Monday, August 10, 2020

#259 DON'T HIDE YOUR HEART by Sheila Walsh (1985)

Don't Hide Your Heart by Sheila Walsh (1985)
Sparrow Records • SPR 1101


Produced by:

Craig Pruess and Keith Bessey


File Under:

CCM with a European Flair


Time Capsule-Worthy Track:

We're All One



Sheila Walsh wasn’t like Amy or Twila or Kelly. She had a different sound and a different look. Hailing from Scotland, Walsh burst onto the CCM scene with more of a new wave vibe, but later settled into standard pop/rock fare. Her singing style and the unique sound of her voice helped set her apart from other popular American Christian female vocalists of the era. 



 

When the needle drops on side one, one of the first things you’ll notice is the decidedly dated sound of the Simmons electronic drums (not that we mind!), prominently featured on the album’s title track. Musical performances are skillfully handled on this project by folks like Michael Omartian, Abraham Laboriel, Paul Leim, Michael Landau, Phil Manzanera (Roxy Music) and others. Omartian, Cliff Richard and Chris Eaton were among those who supplied backing vocals on the album.


 



Of course, what would a mid-80s record be without at least one paranoid song about nuclear war to scare the hell out of us? You can just skip over Under the Gun. (God bless you, President Reagan.) 



  

 



The track that I remember most fondly from this album was an energetic rocker titled We’re All One. Penned by Bryn Haworth, Sheila’s rendition of the song reached the #6 spot on CCM radio airplay charts in 1985. An infectious groove and some fine sax and guitar work helped drive the popularity of this song that called for unity:

 

Listen to me, children

Can't you hear the call

Can't you see the message

That’s written on the wall

Took so long to write it

Pass it through the age

Telling all creation

Everybody can be saved

 

We're all one

 

I was riding on the railroad

I took a look around

All the different people

Couldn't find no common ground

We got one Maker

We're under one roof

And if you've got His love

Then you need no other proof

 

We're all one


 

Sheila Walsh with Steve Taylor in Belfast, Ireland


There’s a breakdown of sorts near the end of the song where the background vocals are featured a bit, providing a nice moment. By the way, Sparrow released an unfortunate 5:49 extended remix of this song for a collaborative project with Steve Taylor called Transatlantic Remixes. If I were you, I’d just stick with the album version.



Sheila Walsh with Cliff Richard at Wembley Stadium

 

It just might be that the song you remember most from Don’t Hide Your Heart is a ballad that Walsh sang as a duet with Cliff Richard. Written by Teri DeSario, Jesus Call Your Lambs shines a spotlight on broken marriages and calls for the restorative power of Christ to minister healing and reconciliation to couples who have lost their way.

 

Look at the man

He doesn't know what he's living for

He doesn't love her anymore

There's just an emptiness

The woman with him

What does she really think of her man

She thinks he's a hardhearted man

He doesn't understand her loneliness

All the angry words leave a bitter taste

Now they've turned their backs, it's such a waste

They're tired and broken down

Won't You call their names

Make them turn around

 

Oh, Jesus, call Your lambs, they've lost their way

They'll know Your voice by what You say

Teach them to follow every day

Oh, Lord, how they need You

Oh, Jesus, give them sight to see Your path

Give them the strength that they may ask

For courage to help them through the task

Of finding their way back home

They can't make it on their own

 
Having Cliff Richard appear on this album had to be seen as a positive for Sheila, since he was one of the most popular singers in the history of England and seller of 250 million albums worldwide. Richard had been a born again Christian since the 1960s.




 

Listening to the album again, I’m struck by the Graham Kendrick song It’s All For You. It’s a passionate plea for personal revival and total surrender.

