the LIGHTHOUSE
vol2#1     Shining Light on Today's Christian Music     January 1993

PHIL KEAGGY
Phil Keaggy might be the greatest living guitar player.  While that is 
open for debate, critics and fans alike, both secular and Christian, 
will agree that Keaggy is certainly one of the best guitarists in the 
world.  His career has stretched from 1970 to the present, bringing 
various styles of music for millions of people to enjoy.
Phil was born March 23, 1951 in Youngstown, Ohio.  He was 
fascinated with music very early.  "At the age of three, I got very 
excited about music," remembers Keaggy.  When he was 10, he got his 
first guitar as a Christmas present from his brother.  He immediately 
began to work at imitating the work of ELVIS PRESLEY, JOHNNY RAY, RICK 
NELSON, and the EVERLY BROTHERS.
His family then moved to California, and by then end of the year, 
he and another student playing drums were entertaining the student 
body at lunch time jam sessions.  As Keaggy progressed through the 
proverbial "garage bands," he learned more about music and improved 
his guitar skills and quickly became an amazement to many with his 
playing.
"When I was in eighth grade [1966] my family moved back to Ohio.  I 
met John Sferra (who eventually became my drummer) but we didn't 
become the Glass Harp until the summer of 1968," recalls Keaggy.  "We 
had been the Glass Harp for about a year when we got Dan Pecchio to be 
our bass player.  When Dan joined, we did some demos in a Cleveland 
studio.  At the same time we were opening for groups like CHICAGO, 
YES, JANIS JOPLIN, and our first big break, IRON BUTTERFLY.  Those 
demo tapes eventually got to a producer in New York who came and heard 
us play.  He got us a contract with Decca Records."
Before recording the album, Keaggy's mother was killed in a car 
accident.  In his pain, he was witnessed to by his older sister, and 
became a Christian.
"Our first recording for Decca was in 1970 and called GLASS HARP.  
Our second record came out in 1971 and was called SYNERGY.  The last 
album the group did was IT MAKES ME GLAD which came out in 1972.  
Keaggy's innovative guitar style gained him the attention of guitar 
players everywhere.  In 1972, he left Glass Harp citing creative 
differences and pressure from the Christian community.  "My true 
dream," he states, "was of someday finding a band where we all felt 
spiritually the same."
Keaggy then decided to pursue his creative dream of recording 
acoustic music.  He took $1800 of his own money and recorded WHAT A 
DAY that earned him a Grammy nomination for this 1974 release.  At the 
same time, Scott Ross, the founder of the Love Inn Community had a 
desire to start a Christian record label and Keaggy and his new wife 
Bernadette moved to the community in Freeville, New York and lived 
there for five years.
During his time at Love Inn, Keaggy released EMERGING, which 
featured the Phil Keaggy Band.  "The band on the EMERGING album," 
explains Keaggy, "was the first real band that I had worked with after 
Glass Harp.  We loved our time together."  That time was short, only 
the duration of the first album, but one member of the band was Lynn 
Nichols, the guitarist.  Nichols and Keaggy developed a unique 
attachment that has kept Nichols returning to Keaggy's work time and 
again.  Before leaving Love Inn, he recorded the now classic THE 
MASTER AND THE MUSICIAN, which in 1978 was rareÐa Christian 
instrumental album.
After leaving Love Inn, Keaggy recorded three albums with Sparrow 
records, three records with Nissi Records, and THE WIND AND THE WHEAT 
for Maranatha! Music.  This album earned him his first Dove Award for 
best instrumentalist in 1988.
In 1987, Phil was searching for a musical direction.  He again 
found Lynn Nichols, then head of A&R at Myrrh Records, who signed him 
to a new record deal.  His 1988 release, SUNDAY'S CHILD, was a return 
to the early band days of EMERGING.  With the help of faithful friends 
such as Rick Cua, Randy Stonehill, and Nichols, he created a "very 
guitar, song oriented album.  There is a blending of voices on this 
album," explains Keaggy.
Keaggy then returned to the instrumental side with BEYOND NATURE.  
"This album is different," states Keaggy, "because it's the kind of 
music I like to listen to.  Even though I normally play rock, I like 
traditional folk musicÐmusic of Ireland, music of England.  I've also 
grown to love American folk music as well."
CRIMSON AND BLUE
Keaggy has completed the work for, and is awaiting the February 
release of his album CRIMSON AND BLUE.  "I think," explains Keaggy, 
"what the album's about is a kind of a continuation of the SUNDAY'S 
CHILD, FIND ME IN THESE FIELDS band flavor.  What we've done is put 
more music on the album, kind of jam packed the album with a whole lot 
more of everything.  Where SUNDAY'S CHILD was a real compilation of a 
lot of different voices and players, a lot of friends there, this is a 
real consistent band thing, where the band is comprised of some of my 
oldest pals.  The drummer on the album is John Sferra and we go back 
as far as Glass Harp, in fact, we go as far back as the eighth grade.  
So it's kind of like Glass Harp meets Sunday's Child.  It's kind of 
like we've all grown up, and yet, at the same time, there is this 
abandonment on the album that isn't on SUNDAY'S CHILD.  Because 
SUNDAY'S CHILD was a primary song album.  This has got songs, but it's 
also got a great deal of stretching out on guitar and got some real 
vintage kind of flavors.  There's a more blues aspect to the album, 
toward the latter part of the album, which is the blue part of the 
album.  The other members of the group are Phil Madeira on B-3 Organ 
and Wade James on bass.  Wade is bass player for the band CHAGALL 
GUEVARA.  Lynn Nichols produced it and he also sings with me on the 
album and we've co-written on the album with also Phil Madeira.  It's 
kind of like a full circle thing."
"There's some real good collaboration, I think, on the album.  It's 
kind of like listening to a band that's really been together for a 
long time.  In a sense, it's true.  Even though we haven't played 
together consistently, we all go back about 20 years, except for Wade.  
It's kind of got a very youthful abandonment on this album, which I 
think is exciting, because my last album, BEYOND NATURE, is the 
complete opposite.  It's quiet, it's timid.  The other thing that's 
different about this album is there's only an acoustic rhythm guitar 
part on one song of all 13.  So it is more electric than any album 
I've ever done.  Some people say, 'When are you going to really turn 
it up and really go for it on your guitar?'  Well, I got my old Les 
Paul out that I used in the Glass Harp days.  I got my old Strat out 
and plugged into the boxes and the Fenders and I feel that, for some 
people, it may be the album that they've been waiting for, if they're 
into electric band things.  There's nothing really jazzy about it.  
There's nothing classical about it, there's nothing folk about it, 
really.  But, there's something very English and rockingÐthat sort of 
thing.  We did a lot of extended endings of songs.  We just kept them 
all on the album so we have about 70 minutes of music on the album.  
It's really fun.  I like changing concepts per album."
"Lyrically," continues Keaggy, "the [album] is talking about, I 
think, in a lot of ways, identifying a bit more with some of the 
struggles of our fellow man in a songs such as 'Don't Pass Me By'  and 
'World Of Mine.'  Even the Keltic hymn rock song called 'Shouts of 
Joy' is kind of an encouragement to believers in the kingdom to see 
what it means to live out God's commandmentÐthat is caring for one 
another and seeking peace with one another and sharing what we have 
with one another.  There is a commentary on trashy television called 
'Doin' Nothin'.'  'Reunion of Friends' is a song about reconciliation 
and there is also a song called 'Stone Eyes,' which is a real good 
medium rocking song that talks about, 'We can't really see unless our 
eyes are opened.'  There's a great song on the album that I didn't 
write called 'When Will I Ever Learn to Live in God?' which is a song 
by VAN MORRISON and if you're familiar with his recent music, he's 
singing about a lot of spiritual things and it's a cover from his 
album AVALON SUNSET."
KEAGGY ON KEAGGY
How would he classify his music?  "Adventurously folky... When I 
perform solo, which mostly I do, I'm not out there with an electric 
guitar, I'm out there with an acoustic.  So, I'm speaking 
stylistically.  I'm not saying folk music in the lyrical sense.  If 
someone says, 'If I were to come to your concert, what would it be 
like?'  It would be like folk."
"Deep down inside, I am an average human being that has average 
everyday feelings.  I love God and could stand to love God more.  I am 
an appreciator of God, life, family, and music."
With such an extensive career, you might expect his greatest memory 
of music to come from some great concert or studio performance.  Well, 
he admits that, "Probably, sitting down and playing a couple songs 
with PAUL MCCARTNEY was probably one of the highlights.  That was just 
like when you meet somebody you've admired for so long, and you sit 
down and pick out a couple tunes.  That was a real great experience.  
To be honest, writing a song, just this week, with my daughter, 
AliciaÐwriting it together and singing it together and putting it down 
on tape.  That was a real great experience.  So, after everything's 
said and done, that was probably the greatest experience."
ÐJ. WARNER SODITUS

