Description
Immigrant’s Daughter is the third studio album by the American singer and songwriter Margaret Becker, released on Sparrow Records in August 1989, distributed by Word. The album was recorded by Rick Sanchez at Studio 55 in Los Angeles, Moon Studios in Sacramento, and Studio D in Sausalito, California; with Charlie Peacock producing and arranging. Mixed by Jeff Balding. All songs written or co-written by Margaret Becker except the Curtis Mayfield classic “People Get Ready”.
Featuring Margaret Becker on electric guitar and lead vocals backed by a session band consisting of producer Charlie Peacock on piano and keyboards, Jimmy A of Vector fame on electric guitar, and a rhythm section featuring Larry Tagg on bass and Mike Urbano on drums (a.k.a. the rhythm section of Bourgeois Tagg), with Roger Smith sitting in on Hammond B-3 organ. (In other words, musical friends of Peacock from his Exit Records/Sacramento era.) Backing vocals provided by Annie Stocking, Brent Bourgeois, Jeanie Tracy, Vince Ebo, and Charlie Peacock, as well as Becker.
If you’re Margaret Becker, and your last album won rave reviews and garnered both a Grammy and a Dove nomination, what do you do for an encore? Make your next album even better. ‘Immigrant’s Daughter’ is both a continuation and an extension of the finely crafted textured rock stylings and impassioned message delivery that characterized ‘The Reckoning‘.
Ably assisted by producer and new labelmate Charlie Peacock, Becker has woven a guitar/keyboard sound that maintains the overall spark and minimalist rock sound of her last album while smoothing out some of the more jangly edges. Her voice has never sounded better or more flexible as it goes from the full-throated bite of the title track to the almost whispered serenity of «Stay Close to Me».
This album is not perfect; the energy level dips a bit near the end, and a remake of Curtis Mayfield and the Impressions’ «People Get Ready» is pleasant, but never quite catches fire. These minor quibbles aside, ‘Immigrant’s Daughter’ stands as a remarkable achievement – a powerful testimony that artistic excellence and commitment to ministry can coexist without either being compromised. [Jerry Wilson, CCM, September 1989]
One of the surest signs of a good album, or at least one we enjoy, is the amount of time we spend listening to it. If that is the case then ‘Immigrant’s Daughter’ from Margaret Becker is indeed a good album. There is a fragile quality to much of the album. That is due in part to the kinds of songs Becker brings forth and the vocal style they require. It is also due, in large part, to the production of Charlie Peacock.
First, the songs are personal. Becker’s liner notes speak of her journey over the past year or so as being one of searching. She is searching for the way to do what she believes she is being led by God to do. This journey is filled with questions, doubt, struggle and pain. It also has its fair share of victory and joy.
In «Honesty» Becker sings “God’s not afraid of your honesty/ He can heal your heart if you speak honestly/ Humble sorrow and the honest cry/ He will not pass by.” And in «I Commit» she says “I commit my heart to the heavens/ I stand to praise your name.” This message is heard very clearly in «Laugh a Little», where she tells us “Times don’t change/ This I know/ It’s a sad, sad world/ Wherever you go/ But life has got two faces/ The frown and the smile/ While it hurts so bad sometimes/ You got to laugh once in a while.” The same message can be found in «Stay Close to Me», «The Hunger Stays», «Just Come In» and «Solomon’s Shoes».
With songs as personal as these, Becker cannot use her full rock ‘n’ roll vocal style which dominated past efforts. She has to hold back in places and she does it well, adding to the tension and strength of her statements. To be sure, when the song calls for it she can cut loose, but for the most part the by word of ‘Immigrant’s Daughter’ is restraint.
Second, Charlie Peacock, who also co-wrote half of these songs, keeps the guitars in the background of the mix, while the drums and bass are quite hot. This gives the whole album a dream-like, textured quality. The Peacock touch is a real plus for any album, but here he pushes Becker to her finest work yet.
At first listen, ‘Immigrant’s Daughter’ is not musically overwhelming, but when we get involved with the lyrics it picks up quickly. We are drawn into the whole thing as Becker sings her songs of personal struggle and triumph. Becker reveals a good deal of herself in a delightful and inspiring fashion. This album is worth a second listen…and a third…and… [T.L. Faris, Harvest Rock Syndicate, Issue 3, 1989 (Volume 4)]
> Apple Music (https://music.apple.com/us/album/immigrants-daughter/724470435)
LP tracklist:
Side One
A1. “Immigrant’s Daughter” – 4:25
A2. “This Is My Passion” – 4:03
A3. “Stay Close To Me” – 3:08
A4. “The Hunger Stays” – 4:06
A5. “Just Come In” – 4:25
Side Two
B1. “I Commit” – 4:22
B2. “Honesty” – 3:44
B3. “Solomon’s Shoes” – 3:13
B4. “Laugh A Little” – 3:42
B5. “People Get Ready” – 3:39
Note: Simultaneously released on cassette, 12-inch vinyl LP, and CD by Sparrow Records.
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