Winans, The - Decisions

Name: The Winans    
Album: Decisions
Year: 1987
Style: Gospel, Smooth RnB
Similar Bands: Dixie Hummingbirds, Gerald Levert, Teddy Pendergrass, Luther Vandross, George Benson
"One-Word" Review: sleek synth spirituals
Based Out Of: Detroit MI
Label: Qwest Records, Warner Bros. / Communications

Cover, Sleeve, Record

Back, Sleeve, Record

Decisions (1987)

1. Ain't No Need to Worry 5:43
2. Millions 4:19
3. Breaking of Day 4:43
4. What Can I Say? 4:41 /
5. Right, Left in a Wrong World 6:08
6. The Real Meaning of Christmas 4:40
7. Love Has No Color 4:13
8. Give Me You 4:46
9. How Can You Live Without Christ 4:23

Album Rating (1-10): 2.0

Members & Other Bands:

• Marvin Winans - Writer, Producer, Percussion (Testimonial Singers, Stevie Wonder, Kenny G, R.Kelly, Wayman Tisdale, Lalah Hathaway, Ricky Van Shelton, Kenny Loggins, Perfect Praise Choir, Andrae Crouch, Maria Muldaur, Kellie Copeland, Scott Johnson, Michael Jackson, George Duke, Tim Bowman, Anita Baker, Kirk Franklin, Lavine Hudson, Mervyn Warren, )
• Carvin Winans - Co-Producer, Writer (Testimonial Singers, Stevie Wonder, Kenny G, R.Kelly, Wayman Tisdale, Lalah Hathaway, Ricky Van Shelton, Kenny Loggins, Gospel Buggy Choir, Andrae Crouch, Keith Green, Kellie Copeland, Scott Johnson, Michael Jackson, Vanessa Bell Armstrong, Annita Baker)
• Michael Winans - Co-Producer, Writer (Testimonial Singers, Stevie Wonder, Kenny G, R.Kelly, Wayman Tisdale, Lalah Hathaway, Ricky Van Shelton, Kenny Loggins, Andrae Crouch, Michael Jackson, Anita Baker)
• Ronald Winans - Co Producer, Writer  (Testimonial Singers, Stevie Wonder, Kenny G, R.Kelly, Wayman Tisdale, Lalah Hathaway, Ricky Van Shelton, Kenny Loggins, Andrae Crouch, Kellie Copeland, Scott Johnson, Michael Jackson, Lavine Hudson, Kelli Williams, Anita Baker, Sounds of Blackness)
• Barry Hankerson - Co & Executive Producer, Writer, MGMT, Percussion (Rob Milner)
• Quincy Jones - Executive Producer
• Benny Medina - Executive Producer
• Anita Baker - Vox (Chapter 8, Melba Moore, Howard Hewett, Stevie Wonder, Cyrus Chestnut, Frank Sinatra, Marek Niedzwiecki, Dave Koz, Aaron Robinson, Andreus)
• Michael McDonald - Vox (All Star Choir, Artists United for Nature, Del-Rays, Doobie Brothers, The Guild, NY Rock 'n Soul Review, Steely Dan, Guy Finley, Carly Simon,  Jack Jones, Paul Williams, Tommy James, Little Feat, Bonnie Raitt, Craig Fuller, Eric Kaz, Dirt Band, Stephen Bishop, Gary Wright, Rita Coolidge, Kenny Loggins, Elton John, Christopher Cross, Donna Summer, Helen Redy, Paul Anka, Diana Ross, Joni Mitchell, Toto, Sergio Mendes, El DeBarge, Patti LaBelle, Wang Chung, Alan Silvestri, Aretha Franklin, Pointer Sisters, Dave Matthews Band, Vince Gill, John Tesh, Edwin McCain, Boz Scaggs, Kenny Rogers, many)
• Percy Bady - Writer
• Karen Jones - Project Coordinator
• Laythan Armour - Keys, Drums & Synth Programming (Hinton Battle, Chico DeBarge, Will Downing, La Rue, Jeremy Jordan, Alison Limerick, Frankie Knuckles, Tavares, Bobby Bland, Mystic Merlin, Mighty Clouds of Joy, Alberto Fortis, Alfie, Durell Coleman, Dynasty, Stop the Madness, Vesta Williams, Sherrick, Imagination, NJ Mass Choir, Herb Alpert, Joan Baez, Magic Lady, Beau Williams, LA Mass Chour, Bert Robinson, Cassandra, Yours Truly, Vanessa Williams, Classixx)
• Wayne Linsey - Keys (Maze, Frankie Beverly, Tonight Show Band, Linseym, Bobby Thurston, Starpoint, Enchantment, Lenny Williams, Emotions, Stanley Clarke, Bobby Womack, George Howard, Garry Glenn, Ray Parker Jr, Paul Jackson Jr, Brenda Russell, Mighty Clouds of Joy, By All Means, Nancy Wilson, Jackie Jackson, James JT Taylor, Jacksons, Paul Jackson, Whitney Houston, Marva Hicks, Patti Austin, Andrew Logan, Gene Rice, Nona Gaye, Gerald Alston, John Pagano, Norman Brown, James Ingram, Phil Perry, Terence Trent D'Arby, Dean James, Harbvey Mason, Doc Powell, Brigette McWilliams, Babyface, Arnold McCuller, Gary Taylor, Donnie, Frank McComb, David Nathan, Trina Broussard, Gerald Albright, Impromp2, Traincha, Lynne Fiddmont, Dwayne Smitty Smith, Smokey Robinson, Miles Davis, Leon Ware, Jermaine Lockhart)