 

Lord, take my life

Oh, and shake me from sleep

Don't let me waste one more minute of Your precious time

Fill me again

Oh, and set me on fire

Show me a vision of what You intend me to be

Lord, take my life

It's all for You




 

The next year Sheila Walsh would leave Sparrow for Myrrh (it seems like the path between those two labels was well-traveled in both directions by lots of artists). She would release 3 or 4 more albums of some consequence before becoming a co-host of The 700 Club. Walsh would transition to TV host and began churning out albums of a decidedly more conservative musical bent in an effort to identify with her new audience. She would later reveal that in the 1990s she spent time in a psychiatric hospital where she was treated for clinical depression. During this time, her marriage also came to an end and she retreated from the public eye.

 

When she re-emerged, she became a prolific author and a favorite speaker at Women of Faith conferences. She went to seminary and earned a master’s degree in theology. And she began recording again at long last.  



 

 

Over a three+ decade career/ministry, Sheila Walsh has demonstrated a remarkable desire to tell others about Jesus while working alongside people as diverse as Cliff Richard, Sandi Patti, Pat Robertson, Steve Taylor, Patsy Clairmont, James Robison, Phil Keaggy, and Luci Swindoll, among many others.

 

Telling all creation

Everybody can be saved

 

We’re all one


 

Thursday, July 30, 2020

#260 A PLACE TO STAND by Geoff Moore + the Distance (1988)

A PLACE TO STAND by Geoff Moore + The Distance (1988)
Sparrow • SPR 1151


Producer: Billy Smiley


File Under: Christian Rock


Time Capsule-Worthy Track:
Heart and Soul




This is the one where the graphic designer and photographer got all carried away in their eightyness. The font, the layout, the placement of the text, the clothing...it all screamed EIGHTIES. This was also the first one with Geoff Moore fronting a band, instead of just flying solo. And it was Moore's first project for Sparrow Records after three albums for the Benson Company.




Listening to it again, it's more muscular, more rocked-up than I remembered. Producer Billy Smiley had The Distance (Arlin Troyer, Lang Bliss, Dale Oliver and Tom Reynolds) sounding all rough and rowdy on some of these tracks. Help was given by such notables as Chris Rodriguez, David Mullen, Rick Florian, David Martin, and Carl Marsh. Even Bob Hartman and John Schlitt of Petra got in on the act on the title track.






Speaking of Petra, GM+TD cover Bob Halligan Jr's I Come Out Fighting - the same I Come Out Fighting that former Petra frontman Greg X. Volz recorded that same year. Now, Geoff Moore is a likable bloke and a fine singer. But I've got to believe that no one in his right mind would ever knowingly place himself in the unenviable position of being directly compared to the pipes of one Greg Volz. Even a slightly-past-his-prime Volz is going to sing circles around most others. So when I hear this GM+TD version of I Come Out Fighting, it only reminds me of Greg. Which is unfortunate because Moore actually does a fine job on the track.






Moore and the band write or co-write about half of the songs on A Place to Stand; the rest were written by a slate of well-known and very competent songwriters with names like Rob Frazier, Steven Curtis Chapman, and the aforementioned Perkins and Martin.






The band's recording of Dave Perkins' Calling Londontown is a high-water mark. But for me, the undisputed highlight of A Place to Stand is Heart and Soul, a heartland ballad that I used to play on the radio back in the late 1980s. Written by the very talented David Martin, Heart and Soul is given a bit of a Bruce Hornsby treatment as Moore sings about giving...giving to the poor and giving to meet ministry needs, but also giving everything that we are to the Lord:  

I took a walk one day 
Right down by the waterside
People were standing everywhere
Somebody called my name
Said son give me what you have
Little or much I don't care
Oh, He wanted everything

Said I'm giving You
Two hands
You can call them Your own
Two feet to lead
Wherever you want them to go
And two eyes to see
The things you want me to know
Said I'm giving You
Everything, everything, everything
Everything heart and soul

I passed a church one time
Where a rich man filled the plate
But he gave just a piece of what he had
An old woman that nobody saw
She didn't have much of anything
But the little she had you know she gave
Oh, she gave everything

She said I'm giving You
Two hands
You can call them Your own
Two feet to lead
Wherever You want them to go
And two eyes to see
The things You want me to know
Said I'm giving You
Everything, everything, everything
Everything heart and soul