From the Editor
Happy New Year!  I hope that you had a joyous Christmas season and 
the 1993 is a great year for you.
I am very excited since this is the second calendar year for THE 
LIGHTHOUSE.  I look forward to another year of growth and I strongly 
urge you to send in your comments both positive and negative so that 
we can make THE LIGHTHOUSE the best that we can.  I also ask that you 
continue prayer for us here and all the people involved in Christian 
music.  It seems that this is a time when many of the artists are 
being challenged by the secular and Christian world.  Discussions of 
mainstream crossovers are everywhere, along with many other 
discussions about Christian music.  These times will shape the future 
of Christian music and now is a the time to pray for God to lead these 
people and for them to be obedient.
I am very excited about several computer enhancements here, that 
should speed up the production and help us work on improving the print 
quality soon.  Also, I am ordering a fax modem, so you will be able to 
reach THE LIGHTHOUSE by fax if you like.  It should be fully 
operational by February.
Please pray for us as the staff meets this month to chart our goals 
for the new year and help us out by sending in your comments.  God 
Bless!
ÐJ. WARNER SODITUS, EDITOR

LIGHT OF THE WORLD
I found myself, recently in a situation that I did not like.  It 
was mostly my fault in that I did something that I regret doing.  It 
was something done while under-fire without thinking.  Oh how I wish 
it could be undone.
This started me thinking about how we are, as Christians, to be the 
light of the world.  What kind of light am I?  I was really burdened 
by thinking about how my actions are displaying my Christian faith for 
all to see.  I am a big fan of wearing Christian patches and T-shirts 
around, but what message am I giving to the world?  I have to always 
be on guard to show the love the Christ showed when He gave up His 
life for my sins.  Does my life show this?  I wish it could.
So, I thought I would share this, since it is something that I have 
been really thinking about.  The new OUT OF THE GREY song, "The Door 
of Heaven," sort of applies, so I printed the lyrics on page 6.
I hope that you and I will remember that we are a light to the 
worldÐgood or bad.  Our lifestyle may be the only introduction to 
Christianity some people may get.  Let's make sure it is a good one.
ÐJ. WARNER SODITUS