• Harlan Rogers - Keys (Koinonia Sonlight, 3rd Ave Blues Band, Andrae Crouch, Reba, maria Muldaur, Gordon Lightfoot, Johnny Rivers, Maranatha Singers, Katinas,  more)
• Thomas A Whitfield - Keys (James Cleveland, Craig Bros, Gospel Soul Children, Mel Carter, Edwin Hawkins, Beverly Glenn, Howard Lemon Singers, James Cleveland, Voices of Tabernacle, Keith Pringle, Gospel Soul Children of NOLA, Aretha Franklin, Vanessa Bell Armstrong)
• Loris Holland - Keys (Mel Carter, Patti Labelle, Celine Dion, R.Kelly, Millie Jackson, Mariah Carey, Jeff Buckley, Lauryn Hill, Whitney Houston, Santana, Mary J Blige, Smokey Robinson, more)
• John Bokowski - Keys (Teena Marie, Rick Dees, Charlene, Four Tops, KoKo PoP, Rockwell, Bobby Womack, Teen Dream, Chill Factor, Tracie Spencer, Angela Bofill, Pointer Sisters, Paul Jackson Jr, Club Nouveau, Helen Baylor, Louis Price, Power of Seven, Rodney Mannsfield, For Lovers Only, Donnie McClurkin, Phyllis St James)
• Michael Rochelle - Keys, Synth (Gift of Dreams, The GT's, Buddy Montgomery, Rudy Copeland, Kristine, Natalie Cole, West Coast Crew, Michael Jackson, Magic Lady)
• Dean Parks - Guitar (Johnny Rivers, LA Boogie Band, Karizma, Koinonia, Patrick Williams,Ray Conniff, Lyle Lovett, Madeleine Peyroux, North TX Lab Bands, Helen Reddy, Sonny & Cher, David Cassidy, Wayne Newton, Vicki Carr, Partridge Family, T-Bone Walker, Billy Joel, Garfunkel, Donald Byrd, Righteous Bros, Stevie Wonder, Steely Dan, Neil Sedaka, Glen Campbell, Lulu, Rita Coolidge, Tavares, lots)
• Hadley Hockensmith - Guitar (Koinonia, Sonlight, 3rd Ave Blues Band, Big John Hall, Pam Thum, Bruce Hibbard, Kelly Willard, Andreae Crouch, Arlo Guthrie, Reba, Imperials, Barbara Mandrell, America, Gordon Lightfoot, Neil Diamond, more)
• Abraham Laboriel - Bass (Los Traviesos, Johnny Mathis, Gary Burton, Michel legrand, Ella Fitzgerald, 3prime, Friendship, Henry Mancini, Koionia, Los Profetas, Open Hands, Jazz Ministry, Akira Jimbo, Leo Sayer, Al Jarreau, Pointer Sisters, Commander Cody, Stephen Bishop, Grimaldi/Zeiher, Barbara Streisand, Captain & Tennille, Dolly Parton, Stan Getz, Tom Jones, Leonard Cohen, Peter Allen, Herb Alpert, Jimmy Cliff, Barry Manilow, Debby Boone, George Benson, Lionel Richie, Chaka Khan, Kenny Rogers, Quincy Jones more)
• Andrew Gouche - Bass (NPG-Q, Andrae Crouch, Michael Jackson, Julio Iglesias, Pattie Howard, David Foster, Moments of Faith, James Cleveland, S.Cali Comm. Choir, Voices of Cornerstone, Mighty Clouds of Joy, Gangs Back, LaQuint, Aguilar, Cheryl Lynn, Michael Trammell & Blest, Edwin Hawkins, LA Gospel Messengers, Sandra Crouch, NJ Mass Choir, Tramaine Hawkins, Philip Bailey, Crystal Lewis, 32Phreeze, Beau Williams, Debbie McClendon, Melba Moore, Louis Price,  Lonnie Morgan, Andre David Brooks, Arvis Strickling Jones, PH Factor, Randy Crawford, Coolio, Five Star, Montell Jordan, Paul Russon, Ladysmith Black Mambazo, Michael Ruff, Mary mary, TQ, Warren G, Ann Nesby, Smokey Robinson, Ruben Studdard, Patti Labelle, Heather Headley, Chaka Khan, Snoop Dogg, Jackie Gouche, Keb Mo, Dorian Holley, Quincy Jones, Kurupt, Lowell Pye, Terrance Martin, Aretha Franklin, Bridgette Bryant, Murs, Prince, Judith Hill, Mano Brown, Bottom 40, Mike Phillips, Carole Simmons)
• Lanar Brantley - Bass (James Cleveland, Vernard Johnson, Clark Sisters, Linda, Keith Pringle, Vanessa Bell Armstrong, Gospel Sould Children of NOLA, Royce Javan, Minister Thomas A Whitfield, Aretha Franklin, Clark Sisters, Lavine Hudson, Rev. Charles Nicks Jr, Truthettes, Bert Robinson, Eddie Murphy, Jade, LL Cool J, Karen Clark-Sheard, Will Smith, Boys Choir of Harlem)
• Dean Gant - Bass (Don Kinsey, Chosen Ones, Invisible Man's Band, Stargard, Linda Clifford, Spinners, Stephanie Mills, Larry Graham, Jones Girls, Madonna, Keni Burke, Anita Baker, Outkast, Peabo Bryson, Sunfire more)
• Bill Maxwell - Drums (Andrae Crouch, Koinonia, Open Hands, Sonlight, 3rd Ave Blues Band, Elton John, Leon Russell, Melody Gardot, Barbara Mandrell, Maria Muldaur, Qunicy Jones, Alpha Band, Phil Driscoll, T-Bone Burnett, more)
