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Silver Sun
SilverGinger 5
Simmer
Stephen Simmons
Harper Simon
Simon De Lacy
Simon Dupree & the Big Sound

Simon Says
Ashlee Simpson
Tommy Sims

Peggy Sineath
Sing-Sing
Singing Saints Quartet


Silver Sun  (UK)

Silver Sun, 'Neo Wave'

Neo Wave  (1998,  47.34)  ***½/T

Cheerleading
I'll See You Around
Would've if I Could've
Too Much, Too Little, Too Late
Scared
There Goes Summer
Sharks
The Profit of the Prairie
Mustard
Pixie, Pixie
Hey Girlfriend
Only a Girl
Special Powers
Fire & Blood
Patients
Dead End

Current availability:

Mellotron used:

Silver Sun are a relative rarity these days; a British powerpop band, admittedly one at the rockier end of the genre. After an initial burst of activity (with that all-important record company support), they were dropped after their rather groovy second effort, 1998's Neo Wave, presumably because it didn't sell a million, or something. Highlights include opener Cheerleading (hey, always start with your strongest song!), the rocking Would've If I Could've, Mustard and their cover of Johnny Mathis' (!) Too Much, Too Little, Too Late, but there's little here that offends.

Bassist/vocalist Richard Kane plays Mellotron on two tracks, with strings on Cheerleading and a choir chord at the end of Mustard, although it's hardly a Mellotron classic. So; a decent album of its type, worth hearing for fans of the genre, though not for its Mellotron use. Incidentally, Too Much, Too Little, Too Late was released as the lead track of an EP, track two of which was their four-minute condensing of Rush's epic Xanadu, which truly has to be heard to be believed...

Official site

Silver Sunshine  (US)  see: Samples

SilverGinger 5  (UK)

SilverGinger 5, 'Black Leather Mojo'

Black Leather Mojo  (2001,  47.29)  ***½/T

Sonic Shake
Divine Imperfection
Anyway But Maybe
Girls Are Better Than Boys
Brain Sugar
(Whatever Happened to)
  Rock'n'Roll Girls

The Monkey Zoo
Too Many Hippies (in the Garden of Love)
Inside Out
I Wanna Be New
Church of the Broken Hearted
Take it All Why Don'tcha

Current availability:

Mellotron used:

The clue's in the name; SilverGinger 5 are another Ginger side-project, when he's not wrestling with trying to keep a Wildhearts lineup drug-free, not to mention himself. As with everything he does, seemingly, Black Leather Mojo is an album of catchy pop songs played through a distortion box on 11; think: Cheap Trick with attitude. While this isn't 100% my bag, it seems to be more than competent at what it does, and should probably have sold many more copies than it undoubtedly did.

The reason this is here is that my Mellotron was used on it. Ginger's a huge Cardiacs fan (good man!), and got Tim Smith to produce it, who brought in his old mucker Bill "William D." Drake to play keyboards. Tim rang me and I asked if I could bring the ol' M400 down, and (as I've said somewhere else around here), you don't say no to Tim... Credited with 'piano and organ', Bill actually sticks the 'Tron on a couple of tracks, with strings on (Whatever Happened To) Rock'n'Roll Girls, then lovely 'Strawberry Fields'-style flutes, and choirs on Church Of The Broken Hearted.

So; you're by no means all going to like this - I'm still not sure if I do - but it's well done, and far more exciting (remember that?) than most modern metal releases, of whatever type. Not much 'Tron, but nice to finally hear my own machine on CD again.

Silverstein  (Canada)  see: Samples

Simmer  (Netherlands)

Simmer, 'Mothertongue'

Mothertongue  (1997,  43.25)  ***½/TT

2000
Slumber Away
Whale
Merry Go Round
Through the Gates of Morning Bright
I'm Over You
Sulphur
Redrum
Wilson (I Can't Get You Out of My Head)
If She Says
Suffering Jesus
Tidepool

Current availability:

Mellotron used:

Difficult to know quite how to describe Simmer's music; sort of indie-ish, but somehow better, with material that, in places, beats yer standard indie-mongers hands down. Maybe being Dutch helps, not having the manipulative UK music press (or what's left of it) breathing down your neck the whole time. Anyway, songs like Slumber Away and Through The Gates Of Morning Bright make Mothertongue a decent enough listen, although if you're not into modern guitar pop you probably aren't going to go wild about this.

