This is mark Joseph “young” blog entry #335, on the subject of Bob Bennett’s First Matters.

Bob Bennett’s debut album, First Things First, reached the radio station not too long after I did, and I was immediately greatly impressed.  From the opening cut Carpenter Gone Bad he shot straight for the mind, with solid arguments for believing in Christ set to comfortable light folk-rock music heavy on the guitar picking.  My fond memories include Whistling in the Dark, You’re Welcome Here, I Belong to You, and the closing Healings.  This was a gentle but heavily intellectual collection, and I was captivated by it immediately.

When an artist or band releases a great first album, the fear is that they have have done their best work, and that which is ahead won’t measure up.  Yet three years later he appeared again with a disk that was in one sense completely different, and in another a great continuation of what he had already done.  From the smooth processed sound and emotional message of the opening title song, Matters of the Heart again impressed as it talked about life in songs like Falling Stars, 1951, A Song About Baseball, Madness Dancing, Together All Alone, Beggar, and Come and See, then wrapping up like bookends with Heart of the Matter.  He had topped his debut impressively.

What really surprised me today was how many of these songs I remembered–not just recognized, but could sing along in sections of the words.  They were well written and got inside powerfully.  I have omitted songs that I would include simply because I have included so many from two albums.  Somewhere I have both of these on vinyl; I’m going to have to find them and transfer them to CD so I can listen to them in the car.  They are great collections throughout.

That was the last I heard from him, but he continued releasing albums every few years, the most recent in 2016 making ten in all.  Everything I heard impressed me, and that’s rare.

*****

The series to this point has included:

1. #232:  Larry Norman, Visitor;
2. #234:  Flip Sides of Ralph Carmichael;
3. #236:  Reign of the Imperials;
4. #238:  Love Song by Love Song.
5. #240:  Should Have Been a Friend of Paul Clark.
6. #242:  Disciple Andraé Crouch.
7. #244: Missed The Archers.
8. #246: The Secular Radio Hits.
9. #248:  The Hawkins Family.
10. #250:  Original Worship Leader Ted Sandquist.
11. #252:  Petra Means Rock.
12. #254:  Miscellaneous Early Christian Bands.
13. #256:  Harry Thomas’ Creations Come Alive.
14. #258:  British Invaders Malcolm and Alwyn.
15. #260:  Lamb and Jews for Jesus.
16. #262: First Lady Honeytree of Jesus Music.
17. #264:  How About Danny Taylor.
18. #266:  Minstrel Barry McGuire.
19. #268:  Voice of the Second Chapter of Acts.
20. #272:  To the Bride Live.
21. #276:  Best Guitarist Phil Keaggy.
22. #281:  Keith Green Launching.
23. #283:  Keith Green Crashing.
24. #286:  Blind Seer Ken Medema.
25. #288:  Prophets Daniel Amos.
26. #290:  James the Other Ward.
27. #292:  Rising Resurrection Band.
28. #294:  Servant’s Waters.
29. #296:  Found Free Lost.
30. #299:  Praise for Dallas Holm.
31. #302:  Might Be Truth and the Cleverly-named Re’Generation.
32. #304:  Accidental Amy Grant.
33. #312:  Produced by Christian and Bannister.
34. #315:  Don Francisco Alive.
35. #324:  CCM Ladies of the Eighties.
36. #329:  CCM Guys at the Beginning.
37. #332:  The Wish of Scott Wesley Brown.

This is mark Joseph “young” blog entry #329, on the subject of CCM Guys at the Beginning.

Last time we covered the ladies of the eighties, a conglomerate article to help us get through everyone I think ought to be mentioned.  This time we’re doing the same with some of the guys.  This is a very broad shot here.  Some of these gentlemen had virtually faded into obscurity by the time I reached the radio station, others were barely on the scene when I left it.  Undoubtedly some of these people have a much bigger place in contemporary Christian music than would appear from my coverage of them; they simply weren’t that significant during the years when I was immersed in the industry.

I am starting with Randy Matthews, because he was someone known to me for one song long before I reached the radio station, from whom I never heard anything else.  Yet his Didn’t He, released in 1973, was a classic in Christian rock music maybe before there were contemporary Christian radio stations.

For years I knew of Randy Stonehill only as one of the early Christian musicians connected to Larry Norman.  I still don’t know any of his early work.  However, when I was at the station we received his album The Sky is Falling, and for some reason we focused on the rather goofy song Bad Fruit as the song to play.  I remember nothing else from his career.