Letters:
Dear J. Warner:
Thanks for sending the December copy of THE LIGHTHOUSE.  Overall, I 
enjoyed it; I'd keep it the way it is and not change anything.  Maybe 
make it a little bigger (more pages) and possibly a "Letters to the 
Editor" section.  I've decided to get a subscription.  I have been 
burnt a few times with Christian magazines and hope that you can 
continue to keep THE LIGHTHOUSE going.  I know it's gotta be tough 
financially to print a magazine because there seems to be a lot of 
newsletter, magazines, and band merchandise out there and you are 
competing for the fans $$.
A little about myself.  I just turned 40 on Christmas day and have 
been a Christian since 1977.  My first Christian L.P. (yeah, remember 
them?) was an Imperials effort and I enjoyed it.  I had been into 
music since I was real young and was into the Beatles, D.C. 5, Cream, 
Hendrix, Who, Led Zeppelin, etc... I was convicted at salvation to get 
rid of all secular music and started to buy only "Christian" stuff.  
So when Bryan [Brendley in last month's editorial] stated that his 
[music] collection would be Christian to secular ration of 20 to 1, 
mine is 20 to 0!  I am one that believes that Christian should buy and 
support only "Christian" music.  Anyway, his article about the 
Christian music industry was right on!  You bet that there are people 
in it only interested in "fame and fortune."  Sad to say, there are 
possibly some who aren't even saved!  I sometimes wonder where it is 
all headed.  I have seen many changed in it since the "early" days.  I 
mean, look at what the C-T-shirts look like, the song selections by 
some artists, and all stuff being sold by bands and magazines... is 
the Gospel being compromised for a buck?  Sadly, in many cases, yes!  
I'm getting tired of all the vague lyrics I see in much Christian 
music.
I am opposed to Christian bands doing cover songs by [secular] 
"artists."  Last night, I went to see [Christian band] and they closed 
the set with a song by KISS and the words were not changed.  Why leave 
Christian teens with thoughts of KISS on their minds?
Maybe I'm getting a "little old" to go to the rock style concerts, 
but I'm not yet ready to listen to "Sandi Patti stuff."
I wholeheartedly agree that ministry is sadly lacking in some 
artists/bands.  You give a "milky" message at a concert and you'll get 
Christians that won't be able to handle the "meaty" parts!  I want to 
go to a concert to be "entertained," but sure want to be ministered to 
also.  I'm not out to "slam" the industry either; I only want it to 
improve.  I realize that the Christian artist has a rough job trying 
to be "all things to all people," but more can be done to improve the 
ministry part of their concerts.  Anyway, I share your thoughts on the 
Christian industry and see the same things going on.  All is not 
"rosy" as you know.  I feel that things can improve and vow in '93 to 
be in prayer for the industry much more.
Steve Stone
St. Clairs-ville, OH

Executive Editor/Publisher: J. Warner Soditus
Copy Editor: Jennifer A. Howard
Contributing Photographer: Patty Masten
Contributors: Roger Appelinski, Beth Blinn, Bryan W. Brendley, Kyle B. 
Kouterick, Daniel Love, Daniel Russell, Keith A. Valentine
Subscription Information:
$.75 per issue $8.00 per year
The Lighthouse is not for profit and is published monthly
Copyright: the Lighthouse copyright 1993 by Polarized Publications, 
all rights reserved
Writers guidelines are available upon request.
The Lighthouse will not be responsible for any products or services 
offered in advertisements.

D.O.C.
Disciples of Christ, affectionately referred to as D.O.C., has been 
rapping the Gospel of Christ across the country, bringing a strong 
message of hope to troubled teenagers.  Despite their national 
prominence, they keep life simple and simply focused on God.  They  
remain very concerned and active in their hometown of Canton, OH.
"In 1987, I went to Oberlin college," begins Alton Hood, D.O.C. 
frontman.  "I wasn't saved at all at the time.  I was lost, basically, 
in sinÐjust being an athlete and a scholar.  I got a scholarship to 
play football.  I came from a broken family and had a lot of hurts and 
fears.  I had a lot of questions that I couldn't figure out because I 
didn't have Christ in my life.  I began to use drugs and alcohol 
pretty heavily, until I began to even dabble in the occultÐwhere we 
were going to be initiated, Kelvin Harvey and I.  It was he and I that 
met in college and what happened was through a supernatural 
manifestation of God's Spirit.  Right when we were going to cross 
over, God said, 'No, I have a plan for your life.'  And through His 
Holy Spirit, He saved us and delivered us from every bond that the 
enemy had put upon us and He gave us a commission to go forth and 
preach the Gospel and we began to do that.  Beat-boxing with the rap 
along for the gospel message.  We met Michael Brown a year later at 
our church here in Canton, OH.  The three of us were together.  Then 
about two years later, we were in the studio working on our demo, and 
that's where we met our drummer, Matt Stephens.  He had just left a 
rock band and God called him to be together with us."  Stephens took a 
temporary leave to be a youth pastor for a year, but has recently 
joined the band on the road.
Brown was the only one of the original three members that brought 
any professional music experience.  He had released an album before 
becoming born again.  They just combined the talents that God had 
given them to create their rap and singing.
Following the advice of some friends, the group decided to send 
their demo to a wide array of record companies.  They received a 
response from Star Song Records and they released their first album in 
1990 called SO HOW YA' LIVIN'?  "It was a surprise," admits Hood about 
the record deal.  "We were never into rap for the business or industry 
standpoint.  We were just doing it as a tool.  It was just a good idea 
to send [our demo] out, it was not like we put our hopes behind itÐit 
