Description
Doppelgänger: The “¡Alarma! Chronicles” Volume II is the second release of a four part series of albums by Daniel Amos entitled The ¡ALARMA! Chronicles. (¡Alarma!, Vox Humana, and Fearful Symmetry being the first, third and the fourth installments, respectively.)
Doppelgänger, sub-titled The “Alarma Chronicles” Volume II, is the fifth studio album by the American alternative rock band Daniel Amos, independently released on the band’s own label Alarma Records in August 1983, distributed by The Benson Company. (The April 16, 1983 issue of CashBox announced the formation of the new label: “Alarma! Looks Ahead. In an effort to fill the growing need for avant-garde gospel product, Alarma! Records was formed as an affiliate of the Benson group with its first album, Doppelganger by Daniel Amos, scheduled for release during 1983.” The full name of the label actually was “¡Alarma! Records and Tapes”, abbreviated to A.R.T. Though originally founded as an independent label by Daniel Amos, Alarma Records was reformed as an alternative imprint of Frontline Music Group in June 1986.) The album was recorded and mixed by Thom Roy with Derri Daugherty (later of The Choir) at Whitefield Studios in Santa Ana, California; with band members Terry Taylor and Jerry Chamberlain producing for Rebel Base Productions. The album was recorded in 1982 and was intended for release the same year but problems with the photography and the cover artwork delayed the release for almost a year.
Doppelgänger was included among the Best Albums of 1983 by CCM Magazine, voted number nine on a list featuring eleven albums released from the last quarter of 1982 through the last quarter of 1983. – Who knew what a doppelganger was before DA named it their latest epic? Smith-Newcomb did and told us about it in December: “A doppelganger is a supposed double, ghost, or wraith of a living person. [The concept] has been used as a literary device to express the duality of humanity since ancient times… DA challenges the assumptions and accommodations of the contemporary church, as it struggles to maintain its allegiance to Christ within an illusive, yet demanding culture.”
In the capable hands of lead singer Terry Taylor, guitarist Jerry Chamberlain, drummer Ed McTaggart, and then-new bassist Tim Chandler (of The Choir fame), all the energy and vitality of popular music in the early eighties was dropped onto vinyl, still smoldering with the occasional flame licking off of the edges. On Doppelgänger Kafka’s notion of the double is used as a metaphor for human inconsistency. Lyrically, the album moves gracefully, if not delicately, between introspection and sarcasm aimed at the rampant materialism and false piety that permeated the world of then-popular television evangelists. Featuring an album cover that’s a slightly unsettling monochrome image of a mannequin. According to singer/songwriter/producer Steve Taylor “Daniel Amos set groundwork that enabled me to do what I’m doing. Some of the issues they were tackling on the Doppelganger album just blew me away. It was great stuff, and very much ahead of its time.”
Doppelgänger is a much darker, more haunting album than Alarma!, the album that preceded it. The album starts with the eerie backward sounds of “Hollow Man”, which actually is “Ghost of the Heart” from their previous album played backward with overdubbed haunting lyrics (inspired by T. S. Eliot’s poem, The Hollow Men). Terry Taylor’s lyrics to “I Didn’t Build it For Me”, “Autographs for the Sick”, and “New Car” were sharp attacks on televangelists, anticipating the Jimmy Swaggart/Jim Bakker/Robert Tilton scandals of the late ’80s. Daniel Amos’ perspective on the Christian culture’s unbiblical excesses were spot-on. Just as “Youth With a Machine” proved prescient, imagining so many years ago a youth culture obsessed with their electronic devices, musically Daniel Amos taped a creative energy that was ultra-relevant and timely, but has also passed the test of time.
But throughout, there is a consistent witness to the alternative life source, a glimmer of the Gospel, an invitation to escape a dualistic existence and choose a more authentic, a more whole and human path, that is a more Christian life. It’s all there at the end as the last song plays out, “Here I Am,” presented as a slide show of the band’s activity in relationship to their fans: the recording of their songs, the presentation and relevance of artful music written and recorded for an audience. When a real connection happens, it’s anything but hollow, and this music, well it goes out with a bang, not a whimper.
During The Doppelgänger Tour January-April 1984 Daniel Amos performed concerts in front of nearly 100,000 people across 60 cities in the United States and Canada. The show would start with the band members wearing masks and walking onto the darkened stage while “Hollow Man” was playing. The masks had small battery packs and lightbulbs attatched to them, which DA would put inside their mouths. They then lip-synched to the words of “Hollow Man”. Everytime they would open their mouths the lightbulbs would eerily light up their masks.
