Description
The Lazarus Heart is a studio album by the American singer and songwriter Randy Stonehill, independently released on Street Level Records in August 1994, distributed by R.E.X. Records. Also released in Europe, manufactured by Word. The album was recorded by Richie Biggs at The Bennett House and Shakin’ Studios in Franklin, Tennessee; at The Board Room, The Dugout, and Omnisound in Nashville, Tennessee; and as well at The Green Room in Huntington Beach, California; with Jimmie Lee Sloas producing. Six of the tracks were mixed by Richie Biggs at The Dugout and the rest by Craig Hansen at Charlie Peacock’s studio.
Featuring guest vocals by Bob Carlisle of Allies, Kim Fleming, and Vicky Hamilton (“A Promise Made Is A Promise Kept”); Christine Denté of Out of the Grey, Gordon Kennedy, and Jimmie Lee Sloas (“I Turn To You”); Gary Chapman (“Shadow Man”); Riki Michele of Adam Again (“The Lazarus Heart”); and Michael W. Smith (keyboards and background vocals on “In Jesus’ Name”). As well featuring Phil Keaggy on lead guitar on “Under The Rug”.
After 15 albums and a career spanning a quarter of a century, many artists would be tempted to sit back and take it easy. Not Randy Stonehill, for whom ‘The Lazarus Heart’ marks a fresh and energetic new beginning. Dropping the Christian name may be just a symbolic change, but setting up the Street Level label (which also carries Julie Miller’s ‘Invisible Girl‘) is a bigger step. With Stonehill himself in fine form, the album becomes even better with guest appearances and support from many of the great and the good: check out Phil Keaggy‘s meaty guitar work («Under The Rug»), Christine Dente‘s vocals («I Turn To You»), besides the stalwart backing throughout from the likes of Jimmie Lee Sloas, Rick Elias and the seemingly ubiquitous Jerry McPherson. Musically, Randy may have mellowed a fraction, but as a lyricist he has lost none of his edge and insight, squaring up to matters of faith and doubt, of hidden sin and the need for real repentance, with characteristic directness and sensitivity. The name may be shorter, but the talent remains undiminished. [Peter Dilley, Cross Rhythms, February 1995]
After 15 albums that span a career of close to 25 years, one has come to depend on certain things from Randy Stonehill: well-crafted songs on the spiritual side of the human condition, sensitively sung and played (with an occasional rearing of his rockier persona or the less-frequent visits from the wacky ‘Uncle Rand’ side). Not a lot of surprises, but with a track record of fine songs as consistent as Stonehill’s, no complaints either. Sorta like James Taylor, you know?
Still, the cover of Stonehill’s new album ‘The Lazarus Heart’ was a bit of a tip-off to both the past and the future, boasting a new, artist-owned label with a name that harkened back to the earliest days of the Jesus Music scene in Hollywood (Street Level) and a new moniker that find’s the artist’s first name missing in action. Interesting concepts, but the proof, as always, is in the pudding.
And I’m thrilled to tell you that a tastier pop pudding has never been whipped up by the Rand-man, Norman’s Kitchen or anybody else’s for that matter. Though many of Stonehill’s songs have featured the classic elements of pop compositions (strong melodies and hooks, memorable choruses and the occasional killer bridge), the many talented producers he’s worked with (Larry Norman, Terry Taylor, Barry Kaye, Mark Heard) have never fully succeeded in crafting the kind of arrangements and instrumental tracks that make a difference between a good pop record and a great one.
God Bless Jimmie Lee Sloas, former Imperial, Smitty sideman and PFR producer (and future Minister), whose smarts and sensitivity made this one a great one. The album’s first three songs («A Promise Made is a Promise Kept», «I Turn to You», and «In Jesus’ Name») have more chart making potential than anything Randy’s cut in years, and nearly every song on the record could fit onto somebody’s playlist – pop, rock, inspirational, whatever. The quality of playing is top notch throughout, courtesy of folks like Jerry McPherson, Phils Keaggy and Madeira, Rick Elias, Steve Brewster, and Jimmie Lee himself on bass. Then there’s the vocal support, from an all-star cast that includes Christine Denté, Bob Carlisle, Gary Chapman, Riki Michele, and Michael W. Smith (making an unusual duet contribution on «In Jesus’ Name», where he doesn’t show up ’til the bridge, and then takes the song home with him!)
Lyrically, Stonehill equals the depth of his best songs from albums like ‘Return to Paradise‘, especially on ballads like «Remember My Name» and «That’s Why We Don’t Love God» (“We mask the nakedness of our mortality/ Cloaked in this poison pride/ And the illusion of control/ We need the gift of grace more than the air we breathe/ But as it draws us near/ Still it repels our stubborn souls”).
My only complaint seemed about midway through the record when three ballads in a row was making me run for coffee, but that’s a minor quibble with sequencing, that I can alter on my own CD player. ‘The Lazarus Heart’ is a triumph for Randy Stonehill, providing young fans with great new music from a master songwriter, and reminding first generation CCM’ers that old dogs can still bark with the best of’em. [Thom Granger, CCM, November 1994]
One really can’t be blamed for waxing cynical. Stonehill’s first album for his own label is recorded in Nashville with mostly big name mainstream ccm Nashvillians as Michael W. Smith, Gary Chapman and Out Of The Grey’s Christine Dente. Smacks of commercial compromise, doesn’t it? But wait a minute – listen again to the album, this time concentrating on the songs instead of the celebs, and you’ll hear a well-written and produced album.
