Steve Taylor Albums (6)
What The Critics Say
One listen to this CD and you know why Steve Taylor is both a popular and a controversial performer. The hook-laden "Jim Morrison's Grave" shows that the man and the band can rock. "The Lament of Desmond R.G. Underwood-Frederick IV" shows that he can infuse heavy music with a sense of humor that is arch, sarcastic, and intelligent. So it goes through the CD, with Taylor's engaging stage banter creating a sense of what the show was really like on that particular night. His Christian outlook is expressed passionately and without a hint of the pompousness that mars most god rock for the average listener, and it's a shame that so many minds were closed to any hint of religious sensibility that this album was overlooked. The anthemic closer, "Violent Blue," is one of the greatest songs ever written on the topic of boy meets girl who is so wrapped up in herself that she doesn't notice, and you have to wonder why it wasn't a hit. Liver is a great album, one of the rare releases that is smart, literate, passionate, and really rocks. ~ Richard Foss, All Music Guide
What The Critics Say
The cutting-edge CCM artist returns with a vengeance on this, his only solo release of new material in the '90s. Targeting the Christian market more than the critically acclaimed Chagall Guevara eponymous release, Taylor has a few surprises for his fans. Most notable is a tribute to (not a satirization of) the guy at all the football games with the "John 3:16" sign on "Bannerman." Apparently he is satirizing listeners for being so cynical. The energy is high and the production is well done. The opener, "The Lament of Desmond R. G. Underwood IV," is a hard rocker with an uncompromising Christian message of the need for salvation and "Easy Listening," a reggae/ska-influenced number, satirizes the milk-toast nonactivist types who lack the courage of conviction. A fun album from beginning to end -- an end which features a dramatic "rock opera in three small acts" entitled "Cash Cow." Yes, Taylor has a knack for releasing one album every few years too many, but when they come, they deliver. ~ Mark W. B. Allender, All Music Guide
What The Critics Say
It's small surprise the Christian community all but disowned Taylor after songs like "I Blew up the Clinic Real Good" and "Since I Gave up Hope I Feel a Lot Better." The songs on I Predict 1990 don't look for easy answers -- they rarely look for answers at all -- and they're often unsettling. But half of Taylor's point is that life rarely gives easy answers. The other half is in the final song: "Harder to Believe than Not To." ~ Brian Mansfield, All Music Guide
What The Critics Say
A stronger release than Taylor's previous EP, this hook-laden record shows much in the way of maturity and growth as an artist. It's still very political, but this time leaning a bit further to the left, discussing such issues as racism in the church ("We Don't Need No Colour Code") and human rights violations worldwide ("Over My Dead Body"). The songwriting is killer overall. The catchy "Meat the Press" calls for solidarity among members of the evangelical church to promote better depiction of Christianity in the media. Dance number "Am I in Sync?" features a catchy keyboard line that slowly goes out of sync with the rest of the instruments. A groundbreaking record for its time. ~ Mark W. B. Allender, All Music Guide
What The Critics Say
Widely regarded as contemporary Christian music's best lyricist, Steve Taylor resembles Leonard Cohen in that his music takes a definite back seat to his smart and witty wordslinging. Taylor, though, is as much comedian as poet. While On the Fritz feels a little less like a novelty record than his previous albums, several of the songs are still essentially satirical sketches with musical accompaniment. In "Lifeboat," for example, Taylor adopts a pepper pot falsetto and portrays a female headmistress who teaches her students the superficial values of a culture obsessed with physical beauty. When Taylor does sing, he usually employs one of two character voices (one a high-pitched, manic nasal yell, the other a sinister deep-throated affectation). The effect is almost that of a substantive Weird Al Yankovic, but Taylor's genius with words extends beyond his razor-sharp comic timing. He also has the ability to communicate insights of some wisdom and depth with originality and power. The Joe Walsh-esque pop on this album doesn't demonstrate that as well as his later albums (particularly the sweepingly cinematic I Predict 1990 and the fragmented poetry he wrote with Chagall Gueverra). But in moments like the jangly U2 pop anthem "I Forgive," On the Fritz shows signs that Taylor's range of expression was steadily expanding. ~ Darryl Cater, All Music Guide
What The Critics Say
Let's face it: some music lovers run for cover the minute they hear the term "Christian rock." It isn't that they're necessarily anti-religion, but they don't want to be preached at. And if they're quite happy practicing Islam, Judaism, Hinduism, or Buddhism the last thing they need is hearing some Pat Robertson disciple telling them to give up their faith. At the same time, it's extremely unfair to assume that a Christian rocker is a fanatic or an extremist simply because he/she promotes Christianity -- U2 and Bono, although not officially part of the Christian rock genre, have often promoted Christianity. But U2 has no problem with other religions and its message is universal and inclusive rather than sectarian. Similarly, you don't have to be a Christian to appreciate Christian rocker Steve Taylor, whose live album Limelight is among his essential releases. Recorded live in England in 1985, this LP boasts inspired performances of some of Taylor's best material, including "Meltdown (At Madam Tussaud's)," "I Want to Be a Clone," "We Don't Need No Colour Code," and the Roxy Music-influenced "On the Fritz." Taylor is definitely coming from a Christian perspective on these new wave songs, but he isn't in-your-face about it -- you can be a confirmed Muslim or Hindu and find Taylor's lyrics meaningful. And musically, everything on this album is solid. Whatever a person's religious views, Limelight is a rewarding illustration of Taylor's artistry. ~ Alex Henderson, All Music Guide