Alarma! Looks Ahead
In an effort to fill the growing need for avant-garde gospel product, Alarma! Records was formed as an affiliate of the Benson group with its first album, “Doppelganger” by Daniel Amos, scheduled for release during 1983. The follow-up to the “Alarma!” album that appeared on NewPax, “Doppelganger” will include a fiction/fantasy story along with the actual album, while the graphics will tie in closely with the material on the LP. The album will include topics that are not generally thought of as gospel material – technology, feminism and individual identity, among others. [Cash Box Magazine, April 16, 1983]
This is undoubtedly the group’s creepiest release, opening with the scary «Hollow Man», – which is 1981’s «Ghost of the Heart» played backward with overdubbed haunting lyrics (“Where have the eyes gone? / One finds no eyes here / In this empire of dying suns”). This almost sinister theme carries through virtually the entire record, with songs like «Mall (All Over the World)» decrying an evangelism of Western culture in lieu of an evangelism of Christ. The more positive-sounding songs tend toward searing satire, notably on «Angels Tuck You In», commenting on the attitude that a life as a Christian is free of discomfort or the need to think. This record marks a beginning to the real artistry of primary songwriter Terry Taylor‘s lyrics. Even ¡Alarma! with its mysterious themes still deviates little from descriptions of bad behavior and exhortations on how to live. The songs on Doppelgänger work on many levels: as illustrative of the ¡Alarma! Chronicles text, as a piece of the album itself, and as songs in their own right. The listener is free to make their own interpretation of the songs rather than being beat on the head with a simplistic message. And the songs here also resonate on many levels with the theme of “the Double.” «Distance and Direction» lists diad after diad of perspectives on the human condition. «Here I Am, There You Are» tells of another double: the artist in his celebrity as opposed to his personal life. «I Didn’t Build It For Me» contrasts someones words with their intentions. Songs are primarily guitar-driven. A fantastic album and a landmark for the genre. CD version contains live tracks from the Doppelgänger tour, which show the power and energy this little group could generate. [Mark Allender, AMG]
Daniel Amos are the band fronted by Terry Taylor who went from an American West Coast Eagles style country rock band and transformed themselves into an early ’80s new wave rock band of great insight, lyricism and high concept. Taylor’s ambitious ‘Alarma Chronicles’ concept covered four albums with 1983’s ‘Doppelganger’ being the second volume. It was a metaphorical and lyrical exploration of the dual nature of man, struggling to escape the baseness of his nature and stretch into the spiritual freedom given to him by God. Along the way Taylor’s songs take a shot at modern culture in a series of snappy three minute new wave songs that are satisfying both musically and lyrically. «Mall (All Over The World)» predicts the mania for materialism which seems to have captured the soul of western civilisation whilst «Real Girls» examines the way that culture treats women. A particular favourite is «A New Car!» which takes a very effective pot shot at the prosperity teaching that had begun to get a grip on the Church in the early ’80s and is tragically still being toted on Christian TV today. It utilises a sample TV quiz show over an old school rock’n’roll rhythm and is, frankly, hilarious especially with the cutesy girly vocals chanting “be more specific”. Elsewhere Taylor’s satire is effectively used to highlight other issues that trouble the Church. «Angels Tuck You In» is the song that probably most links this album to the material covered on the previous volume, ‘Alarma!‘. It examines the superficial idea that when you become a Christian nothing bad will ever happen to you again. There are plenty of moments when the band goes full throttle musically on songs like «Memory Lane» and «Little Crosses» and Jerry Chamberlain’s guitar really does come to the fore. «Autographs For The Sick» is a fun avant garde song the meaning of which I have never been able to fathom! But then again, that doesn’t stop me enjoying it! I am sure there’s some sort of deep meaning that is escaping me but hey! There’s plenty more here to connect with the heart and soul. «I Didn’t Build It For Me» is a frantic soul searching song that examines the dual nature of motivation. A rich man donates the money to build a church building and then wrestles with the motivation involved. Meanwhile in the album’s final cut Terry Taylor takes the listener through a slide show of snapshots documenting the creating and selling of an album and again shows the gap between the perceived reality of his public life and the private feelings he holds while it’s all going on. It’s a clever and touching conclusion. Artistically, Daniel Amos are one of the most creative Christian outfits to ever step into a recording studio. The fact that they never managed to create more than a cult following is a travesty. [Mike Rimmer, Cross Rhythms, August 2008]
I once heard it said that a prophet is one who takes the Lord’s message to mankind, while the priest takes men’s message to God. Though Terry Taylor and company try both roles here, it is ultimately the cry of man they most accurately portray, Doppelganger being a sort of rocker’s ecclesiastes.
