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1977

The Sky Is Falling

With a hectic tour schedule for both Larry and Randy that was fueled by the momentum of their last records, time was rushing by. Recorded in the late ‘70s, but not released until 1980 “Sky” is Randy’s third and last album produced by Larry Norman. Randy recalls gently nudging Larry about going back into the studio to produce the record. Larry agreed to the idea, but was often either on the road or so tired from concert commitments that he was unavailable. That left the lion’s share of the production chores in the hands of Randy and the brilliant Tom Howard. It turned into an artistic growth experience that allowed Randy the opportunity to bring more of his own voice and vision to his work.

According to the liner notes penned by Larry “Where “Welcome to Paradise” was sweet and gentle, emotionally, “The Sky is Falling” was a walk down a broken road toward the end of the world.” That may be, but its energy and fun seemed much more than a walk down a broken road.

The Encyclopedia of Contemporary Christian Music, called “The Sky is Falling” “a more diverse but more inconsistent album than Welcome to Paradise”. Diverse works, but inconsistent is unfair. A better way to frame it is that while “Paradise” was more of a concept album that stayed in its lane, “Sky” may have jumped lanes a bit, showing us a preview of the range that would develop in Randy’s future projects.

For more on the storied breakdown of Solid Rock and its effect on both Randy and Daniel Amos as well as Larry’s subsequent career, there is a an insightful documentary, “Fallen Angel: The Outlaw, Larry Norman”, available on Amazon.

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1981

Between The Glory & The Flame

Randy’s first post Larry Norman effort, this album shows Randy’s transition from the Jesus Music 70’s to the CCM 80’s. One of Terry Taylor’s first production projects outside of Daniel Amos, who serves as Randy’s backing band, this album is a serious rock record. One of Stonehill’s finest albums, it comes in at number 78 in CCM’s listing of the top 500 albums of all time.

In CCM’s view, “ One of the truly great results of the production effort was that it DOES NOT sound like Randy Stonehill singing Daniel Amos songs. These are clearly Stonehill songs that are shaped in a more authentic and current rock setting. But at times it does seem like Taylor restrains the more “exuberant” Stonehill and the effect works in creating a more cohesive and listenable album. “

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1983

Equator

The second album in Randy’s transition from Jesus Music pioneer to bonafide CCM artist, again using Terry Taylor’s production, show’s Randy’s unique ability to retain those qualities that made the Jesus Music scene such a powerful force, while also maturing as a songwriter. “Equator” is considered one of the best of Stonehill’s career, as well as one of the best Christian albums of the early 80’s.

According to CCM, Taylor’s production helps the “wacky” novelty songs to “come across more ‘new wave’ and less silly.” The album gave us the island themed “Shut De Do”, which became surprisingly resilient in its popularity and a standard in most of Randy’s live performances. CCM said with this album, “Stonehill was able to manage walking a fine line between the live ‘zany Uncle Rand’ and the darker, introspective singer-songwriter that his duplicitous musical personality always portrayed.”

Most agree that one of the more notable of the album’s songs is the brooding and powerful “China”. Here again, we agree with CCM, “Any artist would be proud to have written and recorded such a wonderful song. Musically and lyrically it is nearly perfect and its haunting refrain and unforgettable musical soundscape is what separates musicians from artists.”

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1984

Celebrate This Heartbeat

“Celebrate” is a different sort of effort for Randy. His first of 3 albums produced by Barry Miller Kaye, the album goes down as one that is more sweet and heartfelt rather than bold and rocking. The opening “Overture” is a classic and unusual beginning that left some fans saying, according to one UK reviewer “Get on with it!” The 5th cut, “Who Will Save The Children,” a duet with Phil Keaggy, marks the beginning of Stonehill’s long-term relationship with Compassion International, a ministry to needy children in third world countries. Randy still articulates their vision in concert, through social media, and on his records.

One fun rocker is a love song “Whatcha Gonna Do About That?” It reminds one of Stonehill’s ongoing balancing act of setting up beautiful ballads alongside rock and roll against comedic commentary send ups. Whether these collections actually feel like something in balance or more like just odd juxtapositions is a very personal opinion. It may even relate to the mood one is in when listening to the album.

