Terry Scott Taylor
CCM Magazine October 1998
No Doubt's Tragic Kingdom was inspired by the post-modern crush of Orange County, Calif., but Terry Scott Taylor's John Wayne takes that concept to a more deliciously sour fruition. Taylor is a Christian music veteran. His first Daniel Amos album dates to 1976, and his resum? includes work with Lost Dogs and The Swirling Eddies among many others, but his musical and lyrical sensibilities on John Wayne reveal an artist poised on the cutting edge. Whether attacking stylings that are Celtic ("You Told Them Exactly What I Didn't Say") or cowboy ("Ten Gallon Hat"), Taylor reflects the familiar through his fun-house mirror mind, resulting in twisted shapes of song that make the listener laugh and think at the same time.
by Lou Carlozo
Works of inspired mayhem like "Big Shot and Miniature Girl" are harder to describe: Imagine Philly soul strangled by a fuzzbox that morphs into a mod rock stomp. Taylor's style and vocal mannerisms recall another bitingly funny Taylor (Steve, that is), but Terry Scott's tendency to crank up the crankiness, both with voice and pen, gives him an acid stamp of uniqueness. At the epicenter is the brilliant, snarly title cut, mapping out Southern California like a vast wasteland as it pays mock homage to the cowboy movie star. If nothing else, Taylor deserves a star for rhyming "carcinoma" with "my Sharona."
Backed by an all-star lineup that includes Mike Roe (77s), Derri Daugherty and Tim Chandler (The Choir) and Phil Madeira, Taylor especially hits the mark on "Mr. Flutter," a jangly pop ditty that tackles wavering faith. While Taylor's voice, guitar textures and attitude might sound a tad harsh for some ears, John Wayne is an album that easily rewards after repeated listens. We can only hope that there's more in the hopper; the disc's subtitle is Orange Grotesque, Part 1.
The Phantom Tollbooth September 1998
Virtually every so-called "Christian alternative modern rock" band owes a hearty debt to the granddaddy of ACM, Terry Taylor. After all, when he and his band, Daniel Amos, traded in their cowboy hats and cowpoke tunes for 3-D glasses and smart New Wave pop ditties back in the late seventies, "Christian Music" embarked on a curious, much needed path, raising the creative bar for all to follow. Terry Taylor is the pioneer that blazed the trail. A mighty master of sonic distortion; a giant among his petite peers (and humble, too); a bona fide force of fury for the cause of good; (I'll stop now). When all these new, young upstart bands are done kissing his feet, they ought to check out his latest album, John Wayne, to see how it's done. Their forefather is still making music a step ahead, with hits galore, and a big fat booty of wisdom besides.
by Steven Stuart Baldwin
John Wayne finds Taylor doing what he has always done best: creating a musically eclectic album of thought-provoking and faith-inspiring content. It is his umpteenth album in a career spanning 20 plus years as the main man behind such bands as Daniel Amos and The Swirling Eddies, and a principal member of the Lost Dogs. However, it is only the fourth to bear his name as a solo album. He'd be the first to tell you that his albums are never really solo efforts, however. Here he shares the stage with an impressive host of friends, including his Lost Dogs pals--Mike Roe on guitars, Derri Daughtery on guitars, and Gene Eugene on keyboards--as well as Daniel Amos members Tim Chandler on bass and Ed McTaggert on drums. Additionally, former Prayer Chain member Andy Prickett grinds some guitar parts, the ubiquitous Phil Madeira adds keyboards, accordion, and lap steel, and Burleigh Drummond plays some percussion. Together they generate a tight, textured sound with great energy and enthusiasm.
Those familiar with Taylor's previous solo albums may be surprised to find that this one has less in common musically with the mellower fare of Knowledge and Innocence or Briefing for the Ascent. It certainly has more straight-forward lyrical content than the brilliantly absurd bits from Neverhood Songs. In fact, John Wayne has much more in common with recent Daniel Amos offerings. He has effectively combined a sound that is most reminiscent of Bibleland, Songs of the Heart and the best bits from Kalhoun. The result is an infectiously furious, gutsy rock band sound with jangly guitars, slippery bass, big beats, instantly memorable melodies, rich harmonies, and lots of appropriately noisy bits. Although somewhat similar in overall orchestration, none of the songs sound the same, and everyone of them is catchier than striped bass in a fish breeding pond (meaning that you won't be able to stop singin' along).