was just something to do.  We were content to be just in the 
northeastern Ohio area ministering, but God saw fit, because of our 
faithfulness to Him, to take it abroad.  So it was quite a shock and a 
blessing ever since."
D.O.C.'s entrance into the Christian music market was at a time 
when Christian rap was still very new.  While they were not concerned 
about criticism, they did receive their share.  "Any time you're doing 
something new," states Hood, "particularly in the church, you're 
always going to get a certain degree of rebuttal any time there's 
change.  We've had our share of rebuttal, but God has really been 
faithful in accomplishing that which He [called us to do]."
Now that Christian rap is seen as a legitimate ministry tool, Hood 
explains, "We've really had an acceptance by the children's parents.  
They come up after the concerts and say, 'You know what?  I really 
didn't like rap music until I came here to your concert.'  Afterwards, 
they really begin to appreciate what God's doing, they identify with 
the Spirit, they identify with the Word of God, and they identify with 
the anointing of the Holy Spirit.  It's encouraging to us to have the 
parents come up and let us know that they were also blessed at the 
concert."
And concerts are where D.O.C. find their most satisfying 
experiences.  Of course, they are excited about first time 
conversions, but they also appreciate people that rededicate their 
lives to God.  "We get a lot of rededications, because I think, a lot 
of the people have become numb to the salvation message.  They get 
saved and they'll come to youth group and then they'll just live crazy 
until the next concert or the next exciting youth ministry and they'll 
come again.  We are really blessed when you see them make a firm 
commitment to JesusÐnot a decision, but a commitment.  They come to 
Christ and they're crying and they come up to us and you can tell by 
their voice that they are those that rededicated their lives.  By the 
[look] on their face, they really made a conscious effort that they're 
going to serve God with all their heart."
Many bands that travel as much as D.O.C. will admit that it can be 
hard to stay focused on God while enduring the stresses of life on the 
road.  For D.O.C., however, this is not the case.  "God is the center 
of our lives," affirms Hood, "so even when we're on the road in the 
van, we're always talking about the things of God.  Each of us 
conducts a Bible study daily on the road.  We always spend time in our 
daily devotionals individually, we come together corporately, praying 
and, of course, our ministry, daily on the road.  It really keeps our 
attention on God, consistently once we're out there ministering so 
much to the young people.  We have to make sure that we're at a 
spiritual level where we're not being drained.  God has just been 
showing us how we need to really be a good steward in terms of our 
time and our relationship with Him."
Despite the fact that the majority of their time is spent on the 
road and their album has gained them national attention, the group 
remains very simple in their calling.  Hood explains, "We still come 
here in our community and we do the same things.  We go and do some of 
the boy's reformatories here in the area, we still do free concerts, 
we do love offerings, we set up in the projects; we're very involved 
in our community.  We haven't let our national status get the best of 
us."
They have recently finished recording their second album, PULLIN' 
NO PUNCHES, which is scheduled for a February release.  Hood promises, 
"It will be very clear.  I believe we'll also appeal a lot more to the 
urban market this year, just because, coming from the urban community, 
we've seen a lot of our friends fall prey to gang violence and selling 
of drugs.  So we have a couple songs that really address that issueÐ
that entire street life."
Seeing the problems facing urban teens today weighs heavy on the 
hearts of D.O.C.  Hood explains, "The kids are hurting.  That's their 
primary concern.  They don't know what to do.  A lot of the kids have 
been molested, even by religious role-models and their parents, coming 
from broken homesÐthe alcohol abuse and child abuse.  They're just 
looking for answers.  They're looking for answers and they're looking 
for the truth.  They're looking for someone who genuinely loves them 
and cares for them, which we know is only Jesus Christ, the love of 
God.  They hurt and have been put down by so many people who said that 
they've cared and that they wanted to help, and a lot of them are 
really distrustful right now."
Besides the message of hope for teens, Hood promises a fresh 
improved sound on the album.  "I think our melodies and our hooks are 
more musical this year.  We are definitely taking a step in terms of 
our rap style as well as singing.  We did some new rap styles this 
year.  We've done more in terms of vocally.  Michael Brown sings a lot 
more on this album.  It has a nice flavor, more of a funk appeal, more 
of a hip-hop funk versus the very fast paced SO HOW YA' LIVIN'?  This 
is more R&B type of hip-hop."
When asked what else he would want people to know about D.O.C., 
Alton Hood modestly replies, "Not so much what I would want them to 
know about us, but to know, as the body of Christ, all of us together, 
all of us are disciples of Christ.  It's really time for the body of 
Christ to begin to love one another and restore in love if we've 
fallen and edify ourselves in love and have a common vision and goal, 
which is to serve the Lord with all of our heart and to win as many 
souls into the kingdom as possible.  It would be my prayer, tonight, 
that the body would be as one, even as the Father and the Son are one.  
That was one of Jesus' prayers that was on His heart, and, I think, 
that's what's on the heart of D.O.C.Ðthat the body would come 
together, regardless of traditions, doctrines, doctrinal beliefs, or 
whatever, and have the common goalÐone Lord, one faith, and one 
baptism unto the glory of God."
ÐROGER APPELINSKI