Be it little or much
What you got's gonna be enough
If you can put it in His hands
Be it great or small
A little love can break the wall between us

I passed a hill one time
A Man, He hung in silhouette
As thunder rolled across the sky
That Man, He had no blame
And I can't forget His words
Not my will, oh, Lord, but Thine
Oh, He gave everything, everything

Said I'm giving you
Two hands
You can call them Your own
Two feet to lead
Wherever You want them to go
And two eyes to see
The things You want me to know
Said I'm giving You
Everything, everything, everything
Everything heart and soul

Heart and Soul would peak at #14 on Christian radio airplay charts in 1988.




Geoff Moore would record and tour with a band for the next decade or so. The members of The Distance would change over the years, but the group had a quite successful run, especially after making the move to yet another label home, this time Forefront. Moving more in a pop direction and focusing their efforts on the church youth group scene, Geoff Moore and the Distance would see no fewer than six singles climb all the way to #1 on Christian radio during the 1990s, with a slew of other songs garnering spins as well. Not to mention Dove awards and Grammy nominations. Not bad, not bad at all. At the end of the day, Geoff Moore secured for himself not only a place to stand but a place in the annals of CCM history.  




Saturday, July 25, 2020

#261 INCANDESCENT by Crumbächer (1985)

INCANDESCENT by Crumbächer (1985)
Broken Records - BRA-0301



Producer:
O-Joe Taylor


File Under: New Wave


Time Capsule-Worthy Track:
Jamie




Crumbächer was formed in 1983 as a new wave group. They recorded an EP for Calvary Chapel's MRC label with O-Joe Taylor of Undercover producing and Derri Daugherty of The Choir engineering. The label was so impressed with the group that they decided to make it a full-length LP. The result was 1985's keyboard-dominated Incandescent on Broken Records.




The song from Incandescent that sticks out in my memory is Jamie, a song that was played on our local Christian rock AM radio station in Greer, South Carolina. It was also the inspiration for a music video that played incessantly on TBN's Real Videos and elsewhere. After all, this was the 1980s...and story songs made for great music videos, obviously,  because the story could be acted out on the screen. And by screen, we're talking TV screens. No one watched music videos on phones, tablets or computers in the eighties. 




Around that same time period, there was no shortage of Christian rock songs named after girls who were struggling after making some questionable life choices. Sweet Comfort Band's Isabel, DeGarmo & Key's Addy, Steve Camp's Lazy Jane and Rob Frazier's C'mon Elaine instantly come to mind. Jamie took things to a whole 'nother level. In fact, if the quite graphic music video was shown on a college campus these days, it would probably require a trigger warning. 




After some band footage up front, Jamie is first shown as a friend (or girlfriend?) of Stephen Crumbächer, just thrilled to be riding shotgun in his convertible through the streets of Hollywood. The actress chosen to play Jamie looks a little too old for Stephen, but hey...just go with it. She wants more than anything to be a dancer (in the post-Flashdance era) but fails her audition, legwarmers notwithstanding. Disillusioned, she falls in with the wrong crowd and her life quickly spirals out of control. She quits her job as a seamstress at the dance theatre, dons a wig and starts using her legs to attract customers. That's right, our girl Jamie becomes a lady of the night. She gets brutally beaten by her pimp (played out on the screen in uncomfortably graphic detail), and just when she points a gun to her mouth and is ready to end it all...she spots a Bible. And then, miraculously, she wanders off the streets and into a Crumbächer concert. At this point, Jamie is looking like she's been rode hard and put up wet (as they say down South). And the youth group kids at this concert are looking at her like she's some kind of space alien. She walks down the aisle and into the waiting arms of Stephen Crumbächer himself. Somehow, the lead singer of Crumbächer knew this was going to happen...because he hands Jamie a pair of dancing slippers. When the video ends, she's got a Bible in one hand and her dancing shoes in the other. And then she drops the slippers but clings to the Bible.  

Almost preposterously cheesy? Yeah. 

A totally awesome 80s music video? YES. 