On the Mellotron front, from guitarist Theo de Jong, the excellent Slumber Away has a string melody following the guitar line, until the rest of the band drops out, leaving the 'Tron playing solo for eight bars, reiterating at the end of the song. Fantastic! The strings on Redrum are almost inaudible, but the upfront 'Tron on Suffering Jesus makes up for it, leaving their use restrained but effective. All in all, it's a bit of a shame Simmer seem to have disappeared; well, this album is seven years old at the time of writing, and I can't trace anything else by the band. Anyway, those of you into the indie thing may well like this, although the 'Tron use isn't essential.

Fan site

Stephen Simmons  (US)

Stephen Simmons, 'Something in Between'

Something in Between  (2007,  46.22)  ***/½

Don't Mind Me
Hold You Today
New Scratches
We'll See
Long Road
Cloudy in L.A.
Down Tonight
Hey
Blues on a Sunny Day
Go Easy on Me
All the Time I've Got

Current availability:

Mellotron used:

Stephen Simmons is a Nashville-based singer-songwriter, so it comes as no surprise to learn that there's a distinct country influence in his music. Saying that, it's a long way from Grand Ol Opry schmaltz, for which we have to be grateful, although sometimes the Nashville in Simmons rises a little too close to the surface, as on Down Tonight. The album's probably better lyrically than musically, to be honest, which is probably the way with a lot of country music, but it's far from offensive, although it has a faint air of 'heard it all before' about it.

Richard McLaurin is credited with Mellotron, amongst other things, but the album's strings all sound real, leaving nothing but vague, background flutes on Blues On A Sunny Day, one of the album's better tracks. If you don't dig country (I bet most country people don't say 'dig'), you're not going to go for this, but it does its job well, despite a near-complete lack of any Mellotronic involvement.

Official site

Alan Simon  (France)  see: Samples

Harper Simon  (US)

Harper Simon, 'Harper Simon'

Harper Simon  (2009,  30.18)  ***/T

All to God
Wishes and Stars
The Audit
Shooting Star
Tennessee
Ha Ha
Cactus Flower Rag
All I Have Are Memories
The Shine
Berkeley Girl

Current availability:

Mellotron/Chamberlin used:

Harper Simon (presumably named for his mother, Peggy Harper) is Paul Simon's first child, born in 1972; despite working as a musician since his teens, he has taken until 2009 to release his eponymous solo album. Unsurprisingly, it's not a million miles away from something his dad may have recorded in the '70s, with the addition of several country tracks, recorded with a crack team of Nashville sessioneers, although the bulk of the short album falls into the singer-songwriter bracket. To be honest, I can't say I found it particularly engaging, but what do I know? It seems to do what it does well enough, although its popularity is unlikely to match most of dad's records, with the possible exception of Songs from Capeman (cue unwarranted snigger). Actually, is it unwarranted? We're talking about the man who copyrighted the ancient folk tune Scarborough Fair, learned from Martin Carthy during Simon's British sojourn in 1965.

Er, anyway... Yuka Honda (Cibo Matto) plays (real?) Mellotron flutes on The Audit, although the strings sound real, while Patrick Warren adds his usual Chamberlin, with irritatingly real-sounding flutes and strings on Ha Ha. Overall, then, a decent enough effort, actually quite timeless (always a good move), although unlikely to excite anyone very much, including tape-replay enthusiasts.

MySpace

See: Heavy Circles

Simon De Lacy  (UK)

Simon De Lacy, 'Baby Come Back to Me' 7"  (1968)  **½/TT½

Baby Come Back to Me

Goodbye Love

Current availability:

Mellotron used:

Despite the presence of bassist Charles de Lacy, Simon De Lacy appears to be the name of a London-based band, rather than an individual, the other members being vocalist Chris Jennings, guitarist Peter Thorp and drummer Tony Newman, for what it's worth. Their sole (?) single, 1968's Baby Come Back To Me c/w Goodbye Love, makes the cardinal psych-era error of bearing hallmarks of Dusty Springfield-style pre-psych songwriting, sounding like a Tin Pan Alley effort squeezed into Carnaby Street threads, undoubtedly what it is.

The usual unknown session player adds MkII Mellotron to the 'A', overloading to the point of distortion around the 2:39 mark, making this possibly worth hearing for that reason, if not the actual composition.