• Greg Phillingame - Synth Programming (Steve Vai, Toto, Quincy Jones, Donna Summer, Lionel Richie, Eric Clapton, Ray Parker Jr, Neil Diamond, Denise Williams, Kenny Koggins, Patti Austin, George Harrison, Richie Sambora, Rickie Lee Jones, Boz Scaggs, Rod Stewart, Isley Bros, Santana, David Gilmour, Stevie Wonder many)
• Justo Almario - Horn (Jazz on the Latin Side Allstars, Open Hands, Koinonia, Roy Ayers, Ubiquity, Tolu, Mongo Santamaria, Peabo Bryson, Linda Ronstadt, Engelbert, Placido Domingo more)
• Alex Acuna - Percussion ( Weather Report, Perez Prado, Elvis Presley, Diana Ross, Paul McCartney, Joni Mitchell, Ella Fitzgerald, Chick Corea, Whitney Houston, Placido Domingo, Herbie Hancock, Carlos Santana, Antonio Carlos Jobmin, Beck, Roberta Flack, Al Jarreau, Acuna-Hoff-Mathisen Trio, Birds of a Feather, Bob Mintzer, Bobby Lye, Caldera, Clare Fischer's Latin Sound, Friendship, GRP All Star Big Band, Jazz on the Latin Side Allstars, Koinonia, Los Hijos del Sol, Session II, Blues Caravan, Tia Dia, Tolu, Toon Roos Group, many)
• Ollie Brown - Percussion, Linn Drum (Raydio, Ollie & Jerry, Ollie Baba, Blackbyrds, Ray Parker Jr, Fire Fox, James Ingram, Tahiti, Tracie Spencer, Paul Jackson Jr, Stevie Wonder, Joe Cocker, Bill Cosby, Temptations, Rolling Stones, Eric Carmen, Van Morrison, Billy Preston, Diana Ross, Grease (sndtk), Deniece Williams , Sly & Family Stone, Moulin Rouge, Commodores, Jermaine Jackson, LaToya Jackson, Blondie Pointer Sisters, Quincy Jones, Kenny Rogers, Village People, Gloria Gaynor, DeBarge, Wilson Pickett, Michael Jackson, more)
• Melvyn Williams - Additional Vox (Williams Bros, Verlin Sandles, Gospel Concerto, Johnnie Taylor, Latimore, Mississippi Mass Choir, Anita Baker, Regina Belle, United Inspirational Quire of Columbus OH, Jackson Southernaires, Truthettes, Leomia Boyd, Friends, Gospel Miracles, Sammy Stevens & the Ephesians, Ralph Favors)
• Doug Williams - Additional Vox (Paradise, Williams Bros, Johnnie Taylor, Latimore, Mississippi Mass Choir, New Frontiers, Yolanda Adams, Anita Baker, Gospel Miracles, Jackson Southernaires)
• Kevin Session - Backing Vox 
• Kevin Jackson - Backing Vox (Andy Stokes, Marcell Russell, BeBe & CeCe)
• Victor Adams - Backing Vox (Active Force, Bobby Barth, EZB & DJ Los)
• Celeste McKinney - Backing Vox
• Jerome Earl Wright - Backing Vox (Andrew Wartts, Gospel Storytellers, Thomas Whitfield, NOLA Gospel Soul Children, Keith pringle, Vanessa Bell Armstrong, Commissioned, Aretha Franklin, Witness, Angelo & Veronica, Randy Crawford)
• Dwayne Whitehead - Backing Vox (The MOB)
• Debra Renee Winans - Backing Vox (BeBe-CeCe-Vickie-Ron-Daniel Winans, Tim Miner, Melba Moore, Carman, Bobby Brown)
• Regina Winans - Backing Vox (various Winans members)
• Angelique Winans - Backing Vox  (various Winans, Tim Miner, Lavine Hudson, Melba Moore, Bobby Brown, Kelli Williams, IDOL King, Donnie McClurkin, Darwin hobbs, Michelle Williams, TD Jakes)
• Benjamin BeBe Winans - Backing Vox (Andrae Crouch, PTL Club, BeBe & CeCe, 3 Winans Bros, Artists (United) for Haiti, Tammy Faye Bakker, Howard & Vestal, Melba Moore, Whitney Houston, Bobby Brown, Gladys Knight, Anastacia, Sam Moore, Dionne Warwick, Chicago, Louie Vega, more)
• Deborah Winans - Backing Vox (various Winans members, Tim Miner. Lavine Hudson, Margaret Becker, Mark Lowry, Carman, Margaret Bell, IDOL King, Donnie McClurkin, Yolanda Adams)
• Fred Hammond - Backing Vox (Andrae Crouch, Commissioned, Brian McKnight, Ruben Studdard,  more)
• Mario Winans - Child Vox (The Hitmen, Puff Daddy, Lil Kim, Jennifer Lopez, Ginuwine, R. Kelly, 98 Degrees, Limp Bizkit, Faith Evans, Whitney Houston, Beyonce, Mary J Blige, Keyshia Cole, Jay-Z, more)
• Marvin "Coconut" Winans Jr - Child Vox (Erica Campbell, Vickie Winans)
• Michael "Baby Mike" Winans Jr - Child Vox (P. Diddy)
• LaShay Winans - Child Vox (Danity Kane, P.Diddy)
• Carvin "Bronco" Winans Jr - Child Vox (Kim Fields, Gospel Buggy Choir)
• Juan Winans - Child Vox (Kim Fields, Gospel Buggy Choir, Michelle Williams, Michael Bolton)
• Joy Winans - Child Vox (Kim Fields, Gospel Buggy Choir)
• Steve King - Engineer
• Barney Perkins - Engineer, Mixing
• Craig Bervage - Engineer
• Win Kutz - Engineer
• Peter Hadon - Engineer
• Mary Ann Dibs - Art Direction
• Russell Comfort - Photos