hoi Polloi
Music with "Mass" Appeal

Hoi Polloi crash-landed on the Christian music scene with their self-
titled debut album.  Their concert performances here in the United 
States have won fans just as quickly as in their home country of New 
Zealand.  They are consistently performing concerts, both opening for 
other Christian groups and doing their own shows as well.  They are 
committed to being here for most of the next few years.  They are 
preparing to enter the studio to record their second album for Reunion 
Records.
The band is still trying to adapt to their new environment here in 
the U.S.  Naturally, the climate is a little bit of a change.  Jenny 
Gullen, the lead vocalist, states, "We've been freezing over the last 
few months.  We're not used to snow in the city that we come from in 
New Zealand, so we had a lot of fun up north in Minnesota latelyÐ
jumping around in the snow and throwing snowballs and that at each 
other."
Not only is the climate quite a change for the group, but the 
people are somewhat different as well.  "I think, where ever you go, 
people are very similar in the sense that they all have weaknesses and 
vulnerabilities.  The Americans are portrayed around the world as 
being very bold and friendly kinds of people.  When you live here, you 
realize that there are a lot of very, very quiet people and we kind of 
learned that there's quite a diversity within your country.  In terms 
of audience reaction, it's a little bit different here, because, being 
a little more outgoing as a culture, people are more responsive.  If 
they like something, they'll show it.  In New Zealand, if they like 
something, they may give a little bit of an indication, but they don't 
want to give you a big headÐso they're not going to go over the top 
about it.  I think the Americans are not so reserved, which is fun.  
It's been good being brought up in the New Zealand culture in that 
sense, because, we have to work hard for what we getÐit doesn't just 
get handed out on a plate."
With their international appeal, energetic concerts, and sometimes 
subtle Christian lyrics, hoi Polloi has the opportunity to play both 
Christian concerts and club dates as well.  They take a cautious 
approach to this type of venue, but find it to be extremely rewarding.  
Gullen explains, "I think it's extremely rude to go into a club 
environment and throw the Bible at people because they haven't gone 
there for thatÐthey've gone there to be entertained.  I think it's 
important to be appropriate in those environments.  We're very subtle 
in what we do there, but pray real strongly that God will use us to 
minister to people.  Often, it's more of the one-to-one after we've 
played and people say, 'Hey, there's something different about you 
guys,' or 'We heard that you guys go to church.'  So there's always an 
opening and we really pray that God uses us there.  That's why we're 
still doing clubs here, because we believe it's really important for 
Christian people to be out where the people are, not just expect them 
to come to churches or things that are labeled 'Christian concerts' to 
experience what God has to say through music.  I think we should get 
out to where people are and speak to them in their language and in a 
gentle and humble way and just say, 'This is our experience, what do 
you think?'"
This reaching out to people is certainly the priority for hoi 
Polloi.  In fact, that is part of the reason that they chose their 
name.  "It was a combination of the sound of the name and also the 
meaning of the name which means the common people or the masses," 
remembers Gullen.  "We just strive to be real and honest as performers 
and as people off stage and not be pious or superficial in any area of 
our lives.  I don't believe it's being very Christian to put up a 
front and say, 'I'm a perfect person.'  The common people, the 
gathering, the masses, the man on the street as opposed to the elite 
or the wonderfully perfect people, that's who we want to appeal to and 
who we want to present ourselves asÐbeing very much on the same level 
as people and not speaking down at them at all."
Gullen continues, "Some of the times we've enjoyed most have been 
when we've been visiting smaller towns, especially when we get the 
chance to spend some time with people in the town before we playÐ
visiting youth groups, churches, school groups, and whatever.  You can 
get to know people and really get to know what the particular needs 
are for that community, which is something that we endeavor to do 
because we don't like to take a package and say, 'This is us.  Take it 
or leave it.  We do the same thing every night.  We say the same thing 
every night and we just hope that it applies.'  We hope, we endeavor, 
to be appropriate for that particular crowd.  So, if we can get to 
know people and get to know the needs of the community, then we can be 
appropriate for their needs."
Gullen is also quick to add that in reaching out to people, we 
should not "water down" the Gospel.  "So much of Christianity is being 
rejected these days because it's seen as irrelevant and it's seen as 
tradition.  It's kind like the 'boring option.'  The wrong approach 
would be to juice it up and say, 'Hey, let's make it all pretty and 
exciting,' and dress it in tinsel because that's also wrong.  But, to 
get down to the nitty gritty and serve people, reach people, love 
people, and show them who Jesus is as a personÐthat's the most 
compelling thing."  Hoi Polloi may play music that appeals to the 
masses, but they don't change their message to win people over.
In discussing plans for the upcoming album, Gullen describes why it 
will be a little more rough and alternative than their first, "When 
people come to our live gigs, they say, 'Gee, I love the album, but I 
love you so much more live.'  I think that's because the first album 
didn't capture the energy and 'rawness' of our live performance, which 
is definitely an ambition on the second.  I think we're going to 
achieve that.  It's going to be not quite as clean, it's going to be a 
little more alternative and energetic or gritty than the first album, 
which is not really a change for us, it's not like we're turning 
around and doing a 180.  It's going to be more 'us' than the first 
album."  They will complete all the work on this project in Nashville 
with producer John Painter, making things easier than on their debut 
where half was recorded in New Zealand.
"I guess it's a similar mix to what we had in the last album," 
continues Gullen in describing the lyrical focus for the project, 
"where we had a lot of spiritual issues, kind of, I write from a 
personal viewpoint, from my experience.  One song called 'Show Me' is 
a real plea to God to show me through His eyes how he perceives me.  
Because, being a performer and I guess, just being, just living, you 
are faced with all kinds of opinions as to who we are as a people.  We 
can really get a distorted viewpoint of who we are.  I have to run 
back to Jesus and say, 'Show me who you think I am.'  Then I know I 
have some foundation, some basis of reference.  That's a beautiful 
ballad song.  It's really pretty."
"I got married a couple years ago and there are some songs on the 
album that are just a celebration of human love because that's been a 
very real thing for me in the last sort of while just being excited 
about love and celebrating it before God.  There's one song called 
'Dance,' which, for me, I just feel like I'm dancing before God, 
celebrating this love that He's gifted to me with my husband and it's 
a lot of fun singing that song.  I really feel a sense of worship as I 
sing it.  I feel like I'm thanking God right through the song for what 
He's given."
With their music gaining "mass" appeal, it is reassuring to see 
that they are firm in their mission of sharing the Gospel with the 
masses.
ÐJ. WARNER SODITUS
ED. NOTE: AN ARTIST SPOTLIGHT ON HOI POLLOI APPEARED IN THE AUGUST 
1992 ISSUE OF THE LIGHTHOUSE.  BACK ISSUES ARE AVAILABLE.