Simon Dupree and the Big Sound  (UK)

Simon Dupree & the Big Sound, 'Kites' 7"  (1967)  *****/TTT

Kites

Like the Sun Like the Fire

no image available 7"  (1968)  ***/TT

For Whom the Bell Tolls

Sleep

no image available 7"  (1968)  ****½/TTT½

Part of My Past

This Story Never Ends

no image available 7"  (1968)  ****/TTT

Thinking About My Life
Velvet and Lace
Simon Dupree & the Big Sound, 'Part of My Past'

Part of My Past  (2004, recorded 1966-69,  151.18)  ****/TTTT

I See the Light
It is Finished
Reservations
You Need a Man
Day Time, Night Time
I've Seen it All Before
Medley: 60 Minutes of Your
  Love/A Lot of Love
Love
Get Off My Bach
There's a Little Picture
  Playhouse
What is Soul
Teacher, Teacher
Amen
Who Cares
Kites
Like the Sun Like the Fire
For Whom the Bell Tolls
Sleep
Part of My Past
This Story Never Ends
Thinking About My Life
Velvet and Lace
We Are the Moles (part 1)
We Are the Moles (part 2)

Broken Hearted Pirates
She Gave Me the Sun
The Eagle Flies Tonight
Give it All Back
Stained Glass Window
Please Come Back
Light on Dark Water
What in This World
What Cha Gonna Do
Don't Make it So Hard (on
  Me Baby)
Kindness
Castle in the Sky
Loneliness is Just a State
  of Mind
Laughing Boy From
  Nowhere

You
Can't You See
Now
Rain

Something in the Way
  She Moves
I'm Going Home
Medley: 60 Minutes of Your
  Love/A Lot of Love
Love
Get Off My Bach
There's a Little Picture
  Playhouse
Day Time, Night Time
I See the Light
What is Soul
Teacher, Teacher
Amen
Who Cares
Reservations

Current availability:

Mellotrons used:

'Simon Dupree' (an entirely fictitious individual) and his Big Sound were in fact a Portsmouth-based soul/R'n'B band formed around the mid-'60s, led by the three Shulman brother, Derek, Ray and Phil. They played the obligatory hundreds of gigs a year, covering well-known US soul numbers to crowds of sweaty revellers up and down the country, and doubtless made a decent living for a while. Their sole album proper (excuse the pun), 1967's Without Reservations was presumably the cream of their current stage set, and correspondingly is of little interest to all but UK '60s soul fans, to be honest.

Like so many of their contemporaries, though, their management caught the whiff of joss-sticks and patchouli on the air and insisted they reinvent themselves as a psychedelic combo. The band hated the idea, but went along with it, producing a cast-iron psych classic in Kites. Recorded at Abbey Road, they experimented with various exotic instruments, including the studio's new Mellotron, heard to superb effect on the track (played by Eric Hine, I believe). Even without it, the record would be wonderful, complete with Japanese (or is it Chinese?) poetry recited by an oriental-sounding female in the middle eight, wind chimes, gongs, you name it really. I can't believe I only first heard this a few years ago; it completely sums up its era, every bit as well as Strawberry Fields or Nights In White Satin. Wonderful.

Simon Dupree & the Big Sound live, Mellotron to the far left

The band released another five singles before their eventual demise, or six if you count the one credited to The Moles, with variable Mellotron content. For Whom The Bell Tolls was a minor hit (their only other one), but while good, with reasonable 'Tron strings, it's nowhere near the standard set by Kites. Part Of My Past is vastly better, and should, by rights, have been huge; mucho 'Tron flutes this time round. Thinking About My Life is excellent, too, if 'Tron free, although its equally good b-side (why wasn't this a single?), Velvet And Lace, has some great 'Tron string work. Although it's not relevant here, particular praise must go to the rather jolly Broken Hearted Pirates, from early '69, which I would guess was a paean to the pirate radio stations, though that's no more than speculation.

As far as I can work out, although their last recording session was in October '69, the band must have effectively dissolved by then, with the Shulmans reinventing themselves without managerial 'help', recruiting some extra members and becoming '70s prog gods Gentle Giant, themselves minor-league Mellotron users. But then, you knew that already, didn't you?

