his first three albums (HAPPENIN', SINCERELY YOURS, and EVERYDAY MAN) were only modestly received. His latest, THE LIGHT INSIDE, has the potential to broaden his appeal. It's the tightest, most cohesive, and most radio-accessible album to date. One thing that draws me to his music is his ability to put into words the struggles and joys of living a relationship with Christ. THE LIGHT INSIDE further illuminates Chapman's depth and candidness. It is evident from the lyrics on this album that he has stumbled, grappled, and grown in his relationship with God. Testimonies of God's love, grace, and mercy transforming and perfecting lives are offered in a very intimate manner throughout the album. Perhaps Chapman's earlier work was musically ahead of its time, but with the popularity of pop country music today, this project may be more widely accepted. Producer Michael Omartian has done a superb job of providing an arena and atmosphere for Chapman, bringing a strong balance of heartfelt ballads and fun acoustic grooves. Acoustic piano and guitar are the primary driving elements throughout the project. And, as always, Chapman's amazing voice rings forth with passion and finesse, expressing soothing and scorching emotion. THE LIGHT INSIDE captures and showcases Chapman's talents and displays the joys found through commitment and perseverance in a relationship--which he quickly points to the faithfulness and healing he has received from God. The country flavored pop is a fitting backdrop which compliments his rootsy and gutsy appeal. Anyone looking for a testimony of hope will find it in "Love Will Be Our Anchor:" "And when you can't believe the answers/To the simplest of questions/And your heart has grown cold/Love is still the Rock of Ages/And the Rock will not be shaken/It's an anchor to hold." This should be a welcomed introduction for those who aren't familiar with Chapman's music, and a sweet reunion for those who are. --VANESSA L. CROOKS CHRIS LIZOTTE LONG TIME COMIN' (METRO ONE) With the release of LONG TIME COMIN' on Metro One Records, Chris Lizotte serves up a recording full of soul, passion, and yearning--all elements of good blues music. And good this is. Although this is his debut on Metro One, Lizotte had two previous albums on New Breed, FREE and CHRIS LIZOTTE AND SOUL MOTION. With his third offering, Lizotte has crafted a collection of songs that speak to the heart and to the spirit. The album starts with a song that talks from the Father's point of view. "Gonna Take You Back" dwells on the promise that no matter what we do, God will always love us. "It's not the man that breaks my heart/His sin is what I hate...You got that right, you're unworthy/but you're worth a lot to me." "Hold Me Up" is a searing duet with Maria McKee, formerly of LONE JUSTICE. Her soulful voice is the perfect foil for Lizotte's aching vocals, and the combination is very effective. Other outstanding cuts include "Heaven's Looking Better All the Time" and "Peace Be With You." The first is an up-tempo tune that talks to a friend who has passed on to the next life. The second is the album closer. Dedicated to the inmates of the California Institute for Women in Chino, California, (where Lizotte leads worship once a month) it is a poignant look at how life can beat us down, but God is always seeking to bring us the peace that we need. A soothing, acoustic tune, it is a perfect ending to the album. Lizotte is ably backed by various musicians, most notably Raymond McDonald on electric guitar. McDonald's Texas-style blues playing is an integral part of the texture of the album, and underscores Lizotte's vocals nicely. All in all, a welcome addition to the growing blues scene. --BETH BLINN CRASHDOG MUD ANGELS (GRRR) At last what the Christian Punk/Metal world has been waiting for--a loud album that contains a song about fishing. I do not mean an allegorical song about Christians being 'fishers of men,' but a celebration of the sport of fishing. And that's not all. This latest release from Crashdog also features some great music and lyrics that convey a solid Christian message in a way that almost makes me want to get up and spontaneously throw myself into a mosh pit. There are a couple of surprises on this album, the first being the mixing of the vocals. They are more distinguishable than most recordings in the genre--the "wall of sound" feel that tends to convey emotions more than specific ideas. With Spike Nard's vocals up-front you can hear and understand the lyrics without too much effort. While most of the songs feature Nard almost yelling the lyrics in classic punk style, there are some indications that he can sing in a more classic sense. This allows more flexibility in style than the average punk band. Flexibility in style is the other big surprise on this album. The guitar work of Andrew Mandell shows the ability to handle multiple styles of songs. Some of the songs, for example "Question Stupidity," are just straight-ahead punk/thrash. Others sound more like METALLICA or even AC/DC. The other musicians on this album, Greg Murphy on the drums and Brian Grover on the bass, do a good job of being the rhythm section. Most of the songs concentrate on current social conditions, but on a personal level. A good example of this is shown in the song "Degeneration." "We wake up every morning/And things still seem the same/Resolutions made, the bills are paid/But the problems still remain/In the never-ending