Margaret Becker
Margaret Becker is an American Christian rock singer and songwriter. She has had twenty-one No. 1 Christian radio hits, won four Dove Awards, been nominated for four Grammy Awards. Becker was born in Bay Shore, New York, raised in East Islip, New York, began playing in coffeehouses while teaching music and taking opera lessons. Having graduated from James Madison University with a degree in communication, she moved to Nashville, Tennessee in 1985, signed to Sparrow Records as a songwriter; the next year she landed a contract as a solo artist, released her debut album, Never for Nothing. The single "Fight for God" was her first hit, her second LP, The Reckoning, followed with two more hits, "Light in the Darkness" and "Find Me". Becker began working with producer Charlie Peacock starting with 1989's Immigrant's Daughter, a string of successful albums followed, including a Spanish language LP, she won two Dove Awards for Rock Album and Rock Song. However, in the late 1980s and early 1990s, Becker encountered controversy in the world of Contemporary Christian music because she is a Roman Catholic.
Although she was raised in Catholicism, Margaret attends a non-denominational church in Nashville, TN. After 1995's Grace, Becker decided to take a sabbatical from the music industry, she left Sparrow Records in 2002 but has continued to record since both her own albums and for compilation albums. She appears on the albums Sisters, Listen to Our Hearts and Earth, the New Irish Hymns series, is one of the members of the 1994 collaboration Along the Road along with Susan Ashton and Christine Denté, she co-wrote Bob Carlisle's "Bridge Between Two Hearts". Her second book, Growing Up Together, appeared in 2000. In late 2007, Becker's latest album, was released. Becker gives teaching seminars across the United States, she produces records for other singers, in 2006 she wrote a series of columns for CCM Magazine. Becker has been active in supporting charities such as Habitat for Humanity, Compassion International, World Vision. Becker has never married and lives in Nashville, Tennessee. Never for Nothing The Reckoning Immigrant's Daughter Simple House Soul Fiel a Ti Grace Falling Forward What Kind of Love My Refuge Just Come In Faithfully Yours Air Collaborative worksAlong the Road New Irish Hymns New Irish Hymns 2: Father, Son & Holy Spirit New Irish Hymns 3: Incarnation New Irish Hymns 4: Hymns For the Life of the Church Hymns of Christmas CompilationsSteps of Faith: 1987–1991 Early Years Very Best of Margaret Becker Margaret Becker at Allmusic.com Interview with Margaret Becker Official website
Love Beyond Reason
Love Beyond Reason is an album by Randy Stonehill, released in 1985, on Myrrh Records. The album contained the hit single, "I Could Never Say Goodbye,", a duet with singer Amy Grant. Grant had become one of the biggest names in Christian music, had crossed over into the mainstream with her Unguarded album. Stonehill released a Love Beyond Reason Video collection in 1985 on VHS and Beta, which included videos of "Love Beyond Reason," "Until Your Love Broke Through," "Hymn," "You're Loved Tonight," "Still Small Voice," and "The Gods of Men." All songs written by Randy Stonehill except. Side one "I Could Never Say Goodbye" – 3:34 "Love Beyond Reason" – 3:36 "The Gods of Men" – 4:12 "Bells" – 4:19 "You're Loved Tonight" – 5:47Side two "Until Your Love Broke Thru" – 4:01 "Hymn" – 2:46 "Angry Young Men" – 3:36 "Judgement Day" – 4:54 "Cross That Line" – 3:31Bonus track, available only on cassette and CD version"The Gods of Men" Randy Stonehill: lead vocals, acoustic guitar Milo Carter: guitar Don Griffin: guitar Steve Wilkinson: bass guitar David Raven: drums Barry Miller Kaye: Fairlight CMI Amy Grant: second lead vocals on "I Could Never Say Goodbye" Danny Jacob: lead guitars, guitar solo Rick Geragi: congas, claves, cabasa, percussion Denver Smith: additional synthesizers and MIDI technician Andrea Saparoff: Fairlight CMI, orchestral arrangement, programming Barry "The Bear" Liss: harmonica solo Jay Leslie: soprano sax solo Mark Heard: additional guitar Background vocals: Randy Stonehill, Caryn Robin, Táta Vega, Bryan Duncan, Richie Furay and Tonio K. Produced and arranged By Barry Miller Kaye Engineered and mixed by Mark Heard at Fingerprint Recorders Executive Producers: Ray Ware and Tom Willett Second Engineer: Dan Reed Basic Tracks recorded using the Fingerprint Recorders Mobile Unit at the Sound Vault Studios, California Simmons drum programming: Tim "Repo Man" Aller Fairlight CMI programming: Andrea Saparoff All Fairlight CMI textures developed by Barry and Randy at the Computer Music Lab, California State University, California Fairlight CMI Technicians: Jeff Forehan at Byte Size Productions for High Tech Instruments.