NEWSBOYS
Making Music of Their Own

The Newsboys emerged as a rock band full of energy.  While they are 
still full of energy, their musical style has evolved with each album.  
Their first album was a limited release entitled READ ALL ABOUT IT.  
They then got a deal with Star Song and released HELL IS FOR WHIMPS  
and BOYS WILL BE BOYZ.  Their latest effort is NOT ASHAMED.
What is special about NOT ASHAMED?  "The big difference," explains 
drummer, Peter Furler, "was just doing music that we wanted to play 
and a style of music that we've wanted to do for a long time.  
Besides, just doing music that [tries] to reach people can sometimes 
hurt you because you're not really being true to what you really are.  
So, with this new music that we're doing now, it's definitely what we 
feel is what we like.  Luckily, it's paying off.  People are enjoying 
it more than anything we've done before."
Also different on the album was the producing.  Furler invited 
Steve Taylor to help in the production of the Newsboys' latest 
project.  Furler describes their reasoning, "When you do a record, 
you've got to bring everybody together and it's not just produced by 
so-and-so and produced by so-and-so; it's everybody coming together 
and putting in their little bit of genius and coming up with something 
that's real cool.  It was excellent, because, he's [Taylor] done a lot 
of stuff and he's always been one of our favorites in the Christian 
music industry and it was just good to get to meet him.  He was a lot 
of fun.  He's everything you see on stage.  He's a bit of a wildman 
himself, so we had about 5 or 6 wildpeople in the studio and it was a 
lot of fun.  There was a lot of unity between us and him which made it 
real exciting."
If you've seen a Newsboys concert lately, you noticed that Furler 
was not behind the drum kit very much.  He states, "I sang quite a bit 
on the new album.  A lot of them, we felt it was more natural for me 
to be out there and singing them than just being behind the drum kit 
and singing them and having nobody at the front.  It was something 
that's been fun to do.  We try to not do it too much because we are a 
band and so it was something that was a hard decision for us to make.  
It definitely determined what songs we were going to play live, 
because if we played all the ones we wanted to play live off the new 
album, then I'd hardly be on the drum kit, so we had to kind of choose 
what we had to play.  It's made it hard in some ways, but I think the 
crowd, as you see, hasn't minded.  If anything, it's probably gone 
even better."
You will also notice that there have been a couple personnel 
changes for the boys from Australia.  Guitarist Vernon Bishop recently 
left the band, which has prompted the return of Jibba (Jonathan 
Geange)  to the band.  Jibba was a member when they first came to the 
United States several years ago.  He played with the group for a while 
and then returned to Australia.  Furler explains why, "When we first 
came here, Jibba had never played in a professional band.  He'd never 
done many live gigs.  I think it scared himÐcoming over here and 
playing.  He was very young, 18 years old, and playing; I think it 
kind of burned him out for a while.  We could just tell that it wasn't 
moving forward with Jibba.  So we let him go for a year, actually a 
year and a half and got Vernon to play for a while.  We had always 
said to Jibba, 'when you kind of relax and you know what's over here 
and you know what you've got to do to play and you know what's 
involved, then give us a call,' and he called.  So it worked out great 
because it was the same time Vernon was going off to play with KIM 
BOYCE.  So, I think he's definitely playing a lot better than what 
Vernon was for especially the new stuff.  It's taken us a step up.  
He's not quite as crazy as Vernon, but he definitely puts a lot more 
into his actual guitar playing than just running around."
Bassist Sean Taylor recently left the group to return to Australia.  
Furler continues, "Sean has been with us for getting on 8 years now.  
It one of those things where we've had members leave before for 
certain reasons.  Sean was just more come to an end of a road.  People 
have to move places in their life.  Sean was a very casual kind of 
cat.  We talked about it with him for a long time.  He knew it was 
time for him.  He just felt he'd done his job here with the band and 
he just felt the Lord was taking him into other directions.  
Spiritually, he just wanted to go back and get in with the church and 
get involved in a bit of mission work where it was something, also 
musically; he was getting tired of the road.  Many things add up and 
when you're not happy where you are then you can never force someone 
to stay or be with you.  We were real sad to see him go, but we were 
real happy that he's going to be doing what he wants to do.  Sean's 
been a good friend of ours for many years."
Their new bassist is named Kevin (who seems to keep his last name 
secret), who as Furler tells, "was playing with a group called THE 
NOISY LITTLE SUNBEAMS.  They came out and supported us for about five 
dates.  We saw him and it was more of a personal thing than what sort 
of bass player he wasÐit was more of a personal thing.  We were 
hanging out with him and it was like we had the same vision and unity.  
It was real cool.  It was something where we knew straightaway he'd be 
great for the band."
So the Newsboys are now set to keep touring as they play their 
musical style and tell the world that they are NOT ASHAMED.
ÐJ. WARNER SODITUS
ED. NOTE: AN ARTIST SPOTLIGHT ON THE NEWSBOYS APPEARED IN THE JULY 
1992 ISSUE OF THE LIGHTHOUSE.  BACK ISSUES ARE AVAILABLE.

"The Door of Heaven"
by Christiane Dente, Scott Dente, and Charlie Peacock from the album 
THE SHAPE OF GRACE (Sparrow)
Remember when we were first lead to heaven's door
By the hands of those who showed us something more
Their arms were open with no strings attached
And the words they spoke to us meant so much more
And now our lives
Speak to those behind
What do they see
On the other side

Don't shut the door of heaven
On the ones who would believe
If they could see in us the love
That they've been looking for
Don't shut the doorÐof heaven

Somewhere in the growing up
Sometimes we grow out of touch
With the tenderness that drew us to the truth
If we close our minds and lock our hearts up tight
There's no room for love in what we do
And now our lives
Speak to those behind
What do they see
On the other side

Don't shut the door of heaven
On the ones who would believe
If they could see in us the love
That they've been looking for
Don't shut the door of heaven
On the ones who would believe
If they could see in us the love
That they've been looking for
Don't lock the door

TWILA PARIS comments on: A HEART THAT
KNOWS YOU  AND "DESTINY"
"When we did CRY FOR THE DESERT two years ago, there were people who 
began listening to my music for the first time.  Then, when we did 
SANCTUARY which was something even different again from everything 
we'd done in the past, there were people at that point that began 
listening to my music for the first time.  So we really began to feel 
that there was a whole group of people there, whenever someone starts 
listening to an artist that's new to them, but who's been around for a 
while, the first thing they want to do is to find out about their 
older things.  When you've been around for ten years, you have a lot 
of older things.  It can be really overwhelming and confusing.  We 
though the best thing that we could do for the new listeners and also 
as a package that I think listeners from ten years ago can also relate 
to, was to put together this collection.  It really turns out to be a 
wonderful value, with things the way they are now.  There are sixteen 
cuts, and actually more songs than that because of some things being 
medleyed and the only reason there isn't more is that you can only fit 
so much on a CD.  So I hope that it is really something that people 
can really enjoy, that will be brand new for some folks and maybe a 
little bit nostalgic for others."
"There's a concept in theology of how there is a God-shaped hole in 
the heart of every man, woman, and child.  In other words, God created 
us to know Him, to love Him, to serve Him, and he actually programmed 
into us a response, a need to hear the Gospel.  It's our destiny to 
know Him.  He actually programmed into each one of us a response to 
the Gospel.  You hear these stories of missionaries going to tribes 
out in the middle of no where and they say, 'We've been waiting on 
you.'  There's a longing in everyone.  You just see it in society.  
People are doing things and trying things like they never have before.  
It's like we're searching anywhere and everywhere for some kind of 
fulfillment.  And, yet, it's right there in front of usÐit's Jesus 
Christ.  He is our destiny.  He is the place that we are going to find 
the fulfillment for our unspoken dream or that deep-down unanswered 
longing that's inside each one of out hearts."