Taylor has taken his inspiration from close to home, with songs centering on Orange County, John "The Duke" Wayne, and the John Wayne International Airport. Don't be fooled, however, by this clever veneer. Every song is actually an opportunity for Taylor to sing his signature songs of overcoming life's difficulties through the light of love, faith, hope, and strident dependence on our Great God of Grace. He is at his introspective best on this collection. For example, "Mr. Flutter" finds Taylor as honest, crafty, and accessible as ever:
Well, I'm tryin' to write a song
But I don't have the words
And my kids need a doctor
But I'm not insured
And my wife she looks pale
She got the check in the mail
And it's not the amount
We were thinking about
I got a friend on high
And he feels my pain
But I still got this dust
Flowin' through my veins
And I want to have faith
And I want to know grace
But it's hard to break through
When the rent's overdue.
Later, in a throwback to his country-roots days in "Ten Gallon Hat," Taylor offers his trademark brand of humor and wit in a song that reminds his avid fans to accept him as both saint and sinner. This tension of being both beloved of God and wading in the nasty mud this side of heaven is a theme that carries through much of this album, and finds its most beautiful fruition in the album's last track. "You Lay Down" accurately and breathtakingly depicts Jesus as accepting us despite our evil inclination. One of the best, most effective, engaging, and captivating songs he has ever penned, "You Lay Down" is right up there with "My Hand to God" as a new hymn worth hearing.
You didn't say a word when we accused you
You did not fight back when we scarred and bruised you
When hate was crowned king your love never diminished
You stood meek as a lamb there without blemish
And we laughed when you cried out: "It is finished"
So you lay down and I'll step upon your back
Up high enough, above the fence, to see all the way to glory land.
More could be said about this ingenious album which time may title his Darn Floor, Big Bite for the nineties, but why spoil all the Tayloresque surprises. If nothing else, this album closes the case on whether or not Taylor has still got it. John Wayne approaches his best work, with its intimate, appealing, and witty window into the soul of one who wrestles with God. God must let Taylor win a few of those matches, just because he loves him so dearly, and this album is your ringside ticket for the bout.
5 Alarm Clocks out of 5
The Phantom Tollbooth September 1998
Country, New Wave, alternative rock, computer game soundtracks, satirical punk... Terry Taylor has been around several musical blocks over the past two decades. Now seemingly more settled with his position at KMG Records, this recording provides the listener with a sound which shows influences from all his previous work.
The album opens darkly. The string-section backing for "Writer's Block" has a slightly strained feel as Taylor's customarily well-crafted lyrics take a look at questions which confront some of those who choose to express themselves in this medium:
by James Stewart
Take all the mud and glory in
The blood that swells my hand
Shake it out with delirium tremors
And guide my palsy pen
Who's impressed enough to follow me?
Please consider now the source
Count my golden vanities
In the fire of remorse
After this dense opener the musical tone lifts somewhat. Surf music has been on Taylor's mind recently with the release of the Surfonic compilation, and that influence is clear, but the sound is more diverse than that. This is highly-produced yet varied rock music that slips past most pigeon holes, as should be expected from a band that reads like a "who's who" of Alternative Christian music. Mike Roe, Andy Prickett, and Derri Daugherty play guitars, Tim Chandler adds his bass skills, Ed McTaggart contributes drums, Gene Eugene is on keyboards, Burleigh Drummond on percussion, and ever-present session man Phil Madeira brings his keyboards, accordion, and lap-steel.
This album should serve as a good resume for Taylor. It may not be his best work, but it is a solid release. Maybe KMG Records will help him win a whole new generation of fans.
4 1/2 Alarm Clocks out of 5