By the way, Jamie is said to be the first song the band ever wrote.




Other highlights from Incandescent include Infrared/X-Ray Eyes (God is following you with His x-ray eyes) and Sweet By and By which marries lyrics from the classic hymn with a new wave musical treatment.




The hyper It Don't Matter is the group's message to Christianity's critics:

They say forget about the old traditions
'Cause they were never really meant to last
Welcome to the 1980s
Where religion is a thing of the past
They treat me like I was a barbarian
For believing in original sin
They say we're all at one with the universe
So we're basically good within

Still, I'm gonna believe
The way I do
Even though everyone around me
Is saying it ain't true

Everyday they're looking for answers
Something new to add to their list
'Cause if it can't be explained through logic
Then it simply just doesn't exist
I think I'll just stay unenlightened
And carry on my own way
Besides, I'd rather put my faith in God
Than in the human mind any day

It don't matter what anyone says
I won't ever fall away from You
It don't matter what happened today
I know You're always there to see me through

Never fall away

The lyrics to this song are quite poignant, considering that the producer of this album, O-Joe Taylor later renounced Christianity.





Crumbächer later signed with Frontline Records, transitioned from new wave to dance/pop, and released three very fine projects: Escape from the Fallen Planet, Thunder Beach, and Tame the Volcano (which contained a very memorable title track). 


A 2005 reunion show


Some critics feel that Volcano was the group's best-crafted and most polished effort. But we're going with Incandescent. Somehow, Jamie is still dancing her way across our hearts.

OK, maybe not...but it was an awesome video.




Tuesday, July 21, 2020

#262 "LIVE" by Andrus, Blackwood & Co. (1980)

Andrus Blackwood & Co. Live (1980)
Andrus Blackwood & Co. LIVE (1980)
Greentree Records • R-3570





Producer:
Phil Johnson


File Under: CCM/Pop


Time Capsule-Worthy Track:
Jesus You're So Wonderful





This otherwise modest live recording spawned a single that became a mega-hit. It was a bit of a novelty song, a 50's knock-off that gave Terry Blackwood and Sherman Andrus a chance to goof around a little and elicit a few laughs from the audience. It had been previously released as a track on the pair's 1978 2-record set titled Following You. Who could've predicted that Jesus, You're So Wonderful would dominate CCM radio charts at the #1 position for TWENTY straight weeks in 1980-81.




"Jesus You're So Wonderful was mostly Sherman's idea," Terry Blackwood told me in July of 2020, "and I just added my touches. We never dreamed it would be so popular."

I also reached out to Sherman Andrus. "Jesus You're So Wonderful just took off," he said. "We had been singing it with great success but recording it live was just a bonanza for us. The glasses that I used were Gary Chapman's, who had some good friends in our band. The skit that we did was first done at a festival called Ichthus in Wilmore, Kentucky in 1978. I was prancing all over the stage like James Brown."




Now apparently, Sherman would ask the audience members to please not rush the stage. "Yeah, the whole deal about not having our security with us and asking them not to charge the stage, that started in Wilmore, Kentucky," Andrus remembers. "No one knew us, so we had to create an illusion of being popular."

Wait...what?! Sherman had been a member of two of the most iconic franchises in Christian music history - Andrae Crouch & the Disciples and The Imperials...and Terry, also an Imperial, had backed up Elvis Presley and had a last name that was synonymous with Gospel music...and no one knew them? Maybe it was because Ichthus was more of a rock festival.

So back to the story, with Sherman Andrus begging the crowd to not charge the stage: "Well, that was like saying sick 'em to a dog," he said. "That song is what put us on a roll." 


    

Recorded in a hotel ballroom in Evansville Indiana for just $12,000, this record is part concert/part worship service. Several of AB&C's smooth, radio-friendly pop tunes from Grand Opening and Following You are included here as well as a tune that Terry and Sherman had previously made popular with the Imperials (Give Them All to Jesus). But the group also takes time to minister with audience-participation praise and worship on tracks like He's Here Right Now, Bless That Wonderful Name, and If You Abide In Me





Sherman does most of the talking, at one point exhorting the crowd with, "If anyone should have an abundant life, it's those of us who've found the very Author of life, Jesus Christ." Speaking of the crowd, they were knowledgeable, greeting the intros of several recognizable songs with applause. 