Richie Furay was a very successful secular rock musician before he started doing Christian material, having been a founding member of both Buffalo Springfield and Poco.  I remember his Myrrh releases I’ve Got a Reason and Seasons of Change, but not well enough to recognize any of the titles on them; I find very few in video form, and none that I remember.

Darrell Mansfield also appears here as a name I remember without any other information.  He released several records with his self-named band, and was in the band Gentle Faith.  I’m not sure we ever had any of his work at the station.

We did have a couple albums from Denny Correll—Standin’ In the Light, How Will They Know, and Something I Believe In.  His bluesrock sound is captured in this song, the last cut on the last of those albums, Changin’ My Heart.

Mylon LeFevre was born into one of those Southern Gospel family bands, and sang with them.  His first song was picked up by Elvis, and then by many others, making him wealthy overnight; he sang with other bands, but in the sixties was attempting to launch something in the vein of Christian contemporary/rock music, for which there was not yet a market despite the rising Jesus movement.  He became involved in drugs which nearly killed him, and then returned to a clean life, and in 1982 released the first album with his new band, Broken Heart, entitled A Brand New Start.  I was unable to find any recognized cuts from this online, but the band continued producing albums through 1990.

I encountered them on stage at Creation ’82, where I was working stage crew and reporting for the radio station.  In setting up the band had placed a small amplifier behind LeFevre for his electric guitar; there were two other guitarists in the band who were working with the sound crew.  The head of the sound crew asked about plugging LeFevre’s guitar directly into the main system, which the guitarist declined, and then the suggestion was made that the amp could be miked, again declined with the explanation that LeFevre’s drug use had seriously damaged his ability to play, and the guitar was really more of a prop so he would have something in his hands while he sang.  Still, the band was impressive, and he could still sing.

Every morning during the times when we weren’t twenty-four hours our radio station came on the air with Johnny Fisher, and his All Day Song from his 1974 release Still Life, reportedly his third album but his first on a recognized label (Light).  I remember the release of his 1982 Dark Horse album on Myrrh, which I remember was good, but can’t find any cuts from it online; in a drawer somewhere I have a promotional T-shirt from that album which no longer fits.  I might have the album itself on vinyl somewhere, but I’m afraid I don’t have a good catalog of my record collection.

Carman first reached us with his self-titled Priority Records release in 1982.  It had a neo-rock-‘n’-roll sound reminscent of Elvis, of which Some-O-Dat was the memorable cut.  Then sometime within the next year we received a promotional single of a live version of a really clever and rapidly popular song, Sunday’s On the Way.  Not long after an album was released with that title, but the studio version of the title song lacked the life and excitement of the live single, which does not appear to be available anywhere.  The link here is to a similar live performance worth hearing.  I put this down as the best song Carman ever did, although I don’t know most of his career for which there is an album release as late as 2014.

Jazz fusion guitarist James Vincent had released four albums through secular labels before Sparrow Records delivered his 1980 disk Enter In to us.  The title song typified the style, and several other songs from the album are available in online videos.

According to his discography, Tim Sheppard had a couple albums out in the 70s before the release of 1979’s Songtailor, and a couple more in the 80s plus some appearances with other artists in collections, and then one more release in 2017.  I only ever heard Songtailer, and I only remember one song from it–but I remember it, one of the great songs that I still sing in the car decades later, The Fiddler.

Joe English made his name as the drummer for Paul McCartney’s Wings, but in 1980 he released the first of five Christian solo albums (with many often well-known supporting artists), Lights In the World.  I vaguely remember songs like Get Ready, and that for the time the production values were impressive.

I have the impression that Bob Ayala was very popular in other places.  I remember the album cover from Joy By Surprise, which had very strong Narnia imagery.  I was also impressed by the more subtle Narnia imagery of the next album, Wood Between the Worlds.  Unfortunately, I recognize none of the song titles.

Wayne Watson also goes down as someone popular elsewhere, but was one of those “just another solo act” guys for us.  However, his cover of Touch of the Master’s Hand still brings tears to my eyes when I try to sing it, and his later New Lives for Old, while not as memorable, was still good.