Music Reviews

OUT OF THE GREY: THE SHAPE OF GRACE (Sparrow)
Scott and Christine DentŽ, a.k.a. Out of the Grey, waste no time in 
announcing their second album, THE SHAPE OF GRACE.  The album starts 
with an energetic pop "Steady Me" that grabs your attention and sets 
you up for the rest of this excellent album.  This is not one to have 
in the background, it tends to grab your attention.
In contrast to their debut album, THE SHAPE OF GRACE features some 
stronger bass lines, janglier guitars, and more lush, airy vocals by 
Christine.  Their folk influences are still noticeable, but the album 
certainly leans more toward the pop side than their first.  The entire 
album is richer than their first, with subtle use of a wide assortment 
of instruments from saxophone to recorder to every type of percussion 
imaginable.
Lyrically, we see similar work to their first.  A love song from 
husband to wife ("To Keep Love Alive"), a song appreciating God's hold 
on us ("Nothing's Gonna Keep Me From You"), a reminder to keep from 
hindering others from finding heaven ("The Door of Heaven"), these are 
all intriguing, well written songs.  Probably the most touching is 
"Dear Marianne" to an old friend, wondering where she is.
Out of the Grey's sophomore effort is a giant step for them a 
little more towards the pop than before, but not forgetting the 
acoustic guitar rhythms.  Charlie Peacock has continued his work with 
Out of the Grey, and helped them reach this next plateau.
If you liked their first, you should enjoy this one as well.  If 
you haven't heard them before and you like pop music with lots of 
acoustic guitar and great vocals, try out this one.
ÐROGER APPELINSKI

AGE OF FAITH: HEART OF THE YOUNG (Benson)
Jimi Ray and Rick Harwell are this new and interesting duo.  They 
pull together some fine talent for guest appearances on their debut 
album such as David Huff on drums, Dann Huff on guitars, Rick Elias on 
Mandolin and guitar, John Nicholson and Mike Brignardello on bass, and 
Bob Carlisle, Carrie Hodge, and Bill Baumgart with background vocals.  
Baumgart also doubles as producer and does quite a fine job at the 
helm.
It's hard to classify their soundÐprobably a mix of many different 
styles.  There's rock, some slight country influences and some of the 
"unplugged" pop sound to name some of the obvious ones.  The album is 
quite diverse.  Several songs are moderate rockers with great electric 
guitar licks, others solid but sweet ballads, and still others 
acoustic tunes bordering on a country edge.  Standouts are "Someday" 
with a great acoustic/mandolin sound, "Let the Hammer Fall" as a 
rocker, and "I'm Ready" as a mid-paced acoustic based tune.
The album deals with the power of God ("Change Your World"), 
commitment to and focus on God ("I'm Ready"), staying committed to 
your beliefs ("Stick to Your Guns"), the importance of prayer ("Heart 
of the Young"), the forgiveness from sins ("Let the Hammer Fall"), and 
a prayer to an "abandoned friend" ("Over You").  Other, more social, 
topics are finding and trusting in love ("Will I Find Love" and "When 
All Else Fails"), appreciating the love of your parents ("What She 
Needed Most"), and child abuse ("Someday").
The background vocals carry this album, being what I noticed first.  
The combination of Hodge, Baumgart, Carlisle, and Harwell produce a 
superb blend of tones leaving a fresh edge to this album.
ÐROGER APPELINSKI

WAYNE WATSON: HOW TIME FLIES (Dayspring)
OK, call me a little out of touch.  Until this past November I had 
never heard of Wayne Watson.  Well, the name was familiar but I 
couldn't name a song or an album title if I tried.  I attended a 
concert in Williamsport and became a Watson fan for life, hurredly 
buying HOME FREE  and HOW TIME FLIES.  This newest release is 
compilation of thirteen of the biggest hits put out by Watson over the 
last thirteen years.  
If you have been a fan for many years, this album will bring back 
many good memories, and if you are new to this scene it will serve as 
a good introduction to some of the finest music and lyrics available 
today on the Christian market.  The album foldout has a little writing 
about each song by Watson, either telling the background for a song, 
or what it has ment over the years to him.  It is certainly a nice 
production touch to let the listeners have a peek at the man behind 
the voice.  
I have never talked about an album cover, and some of you might 
think that it has nothing to do with reviewing a record, and you may 
be right.  But I especially like this cover.  Watson looking out a 
sunny window, possibly looking back at the last thirteen years of 
creating music and lyrics, of good and bad times, at the birth of his 
sons, at the trials and temptations, and at what God has done for him.  
It's something we all should do at some point in our lives.  
The songs you love are here: "Watercolour Ponies," "Somewhere In 
The World Tonight," "Material Magic," and "Friend of A Wounded Heart."  
The perennial favorite "Touch Of The Master's Hand"  has been redone 
musically, yet the message is still as stong as ever. 
This is a long album, which is good when you're in the mood for 
Watson, that will certainly be played over and over.  Watson's 
wonderful voice coupled with some rocky songs and some mellow songs 
never fails to please.  If you have never heard of Watson, please 
don't be like me and miss out on this man with the "touch of the 
Master's hand" on his life and message.
ÐBRYAN W. BRENDLEY 

