Description
Conversations is the first instrumental album the American singer, songwriter, keyboardist, and producer Michael Omartian, released on Reunion Records in 1986, distributed by both Word Records and BMG. The album was digitally recorded and mixed by Terry Christian assisted by Laura Livingston at Lion Share Studios in Los Angeles, California; and was written, performed and produced by Michael Omartian (except tracks A3 and A5 which were written by Michael and Stormie Omartian).
I gave myself 10 days to do it. Of course, I’d practiced for 16 months prior to going into the studio. I tried to do everything in the first take and imagined an audience out there listening. At least I approached it that way. I botched the most difficult song so badly that I had to have a second take.
I tried to keep it as spontaneous as possible. I orchestrated around the original piano tracks, added the synthesizers, and ’emulated’ the percussion. I also did all the production and arranging myself. Terry Christian did the engineering for me, and Erich Bulling did all of the programming for the synthesizers. I stayed mostly on the acoustic piano, but I had it mated to four keyboard synthesizers to get various tones.
Basically, I’ve always been bent toward classical things; that’s really how I got started. It’s that element that I loved about the Beatles: how they capitalized on certain classical stuff. From the moment I got the first inkling that I was supposed to do this project, I knew it was going to have a classical feel. I even went back to a piano teacher to get the discipline down once again.
I certainly didn’t want this project considered background music, I got a lot of feedback on the project before I released it from some brutally honest people, and they all told me ‘Conversations’ wasn’t something you could casually listen to. [Excerpt from an interview with Michael Omartian featured in “Gospel Lectern by Bob Darden,” Billboard Magazine, December 20, 1986]
Michael Omartian has always been on the cutting edge when it comes to the latest keyboard sounds and production techniques. On ‘Conversations’, current technology allows him to be his own orchestra, and he takes full advantage of the possibilities. Equal parts Gershwin (George), Copland (Aaron), and Elton (John), ‘Conversations’ is an interesting mix of classic, jazz, and rock elements.
«Homelands», the opener, has the effect of being a Copland-esque overture. Michael coaxes a full range of sounds – including strings, horns, and percussion – from his battery of synths. «Homelands» sounds a tad like Billy Joel’s nod to Copland, «Billy the Kid». More classical in form, «The Soldier» recalls Gershwin’s mix of jazz and classic stylings – and one of the synths seems, in a very subtle way, to emulate a voice. «The Time Is Now» is hymn-like in nature, but with soulful undertones. «The Feast» is a Bach tribute which features a harpsichord setting in the manner of Carlos’ ‘Switched On Bach’ or the more recent classical hit ‘Bachbusters’. Then, taking a solo piano turn, Omartian reprises «Right from the Start» from his early ‘White Horse‘ LP.
Side two fades in on rumbling strings and piano, suggesting a trip across «The Desert». Synthesizer flourishes of a Middle Eastern flavor keep that theme in the forefront, supported by liberal amounts of acoustic piano. «The Call», based on the same theme, builds from an acoustic piano opening to an animated, string-dominated climax before restating the simple opening pattern once more. «The Rest» finds Michael returning to a Copland mode on a lovely piece performed mostly on piano and string synths.
Perhaps because Omartian normally structures his melodies to accommodate words, the songs on ‘Conversations’ have a lilting and lyrical flair. For those who have accused him of being a “studio hack,” ‘Conversations’ should be ample vindication of Omartian’s considerable composing and performing gifts. [Bruce A. Brown, CCM, December 1986]
LP tracklist:
Side One
A1. “Homelands” – 5:49
A2. “The Soldier” – 4:07
A3. “The Time is Now” – 2:29
A4. “Festival of the Dance” – 4:46
A5. “Right from the Start” – 1:40
Side Two
Conversations with the King (A Suite in Three Movements)
B1. “The Desert” – 4:12
B2. “The Call” – 7:07
B3. “The Rest” – 4:20
Note: Simultaneously released on cassette, 12-inch vinyl LP, and CD by Reunion Records. (Interestingly, this album was included in an ad for Meadowlark Records featured in the June/July 1986 issue of CCM (page 28) … “In Release: New Night – Billy Smiley, Conversations – Michael Omartian, Heartsongs – Hadley Hockensmith” “Coming Soon: Meadowlark Sampler 86, Douglas Trowbridge… and more!”)
CREDITS. Written, performed and produced by Michael Omartian. Recorded digitally at Lion Share Studios in Los Angeles, CA. Engineered and mixed by Terry Christian. 2nd engineer: Laura Livingston. All synthesizer programs and additional percussion by Erich Bulling. Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood, CA. Album design by Stan Evenson Design, Inc. Photography and tinting by Phil Fewsmith. All songs written by Michael Omartian except “The Time Is Now” and “Right From The Start” co-written with Stormie Omartian.
An interview with session keyboardist, composer, and producer Michael Omartian was featured in the November 1986 issue of CCM Magazine, as the first effort of their new Christian Musician Series.
Back in early 1983, CCM actually changed its name from Contemporary Christian Music to Contemporary Christian Magazine (“we hoped to broaden our editorial horizons…“), though restored their original name in November 1986 with the magazine featuring a new graphic look and logo as well. Another new feature was the Christian Musician Series (“…which will focus on studio musicians, producers, and artists. We’ll be talking to them about their craft, their instruments, and, of course, their music. If you’re a musician, be sure to check out this page each month. This month, producer and keyboard whiz Michael Omartian is interviewed by artist and keyboard whiz Michael W. Smith.“).
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