I’m not quite old enough to remember Dion and the Belmonts, but I do remember his 1961 rock-‘n’-roll solo hit Runaround Sue.  Dion DiMucci had a long and reasonably successful secular career, and then in 1980 hit the Christian contemporary field with the Dayspring release Inside Job.  I am embarrassed to say that I don’t remember any of the song titles from that or the next two albums, both of which were sent to the radio station while I was there, because I not only played cuts from them, I attended a small concert at a local church and had a chat with him afterwards, which I only remember as something we did (my wife with me at the time).  I do remember that he was good, talented and worth hearing.  He has continued to release albums nearly to the present, of which I of course know nothing.

What I remember about Michael W. Smith is that from the beginning with The Michael W. Smith Project in 1983 my mind connected him to Amy Grant.  I can’t even tell you why.  I can tell you that he is still around, and I hear him on the local Christian stations from time to time with new material.  The track lists from his early albums ring no bells.

I’m sure there were a lot of other male vocalists at the time; these are the ones that came to mind for whom I didn’t think I could do a whole article, but I’ve got more on the list ahead.

*****

The series to this point has included:

1. #232:  Larry Norman, Visitor;
2. #234:  Flip Sides of Ralph Carmichael;
3. #236:  Reign of the Imperials;
4. #238:  Love Song by Love Song.
5. #240:  Should Have Been a Friend of Paul Clark.
6. #242:  Disciple Andraé Crouch.
7. #244: Missed The Archers.
8. #246: The Secular Radio Hits.
9. #248:  The Hawkins Family.
10. #250:  Original Worship Leader Ted Sandquist.
11. #252:  Petra Means Rock.
12. #254:  Miscellaneous Early Christian Bands.
13. #256:  Harry Thomas’ Creations Come Alive.
14. #258:  British Invaders Malcolm and Alwyn.
15. #260:  Lamb and Jews for Jesus.
16. #262: First Lady Honeytree of Jesus Music.
17. #264:  How About Danny Taylor.
18. #266:  Minstrel Barry McGuire.
19. #268:  Voice of the Second Chapter of Acts.
20. #272:  To the Bride Live.
21. #276:  Best Guitarist Phil Keaggy.
22. #281:  Keith Green Launching.
23. #283:  Keith Green Crashing.
24. #286:  Blind Seer Ken Medema.
25. #288:  Prophets Daniel Amos.
26. #290:  James the Other Ward.
27. #292:  Rising Resurrection Band.
28. #294:  Servant’s Waters.
29. #296:  Found Free Lost.
30. #299:  Praise for Dallas Holm.
31. #302:  Might Be Truth and the Cleverly-named Re’Generation.
32. #304:  Accidental Amy Grant.
33. #312:  Produced by Christian and Bannister.
34. #315:  Don Francisco Alive.
35. #324:  CCM Ladies of the Eighties.

This is mark Joseph “young” blog entry #328, on the subject of The Song “Still Small Voice”.

I liked this song, ranking it number 7 for quality of the song; Tristan had it tied for his number 5.  The problem was in the quality of the recording and performance, which was hampered by a number of foolish mistakes.

There is a version of this available on Collision Of Worlds which is probably better than this.  I opted against it because Jonathan sings it, and while it’s good, that was 2012 and he was a much better singer a few years later–and although I’m including some recordings from that album, it didn’t seem right to use one I didn’t sing and he didn’t sing quite as well as he would later.

The problem was I didn’t have another recording that wasn’t buried in a long concert tape, and I needed one.  I recorded this in my living room, and made a couple of rookie mistakes.  One is that I was a mere few days out of the hospital and not fully recovered, and it’s a demanding song to do solo; I’m not sure it’s a great performance.  The other is that I recorded it on a recorder with automatic level control (ALC) in a room in which an air purifier was running.  The air purifier wasn’t really noticeable as background noise, but when the music stops it comes to the foreground fairly quickly.  I should have anticipated that, but I didn’t realize that the recorder had ALC (which I also should have realized).  I think I was twelve or thirteen when Jay Fedigan and I recorded something on a cassette deck with ALC, and we hit a cold ending which was immediately followed by the ticking of a clock we had not even realized was in the room.  Put it down as stupid of me.

The recording is here.  It’s not a bad recording, but that I wrote the song, with help from Tyler Choniger, for 7dB, where we had three vocals, and so it’s missing at least two, not to mention a rhythm guitar and other instruments.  We only had two of us singing for the Collision recording, although we were going to add a third.  If I were doubletracking in a studio I would make it four.  As it stands, You’ll have to imagine at least one more.