Various compilations slipped out across the years, including Kites, from the early '80s, which is particularly pointless, consisting of all their r'n'b material plus the Kites and Bells a- and b-sides. Avoid. Finally, in early 2004, over 35 years after the event, a comprehensive roundup of the band's career was announced. Part of My Past appears to be sequenced in chronological order of recording, opening with their first three singles a's and b's, followed by the remainder of Without Reservations. The rest of disc one comprises their subsequent singles, starting with Kites and including both sides of The Moles' single. The last eleven tracks on disc two are the original LP, sequenced correctly, which leaves 16 tracks which appear to be previously unreleased. I believe a second Dupree album was recorded in 1968, provisionally titled Once More Into the Breach Dear Friends, but remained unreleased after their post-Kites singles flopped, so it would appear that this less-legendary-than-it-deserves 'lost' album has finally surfaced.

Highlights of the previously-unheard material are the brilliant, melancholy Please Come Back, What Cha Gonna Do (an early version of Part Of My Past) and Castle In The Sky, but to be honest, most of the first half of disc two (which starts with Stained Glass Window) is excellent, although the quality drops off a little after Laughing Boy From Nowhere (where the 'Tron part may possibly be played by Elton John). On the Mellotron front, most of the relevant tracks have the typical Mark II strings'n'flutes, but the excellent What In This World is splattered with brass, and the even better What Cha Gonna Do opens with a killer polyphonic flute part, with loads more during the song, not to mention the seriously upfront strings part on Don't Make It So Hard (On Me Baby). Just about every highlighted track above features loads of Mark II, making this something of a 'Tron-lover's delight, especially considering how unexpected the unreleased tracks are. OK, you may be thinking "Only 13 tracks out of 55?", but when you consider that 11 of those are duplicates, and at least 25 of the 55 are deeply inessential, it starts to look rather more worthwhile. I shall be compiling my own single-CD of everything from Kites to somewhere around Something In The Way She Moves, which should cut the crap fairly decisively.

So; any previous compilations are rendered utterly redundant by the excellent Part of My Past, which I urge you to buy at your earliest convenience. The only reason it doesn't get a higher star rating is its high level of track redundancy, although I'm all in favour of releasing bands' entire oeuvres, and you can't have it both ways, can you? So, the boring stuff's boring, but the brilliant stuff's, er, brilliant, with stacks of wonderful Mellotron work. Buy. Or, if you're still a bit wary, track down Kites and hear what you've been missing. By the way, here's the full video of the above pic.

Bassist Pete O'Flaherty's site

See: The Moles | Gentle Giant

Simon Says  (Sweden)

Simon Says, 'Ceinwen'

Ceinwen  (1995,  53.34)  ***½/TTT½

Hey!
Under the Seal
A Bedtime Story

Devonian Forest
Pilgrim's Progress
B.A.J.S. Radio
Kadazan

Current availability:

Mellotron used:

Despite their being Swedish and existing in the '90s, I can't say I know an awful lot about Simon Says. Various online interviews confirm that they started as the brainchild of bassist/keyboard player Stefan Renström and vocalist Daniel Fäldt, recording their debut, Ceinwen, before they were in a position to play live. They turned down most of the gigs they were offered, and were put on the back-burner after a while, as life overtook various members. Seven years later, after working on an electronic project, Renström realised he'd written enough Simon Says-style material for a new album, and after tracking Fäldt down, reformed the band, releasing Paradise Square in 2002 (reviewed here). Both albums are reasonable progressive releases, with occasional inspired moments, although lacking the spark of the best Swedish bands of the '90s (and no, I'm not talking about The Flower Kings...).

The problem with Simon Says' keyboards is that, alongside a (confirmed) real Mellotron and what almost certainly isn't a real Hammond, lurk some digital things Whose Name We Dare Not Speak. Actually, I've heard an awful lot worse use of modern synths, not least dodgy Swedes Manticore, and as for Italians the Romantic Warriors, let's not even go there... Anyway, as far as Renström's 'Tron use goes on Ceinwen, the strings are murky, the choirs murkier, but the choir chord at the end of A Bedtime Story does the 'Mellotron ripple', shifting inversions to sustain the sound, as if to prove its veracity. Strings all over Pilgrim's Progress, plus the unmistakable rasp of the low cello notes, which are in fact a double bass (don't ask). Flutes in B.A.J.S. Radio, which means they had two tape frames (again confirmed), with more strings in Kadazan, making this actually quite a passable Mellotron album.