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Stonehill UK Release

This project’s release is unusual in that the first Randy knew of it was when he was handed the album after a concert and asked for his signature. He thought the songs had been recorded only as master quality pop demos but later discovered that an “Indie” label had manufactured the record. That company then sold the product to a distributor in the US. This release, another of the Barry Miller Kaye productions, has more rockers than “Celebrate”. For this reviewer, the favorite cut is “Dangerous Heart” , an urgent and anthemic rocker that had its moment in the national spotlight, when Randy performed it with Debbie Boone on America’s premier rock music show, “The Midnight Special”.

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1985

Love Beyond Reason

Love Beyond Reason is the final Barry Miller Kaye production. It had the amazing Mark Heard mixing and engineering. He would become Randy’s producer on later projects. This album was commonly criticized by reviewers of being overproduced, a too strong attempt to bend toward the CCM mainstream. That inclination shows in his duet with Amy Grant, ‘I Could Never Say Goodbye.’ which was nominated for a Grammy Award.

That critique was also focused on Stonehill’s version of the great song he had written with Keith Green in the mid 70’s, “Until Your Love Broke Through.” Most preferred the more simple and “honest” arrangements recorded by Phil Keaggy and later by Keith Green. That said, this album offers a number of great songs. If you love Randy’s bluesier rockers you won’t find better than “The Gods of Men,” and “Angry Young Men.”

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1986

The Wild Frontier

With a new producer, Dave Perkins, “The Wild Frontier” is a marked move to a more aggressive sound. According to one reviewer, “the music is loud, the singing passionate, the energy high, and the mood vibrant. Stonehill is cutting loose and it has been a long time coming.” The production has a notable “Spirngsteenesque” quality that those more in love with Randy’s rocker side should really enjoy.

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1988

Can’t Buy a Miracle

“Can’t Buy A Miracle” continues in the spirit of “The Wild Frontier” with an aggressive collection that is loud and fun. According to one review “For many, this one may be Stonehill’s strongest release. Country-influenced rock short on pretense and long on hooks and poetry”.

Every track on the album is strong. One unusual standout is “Cold Rock the Groove,” featuring Rez Band. While it doesn’t entirely cohere with the rest of the tracks, it is big, bold and kicking.

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Keaggy Stonehill Band Live

Also in 1988, Stonehill hit the road with Phil Keaggy for a tour by The Keaggy/Stonehill Band, which included “Swirling Eddie” drummer David Raven and Daniel Amos bassist Tim Chandler. This is a bootleg recording that surfaced only recently from the archives of a New England radio station. The band had crisscrossed the country and was well “in the groove” by this point. The exuberance and the musical muscle of the performance make it worthy of a listen.

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1989

Return To Paradise

For “Return To Paradise” Stonehill enlists Mark Heard to be his producer. Having met him a decade earlier when they were both a part of Norman’s Solid Rock crew, Heard had moved on to a successful career as a songwriter, performer and producer.

According to one review, “what attracted Heard to this project was the quality of Stonehill’s songwriting, which was nothing less than superb. Rarely have the oft-used themes of hope, regret, yearning, and conviction been stated in such a sound poetic manner — and Stonehill’s poignant melodies complimented his lyrics perfectly.”

What Mark added was the ear for adding the right instrument at the right time. The review continues, “when it came to accordion, mandolin, fiddle, and acoustic guitars, no one arranged and produced better than him.” Many believe that Randy never sounded better and with this project “elevated his writing and playing to new heights.”

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1990

Until We Have Wings

This album, although also a Mark Heard production, some reviewers felt that the first half of the album, which are studio recordings, did not meet the high water mark Randy and Mark had set on “Return to Paradise.” That said, the first half does contain the sweetly nostalgic “Old Clothes”, which still shows up in Stonehill’s live shows and was covered by Amy Grant on the recently released Tribute album, “There’s a Rainbow Somewhere”.


The second half of the album, which is live, captures Randy’s magic as a live performer. According to one review, “Armed only with an acoustic guitar, Stonehill immediately wins complete ownership of his audience with the unrestrained energy of his performance. Almost solely on the strength of his passion, Stonehill is moving, funny, bizarre, and a master of audience participation.”

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1991

Wonderama

Wonderama sees the return of Randy’s long-time friend and collaborator DA’s Terry Taylor. The whimsical elements of this project demonstrate both Taylor’s sensibilities and Stonehill’s creative range. According to one review, “There is a playful feeling here that keeps the fun songs from getting too silly, and gives strength and heart to the ballads without letting them become too maudlin. You can almost see the twinkle in his eye.”