Unknown-ness: Never heard of this band. At first, when i bought the record, i thought it would be a new age sort of album: abstract/fossil art & the band name font suggested as much. But the band image on the back and sleeve, prompted me to change my guess to Smooth Jazz...1987 was a solid year for both genres. But since the band consists of family members with Winans as the last name, and songs like Real Meaning of Xmas & How Can You Live Without Christ, i now believe this will be some sort of christian cult gospel band with smooth jazz leanings.

Album Review: Smooth RnB spirituals starts from the first track, with vocals layered over each other, and what sounds to be all synth production. I can automatically tell, this is not an album for me, and had to turn it off before the last song finished. I know Anita Baker is on the first (Grammy winning, top 20 R&B charting) track, "Ain't No Need to Worry," and it was weird hearing Michael McDonald on "Love Has No Color."

The band / family (10 siblings) has kept their religious beliefs close to their hearts, with most surviving members still preaching or recording gospel records. All this despite a strict upbringing of no music (other than gospel) or theater/movies/TV. They've won grammys and one sibling, not on this record, CeCe (Pricilla) is the #1 selling gospel artist of all time. This is the fifth of their records and it reached #1 on the Gospel Album Chart (Billboard), and they are revered for updating gospel's sound by mixing in Soul & RnB.

Stand Out Track:

Links:
Wiki

Family Wiki

Discogs

Allmusic
Detroit Free Press: Winans family member on Songland May'20

Michael W. Jr Jailtime
Encyclopedia . com
NY Times Father passing 2009

Grove Music Online
BeBe website
DT Free Press: Covid + Winans

Winans Online

Andy McCarroll & Moral Support - Zionic Bonds

Name: Andy McCarroll & Moral Support
Album: Zionic Bonds
Year: 1981
Style: Christian/Religious, New Wave, Power Pop
Similar Bands: Clash, Buzzcocks, Elvis Costello, Alarm, Police, 80's sitcom theme, slow English Beat, and a little Bowie
"One Word" Review: New-Christ-Wave
Based Out Of: North Ireland
Label: Pilgrim American Records, The Benson Company

 Zionic Bonds - Cover, Liner, Record

Zionic Bonds - Back, Liner Notes, Record

Zionic Bonds (1981)

1. Sin 4:10
2. How The Kids Are Feeling 2:39
3. To Know You 2:53
4. Slippin' And Slidin' 3:38
5. I Am Human 3:53 /
6. Cyan City 3:44
7. King Man 2:43
8. Livin' A Lie 3:54
9. In Control 4:56
10. 20th Century 4:41