revelation/Of exactly who we are/Angels of mud/Talking of love/While carving out another scar." Most of the songs don't stop with just pointing out the situation, but infuse a possibility of hope. Jesus is mentioned in only the first song specifically, but the implication is that He is the source of the hope runs through the whole album. I would recommend this for anyone wanting a solid punk release that features lyrics with hope--especially if they like fishing. --MICHAEL A. KLEIN ANDRAE CROUCH MERCY (WARNER ALLIANCE) The music of Andrae Crouch and the Disciples was a predominant force in gospel music in the late 1970's. Crouch has hit the studio again with a new album, MERCY on Warner Alliance. Scott V. Smith joins him as co-producer and his expertise comes to the fore. The band includes many regulars on the LA gospel scene, including Andrew Gouche, Ricky Grundy, and Paul Jackson. This album is a superb ensemble effort. Crouch wrote all the tunes, but doesn't always sing the lead vocals. Most of the songs feature a small group of vocalists coming in to carry the chorus with Crouch ad-libbing over the top. Guest soloists include Kristle Murden, El DeBarge, Willie G., and Tata Vega. Most of the songs are quite upbeat, but they explore all the various facets of gospel music--some traditional African rhythms, lung-bending modern gospel, and jazzy spots. Whatever it is that God has brought Andrae Crouch through, we can rejoice with him that indeed he does have the joy of singing for God once again. For gospel fans everywhere, this album was certainly worth the wait. --STEVE TIMM CAUZIN' EFEKT FAMLEE AFFAIR (GRRR) The Christian rap scene has not been known for its quality when compared to secular rap. Sure, there are a few notable exceptions to this but, for the most part, the quality just isn't there. Cauzin' Efekt is one of those exceptions. A great blend of cutting edge funk, and jazz, this is one of the finest I have heard in Christian rap. Why did this album grab my attention? First, it isn't as repetitive as other rap albums have a tendency to be. With one exception, in "Just Do It," the verses are quite long but the repetitive samples are kept to a minimum. There are samples, but they are placed in just the right spots to be effective, yet not overused. A second reason it stands out is in the use of other rappers. Many groups are doing this now, but few with the success of Cauzin' Efekt. They throw in a few guest appearances, but still hold the flow of the music. The different artists actually help to enhance the flow of the music rather than restrict it. This is shown the best effect in the song "920," where a female rapper, MIKO, is responsible for an entire verse. With her help, this song has become one of my favorites. This group actually has some singing talent. This is very evident with their intros and several choruses. They are able to add vocals that are pleasant to listen to and they rap well enough to hold interest. This blend of singing, rapping, and various other musical instruments creates a style that is enjoyable and made me want to get up and dance! FAMLEE AFFAIR is a great album. There are strong lyrics and incredible delivery (vocal and musical). If you like rap music and haven't heard this one, I think you'll find it worth the effort. --ROD GALLAGHER 20/20 BLIND NEVER FAR (INTERSOUND) The debut from 20/20 Blind on Intersound Records is a solid release. The Houston-based five-member band has been together for three and a half years--enough time for them to find their sound and polish it somewhat. That sound is pretty diverse. The album kicks off with "Wash," a strong rocker that showcases vocal harmonies reminiscent of KING'S X. Then comes "Soul Song," another rocker, before the album slides into "Love Keeps Reaching," a power ballad that does a good job of displaying another side of the band. Then comes "I Am Blind," one of my favorite cuts. The song displays vocalist Wallace Chase's abilities well. "Do I" deals with sexual temptation, and is one of the more musically creative pieces. The second half is just as strong, with the standouts being "Never Far," "Show Each Other Love," and "Another Love." "Never Far" and "Another Love" are both up-tempo acoustic tunes that have strong harmonies. "Show Each Other Love" is all-out rock, that shows these guys can bang with the best of them. Besides KING'S X, I also heard strains of EXTREME and VAN HALEN. Lyrically, the band addresses several topics, but a recurring theme is the emptiness that everyone feels sometimes, and they point to God as the answer. 20/20 Blind should appeal to fans of WHITE HEART, GUARDIAN and other hard-rock groups. The musicianship of Shon Alkire (bass), Doug Middleton (guitar), Chris Laurents (drums), and Michael McNeely (guitar) is strong, and provides a good backdrop for Chase's atmospheric vocals. --BETH BLINN -- IDLE CURE ECLIPSE Since 1986, IDLE CURE has rocked you with mega-hits like "Breakaway," "Overdrive," "Frontline," "Pray," "Holy Mountain," and many others. Now, ECLIPSE is out! And it's full of great, straight-ahead, melodic rock that's made IDLE CURE famous. Producer Billy Smiley (WHITE HEART) brings out the very best of the band's gifted and right-on songwriting, ultra-clean vocals and superb musicianship. It's fresh. It's tight. It's hot. It's the best IDLE CURE yet. So get out of the shadows. Get into the ECLIPSE. In Christian bookstores everywhere. Salt Inc. Music --