Sure, many may be put off by the Kenny G-like sax solo in the very opening number «A Promise Made Is A Promise Kept», which is a song that also features an obvious nod to the Pop Queen Bonnie Raitt with it Gospel Quartet-esque back-up vocal section. And while this may be straight-ahead pop, it’s tastefully done, and doesn’t sound either forced or restrained. Or as Billy Murray said to Steve Martin’s dentist character in the movie Little Shop Of Horrors after he’d been worked over but good, “it’s your professionalism I respect.”
Unlike a trip to the dentist, though, this music goes down easy with a professionalism that never veers too close to the dreaded perfectionism which has ruined many a worthy project. And furthermore, you aren’t asked to spit when you’re finished. This pop setting may be a disappointment to those expecting the big guitars from Stonehill’s ‘Wild Frontier’ days. The album features only two out-and-out rockers («Under The Rug» and «Shadow Man»), but they’re both true to Stonehill’s rock roots and retain the spirit of what great three-chord rock n’ roll should sound like.
Stonehill – who has dropped his first name “Randy” out of his stage name – has chosen a quieter forum here to express his thoughts about the difficulties in his own faith life, such as in «Troubles», «I Turn To You» and «When I’m Afraid», as well as focusing some of his attention upon a few of the big questions about modern man’s relationship to God, such as in «In Jesus Name» and «That’s Why We Don’t Love God».
In «That’s Why We Don’t Love God», the album’s most moving and thought-provoking song, Stonehill grapples with the root reasons why men reject Christ. “Cloaked in this poison pride,” he sings, “And the illusion of control/ We need the gift of grace/ More than the air we breath/ But as it draws us near/ Still it repels our stubborn souls.” This rejection ultimately leaves us out in the cold. “And we are so alone/ Wolves in the winter snow/ Never imagining/ That this mercy could be real.” It is as chilling portrait.
Stonehill – who pre-dates the Amy Grants and Sandy Pattys of the Christian world – proves here that he’s still got it. Age has given his songwriting an earned wisdom which makes these lyrics all the more convincing. Sorry kiddos, but the lyrics from this apparent old-timer are still head and shoulders above most of what the cutting edge alternative crowd is offering these days. On the surface, this has the unthreatening sound of most of the current mainstream releases. But this is no sell-out. Let’s hope for the sake of Stonehill and Street Level that it sells. If it does, then there’s much good to look forward to from the pop mainstream. [Dan MacIntosh, Syndicate # 42, 1994 (Vol. 9)]
> Apple Music (https://music.apple.com/us/album/the-lazarus-heart-collectors-edition/442962404)
CD tracklist:
01. A Promise Made Is A Promise Kept – 5:46
02. I Turn To You – 3:28
03. In Jesus’ Name – 4:27
04. Under The Rug – 3:39
05. Remember My Name – 4:56
06. That’s Why We Don’t Love God – 5:17
07. When I’m Afraid – 3:38
08. Shadow Man – 3:35
09. Zurich In The Snow – 0:19
10. Troubles – 3:22
11. The Lazarus Heart – 4:26
Note: Simultaneously released on cassette and CD by Street Level Records. Re-issued by Born Twice Records in 2011, digitally remastered by J Powell of Steinhaus. This Collector’s Edition is housed in a 6 panel digipak featuring lyrics and all new reflections written by Stonehill. Available at Bandcamp: https://randystonehill.bandcamp.com/album/lazarus-heart
CREDITS. Produced by Jimmie Lee Sloas. Recorded at The Bennett House and Shakin’ Studios, Franklin, TN, at The Board Room, The Dugout, and Omnisound, Nashville, TN, and at The Green Room, Huntington Beach, CA. Engineered by Richie Biggs. Track 3, 6, 7, 8, 10 and 11 mixed by Richie Biggs at The Dugout and track 1, 2, 4 and 5 mixed by Craig Hansen at Charlie Peacock’s studio. Mastered by Ken Love at MasterMix, Nashville, TN. Cover Art Direction and Design by Dietsch & Associates. Cover Photography by Thunder Image Group. Insert Layout and Design by Michael Scanland Communications, Inc. Production Assistance: Chris Ross and Pam Kistler. Executive Producer: Ray Ware.
Musicians: Randy Stonehill (Vocals, Acoustic Guitar – Chet Atkins Solid Body Acoustic Guitar with Nylon Strings), Rick Elias (Piano and Keyboards), Phil Madeira (Organ, Dobro, Squeeze Box), Mark Douthit (Soprano Saxophone), Jerry McPherson (Acoustic and Electric Guitars), Phil Keaggy (Electric Guitar), Jimmie Lee Sloas (Bass and Wurlitzer), Mark Hill (Fretless Bass on track 10), Steve Brewster (Drums), Eric Darkin (Percussion). Additional Musicians: Michael W. Smith (Additional Keyboards and Guest Vocals on track 3), Phil Keaggy (Lead Guitar on track 4), Riki Michele (Guest Vocals on track 11), Gary Chapman (Background Vocals on track 8), Christine Denté (Background Vocals on track 2), Bob Carlisle (Background Vocals on track 1). Background Vocals: Jimmie Lee Sloas and Gordon Kennedy (track 2, 3, 5, and 6), Bob Carlisle, Vicky Hamilton, and Kim Fleming (Additional Background Vocals on track 1). Additional Background Vocals: David Robertson, Riki Michele, Jerry Chamberlain, Sharon Chamberlain, Randy Stonehill, Gordon Kennedy, Phil Madeira, Rick Elias.
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