S. U. N. Mastered By Steve Hall at Future Disc Systems Art Direction & Design: Roland Young Cover Photography: Lisa Powers Make-up: Dolli Melaine Group photo taken by Rose Berger at the La Brea Studios, California Additional Photos By Ray Ware
Phil Keaggy
Philip Tyler "Phil" Keaggy is an American acoustic and electric guitarist and vocalist who has released more than 50 albums and contributed to many more recordings in both the contemporary Christian music and mainstream markets. He is a seven-time recipient of the GMA Dove Award for Instrumental Album of the Year, was twice nominated for a Grammy Award for Best Rock Gospel Album, he has been listed as one of the world's top-three "finger-style", as well as "finger-picking", guitarists by Guitar Player Magazine readers' polls. Keaggy was raised in a small farmhouse in Hubbard, Ohio with sisters. Keaggy went to high school at nearby Austintown Fitch High School, graduating in 1970, he is missing half of the middle finger on his right hand due to a childhood accident at age four involving a water pump. Reflecting on the incident, Keaggy says, We lived on a farm in Hubbard, which had a big water pump, I was climbing up on it; as I was kneeling on top of the platform, it broke and the faucets came crashing down on my finger and cut it off.
I can remember it vividly—as if it happened yesterday, I can see my dad running down the hill, rescuing me, taking me to the hospital. I can bandage, they tried to sew it on. As a young kid, I was embarrassed about it a lot when I was beginning to get into guitar. I used to be red when I'd play in front of people because I believed they were looking at my hand, which they weren't... Before my accident with my finger occurred, my oldest brother was killed in a car accident and two weeks afterward my younger sister had her big toe cut off; these were all heavy things for my mom and dad to go through. It was not the guitar that attracted Keaggy to playing music. Keaggy explains: I asked my dad for a set of drums for my tenth birthday but he came home with a Sears Silvertone guitar... I had wanted a set of drums. I didn't know. So for about nine months I learned funny little melodies with my guitar tuned out. My brother Dave said "Here, let me show you how to tune this thing properly." I said, "Well, O.
K. but I gotta learn all over again." I was disappointed... My oldest brother Dave, showed me some chords... But if I were to pinpoint one turning point...when I was in sixth or seventh grade, I met a man named Nick who worked an electronics store in California, where my family lived for awhile. One day, Nick took me to a music store loaded with all these great guitars the British groups were using and he asked me "Which one is your favorite?" I pointed out a 1962 Stratocaster and he bought it for me. He got me my first professional gig at Artesia Hall—just me and my guitar and amp... I paid him back by working in the electronics store. I put a lot of time and effort into playing it. Keaggy was a member of a mid-1960s garage rock band called the Squires. In 1966 he joined Volume IV; the band appeared in Youngstown clubs and released a Keaggy composition, "Come With Me", as a single on the Date label. At one point, New Hudson Exit had considered Joe Walsh as its lead guitarist. Walsh would establish himself as guitarist for the James Gang before embarking on a solo career and work with the Eagles.
In 1968, Keaggy and longtime friend drummer John Sferra, along with bassist Steve Markulin, formed the band Glass Harp. The band gigged in and around the Youngstown, Ohio and found work at school dances and clubs; this incarnation of the band recorded several demos, released the single "Where Did My World Come From?" on the United Audio label in 1969. Markulin left the group to join his cousin Joe in another successful Youngstown band, The Human Beinz. Keaggy and Sferra recruited bass player Daniel Pecchio. Pecchio of the band The Poppy, was a flute player, a talent that would be showcased on several Glass Harp's songs. Having recorded a new set of demos and signing with new management, the band set out to polish their live act and shop for a recording deal. A major turning point for the trio was their winning of an Ohio area's "Battle of the Bands", One of the event's judges happened to be an associate of producer Lewis Merenstein, whom he alerted to the threesome. Merenstein was persuaded to fly down from New York to listen to the band in concert.