Using T.S. Eliot’s poem “The Hollow Man” as a point of departure, Daniel Amos explores the dark side of modern Christianity. The double entendre doesn’t just exist in the other guy, either.
“We’re putting on our make-up/ But we never make up/ We’re the beauty and the beast/ We’re dead men telling tales/ Sleeping through our wake-up/ Two of me, two of you.”
The group had to count the cost before cutting such an album. There will be very little airplay or in-store promotion for Doppelganger, and that raw DA wave-rock sound won’t win any Dove awards. What it will win is the ears of those tired of hypocrisy; the world’s, the Church’s, their own.
I think it will sell because it’s good, it’s true and it’s the product of artistic integrity. Here’s hopin’! [Cornerstone Magazine, 1983]
> Apple Music (https://music.apple.com/us/album/doppelg%C3%A4nger-deluxe-edition/1125029156)
LP tracklist:
Side One
A1. “Hollow Man” – 2:15
A2. “Mall (All Over The World)” – 3:13
A3. “Real Girls” – 2:57
A4. “New Car!” – 2:00
A5. “Do Big Boys Cry?” – 2:05
A6. “Youth With A Machine” – 2:42
A7. “The Double” – 3:50
Side Two
B1. “Distance And Direction” – 2:48
B2. “Memory Lane” – 3:48
B3. “Angels Tuck You In” – 2:38
B4. “Little Crosses” – 2:35
B5. “Autographs For The Sick” – 1:40
B6. “I Didn’t Build It For Me” – 2:48
B7. “Here I Am” – 3:18
B8. “Hollow Man (Reprise)” – 0:43
Note: Simultaneously released on cassette and 12-inch vinyl LP by Benson. Re-issued on CD by Stunt Records in 1992 under license from The Benson Company, with three bonus tracks: concert intro (3:00), “Real Girls” Live (4:28), “Memory Lane” Live (3:54). A Deluxe 2CD version of the album was released by Stunt Records in September 2014, distributed by Born Twice Records. Available at Bandcamp: https://terryscotttaylor.bandcamp.com/album/doppelg-nger-deluxe-w-bonus
https://terryscotttaylor.bandcamp.com/album/dreifachg-nger-bonus-bonus-disc
A one-hour radio special from 1983, produced by Bruce Brown and Stel Pontikes, featuring an interview with Terry Taylor as well as cuts from the record, is available at Bandcamp: https://terryscotttaylor.bandcamp.com/album/doppelg-nger-radio-special
A Deluxe double disc version of the album (a 2CD in a three-panel digipak) was released by Stunt Records in September 2014, as a part of its ongoing deluxe reissue series, distributed by Born Twice Records. It’s a double CD featuring a three-panel digipak, including a 24-page booklet. Disc One presents the entire Doppelganger album, carefully and respectfully remastered by J Powell at Steinhaus. Disc Two includes 17 bonus tracks, including alternate versions of album tracks – never before heard by the public, alternate mixes, early takes, and more, letting the listener into the process of how this remarkable album was made and how it was received.
A full-page advertisement for Daniel Amos’ Doppelgänger was featured in the January 1984 issue of CCM Magazine.
Daniel Amos – Doppelganger … The Album … The Tour … January – April 1984
Is it possible to be in two places at once? Come and confront your double. In 1984 you could be one of the nearly 100,000 people in 60 cities across the United States and Canada experiencing a musical/theatrical event that will shatter preconceptions and transcend the limits of imagination. Warning: Certain segments of this presentation may be disturbing to more sensitive members of the viewing audience. Special concert viewing apparatus will be distributed at the door prior to each performance.
For booking information contact Street Level Artists Agency. Doppelganger The Album available on ALARMA Records and Tapes (A.R.T.) distributed by The Benson Company.
A concert review covering Daniel Amos’ concert at Fox Theater in Redwood City, California, 12 April 1984, was featured in the August 1984 issue of CCM Magazine. The concert was a part of the band’s Doppelganger Tour ’84. The Youth Choir opened the show.
Following DA’s performance in Redwood City, a listener of San Francisco’s FM KQAK called the station and got into a discussion with the host Alex Bennett about Rock and Roll and New Wave bands with Christian messages like U2, The Alarm and Daniel Amos. The listener also mentioned last night’s DA concert in Redwood City. Bennett asked the listener to send in a copy of Daniel Amos’ new album. KQAK programming personnel were impressed enough to add “Real Girls” from Doppelgänger to their regular playlist.