I had written most of the chorus, but for the last line, when I brought it to Tyler, and I thought it was going to echo some of the ideas from Walkin’ In the Woods, about churches failing to deliver what people need.  Tyler suggested that the opening words should close the chorus, and then I started writing the verse.  He wanted to include the D69add4, so we slid up to it in the middle of the verse; I thought that sliding from the CM7 to the D69add4 was becoming almost cliche (I did it in Holocaust, that I clearly remember) and so on the bridge I decided to go the other direction, which gave us the descending feeling in the chord progression, which went well with the overall theme of struggles in the song and gave the idea for the “sinking feeling”.  Its history is told in slightly more detail on the Collision website notes on the song.

In the original version we counted out the beats for a measure’s pause after the bridge.  Jonathan didn’t like that, so eventually I changed it so that he would start that last chorus when he felt it and we would all come in on his cue.  That’s more the way I do it in this recording.

The vocal cadenza at the end was intended to be a freeform ad lib cadenza, and I hope it sounds like that, but I don’t really do improvisational cadenzas all that well and find I do much better by experimenting with the music and writing one.  Thus this is the cadenza as I always sing it, although I suppose technically if someone wanted to sing something different that would be within the parameters of the song.  I happen to like this one very much.

Still Small Voice.

So here are the words:

There’s a still small voice speaking softly to my soul,
And the still small voice tells me God is in control.

The pressures of life are closing in;
Temptations are luring me to sin.
My problems are tearing me apart.
I feel like I’m dying in my heart.

There’s a still small voice speaking softly to my soul,
And the still small voice tells me God is in control.
It’s not in the thunder, not in the pyre,
Not in the lightning, not in the fire,
Not in the sermon, not in the choir.
There’s a still small voice.

The deadlines are coming way too fast;
Before I can reach them they have passed.
I’m struggling to get things up to speed,
With too many mouths I need to feed.

There’s a still small voice speaking softly to my soul,
And the still small voice tells me God is in control.
It’s not in the thunder, not in the pyre,
Not in the lightning, not in the fire,
Not in the sermon, not in the choir.
There’s a still small voice.

I know that God is on the throne,
And yet I have this sinking feeling.
I know He calls me for His own,
And so I reach to Him for healing.

There’s a still small voice speaking softly to my soul,
And the still small voice tells me God is in control.
It’s not in the thunder, not in the pyre,
Not in the lightning, not in the fire,
Not in the sermon, not in the choir.

  There’s a still small voice, God is calling to me
There’s a still small voice speaking softly to my soul,
  Ev’rything is in control.
And the still small voice tells me God is in control.
  He is on the throne, calling for His own, He will not abandon me,
There’s a still small voice speaking softly to my soul,
  He calls my name, He leads me on, tells me where to go,
And the still small voice tells me God is in control.
  I can hear that still, small, still small voice speaking to me speaking to my
There’s a still small voice speaking softly to my soul,
  Soul, the still small voice of God, Holy Spirit, let me hear your
And the still small voice tells me God is in control.
  Voice, loud and clear, small and still, from the heart of God,
There’s a still small voice speaking softly to my soul,
  The still small voice I hear.
And the still small voice tells me God is in control.
It’s not in the thunder, not in the pyre,
Not in the lightning, not in the fire,
Not in the sermon, not in the choir.
There’s a still small voice.

I can only hope you benefit from the song in some way.  I will continue with additional songs in the future.

*****

Previous web log song posts:

#301:  The Song “Holocaust” | #307:  The Song “Time Bomb” | #311:  The Song “Passing Through the Portal” | #314:  The Song “Walkin’ In the Woods” | #317:  The Song “That’s When I’ll Believe” | #320:  The Song “Free” | #322:  The Song “Voices” | #326:  The Song “Mountain, Mountain”

Next song:  Convinced

This is mark Joseph “young” blog entry #324, on the subject of CCM Ladies of the Eighties.

The number of people in Contemporary Christian and Christian Rock music back in the early eighties didn’t seem all that large, but as I’ve been working through those I remember I perceive that it will take a long time to get through even all those I think worth mentioning.  Thus I decided to do some conglomerate entries, naming and briefly recalling many who probably deserve more attention than I am offering but not from me.  There are a lot, and this article will be substantial because of that, but we’ll break them up, ladies first.