Upon hearing Glass Harp perform, Merenstein's enthusiastic report resulted in Decca Records signing Glass Harp to a multi-record deal. Reflecting on 1970, Keaggy recalls:...the 18th year of my life was dark. I had done some trips and it was terrible, I thought it might enhance my creative ability in music, but it didn't. I once heard a tape of me playing when it was awful. I sang weird and I played badly. I thought I was doing such a great job. People I was very close to, who were close to me, were turning on me, it seemed strange... I was experiencing such fear...it was just...terrible... During these days I would take naps in the afternoon because I'd be so tired playing at night, staying up till 4 in the morning, getting up early and napping again in the afternoon. I'd wake up having nightmares... I had "Peace" written on my wall and I went around giving the peace sign, but I didn't experience peace in my life. I didn't know what peace meant.
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Pat Boone
Charles Eugene "Pat" Boone is an American singer, actor, television personality, motivational speaker, spokesman. He was a successful pop singer in the United States during early 1960s, he sold more than 45 million records, had 38 top-40 hits, appeared in more than 12 Hollywood films. According to Billboard, Boone was the second-biggest charting artist of the late 1950s, behind only Elvis Presley, was ranked at No. 9 in its listing of the Top 100 Top 40 Artists 1955–1995. Until the 2010s, Boone held the Billboard record for spending 220 consecutive weeks on the charts with one or more songs each week. At the age of 23, he began hosting a half-hour ABC variety television series, The Pat Boone Chevy Showroom, which aired for 115 episodes. Many musical performers, including Edie Adams, Andy Williams, Pearl Bailey, Johnny Mathis, made appearances on the show, his cover versions of rhythm and blues hits had a noticeable effect on the development of the broad popularity of rock and roll. Elvis Presley was the opening act for a 1955 Pat Boone show in Ohio.
As an author, Boone had a number-one bestseller in the 1950s. In the 1960s, he is a member of the Gospel Music Hall of Fame, he continues to perform and speak as a motivational speaker, a television personality, a conservative political commentator. Boone was born on June 1, 1934, in Jacksonville, the son of Margaret Virginia and Archie Altman Boone, he was raised in Nashville, where his family moved when he was two years old. Boone graduated in 1952 from David Lipscomb High School in Nashville, his younger brother, whose professional name is Nick Todd, was a pop singer in the 1950s and is now a church music leader. In a 2007 interview on The 700 Club, Boone claimed that he is the great-great-great-great grandson of the American pioneer Daniel Boone, he is a cousin of two stars of Western television series: Richard Boone of CBS's Have Gun – Will Travel and Randy Boone, of NBC's The Virginian and CBS's Cimarron Strip. In November 1953, when he was 19 years old, Boone married Chicago-born Tennesseean Shirley Lee Foley 19 years old, daughter of country music great Red Foley and his wife, singer Judy Martin.
They had four daughters: Cheryl "Cherry” Lynn, Linda “Lindy” Lee, Deborah "Debby” Ann, Laura “Laury” Gene. Starting in the late 1950s, Boone and his family were residents of New Jersey. Shirley Boone was television personality than her husband, she founded a hunger-relief Christian ministry, Mercy Corps. She died in 2019, aged 84, at her Beverly Hills home from complications from vasculitis, which she had contracted less than a year earlier, he attended David Lipscomb College, Lipscomb University in Nashville. He graduated in 1958 from Columbia University School of General Studies magna cum laude having attended North Texas State University, now known as the University of North Texas, in Denton, Texas. Boone began his career by performing in Nashville's Centennial Park, he began recording in 1954 for Republic Records, by 1955, for Dot Records. His 1955 version of Fats Domino's "Ain't That a Shame" was a hit; this set the stage for the early part of Boone's career, which focused on covering R&B songs by black artists for a white American market.