“Real Girls” (CUSTOM MUSIC VIDEO)
Daniel Amos – Doppelgänger Deluxe Edition, 2014
In 1983, a record was released that was so far ahead of its time, and so different from what surrounded it, that there were only two ways to go in its regard. You either hid it behind the stacks of Tammy Faye Bakker records (true story!) and prayed nobody would venture farther, or you fell for it sideways. There was no middle path. Make no mistake about it. Daniel Amos’ second effort of the Alarma Chronicles, Doppelganger, was weird. In order to cut through the preconceptions, the clatter, and the propaganda, it had to be. The phrase “wake-up call” is overused, practically devoid of meaning, but that’s exactly what Doppelganger was in 1983.
Some could easily say it is just as much in 2014. Look at the cover alone, that mannequin posed next to venetian blinds, it’s dead-eyed, golem-like countenance. It clutches a mask; a soft, fleshy face…an acceptable face. A selfie of the whole of humanity. The music mixes up punk («Little Crosses», «Memory Lane»), funk («Mall (All Over the World)»), and pretty pop («Distance and Direction», «Here I Am, There You Are») not while chasing behind bands like Talking Heads and King Crimson, but in parallel with them. And there was much of the wit that Daniel Amos, now comfortably appropriating the truncated DA, was known for. Except this time it was a much darker sort of humor.
Lead vocalist and chief songwriter Terry Scott Taylor let loose with game shows for Christians who misunderstood their mandate («New Car!»), a United Nations interpreter bank set to a rockabilly beat («Autographs For The Sick»), and more. While the album has often been categorized as a diatribe against the modern church — and there are clear elements of that in evidence — it is much more about the idolatry of the self, and how we chose to make the walk of faith not of sacrifice, not of being in a place where indignity is real, and not as a model of the mission “to live as Christ.” Instead, we wanted the rich, famous and sexy version where heaven was a candy factory, God was our personal Willy Wonka, and when we threw our hands to the air, down rained gold-wrapped chocolate coins. It is partly about the church, but mostly about what we did to it.
And if everything that has been said up to now leads one to believe Doppelganger has to be the preachiest drag of an album, a stone-cold bummer, rest assured in the knowledge that it kicks like a mule and rocks with the best of them, even now. In the capable hands of Taylor, guitarist Jerry Chamberlain, drummer Ed McTaggart, and then-new bassist Tim Chandler, all the energy and vitality of popular music in the early-Eighties was dropped onto vinyl, still smoldering with the occasional flame licking off of the edges.
In partnership, Stunt Records and Born Twice Records offer the two-disc collector’s edition of Doppelganger by Daniel Amos. Disc one presents the album as remembered, with remastered sonic clarity those who are familiar with it may not have experienced before. Disc two gives the listener era-adjacent live versions, demos, and DA-oriented ephemera, letting the listener into the process of how this remarkable album was made and how it was received. That is as much a part of the story as the music itself.
As was mentioned at the outset, Doppelganger was a polarizing disc. Those who gravitated to it for its inventiveness, its authenticity, and its daring became lifelong fans. Those who were hoping DA would go back to their country-rock roots were put off by how dangerous, how weird, this new record was. Those who were taken aback by the overarching message the record carried as its theme — the double-minded man and the person we are when we’re being watched and wanted vs. the person we are when we’re not being seen — need only to look online. It is about the dominance of the ego; the duplicity of the Internet alter ego, and the digital monikers we hide our ad hominem attacks behind; and the realization that for all the wonders this world may bring, and all the beauty that grace and God allows, nothing seems to be better than pictures of ourselves, half-naked, in bathroom mirrors making pouty faces.
We are dead-eyed golem creatures carrying masks of humanity. You might have missed the message of Doppelganger before, but it is all around you now. [Dw. Dunphy, PopDose, September 22, 2014]
For the longest time, back when music made by Christians seemed to matter more than it does these days, there was a standard criticism offered up by both fans and critics, that CCM often seemed 5 to ten years behind what was going on in the mainstream. As a proof, meet the one exception to that rule back in 1983, Daniel Amos and, IMHO, the best Christian rock album of that year, Doppelganger, the follow-up to !Alarma!