The reviewer continues, “A handpicked band - including long-time side men Tim Chandler and David Raven, as well as Rob Watson on keys and Rick Elias on lead guitar - do a fine job of interpreting the material, which ranges from robust acoustic rock workouts to circus waltz pieces. A string quartet and brass band even make an appearance, and it’s the unusual touches that are dotted throughout the album that lift it above the pack.” This writer could not agree more.

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1994

The Lazarus Heart

At this point Stonehill is 25 years and 15 albums into his career. It might be expected that he would simply continue to tour and play the best of the songs he had already written. Not Randy. He recently said to me (now 50 years and 28 albums in) that as long as God gives him breath and the inspiration to write, he will be writing new songs.

In that vein, “Lazarus Heart” marks a fresh and energetic new beginning. According to one review, “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”), as well as the stalwart backing throughout from the likes of Jimmie Lee Sloas, Steve Brewster, Rick Elias, and the seemingly ubiquitous Jerry McPherson.”

While this project lands on the mellower side of Randy’s range, the songs still have his characteristic punch. The review concludes, “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.”

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1998

Thirst

Thirst comes after a 4 year hiatus and Stonehill is back with another very strong project. From the bagpipe guitar of the opener “Hand of God” to the eastern string drone of “Fire” a haunting Beatlesque number Randy is showing yet again his creative range. After “Sleeping”, an intimate call to wake up and make a difference in the world, comes the rocking and singable “Father Of Lights” then the subversive “Baby Hates Clowns,” classic Stonehill hilarity.

A later cut “Lonely House” is a heart rending account of a marriage falling into the chasm of broken communication. This song is so painfully knowing, one cannot help but wonder the degree to which it might have been autobiographical. The also very heartfelt “Little Rose” which is based on the journey of a child Randy met and sponsored through his work with Compassion International.

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2001

Uncle Stonehill’s Hat

Some might not consider Uncle Stonehill’s Hat a “serious” album, if so, they do not understand the sophistication required to really engage a child’s mind. The album is as fun, whacky and intelligent as a Muppet movie, it’s just that the visuals are left to your imagination. For those who have suspected that Randy is really a child masquerading as an adult, this album would certainly help them win their case. And if you want to hear just how many personas Randy has rattling around in his head, Hat offers a great sampling.

Uncle Stonehill’s Hat, Randy’s first children’s album, is a narrated adventure of two self-centered children who visit Uncle Stonehill in his hat-shaped house. It’s Randy as a Christian Willy Wonka who, through a range of adventures, helps the children discover the beauty of imagination, the miracle of Creation, and the Miracle Maker in the process. Comparing “Hat” to “Wonderama”, one reviewer called it less consistent. It would be more fair to call it more whimsical. It’s Randy and the inimitable Terry Taylor as producer. Terry’s fertile imagination no doubt greatly influenced the material, doing a Mr. Rodgers version of the Marx Brothers telling morality tales.

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2002

Edge Of The World

‘Edge of the World’ is a great album for those that prefer the stripped down, more live version of Randy’s music. These are clean, acoustically driven songs where a more mature Stonehill does some serious introspection. One stand out is the beautifully painful nostalgia of “We Were All Song Young”. It offers a shared line up of most of the leading artists of the early 70’s, Including Larry Norman, Phil Keaggy, Russ Taff, Barry McGuire, Noel Paul Stookey, Love Song & Annie Herring.

Another notable cut is the title song ‘Edge Of The World”, sad, dobro blues that somehow renders hope with its painful plea. This is in line with words of one review, “Stonehill does not pretend with these songs that nothing has changed, as some aging artists seem wont to do. Instead, he acknowledges the years with a sweet melancholy, while infusing the same hope that has always been present in his music.”

The collaborating artists give it a nostalgic air, but their talent far exceeds the nostalgia, making this record well worth the price of admission. According to another review, “Maybe Randy’s season as a CCM industry big timer has passed (not such a bad thing really) but there are still discerning music lovers who will want to search out this delightfully crafted set of songs by a huge talent.”

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2006

Together Live

Stonehill’s live albums always offer more than just a display of his great songwriting and guitar playing ability. His engaging wit is able to bounce around in unpredictable ways. When a live album includes his lifelong friend Phil Keaggy it reaches a whole new place. They play off each other so well and have such complimentary offsetting abilities that their live pairing is a compelling thing to see.