Album Rating (1-10): 8.0

Members and Other Bands:

Andy McCarroll - Guitar, Vocals, Sleeve Design

Jimmy Davis - Guitars (The Lids)

William Hilary - Keys

Ian Sloan - Drums

Alan Gillespie - Bass

Kyle Leitch - Manager (Rudi)

Dennis McMeekan - Photography

Andy Kidd - Producer

Unknown-ness: I had never heard of this band. I bought this about 10 years ago, right around the time when I first found the A’s records in a 10 cent box. This one was from a Goodwill in my small hometown. I liked the energy, the color, the random look to the cover. The vibe from the cover seemed like it would be a fun, new wave/power pop group that I might enjoy as much as the A’s. Beyond that, 1981 had good potential as well for a fun record.

Album Review: Unbeknownst to me, it turns out that this is a Christian rock band from Ireland. I liked it a lot the first few times I listened to it, and admittedly, the affection dropped off when I realized there was a message I was against buried down (or not too far down) in the lyrics. I’m so unfamiliar with religion that I did not even get the album name’s reference. But I thought about it a little more, and grew to re-like the album, despite the message. I mean, it was kind of unfair to disregard the music and catchiness, especially since there are other bands I like whose messages I don’t identify with. Moral Support’s songs were pretty good. Apparently, Andy McCarroll had a few folk albums before this, and is still a songwriter over in Ireland. The band was really just called the Moral Support, but his name was attached for the US release. The songs titles were also “godded” up for the second wave of US releases, and on my copy, the titles on the sleeve are original, but the record label has the exaggerated versions.

“Sin” marches out with a drum beat and Bowie-ish vocals. There is keyboard synth and power pop chords. The bridge between the verse and chorus is the best part of the song. The lyrics of the song talk about hating sin. On the surface, it is just another power-pop arena rocking song, but they lyrics deliver the christian message. The end of the song chants 6-6-6 and hate it in combat repetition.

“How The Kids Are Feeling” has a jittery guitar hook that feels over all washed out, but all the energy of the Buzzcocks and Clash. The verse is spoke-sung in a fast paced action, and the chorus layered behind is a ver catchy peretiton of “this is how they feel.” There is also an echoy whistle that mimics the backing chorus melody, and at times it almost sounds like bird calls. The pace of the song starts and stops, but chugs along under long held synth notes buried in the background. The whole song rocks until they have to go and ruin it bring jesus into it in the last 30 seconds. Still a solid song

“To Know You” is a dark Clash / Elvis Costello alley way song. There is a bit of a reggae construction to the guitar playing and backing bass line.

“Slippin' And Slidin'”has a simplified Graham Parker/Squeeze feel to it, perhaps a bit of the Police in the stripped down reggae mixed with power pop. This track has some bright, jangley rhythm guitars, and watery lead guitar. The vocals in the verse feel like they are just falling out and down the melody as they are only partially sung. And in the last 30 seconds, again, they have to go and bring in the

“I Am Human” starts with echoing drums and a droning, chugging guitar. The vocals are turned up, like a more less mechanical Gary Numan. Synth notes are played that don’t follow the melodic structure, but create an atmospheric feel. The chorus rocks out, repeating the extended, US title “I am special, I am human” The synth keys are combined with the rocking guitar, but the vocals never pick up the energy, they let the music do that. The chorus is changed up eventually to say “WE” rather than “I”, and the lead guitar takes an opportunity to solo. The song falls apart in the end, piece by piece, even lyrically, only repeating special and human, and it ends with the guitar continually chugging away.

“Cyan City” is an instrumental that starts with an echoing, jangley power pop version of a Ramones chord structure. Twinkling and sparkling synth effects are peppered over the top, and the melody takes shape like an 80’s sitcom theme song. A variety of more synth effects take their turn over the music, some buzzingly smooth, and some watery and echoy. The song seems to fade out at the end under the weight of all the synth effects.

“King Man” is a jumpy, jittery, quick chord shifting song with Difford/Tillbrook like harmonies, and Buzzcocks like spoken singing. The electric guitar takes the song in a different direction, toward Prog/Metal. The music all fades out except the twinkling synth. Which seems to wind down in a warbling fashion with a slow fade.

“Livin' a Lie” is a straightforward power pop song, with an up-down chord progression. The vocals are very echoy, reminding me of Flock of Seagulls. As the synth is added in the second verse, the song balances on a fine like that feels like they are entering OMD territory once it hits the chorus. But it is electric guitars that take the song out to the end with a fade.

“In Control” has a slow, relaxed island/reggae English Beat tempo to it. On the record, this song has the word god added to the front of it, as the lyrics are “Do you believe/that god is in control.” About 3:10 the song brings in a political aspect to the song, employing static, and radio/tv transitions that make the listener question whether this god-person is actually in control of the tense world-wide situations with news broadcasts. The band then pushes it’s point to not worry, but their god will take care of things.