SYCO: KOMMAND (E-Beat)
SYCO stands for SYnth-sonic Christian Order.  The debut project by 
this group is, in a word, interesting.  I totally enjoyed the music.  
It is a danceable mix of techno, pop, and houseÐlike a mix of SCOTT 
BLACKWELL and PAINTED ORANGE.  The production on the music is very 
impressive.  It is some of the best out.
I choose the word interesting since it doesn't really lean towards 
the good or bad.  My first impression on seeing the album jacket was 
that there was going to be a Christian dance album with Christian 
lyrics.  While the album is based on scripture, and except for 
"Kommand," it only contains short phrases repeated throughout the 
songs, very similar to BLACKWELL'S projects.  I was impressed with 
"Kommand," rapping a modern translation of the ten commandments.
The problem comes on the third song, "Thou Shalt Not Kill."  While 
the idea is not bad, the one line that repeats throughout the song is 
scripture taken out of context.  This lyric states, "No murderer has 
eternal life."  Well, I immediately went to my Bible to get to the 
bottom of this lyric that disturbed me the second I heard it.  1 John 
3:14-15 reads (NIV) "We know that we have passed from death to life, 
because we love our brothers.  Anyone who does not love remains in 
death.  Anyone who hates his brother is a murderer, and you know that 
no murderer has eternal life in him," which does not mean that no 
murderer can have eternal life.  I couldn't find anything else in my 
Bible that came close to the claim made in this song.  This shifts the 
whole attitude towards vindication, ignoring God's grace.  
Unfortunately, this really detracts from an otherwise excellent album.  
I think their Biblical consultant, Beth O Dell, should have thought 
about this a little more.  It's also ironic that the inside of the 
jacket states, "Read The BibleÐMuch More Than Just Kommands," seeming 
to imply God's wonderful grace, so excluded on "Thou Shalt Not Kill."
I still like the album, but I usually have to skip "Thou Shalt Not 
Kill."  With that taken out, this is a top-notch project.
ÐJ. WARNER SODITUS

MILLIONS & MILLIONS: MILLIONS & MILLIONS (Dayspring)
Millions and Millions is a band to keep an eye on.  With their 
self-titled debut album on Dayspring records, Mark and Mike Stitts 
have produced a record that is upbeat, energetic, and fun.
Their music is a mix of pop, R&B, and rock, with a dash of hip-hop. 
The flavor of the album is not surprising, given that the Stitts 
brothers have most recently spent time working with Tim Miner 
(Christian music's answer to STEVIE WONDER) at his Knightlight Studios 
in Dallas.
The two brothers split the playing between the two of them, with 
Mike singing lead vocals and playing the drums, and Mark playing 
guitar, keyboards and bass.  They also produced the album themselves, 
and the quality is very good.
My favorite cuts are "If You Don't Want My Love" and "Never Too 
Late for Love."  Both are very danceable, and a lot of fun.  I think 
that their lyrics could be a little more originalÐto match their 
music.  But all in all, a very promising debut that says we can expect 
good things in the future.
ÐBETH BLINN

MID SOUTH: LESSONS OF LIFE (RCA)
With my usually broad taste in music, I am suprised that I have not 
fallen in love with country music sooner.  A while ago I tried 
listening to country on the radio, and while I loved the acoustic 
guitar and the twang, I didn't enjoy the lyrical contents of most 
songs.  The combination of MATT TYLER and PAUL OVERSTREET convinced me 
that much good can be found in this realm of music.
I heard of Mid South (formally Mid South Boys) in Release Magazine 
and decided to try to review their newest album -- please bear with me 
as I attempt to discuss a country album!
I love this album!  When I feel in an easy mood my CD player goes 
to repeat on this disc.  While I enjoy Overstreet very much, not all 
of his songs relate directly to the Christian life.  On the other 
hand, Mid South keeps the travel on the narrow road at the front of 
almost all their songs. The musical quality is good, with a mix of 
both acoustic and electrical that satisfies almost everyone's tastes.  
The vocals are strong and the five-man group provides a sound that a 
solo artist simply cannot duplicate.  I have never listened to their 
first album, so I don't know how this sounds with respect to it, but 
this album reminds me of some of RANDY TRAVIS' work.  
Two songs, "If You Had Only Seen Me Then" and" If I'd Known Then 
(What I Know Now)," deal whith where the band has come from, almost 
providing a sorrowful glance backwards that hopefully can serve as a 
warning to us all.  Other songs remind us that someone might look up 
to us as heroes ("Who Their Heroes Are"), that God never runs out of 
love for us ("We'll Go To The Well"), and the most poinognt song 
strums that we may be the only Bible some men ever read. 
-BRYAN W. BRENDLEY   

FIGHTER: BANG THE DRUM (Wonderland)
"Bang The Drum" is a solid effort from Fighter.  The band has a 
basic rock sound, that would appeal to fans of PETRA or WHITE HEART.  
One difference, though, is that Fighter splits the lead vocal job 
between Amy Wolter and Sean Murphy, making the band a little more 
diverse.
Fighter tackles some of the usual Christian topics, but an unusual 
subject that crops up in several songs is legalism.  While most 
Christian rock groups have probably bumped into that particular issue 
at least once in their careers, it is not frequently addressed in 
their music.  In "Try," "Bang the Drum," and "So Much to Learn," 
Fighter speaks to, I assume, some criticisms that they have gotten.  
Never arrogant or flip, they implore the listener to look at the 
heart, as Jesus did, and not the outside.
These songs are among my favorites, as well as "Where Can Love Be 
Found," a touching and effective song about a runaway.  Both Wolter 
and Murphy have strong voices, and the playing on the album is solid.  
While it might not be an outstanding effort, it is definitely a good 
one, and would be enjoyed by most who are into the more commercial 
rock sound.
ÐBETH BLINN

PHILLIPS, CRAIG & DEAN: PHILLIPS, CRAIG & DEAN (StarSong)
This is a hard album to classify.  Randy Phillips, Shawn Craig, and 
Dan Dean bring together musical styles that vary with each song.  From 
the upbeat Gospelish pop to tender ballads, this new trio does it all.
"Turn Up the Radio" hits you just like a song NEWSONG would do, but 
then this unique trio switches into more different gears than your car 
(and they don't put it in reverse).  You can find Gospel, Pop, Folk, 
R&B, and several other influences in the music.
Two strengths make this an excellent albumÐthe vocals and the song 
writing.  Songs like "Favorite Song of All," "Midnight Oil," and 
"Little Bit of Morning" show the skill that these three bring to the 
songwriting table.  Perhaps even more impressive are their vocals.  
Paul Mills, producer, shaped this trio into an incredibly tight vocal 
group, and backed it up with decent music, which as good as it is, 
can't keep up with the vocals.
They describe themselves as RAY CHARLES meets WILSON PHILLIPS.  
Probably a decent description.  You should like this if you like 
NEWSONG or might like an all male R&B influenced WILSON PHILLIPS.
ÐROGER APPELINSKI