According to one review, “Stonehill’s well-oiled and soothingly hushed vocal is at its vintage finest. Keaggy’s guitar playing is as phenomenal as ever, worth the money alone (the) songs are timeless while the repartee is nothing short of hilarious. Two blokes, two guitars, two mics, and considerably more than their fair share of talent - as if it would ever be anything other than fantastic.”

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2007

Touchstone

Opening with an intimate prayer with Randy and Phil Keaggy, this album is like sitting in a room with these two great friends and musicians as they do “unplugged” versions of some of Randy’s best songs. The opener, ‘Stand Like Steel’ shows how much Randy still has the licks and vocal brilliance that has brought him so many dedicated listeners. Following that is his beautifully creepy ‘Under The Rug’ about how we hide our sin.

Notable is a duet with Keaggy on the great ‘Love Broke Through’. The album concludes with ‘Keep Me Runnin’ with Keaggy on lead guitar and then ‘King Of Hearts’ arguably two of the best songs Stonehill ever wrote. Hearing them completely and simply acoustic is worth the time spent with the whole record.

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2008

Paradise Sky

‘Paradise Sky’, as the mashup title suggests, is a collection of re-recordings from Stonehill’s classic ‘70s albums ‘Welcome To Paradise’ and ‘The Sky Is Falling’ with also a few songs from ‘Born Twice’ and ‘Equator’. It served as the soundtrack for the documentary “Fallen Angel” about the complicated life of Larry Norman, Randy’s door into Christian music.

Since all of the songs on ‘Paradise Sky’ were Stonehill favorites, people will inevitably have opinions as to whether the new players and arrangements are improvements on the originals or not. In this writer’s opinion, the album is better enjoyed just treating the new recordings as alternatives rather than competing versions. That said, the new recording did make me miss the great Jon “Wonderfingers” Linn whose guitar playing was such a key element of Randy’s early work.

This album is an excellent reminder of just how talented Stonehill is and how well his songs hold up overtime. According to one reviewer these songs have, “enough melodic power and lyrical bite and wit to make them all worth the ears and hearts of a new audience.”

Randy’s Comment: ”Recording “Paradise Sky” gave me the opportunity to revisit some of the key songs from early in my career. It was a rare opportunity to employ what I had learned about my craft and utilize current technology that we could only dream of “back in the day”. I’m blessed to look over my shoulder and see how the Lord allowed my work to be part of the musical backdrop for the Jesus Movement of the ‘70s.”

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2009

Mystery Highway

One might think with two musicians that have recorded so many songs that there would be nothing new here. Not true. While they have played together for years, an in studio collaboration between them was uncommon. When you add Randy’s melodic lyricism to Phil’s uniquely accomplished musicianship what results can be some surprisingly fresh material. From ‘Rockin’ In A Hard Place’ which allows Phil to riff in his inimitable way to ‘Dreamspeak’ with its eerie echo of Cream’s ‘Strangebrew’ these Keaggy contributions are neither quiet nor mellow.

Stonehill’s funny, almost improvised rapping on ‘Rockman’ over Keaggy funk is a treasure. Another very fun, but odd song ‘Backwards On Her Bike’ shows Randy’s ever-present lyrical hand at speaking to the paradoxes of Christian living. One reviewer said, “If you want to hear two quality veterans who still have plenty of creative fire left in their tanks then get your bank card out and order a copy.”

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2011

Spirit Walk

It is a biblical principle that wisdom comes with age. The truth of that is reflected in Spirit Walk. These new songs reflect a gravity of experience and a wise humility that become more apparent with Stonehill’s later work. As one reviewer said, “Spirit Walk, strings together songs that only a veteran of a steady walk with Jesus over many years could sing with such conviction. But while wise they are also witty and playful - with a quality of fun that Randy Stonehill has never outgrown.”

As we have noted, a line of gifted producers have worked with Randy over the years, including Larry Norman, Terry Scott Taylor, Barry Kaye, Dave Perkins, Mark Heard, and more. The album was the second project with Mike Pachelli after Paradise Sky in 2008. His contribution as a master of the guitar as well as a great producer adds a complimentary authenticity and authority to Randy’s work.

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2014

One Night in Holland

This live concert in Holland is one of Randy’s better live recordings. Mathew Ward from “2nd Chapter of Acts”, with whom he was double-billed, supplied harmony on “Love Broke Through” and the backing Dutch band is amazingly good considering that had just met Randy before jumping into 4 shows together.