Terry and Sherman are not known as songwriters, but they had an excellent track record when it came to evaluating the work of talented writers like Phil Johnson, Tim Sheppard and Bruce Hibbard. And to be non-family members, Terry and Sherman had a great vocal blend. Karen Voegtlin also added her voice to the mix on several songs to thicken things up with some 3-part harmony. Terry is one of the finest, smoothest lead singers in the history of Christian music, and several songs on this record feature Sherman's effortless falsetto (which reminded me in a really good way of the Imperials Live album from 1973).




But let's face it, the hit that opened side two is what this record will always be remembered for. 

"A guy named Steve Fromm wrote Jesus You're So Wonderful," Terry Blackwood told me. "I think we captured the essence of what he was trying to do with that song. Church youth groups sang it. We always brought some up from the audience to sing the background part with me. It was just such a fun song. People loved it and we did it for the rest of our tenure as a group." 






Thursday, July 16, 2020

Change of plans...sort of...




OK...life is busy. 

Between work and coronavirus and my 70s blog and race riots and my YouTube channel and coin shortages and playing with various worship bands and running a household...it's a juggling act.

I want to make more frequent posts to this blog. Heck, I'd like to finish it before we all die.

But to do that, I just can't continue with the long, detailed, extensive posts that you have (hopefully) enjoyed heretofore. The research takes time, the writing takes time, tracking down comments from artists takes time, finding photos you may not have seen before takes time...and ain't nobody got time fo' dat.

So...the blog will continue. But the posts will be more succinct. Shorter. Fewer details. Fewer photos. More concise. I'm putting this blog on a diet. It's going to hurt me to make this change...but at least it will hopefully enable me to finish the blog while I'm still on this side of Heaven.

Thanks for hangin' in there with me.

Your 80s CCM pal,
Scott 

Tuesday, May 5, 2020

#263 ACTION by Steve Archer (1985)

ACTION by Steve Archer (1985)
Home Sweet Home - WR 8311




Producers:

Chris Christian, Skip Konte, Keith Thomas


File Under: CCM/Pop, 80s Synth-Pop


Time Capsule-Worthy Track:

Safe




It seems like we’ve known Steve Archer forever. 


That's Steve over on the left


“It all started back in 1968 and even before then,” Steve said in a 2014 online interview. “I think I was probably 12 or 13 the first time we got up and sang in church. We would sing along with records at the house and, naturally, we would just go into harmony parts.”

As Steve and his older brother Tim began to harmonize together at home, their Dad, who was also their pastor, took notice. Steve explains: “Yeah, Dad just kind of started the whole thing by saying, ‘Hey, that sounds good. Why don’t you guys sing that in church on Sunday morning?’ And we were like, ‘Uh...okay.’ But we loved music and we loved to sing and there was just a natural blend there, and we would just naturally go into the harmony stuff, and that led to us singing a Bill Gaither song in our denomination's talent contest, and apparently it went pretty well. I was 13 and Tim was 16. We went all the way to the Nationals and took second place in the country with that song.”


Tim & Steve Archer...with their 2nd-in-the-nation trophy


[Now, the way my mind works...I want to know who in the world took home the first place prize? It would be very interesting to see how their career/ministry stacked up beside that of The Archers. And I know what some of you are thinking...How dare you! Ministry is not a competition! And that is true. But my brother and I also had a little experience with “Teen Talent” and the downside of that program is that it was - literally - a competition! I’m just saying it would be very interesting to see who was able to best The Archer Brothers. But I digress.] 

Even without taking the top prize, Tim and Steve were very encouraged by the whole process. “Yeah, it  inspired us,” Steve remembers. “We came home from that trip and we wanted to put a band together. We ended up singing with our older brother Gary. 