“20th Century” ends the album with a ramped up electronic surge at its start. That fades away, and a single chugging guitar plays under the vocals, like a Ted Leo story-song. The tempo changes to side-to-side swaying, slightly Ziggy Stardust style of song, letting the listener know that there’s a god in this 20^th century. The song follows standard form with verse-chorus-verse-chorus and then features an instrumental breakdown with soaring guitars. Just when they could come back to the chorus, the song takes the instrumental route and finishes the song with electric guitars playing the melody.

Stand-Out Track: How The Kids Are Feeling

Links:

Website

Spit Records

Last FM

Discogs

Irish Rock

Christian Albums

Mad at the World - Flowers in the Rain

Band: Mad at the World

Album: Flowers in the Rain

Year: 1988

Style: Christian Synthpop / New Wave

Similar Bands: Depeche Mode, Ultravox, Morrissey, Howard Jones

"One-Word" Review: creepy-operatic-gay-vampire-metal

Based Out Of: Southern California

Label: Frontline Records

 Flowers in the Rain - Cover & Record

Flowers in the Rain - Back & Record

Flowers in the Rain (1988)

1. "Fearfully And Wonderfully" – 3:50
2. "Flowers In The Rain" – 4:15
3. "Why" – 4:36
4. "Puppet Strings" – 4:17
5. "No Mistakes" – 3:18
6. "Wait" – 3:29 /
7. "I Don't Wanna Go There" – 3:17
8. "Faith Is A Perfect Road" – 3:36
9. "In My Dream" – 3:51
10. "Lovelight In The Midnight" – 5:08
11. "This Lie" – 3:320
12. "Dancing On Your Grave" – 5:58

Album Rating (1-10): 2.0

Members & Other Bands:
Roger Rose - Vocals, keyboards, guitars and drum programming, Producer
Randy Rose - Vocals, drum programming and electric bass (Rose, Mothership)
Mike Pendelton - Keyboards and electric guitar (Honky Mofos, Greg Jasperse)
Ray Rose - Acoustic guitar and electric bass

Unknown-ness: I’ve never heard of this band, but from their depressed name, and dismal album title, and their hair/clothings, I’m guessing it is some dark emo-new wave, even more sad and melancholy than the Cure. They look like the goth kids from South Park. I’d be surprised if it is anything but jaded synth new wave.

Album Review: Ok, they got me; turns out, this is Christian Rock played to the appeal of British dark new wave, or simply synth pop, minus the bouncy, jovial pop sound, plus a little extra metal. These are synth ballads used to get their various messages of god propaganda across. The only close give-a-way song title was “Faith is a Perfect Road.” Ugh.

"Fearfully And Wonderfully" starts off the album incredibly dated with an echoing drum intro and smooth, yet dark synth bass. The vocals are like that of a cartoon villain, fake British, perhaps a bit like Dracula. Already they start with the god stuff, saying how people are created as they are meant to be, all the while, the song had dark tones. The chorus and bridge do have catchy melodic hooks, which are hard to sing along to without smirking.
"Flowers In The Rain" features metal guitars that fit the metal scene of 1988. Again, the vocals are the same over the top, creepy old dude trying to sing like he’s from a 1880’s operatic British outfit. He’s hesitant in his singing pulling back at times to sound somewhat fay in contrast to the pseudo metal croon.
"Why" drops the evil dark tone, and is a story song about a bunch of people fighting sin. In this song, Roger sounds more comparable to Morrissey than anything else: vocals smoothly floating over the melody with the fake, over the top British accent. The tone is slight and peaceful, sounding like a Howard Jones song, minus the richness in Jones’ vocals. The end of the song features plucked violin strings and a falsetto challenge for Roger.
"Puppet Strings" starts out with some heavy metal riffs, and his vocals try to channel a deep, rich death metal sound, but fall short. The song just comes off as boring. Mid-song, Roger forgets the song’s style choice, and he lightly sings about jesus, which completely derails the momentum. There is a breakdown that has spoken word advert sound bites overlaid, which I imagine is supposed to seem political, but it is just cheesy.
"No Mistakes" is a piano ballad about a girl who was born as an unwanted pregnancy. Roger tries to validate her life with this touching crooning ballad, which again bears resemblance to Morrissey when he rolls the word “you” out over the symphonic musical background. The song fades out as he repeats the title of the track
"Wait" begins with a sinister organ, which might just be a normal church organ, but then the song actually picks up musical merit with a driving metal guitar melody. Then he tries his deep crooning style over the top, and the song becomes completely ruined. It seems like this is what metal singers should be like in his mind, but it is just a horrible, uncomplimentary style to…anything (I was going to limit it to the music, but really, anything paired is runined). Still, the music is descent and driving.