Anyway, a fairly good album, without being at all outstanding, with really quite decent 'Tron work, although the band seem to be obscure enough that you may have trouble tracking this down.

Official site

See: Samples

Ashlee Simpson  (US)

Ashlee Simpson, 'Autiobiography'

Autiobiography  (2004,  43.59/51.12)  **½/T

Autobiography
Pieces of Me
Shadow
La La
Love Makes the World Go Round
Better Off
Love for Me
Surrender
Unreachable
Nothing New
Giving it All Away
Undiscovered
[bonus tracks:
Harder Everyday
Sorry]

Current availability:

Chamberlin used:

I was expecting Ashlee Simpson to be one of the ten million or so American country divas I've never heard of, so was quite surprised to hear rockin' guitar on the first track of her debut, 2004's Autobiography. The album actually treads a fine line between rock, pop and a hint of country, which is more a description than a recommendation, although I've heard far (far) worse. Saying that, I've heard far better, too; it's about as anodyne as you'd expect of a twenty year-old female singer signed to Geffen, but I suppose people who don't really like music have to have something to listen to, eh?

Patrick Warren does his usual hired hand Chamberlin thing, with (credited) nicely audible string parts on Shadow and closer Undiscovered; nice to actually know for sure where it's used for once... Anyway, all terribly mainstream, but at least it isn't 'R&B' and doesn't obviously use Autotune.

Official site

Tommy Sims  (US)

Tommy Sims, 'Peace & Love'

Peace & Love  (2000,  68.45)  **½/½

Which Way (Intro)
100
A New Jam
When You Go
Summer
Write One This Way
Alone
The Way it Used to Be
Coming Home
The Ballad of Sophie
It Don't Matter
Love's Patience
Peace and Love
Which Way (part 2)

Current availability:

Mellotron used:

Tommy Sims is probably better known for his production and sideman duties as for his singing career; in fact, he's only released the one solo album, 2000's Peace & Love. Far too varied for the mass market, the album throws R&B, soul, jazz, folk and various other styles into the melting pot, although it's broadly categorisable as a soul record; Alone has something of a (Sittin' On) The Dock Of The Bay feel about it, while Coming Home is more early Jacksons, although opener Which Way (Intro) and its closing counterpart have a distinct and unexpected Dylan feel to them.

Phil Madeira plays Mellotron, with flutes on The Ballad Of Sophie, alongside real strings, although I can't detect any other useage. It's a shame Sims hasn't recorded again in the decade since this album's release, as his excellent soul voice and eclectic tastes would be a breath of fresh air in a stultifyingly rigid scene, but then, is anyone interested? He refuses to bow to the lowest common denominator and as such, will never be as successful as he deserves.

Peggy Sineath  (US)

Peggy Sineath, 'For Once in My Life'

For Once in My Life  (197?,  33.31)  ½/T½

For Once in My Life
Something Beautiful/Through it All
I Could Never Out-Love the Lord
Sheltered in the Arms of God

Redemption Draweth Nigh
I Wish You All Could Know Him
  (Like I Know Him)
Ten Thousand Years
I Saw a Man
Because He Lives
The King is Coming

Current availability:

Mellotron used:

Aaarghh! My pal Mark has sent me some more carefully-converted-to-digital thrift-store horrors, including this effort. Peggy Sineath was (and is) a S.Carolina-based 'gospel' singer, who seems to've released an indeterminate number of appalling records on local labels, including the undated For Once in My Life, although, going by the sleeve, I'd guess it's from the mid-to-late '70s. This has to be the nadir of Christian music of the era; unbelievably slushy, MOR slop, with zero connection to anything resembling black gospel music. This is a stern, joyless drudge of an album, Sineath's respectable but anonymous voice warbling its way through ten funereal grinds, making the whole worship business sound as much fun as an invitation to your own funeral. Funny, that. Maybe the happy-clappies got it right after all? Worst track? The King Is Coming starts with a bright fanfare (best moment), before slumping back into the album's default slough of despond, overlaid with some truly vile lyrics.