We featured Evie Tornquist Karlsson when we wrote about Ralph Carmichael, as her version of Pass It On (linked there) probably made the Kurt Kaiser song famous.  Evie is one of several female vocalists whose career began when she was single who then married, kept the maiden name in the middle and added the married name.  Her first album, Everything Is Beautiful, had its US release in 1971 when she was fourteen years old, then was released in Norway two years later; she had four releases in 2007, but they appear to be compilations released in Norway.  She did mostly middle-of-the-road covers of contemporary hits from many artists, but also had a substantial Norwegian career.  Her husband was a Norwegian singer-songwriter.  I remember her for Give them All; my wife won’t take me to the local shopping center for fear I might break out singing Give the mall to Jesus.

Sandi Patty, sometimes Sandy, sometimes Patti, is another contemporary MOR vocalist who did mostly covers, but did them well.  I once characterized her as the Linda Rondstadt of Christian music–great range, fabulous voice with soaring highs, could have sung opera or pretty much anything she wanted.  This early live rendition of How Majestic Is Your Name demonstrates some of her talent.

Twila Paris came from one of those family gospel singing groups, and recorded her first album, Little Twila Paris, in 1965 when she was about seven years old.  She did not record another one until 1980.  She received numerous awards over the course of her career, but I confess I know her name but do not remember a single album or song.

Lilly Green was a singer-songwriter whose third and final album, I Am Blessed, was the only one I ever heard–but the fourth song, Crucify Him (this video has a bit of dead air at the beginning) quickly became a favorite.

Micki Fuhrman‘s third and final album, Look Again, came out in 1981, and I found a favorite song on it as well–so much so that decades later when I saw a cassette copy of the album I bought it to listen in my car.  The song is entitled I Stick With Winners, and is a clever take on why faithfulness.  There were several other good songs on that disc, but I’ve got a lot of girls to cover here.

Looking over Cynthia Clawson‘s discography I recognize nothing but one song, on an album I never saw–but I know it was released to radio stations as a single, under the title Take Us Home for Christmas, and it’s a wonderful Christmas song which at the time was something new and different.  I remember it decades later as one of those new Christmas songs that were worth the vinyl.

On that same subject, Pamela Deuel Hart made Always Christmas the title song of what appears to be her debut album, an otherwise undistinguished collection of familiar Christmas music.  Regrettably, this song, which recalls a notion from The Lion, the Witch, and the Wardrobe, that it was always winter but never Christmas until He turned her life around so it is always Christmas and never winter, does not appear on a web search for videos.  She released several more albums, but I never heard any of them.

Kelly Willard was one of those artists whose name came into my head but to whom I could make no connection–until I looked up her discography and immediately recognized the title song of her debut album, Blame It On the One I Love, a light jazz-influenced contemporary hit.  Kelly is also known for a duet she did with the previously-covered Paul Clark, Woman…The Man That I Love.

Karen Lafferty released a few albums through Maranatha Music, but her best known song is not on any of them.  Rather, Seek Ye First appears in several multi-artist collections focused on worship music.  I remember it well, because it was used by one of our local ministries as the opening theme of their radio show.  It was one of the first popular songs in the worship music genre, at a time when evangelistic songs were still preferred but slowly fading and a lot of Christian music was moving toward exhortation.

Jamie Owens released two albums under her maiden name, Laughter In Your Soul and Growing Pains.  The latter included the song The Victor, which Keith Green heard and recorded, pushing Jamie to success in the field as the song was picked up by The Second Chapter of Acts and became a standard.  Then she married her producer Dan Collins as they were working on her album Love Eyes.  It, and all her subsequent albums, was released under her name Jamie Owens Collins.  During that time, she managed to write the song Daniel which appears on the album, and to produce it herself without his knowledge, and then arrange for the recording to be played when she walked down the aisle at their wedding.  Unfortunately, no video version of the song was found online.

There were a few albums in our radio collection by Janny Grein, and I recognize the covers for Free Indeed, Covenant Woman, He Made Me Worthy, and Think On These Things–what I don’t recognize is any of the song titles, but I do recognize that she was a Christian folk artist with a long career.

I remember Kathy Troccoli every time I hear another New York-style huge voice alto (think Bette Midler).  The chorus of the title song of her debut album Stubborn Love has stayed with me all these decades, with its lush broadway-style production and her powerful voice coupled with the uplifting message–if you’re not listening to all the linked songs in this article, you probably do want to listen to this one.