"I Don't Wanna Go There" creates a nice upbeat musical setting for his Morrissey styled lyrics, even the title could be a Morrissey song. The song is light and waif-like. It is piano based, and absent of any dark synth elements or metal guitars. In this song, he utters “Sex is a wonderful thing to share:” A sentiment that got them in trouble within the religious community for a song of there’s on a later album.
"Faith Is A Perfect Road" brings the vibe back to dark synth pop, combined with a grinding one-dimensional metal guitar. We are treated with his gay vampire vocals again. There are some shining musical moments, but overall, this is forgettable
“In My Dream" has a twinkinling cold synth effect at first, that transitions into an anti-angelic synth tone, and proceeds to devolve into a general sing-song melody supported synthpop song.
"Lovelight In The Midnight" is the musical equivalent of shaking up a can of faygo soda, and giving to someone else to open as a prank. It is a somewhat driving song, but it is all over the place, and actually kinda summarizes everything that they’ve presented on the album. It is metal guitars vs. the crooning dark vocals, plus some synth keyboards sprinkled on top like adding arsenic. It features a guitar solo, which is not really that bad. But it ends with a couple of guitar chords
"This Lie" oddly starts off with a munchkin-sung playground chant, adapted to pitch their own creepy message. The vocals don’t seem to fit over the music all that much until they hit the bridge. It is not too dark of a synth song, but his vocals still make it creepy, and you still can’t dance to it. All that said, it bears resemblance to Pet Shop Boys, unfortunately.
"Dancing On Your Grave" is just dark, cold and sparse. A frozen crystalline palace shattered with all the debris glittering painfully on the ground. Then you are running, thrust forward with driving drums and a guitar that chases you like the moon up in the sky. Ugh, then the sub-par Danzig vocals begin, and any sort of imagery is dissolved. I guess this is best described as a synth prog song.

Stand Out Track: There is no best track, but this one stood out: No Mistakes

Links:
Jesus Freak
 Hideout
Wiki
Homepage
Discogs
Down the Line Zine
Old Christian Music
Facebook

Tammy Faye (Bakker) - Run Toward The Roar

Artist: Tammy Faye (Bakker)
Album: Run Toward the Roar
Year: 1980
Style: Gospel Pop
Similar Bands: ???? 50's female vocalists, perhaps?
"One-Word" Review: lite-joy-cry-gospel
Based Out Of: North Carolina
Label: PTL Club Records and Tapes

Run Toward The Roar - Cover & Sleeve

Run Toward The Roar - Back & Record

Run Toward The Roar (1980)

1. Fill Me Up Lord / Thank You Lord for Loving Me The Way That You Do 5:37
2. Lord I Need You Right Now 3:57
3. Alleluia / Rejoice, You're A Child of the King 4:44
4. Before the Rocks Cry Out / I Live / He Is Exalted 5:00
5. My Dependable Friend 3:32 /
6. Run Toward the Roar 2:56
7. Oh, How I Love Jesus / Thou Art Worthy 5:12
8. Love Song for Grandma 2:56
9. All in the Name of Jesus 3:47
10. Its Real 4:51

Album Rating (1-10): 2.5

Members & Other Bands:
Tammy Faye Bakker - Vox, Front Cover Design & Layout, Back Cover Design
Gary Sanford Paxton - Produced, Arranged, Engineer, Remix Engineer, Backing Vox, Front & Back Cover Layout, Back Cover Design
Gene Rice - Engineer, Remix Engineer
Warren Peterson - Engineer
Steve Halger - Engineer
John Darnell - String / Horn Arrangement, Conducting
Buddy Skipper - String / Horn Arrangement
Don Tweedy - String / Horn Arrangement, Conducting
PTl Singers - Background Vox
Heritage School of Evangelism Choir - Backing Vox
Jeannie C. Riley - Backing Vox
Reba Rambo - Backing Vox
Brad Kelley - Backing Vox Arrangement
Pax Superpickers - Music
Jerry Carrigan - Drums
Bob Nickerson - Drums
Gene Chrisman - Drums
Bob Gelotte - Drums
Steve Schaffer - Bass
Bobby Wood - Keys
Morris Chapman - Keys
Alan Steinberger - Keys
Novella Williams - Organ
Pete Wade - Guitars
Harold Bradley - Guitars
Cindy Reynolds - Harp
Bill Wiggins - Percussion
Terry McMillan - Percussion, Harmonica
John Darnell Section - Horns
Shelly Kurland Sections - Strings
Glen Meadows - Mastering
Charles McCallen - Front & Back Cover Layout
Boomer & Linda Castleman - Front Cover Design & Layout & Photos
Phil Egert - Cover Photos & Back Photos
Greg Crouse - Back Cover Layout
Lloyd & Juanita Tytlandsvik - Owners of TN Game Farm & Lions.