Then when Gary became a pastor, Tim and I continued in Palmdale, California to try and put a band together. People like Freddie Satterfield and Billy Masters and Nancye Short joined us to form the original Archers.”




Most of you know the story from that point. The group was befriended by Andrae Crouch, scored a live slot at a huge cultural touchstone for the Jesus Movement known as Explo ‘72, and also scored some radio hits with songs like Jesus is the Answer, Little Flowers and It Wouldn’t Be Enough




In 1977 they became even more of a family group when little sister Janice joined up and instantaneously became the hoped-for love interest of 95% of Christian teen males in the United States. [The other 5% of guys were either gay or visually impaired. I’m kidding!]




The group recorded a string of well-received albums that contained excellently written, God-focused songs and musical performances by some of the very best session players available. As always, the trio’s family vocal blend and impressive solo vocal performances were front and center. 




They sang at the White House, on live Grammy Award telecasts, and at several other iconic venues. Records like Fresh Surrender, Stand Up!, Spreading Like Wildfire and All Systems Are Go are still loved today. 




Beginning in 1982, Steve Archer began to record what would turn out to be a string of solo albums. The Archers eventually went on hiatus for a while, allowing the siblings to focus on their personal lives and other opportunities, but the group remained an entity well into the 1990s.



 
Steve’s first solo album had a catchy title - Solo - and the second one contained the huge hit Through His Eyes of Love. So the stage was set for Action, Steve Archer’s third solo recording, and one that included another monster hit, this time a duet with Marilyn McCoo. Much more about that a little later.

I had a chance recently to speak with Steve Archer and I asked him about the team of producers involved in creating Action. “It was a lot of fun making the Action album,” Steve said, “because we employed two different production approaches - one with my producer on my first two albums, Chris Christian, and then an additional producer, Skip Konte. Skip was the keyboardist for Three Dog Night back in the mid-70s. His nickname was The Wizard as he was always surrounded by keyboards, and he put on quite a show.”


Skip Konte in the 70s


Skip Konte also produced our TBN television show that ran for thirteen episodes,” Steve offered.

According to Steve, the difference in production styles can be easily observed as we listen to the title track versus the album’s biggest hit, Safe.

The keyboard work is varied and dizzying on the punchy title track, a song that says we have to put feet to our faith (You need action to catch your faith on fire). It does indeed have a different sound than what we had become accustomed to from Christian. Not better or worse, but different. Action also contains a very tasteful electric guitar solo that serves the song perfectly.  


Chris Christian with Steve Archer


Safe was much more, um...safe. From a production standpoint, this was the kind of CCM power ballad that was right in Chris Christian’s wheelhouse. Musically, it broke no new ground...didn’t do anything crazy...but it didn’t have to. Safe had "hit" written all over it. I asked Steve how he ended up recording with Fifth Dimension and Solid Gold star Marilyn McCoo. He laughed and said, “Well, it’s been 35 years since we recorded Safe, so forgive me if I don’t remember all the details!

“I just remember that my manager, David Bendette, who had managed pop acts like John Sebastian, Bonnie Raitt and even Tony Bennett for a while, called me and told me that he had gotten in touch with Marilyn McCoo’s manager about her recording Safe as a duet with me. Marilyn and her husband Billy Davis, Jr. knew of The Archers because of our Grammy performances and the word we got was that Marilyn was interested and wanted to hear the song. So when she heard the song she loved it, and she asked David and me to come to her home so she and I could do a little singing together to see how well we would blend.”




Steve continues: “It turned out that Marilyn was very happy with our blend and she said, ‘Let’s do this!’ So into the studio we went with Chris Christian producing, Jack Joseph Puig engineering, and some wonderful A-list musicians in Los Angeles, including Nathan East on bass. I think Robbie Buchanan was on keyboards. They were incredible musicians and great guys to work with.”

Safe turned out to be one of the CCM’s most enduring ballads in the eighties, and a song that did a wonderful job of expressing the amazing peace and safety that is found in the love that God has for each of us.
 