Following the double releases of Horrendous Disc and !Alarma! two years earlier, and some touring to connect coast to coast with many fans who had rarely had the chance to see them live, DA sounds superbly confident as they throw themselves into the diverse and creative and at times aggressive songs that make up Doppelganger. It’s worth pointing out that the title suggests a “ghostly double or apparition” of a living person, a fun set of ideas to explore on this the second chapter in “The !Alarma! Chronicles.”
The disc starts with «Hollow Man», an art piece framed by vocals played backward, a tribute to the T.S. Eliot poem, “The Hollow Men,” which describes humanity as having no distinct intellect or emotions, but rather as having heads stuffed with straw. In such a world, we miss the Kingdom’s goal, and the world ends “not with a bang but a whimper.”
This is not an end we choose from the beginning, it’s the culmination of life’s little choices and distractions, and the compelling call of materialism, which values things over people — the tangible over the spiritual, as found in the «Mall (All Over the World)». Now this song, it must be said captured the cultural zeitgeist, and with Tim Chandler’s funky bass line, the dance texture weaving of guitars and keyboard strings with Taylor’s clever, insightful lyrics… well, it coulda, shoulda, woulda been a hit if a Christian band ever got a fair shake on mainstream radio, the worlds aligned and justice had prevailed.
As a testament to Taylor & Co.’s relevance and timeliness, there was a hit on the radio by Robert Hazard called «Escalator of Life», which echoed the lyrics of «Mall». This music was timely and relevant. Hazard also wrote «Girls Just Wanna Have Fun», the song that later became a hit for Cyndi Lauper, seemingly a response to Duran Duran’s «Girls On Film». DA was right there with them, exploring the virtues and potential exploitation of female and male gender roles, with «Real Girls» and «Do Big Boys Cry».
Feeling their oats a bit, Taylor was comfortable addressing the struggle of being spiritual beings in the physical world, the “double life we live,” in songs like «The Double» and «Distance and Direction», and even go after their own fans who are still hoping for the return of the End Times Campfire Sing-Along Cowboys of their earliest releases, on «(you make too many trips down) Memory Lane».
In that spirit they took a few jabs at some of the more popular theological distortions that were the bread and butter of TV preachers and mega-church evangelists. «New Car!» complete with its game show musical enthusiasm, takes on “The Prosperity Gospel,” while «I Didn’t Build It For Me» and «Autographs for the Sick» take down cult of personality leaders and so-called healers who take advantage of the hurting and less fortunate. Jerry Chamberlain’s «Little Crosses» questions the effectiveness of religious jewelry, while «Angels Tuck You In» challenges the idea of religious sentimentality and privilege, examining the «New Car!» concept that we’re the “King’s Kids.”
Just as «Youth With a Machine» proved prescient, imagining 30 years ago a youth culture obsessed with their electronic devices (they may have missed a bit by focusing only on the youth), musically DA taped a creative energy that was ultra-relevant and timely, but has also passed the test of time. While !Alarma! felt stark and stripped back compared to Horrendous Disc, here they’ve layered on the keyboards and vocals, in a lush take on the current fondness for “new wave,” but with a bigger, broader, bolder palette, richer colors, deeper roots, crunchier guitars. This record is not about revisiting a time warp, but its music endures and its message remains relevant.
But throughout, there is a consistent witness to the alternative life source, a glimmer of the Gospel, an invitation to escape a dualistic existence and choose a more authentic, a more whole and human path, that is a more Christian life. It’s all there at the end as the last song plays out, «Here I Am», presented as a slide show of the band’s activity in relationship to their fans: the recording of their songs, the presentation and relevance of artful music written and recorded for an audience. When a real connection happens, it’s anything but hollow, and this music, well it goes out with a bang, not a whimper.
(It’s worth pointing out that if you were to buy Doppelganger these days, and you should do just that, it now comes with a deluxe edition bonus disc that includes alternative arrangements and mixes of the songs, as well as a few recorded live in concert. As great as the original final product is, remixed and mastered for better sound, you’ll find these bonus tracks a nice addition to one of the best Christian rock records ever made.) [Brian Quincy Newcomb, February 2015]
Daniel Amos are the band fronted by Terry Taylor who went from an American West Coast
Eagles style country rock band and transformed themselves into an early ‘80s new wave rock band of great insight, lyricism and high concept. Taylor’s ambitious ‘Alarma Chronicles’ concept covered four albums with 1983’s ‘Doppelganger’ being the second volume. It was a metaphorical and lyrical exploration of the dual nature of man, struggling to escape the baseness of his nature and stretch into the spiritual freedom given to him by God.Along the way Taylor’s songs take a shot at modern culture in a series of snappy three-minute new wave songs that are satisfying both musically and lyrically. «Mall (All Over The World)» predicts the mania for materialism, which seems to have captured the soul of western civilization whilst «Real Girls» examines the way that culture treats women. A particular favorite is «A New Car!» which takes a very effective pot shot at the prosperity teaching that had begun to get a grip on the Church in the early ‘80s and is tragically still being toted on Christian TV today. It utilizes a sample of a TV quiz show over an old school rock’n’roll rhythm and is, frankly, hilarious especially with the cutesy girly vocals chanting “be more specific”.