According to Randy, “After only two days of rehearsal, we locked in easily together and jumped into the “tour zone”. The concerts were great fun and the Dutch audiences were warm and welcoming.”

We owe Randy’s wife Leslie for leaning on the sound crew to record the shows, who did a remarkably good job considering the recording had not been formally planned. Only recently released, Rob Vermeulen, from the band, was able, according to Randy, “to dust off those recordings and deliver some sonically impressive mixes from that night.”

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2015

Breath of God II

“Breath of God II” is an extended release of an EP released in 2011, with several new songs added. This album is a bit of a departure for Randy. It is more a full-on collaboration than a Stonehill album. Randy and Buck Storm, both highly regarded songwriters in their own right, seem like a seasoned duo with a long history. It’s also interesting to hear Randy playing a supporting role as much as lead. The results are beautiful folk-rock songs that sound like the two have been writing and performing together for years.

A particular treat on this album is Randy’s wife, Leslie, supplying harmony. She does it so well, it’s clear why he has her join him in live concerts to add her vocal talents to key songs.

“Breath of God II” is different from Randy’s collaborations with Phil Keaggy in that Storm’s creative approach is closer to Randy’s own style of ballad writing. The result is an engaging and organic blending of their creativity and musicality.

This album does not have any of Randy’s aggressive blues rock, or his comedic commentary, but it is a rich “tip of the hat” to the more acoustic folk style it represents.

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2020

Lost Art of Listening

With Lost Art of Listening Stonehill shows he has not “lost the art” of writing great music. According to CCM magazine “It is all the things typical Christian music is not, bless his heart. It is, instead, singer/songwriter music at its best.” Again Randy is showing the courage to deal honestly with life as it really is, not as the vain dreams of youth make it out to be. Case in point is ‘Coyote Moon’ (a co-write with Terry Scott Taylor) where he says, “Sometimes you’ll dance with the wild wind at your heels, Sometimes you’ll hang your head at the lonely way life feels.”

Although this record is light on the funny off-beat humor Randy is known for, his wry, self-deprecating side shows in songs like ‘This Old Face.’ The song ‘Billy Frank,’ Stonehill’s tribute to the late Billy Graham is moving, but even more so when you hear him tell the story of getting to meet Billy in his later years.

”Lost Art” contains a wistfully confessional trilogy of songs about Randy’s relationship with his father which shows Randy’s willingness to speak to difficult unresolved challenges. According to CCM, “Songwriting this honest is rarely ever easy-listening music. Age to age the dysfunction carries on,” Stonehill tells us on ’Leonard Has A Toaster,’ like the passing of some toxic baton.” “Lost Art of Listening” may just be the medicine you need for regaining the “ears to hear” challenging things.

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2022

There’s A Rainbow Somewhere

There’s a Rainbow Somewhere, a wonderful and epic double album, is truly one of a kind. With contributors including Grammy Award winners Amy Grant, Michael W. Smith, Jars of Clay, Ashley Cleveland, Russ Taff, & Kevin Max the project shows just how valued Randy’s work has been as it celebrates Stonehill’s 50th year in Christian Music. This accomplishment is even more remarkable given that he has continued to write and perform new music to this day. Also notable is that these artists picked the song they wanted to record based on their connection with the material.

One review remarked, “His songwriting told stories and painted pictures that spoke to real life, not just moments of victory and worship. He was one of the true pioneers in the industry and yet seemed to always be a couple of steps outside that industry.” The review continues, “The tribute walks a fine line of having a throwback hat-tip to the nostalgic sounds of early Jesus music and some completely fresh re-imaginings. It’s not easy to narrow down, but standout tracks include Jars of Clay‘s version of “Broken Places,” Andrew Peterson‘s take on “Charlie the Weatherman,” The Choir‘s high-octane version of “Last Time I Saw Eden,” Amy Grant‘s tender cover of “Old Clothes,” the opening track which is Phil Keaggy doing “Lazarus Heart,” the classic “King of Hearts” updated by Sixpence None the Richer, and the 41-yr-old song “The Glory and the Flame” redone by The Lost Dogs.”

These few words cannot do justice to describing the quality and depth of this project. One must listen to the album to appreciate its remarkable scope of interpretation. There are high hopes that “There’s a Rainbow Somewhere” will help introduce this seasoned veteran and remarkable song writer to a whole new generation.

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