Lord, surround me on all sides
I need a place to hide
Hold me the way You do
'Cause here above the raging storm
You keep me safe and warm
Hidden away with You

And I'm safe
Safe inside Your love
I'm harbored in Your hand
Where You keep me anchored
And I'm safe
Safe inside Your love
And there's nothing I can't face
Safe inside Your hiding place
 
Safe was the kind of song Christian radio loved; it rose to #1 in the nation and was later voted the #4 Song of the Year by CCM Magazine. “Chris Christian has said that of the more than 60 #1 songs that he’s been a part of, Safe is one of his favorites,” Steve told me.


Chris Christian (L), and Jeremy Dalton


Interestingly, Action, Safe and five other songs on this album were all written by the same man. “Yes, Jeremy Dalton!” Steve recalls. “Jeremy and I were good friends and he had been writing pop songs and performing in clubs. But God got a hold of him and turned his heart toward writing songs like Safe, I’ll Do My Best, Through His Eyes of Love, Action, and many more.”  



 
A few more songs to mention...but can we talk about that album cover? Art Director Rhonda Jesson and photographer David Brandt made a few corny choices with the movie set props on the cover (“Action!”...get it?) Not nearly subtle enough, I’m afraid. But let’s face it, Steve’s movie star good looks were enough to overcome that. And that trendy red top with those acid wash jeans remind us that we were right smack dab in the middle of the 80s.



 
The album actually kicked off with a HUGE polyphonic, 80s synth-pop sound on I Can Do All Things. It’s an upbeat musical celebration of Philippians 4:13. More great keyboard sounds are featured on a positive pop testimony song titled Everything I Am. Rounding out Side One was Love’s Finest Hour, the kind of ballad Steve Archer could sing in his sleep, and still his vocals are tremendously impressive. 




Steve Archer’s singing has been described as blue-eyed soul...but to leave it at that would sell him short. There’s a sound...a quality...a richness to his voice that allows him to be extremely versatile. From Jesus Music to rock to gospel hymns to pop ballads to soul and even disco (back in the 70s). Whenever The Archers recorded a song with a high funk quotient, it’s a safe bet that Steve sang lead on it. I grew up a devoted Atlanta Braves fan, and everybody knew what a great hitter Hank Aaron was. But the baseball people would say that he never got enough credit for being a great fielder as well...because he made it look too easy. I think a similar thing could be said of Steve Archer as a singer: he often performs vocal gymnastics with a very high degree of difficulty, but he makes it all seem effortless. He makes it sound too easy.
 
Side Two kicked off with a bonafide rock anthem titled Run, this one penned by Keith Thomas and Glen Allen Green. Eighties instrumentation abounds...and this gives you an idea of what Steve Archer would’ve sounded like if he had ever fronted an actual rock and roll band. 


Looks like Skip's & Keith's producer credits were removed when Home Sweet Home released Action on CD. An oversight, I'm sure...

 
For my money, Holy, Holy was the record’s only misstep. An island-inspired, reggae worship song with weird keyboard sounds that remind you of a UFO landing? It must’ve seemed like a good idea at the time…

Who Will Own Your Heart was written by husband/wife duo Buddy & Julie Miller. Again, keys steal the show on this mid-tempo pop song with a good bit of swagger. Then the record wraps with Make A Joyful Noise, a synth-pop praise song based on the Psalms.




 
Action found Steve Archer at the height of his powers (so to speak) and at the top of his game, performing 200 dates a year. The Archers, as a group, would retire (for the most part) in the early 90s and life would eventually settle down for Steve and his musically-gifted siblings and their families. 




But Steve would continue to minister and, in fact, still sings in churches, conferences, and various other meetings quite often. He, brother Tim and sister Janice are universally held in high regard and loved by all who know them...and even by those who just remember them. No less an authority than Terry Blackwood recently wrote, "Steve is one of the truly great contemporary Christian music singers of all time. He is also a solid man of God." 




Yes, it does seem like we’ve known Steve Archer forever. And that’s a good thing.