Unknown-ness: So I saw this record, and yes, I know who Tammy Faye is. That is exactly why I had to get this album. Most gospel or god records, have images of stained glass, or people reading/singing hyms, or just your typical religi-crap. But this, this goes beyond that, running with the lion/king metaphor a great distance into fantastic artwork. Since it drops all the normal religious imagery, opting for a stylish atmosphere (however weird or awkward it comes off) I can only hope that this is an attempt to cross-over from religious music to pop; or since it was 1980, into new wave. I’d love to hear an evangelical attempt at modern (at the time) music, trying to gain fans with what was going on in pop music and spread her word of “faith” by sacrificing all her choir beliefs and values. However, the songs are religious titles, and do not try to mask her platform. But the surreal Tammy Faye poses on the back and the background of lions in collage makes a great argument as to what this record could hold. My hopes and expectations are set very high by this artwork.

Album Review: “Fill Me up Lord / Thank You Lord for Loving Me The Way That You Do” Is the first medley of the album. It is a gospel ballad with Tammy Faye singing over simple piano and a choir of ooooing in the back. After the drums kick in (kinda) the choir echoes Tammy’s lyrics, and they do a team chant. The organ is added in verse three, but it is not much, and does not detract from the vocals. But do any of them realize the sexual nature of the song…I mean to make a porno version of this song, you would not need to change a word. This is the Lord Juice song. After the third verse, the medley changes to the Thank You section, and the gospel gets a bit more groovy with brass and an R&B beat. It slows down, but maintains its Motown groove. We get glimpses of emotional singing, but it never goes into full-blown energy. “Lord I Need You Right Now” begins like the first song did: as a gospel ballad with piano and vocals/choir in echo. A very slow drum beat is added and the horns come back. We then get story time around 2:15, where Tammy gives an inspirational monologue about how people need to be saved. Then her tearful, strained siren voice wails for the remainder of the song, and she gives a little cryptic reminder that “you are they to someone” in her high pitch talking voice. “Alleluia / Rejoice, You're A Child of the King” is the next medley, that opens like Bing Crosby’s “White Christmas.” The Alleluia is uttered over and over again, in a similar fashion to Leonard Cohen’s version, but not quite. This is the orchestral ballad section of the medley that continues for the first 3 minutes of the song before it hits the theatrical gospel section. Her voice shakes, almost sounding like Sleater Kinney or something that is oddly comparable. Except that it is nothing like them. “Before the Rocks Cry Out / I Live / He Is Exalted” begins as a waltzing ballad with a little orchestral flair. This too is theatrical in its singing and composition. It smoothly transitions to the “I Live” section, picking up the horns a bit more, with the same melody. But it slows down to a near stop to finish out the medley for over 2 minutes. A swirling orchestra emerges building up the atmosphere, but it settles into another couple of refrains of “He Is Exalted” with only a little more energy. “My Dependable Friend” is a story song about how it was to be without Jesus, and how she met him. I can just see if sung after a bit of a dialogue on their evangelical telethon of a show, about how Tammy personally found religion. It is a slow and confidently sad song. The tempo is that of a sad Country and Western song.

“Run Toward the Roar” is the title track, and begins like a country and western tempo disco track. The song is a complete metaphor of young Jesus and its transition into King. I think. Don’t quote me; I am trying to listen as little as I can. Something about roaring lions are Satan, and he’s defeated, but run toward his ugly head. Weird. I really don’t get it. However, there is a cat’s meow sampled at the very end. Ohhhh! I (still don’t get it). Another gospel slow sing-along begins in “Oh, How I Love Jesus / Thou Art Worthy.” The music picks up a little, but is not a fun song. The song reverts to a quiet number with the second part of the medley. But triumphant trumpets sound and her voice slowly croons over the lyrics. You can hear the famous tears of joy stream down her face, leaving virtual deltas of mascara deposits along the way. It ends in over exuberant passion, with building orchestra and a held final note. “Love Song for Grandma” is a country blessing to the memory of her grandma. It stands out from the rest of the songs, as it is not a total religious rapping of the knuckles. It is sung like a camp fire sing-along. The same verse chorus melody repeats over and over as a way to make it easy to memorize. Swirling strings and a piano begin “All in the Name of Jesus” yet another in a long string of old fashioned vocalist displays, evilly embedded with religious banter. Around 3 minutes, she begins reciting what sounds like a bible verse to end the song, finally ending with: “So said the man. Jesus.” A more standard gospel tempo begins “Its Real.” It is not the floor stompin’ and soulful bellowing, hand clapping good gospel, but it is better than the slow orchestral stuff on here elsewhere. It is Tammy’s vocals buried under the chorus of the choir. Then her voice stands out with a bull frog deep baritone man’s voice underneath doing “ba-roops.” The organ is there buried in the background and the horns and strings are minimally used as well. But the song builds in a grand sense toward the end, and settles back in on itself as the final note is held.

Stand Out Track: Fill Me Up Lord / Thank You Lord for Loving Me The Way That You Do (only because of the obvious sexual innuendo the song portrays)

Links:

Rate Your Music

Flickr Album Cover

Bizarre Records.com
Vinyl Oddities

CBS Story on TFM
Sparkle Pony

Wikipedia
Tammy Faye Homepage

7/21/07 Passsing on CNN

Gary S Paxton rate your music page