Randy Wood, the owner of Dot, had issued an R&B single by the Griffin Brothers in 1951 called "Tra La La-a"—a different song from the LaVern Baker one—and he was keen to put out another version after the original had failed. This became the B side of the first Boone single "Two Hearts Two Kisses" by the Charms – whose "Hearts Of Stone" had been covered by the label's Fontane Sisters. Once the Boone version was in the shops, it spawned more covers by the Crew-Cuts, Doris Day, Frank Sinatra. A number-one single in 1956 by Boone was a second cover and a revival of a seven-year-old song "I Almost Lost My Mind", by Ivory Joe Hunter, covered by another black star, Nat King Cole. According to an opinion poll of high-school students in 1957, the singer was nearly the "two-to-one favorite over Elvis Presley among boys and preferred three-to-one by girls..." During the late 1950s, he made regular appearances on ABC-TV's Ozark Jubilee, hosted by his father-in-law. He cultivated a safe, advertiser-friendly image that won him a long-term product endorsement contract from General Motors during the late 1950s, lasting through the 1960s.
He succeeded Dinah Shore singing the praises of the GM product: "See the USA in your Chevrolet... drive your Chevrolet through the USA, America's the greatest land of all!" GM had sponsored The Pat Boone Chevy Showroom. In the 1989 documentary Roger & Me, Boone stated that he first was given a Chevrolet Corvette from the GM product line, but after his wife and he started having children, at one child a year over five years, GM supplied him with a station wagon, as well. Many of Boone's hit singles were covers of hits from black R&B artists; these included: "Ain't That a Shame" by Fats Domino. Boone wrote the lyrics for the instrumental theme song for the movie Exodus, which he titled "This Land Is Mine"; as a conservative Christian, Boone declined certain songs and movie roles that he felt might compromise his beliefs—inc
Joe English (musician)
Joe English is an American musician and songwriter who, during the 1970s, played drums in Paul McCartney's band Wings and in the Southern Progressive Rock/Jazz group Sea Level, among others. A native of Rochester, New York, Joe English was a member of band Jam Factory, a group based in Syracuse, that evolved into the Tall Dogs Orchestra of Macon, Georgia. Searching for an opportunity to expand his talent, he answered an ad for a drummer in early 1975; the address led him to the basement of an old building where, much to his surprise, he found himself face to face with Paul McCartney. The audition was for McCartney's Wings, English got the job, his first album with Wings was Venus and Mars and, one album he would take the lead vocals for the song, "Must Do Something About It" from Wings at the Speed of Sound. He was the drummer on the Wings Over the World tour. In September 1977, during the recording sessions for Wings' London Town, English became homesick and returned to Macon, where he began playing with Chuck Leavell's band Sea Level.
This ended his time with Wings. Following his Christian salvation experience, he formed the Joe English Band, performing as lead singer and drummer; the band toured the world, playing with other major Christian bands of the era, including Petra, DeGarmo & Key, Mylon LeFevre and Servant. The Joe English Band recorded a release without Joe's vocals called AKA Forerunner; the band included John Lawry, who left to play for Petra in 1984. In 1986, Joe English played in Pieces of Eight. In the late 1980s, English joined Randy Stonehill, Phil Keaggy, Rick Cua and others as part of the Compassion All Star Band. In 1988, the band recorded live One by their only album together. English played the snare with his right hand and the hi-hat and ride cymbals with his left, a technique termed "open handed", he has been unable to play drums professionally since the late 1990s, due to chronic ankle health issues. As of 2008, English lives in Spindale, North Carolina being a member of the Word of Faith Fellowship community.
He is no longer involved in the music industry. However, he maintains his interest in music as a member of the choir at WOFF. With Paul McCartney & Wings Venus and Mars Wings at the Speed of Sound Wings over America London Town With Kingfish Trident With Sea Level On the Edge Long Walk on a Short Pier Ball Room, Arista) Best of Sea Level With Joe English Band Lights in the World Held Accountable Press On Live What You Need The Best Is Yet to Come Back to Basics: English 101 Lights in the World / Held Accountable Compassion All Star Band One by One
Folk rock
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
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