Instrumentally speaking, it's exactly what you'd expect: tinkly piano, tea-dance strings and tippy-tappy percussion, with some particularly obnoxious harp playing on Something Beautiful/Through It All. Otis Forrest is credited with Mellotron, playing pseudo-orchestral strings on Something Beautiful/Through It All, I Could Never Out-Love The Lord, Sheltered In The Arms Of God (Christ, these titles!) and Ten Thousand Years, with real strings elsewhere. The choir on Redemption Draweth Nigh sound a little peculiar, but as Mark says, it sounds more like a real choir 'sounding like a Mellotron' than the real (?) thing. Incidentally, sleevenote author the Rev. Jay Snell (Pastor) could have done with learning how to spell before he opted to splatter his purple prose all over the back of the sleeve: " She looses herself in her presentation..." Looses, Rev.? Absolutely, totally appalling.

Sing-Sing  (UK)

Sing-Sing, 'The Joy of Sing-Sing'

The Joy of Sing-Sing  (2001,  53.14)  **½/0

Everything
Tegan
I'll Be
Me and My Friend
Far Away From Love
Panda Eyes
Command
Feels Like Summer
Emigré
You Don't Know
Underage
I Can See You

Current availability:

Mellotron used:

I've seen Sing-Sing described as 'dream pop', which seems as good a description as any for their rather fey indie stylings. Essentially the duo of vocalist Lisa O'Neill and ex-Lush vocalist/guitarist Emma Anderson, they recorded a mere two albums in their decade together, the first being 2001's The Joy of Sing-Sing. It is, frankly, pretty wet, although I'm sure it sounds exactly as it's meant to; I think you've really got to be into the limper end of British indie to get anything much out of this...

Producer Mark Van Hoen supposedly plays Mellotron, along with stacks of great synths (and a DX-7), with many excellent synthpop-era sounds cropping up. Unfortunately, the Mellotron is essentially inaudible; I thought I spotted some strings on Underage, but they turned out to be real. So; despite a couple of better tracks (notably closer I Can See You), this is a rather drab album, although indie fans probably love it to bits. No obvious Mellotron, either, so maybe not.

MySpace

Singing Saints Quartet  (US)

Singing Saints Quartet, 'The Singing Saints Quartet'

The Singing Saints Quartet  (197?,  30.19)  *½/T½

Beyond Tomorrow
Don't Try to Tell Me God is Dead
Lighthouse
He's Living in My Soul
He Looked Beyond My Faults (and
  Saw My Needs)

Time Has Made a Change
I'll Be in the Rapture
He Did it All for Me
I'm Founded on the Rock
Most of All
Heaven is Awaiting
I'll Soon Be Gone
On the Jericho Road

Current availability:

Mellotron used:

The Singing Saints Quartet, from 'The Singing Saints Quartet' LP

I can tell you next to nothing about The Singing Saints Quartet (right, terrifyingly), which makes me wonder whether their eponymous album was their sole recording. We can but hope. Unlike many similar, at least this bunch sound like they're enjoying themselves in places, even though their hideously out-of-tune harmonies seem to be a characteristic of this kind of stuff; you know, someone's sainted godliness is rather more important than the unimportant ability, as a member of a singing group, to sing in fucking tune.

'Not quite as bad as some other stuff' doesn't make the undated The Singing Saints Quartet any better in real terms; only relatively. The more upbeat material can at least claim some distant relationship to 'gospel', but it's pretty distant. I'm having trouble commenting on the material at all; the oddly-titled Don't Try To Tell Me God Is Dead made me laugh; 'dead' has nothing to do with it - try 'never existed' and you might be getting closer. Multi-instrumentalist Mel(vin) Pierce (Jerry Cline) opts to play sitar on a couple of tracks (notably on Time Has Made A Change), for no obviously good reason, but that's about it. Incidentally, has anyone else noticed a strong narcissistic streak running through not only this album, but the entire genre?: 'I' this, 'I' that... What about other people, you fucking solipsists?

Pierce plays either his own or the label/studio's Mellotron, with pervasive-yet-strangely-empty string parts on opener Beyond Tomorrow, Lighthouse, He Looked Beyond My Faults (And Saw My Needs), He Did It All For Me and Heaven Is Awaiting. More narcissism, then. Possibly the funniest thing about this album, even better than the horrible harmonies or That Picture, is the last sentence of Pastor Don Grice's sleevenotes: "Take this album, play it for your unsaved friends [you're allowed any?] and they too can experience the Joy [note capitalisation] of Christ through singing." That'll make all the difference, eh? Priceless!


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