Elsewhere Taylor’s satire is effectively used to highlight other issues that trouble the Church. «Angels Tuck You In» is the song that probably most links this album to the material covered on the previous volume, ‘Alarma!’ It examines the superficial idea that when you become a Christian nothing bad will ever happen to you again.
There are plenty of moments when the band goes full throttle musically on songs like «Memory Lane» and «Little Crosses» and Jerry Chamberlain’s guitar really does come to the fore. «Autographs For The Sick» is a fun avant garde song. There’s plenty more here to connect with the heart and soul. «I Didn’t Build It For Me» is a frantic soul searching song that examines the dual nature of motivation. A rich man donates the money to build a church building and then wrestles with the motivation involved.
Meanwhile in the album’s final cut Terry Taylor takes the listener through a slide show of snapshots documenting the creating and selling of an album and again shows the gap between the perceived reality of his public life and the private feelings he holds while it’s all going on. It’s a clever and touching conclusion. Artistically, Daniel Amos is one of the most creative Christian outfits to ever step into a recording studio. The fact that they never managed to create more than a small following is a travesty. [Shawn McLaughlin, Christian Musician Magazine, November/December 2014]
CREDITS. Produced by Terry Taylor and Jerry Chamberlain for Rebel Base Productions. Recorded and mixed at Whitefield Studios, Santa Ana, CA. Engineered by Thom Roy with second engineer Derald Daugherty. Mastered by Steve Hall at MCA Whitney Recording Studios, Glendale, CA. Rehearsals and arrangements recorded at The Rebel Base, Santa Ana, CA. Live sound and road coordination by Wes Leathers with Derald Daugherty. Album Art Concepts by Terry Taylor, Derrill Bazzy, and Phillip Mangano. Art Direction by Derrill Bazzy. Photography by Bonnie Ferguson and Derrill Bazzy. Patience: Dave Stern. The ¡ALARMA! Chronicles text written by Terry Taylor and edited by Philip. “Hollow Man” adapted to “traeH eht fo tsohG” by Terry Taylor. All songs written by Terry Taylor except “Little Crosses” by Jerry Chamberlain, “Real Girls” by Taylor and Chamberlain, “I Didn’t Build It For Me” with words by Taylor and music by Chamberlain and Taylor, and “Autographs For The Sick” with words by Taylor and music by Taylor, Chamberlain, and Tim Chandler.
Musicians: DA is – Terry Taylor (Lead and Backing Vocals, Rhythm Guitar, Percussion), Jerry Chamberlain (Lead Guitar, Lead Vocals on “Little Crosses”, Interpreter on “Autographs For The Sick”, Backing Vocals, Percussion), Tim Chandler (Bass, 8-string and Fretless Basses, Backing Vocals, Percussion), Ed McTaggart (Drums, Skins, Tubs, and Traps [say five times – fast!], Backing Vocals, Percussion), Keyboards Arrangements by Terry Taylor, Jerry Chamberlain, and Tom Howard. Thanks: Keyboards: Tom Howard (#4,7,9,10,11,14), Rob Watson (#2,3,5,6,7,14), Jeff Lams (#3,13), Mark Cook (#8), Marty Dieckmeyer (Keyboard and Bass on #1). Bill Colton (Saxophone), Alex MacDougall (Percussion). Occasional BGV’s: Randy Stonehill, Tom Howard, Derald Daugherty, Janet McTaggart, Dori “Game Show Girl” Howard, Mark Cook, The Three Women From Istanbul, and Emelia Emulator. Foreign correspondents on “Autographs For The Sick”: Thom, Yolly, Joni, Jerr, Vinnie, and Constant. Handy work on “Angels Tuck You In”: The Eric “Clap-Tons”. Faces: Neal Boatright and Frank M. Quinn. Special thanks: to Everything Audio for the use of the Emulator (E.M.U. Systems), to Andrew for the use of his toys on “Youth With A Machine” (T.O.Y. Systems), and Sharon McCall for all her assistance.
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