Every time I hear the name of Casting Crowns lead vocalist Mark Hall, I wonder if he’s possibly the son of a girl for whom we had two albums.  The first must have been Flying, because it’s the only album listed under her maiden name, Pam Mark, but by the time she released her second album, This Is Not a Dream, she was Pam Mark Hall.  I don’t remember any titles from either of those albums, but her album Never Fades Away has a familiar look and sound, with several familiar song titles on it.  These include Little Miss Much Afraid (with what sounds like Fireworks‘ Marty McCall supporting vocals), Lord of the Starfields, and others not available on video.

I recognize enough Reba Rambo album covers that we must have had a stack of them at the station, including her first, the 1969 release Reality, although I recall no titles from that.  She was more of a contemporary southern gospel artist, but borderline.  I remember the standard He Looked Beyond My Fault (And Saw My Need) from 1971’s Songs My Mother Taught Me, The Land of Oohs and Ahs/Somewhere Over the Rainbow and the title song from from 1977’s Lady, and a couple songs from The Lady Is a Child.  A few of the intervening albums don’t look familiar, but I remember the album Dreamin’.  It appears that her last release was 1982’s Lady Live.  In 1980 she married Dony McGuire, and they released several albums as a duo through 1987.

In creating this list I remembered the name of rocker Leslie Phillips, who later recorded as Sam Phillips and Sam Burnett.  Her album Beyond Saturday Night in 1983 pushed the envelope a bit for solo female CCM vocalists, as demonstrated by Put Your Heart In Me, and I vaguely remember the 1984 album, title song Dancing With Danger.

I’m adding one more artist to this list.  We never played anything, nor indeed had anything, of hers at the radio station, and I can’t vouch for her faith (which she cryptically attributed to the influence of, of all people, Paul Simon).  She was a member of Bette Midler’s backup band The Harlettes before launching her solo career, but Melissa Manchester recorded one song on her 1974 Bright Eyes album that was an expression of faith that most Christians never heard.  Oh Heaven (How You’ve Changed Me) (a slightly different arrangement from the album version, but well done live).  Although when I arranged it for my friend Sue Adams Kirkegard (RIP) I changed the words to the last line of the last verse (to “You’ve got to ask Him in yourself”), it’s still a great song that should be remembered.

That’s not all the girls–we already did articles on Honeytree, Amy Grant, quite a few ladies who were part of larger bands but had separate careers (Sandra Crouch, Tremaine Hawkins, the girls of 2nd Chapter of Acts), and we’ve got at least one more still on the list.  These, though, manage to cover a lot of those who deserve to be included but for whom I would be hard-pressed to remember enough to support a separate article.

I’ve got one for the boys coming up.

*****

The series to this point has included:

1. #232:  Larry Norman, Visitor;
2. #234:  Flip Sides of Ralph Carmichael;
3. #236:  Reign of the Imperials;
4. #238:  Love Song by Love Song.
5. #240:  Should Have Been a Friend of Paul Clark.
6. #242:  Disciple Andraé Crouch.
7. #244: Missed The Archers.
8. #246: The Secular Radio Hits.
9. #248:  The Hawkins Family.
10. #250:  Original Worship Leader Ted Sandquist.
11. #252:  Petra Means Rock.
12. #254:  Miscellaneous Early Christian Bands.
13. #256:  Harry Thomas’ Creations Come Alive.
14. #258:  British Invaders Malcolm and Alwyn.
15. #260:  Lamb and Jews for Jesus.
16. #262: First Lady Honeytree of Jesus Music.
17. #264:  How About Danny Taylor.
18. #266:  Minstrel Barry McGuire.
19. #268:  Voice of the Second Chapter of Acts.
20. #272:  To the Bride Live.
21. #276:  Best Guitarist Phil Keaggy.
22. #281:  Keith Green Launching.
23. #283:  Keith Green Crashing.
24. #286:  Blind Seer Ken Medema.
25. #288:  Prophets Daniel Amos.
26. #290:  James the Other Ward.
27. #292:  Rising Resurrection Band.
28. #294:  Servant’s Waters.
29. #296:  Found Free Lost.
30. #299:  Praise for Dallas Holm.
31. #302:  Might Be Truth and the Cleverly-named Re’Generation.
32. #304:  Accidental Amy Grant.
33. #312:  Produced by Christian and Bannister.
34. #315:  Don Francisco Alive.