Nobody Knows Me Like You Benny Hester Album
NOBODY KNOWS ME LIKE YOU (1981)
Benny Hester
Benny Hester's classic "Nobody Knows me Like You" is the very best Developed Contemporary pop album in the history of Christian Music!
Hyperbole much?
Nay!
There will be other album that are classified as AC or popular college on this list, but almost of the albums were non really "current," commercial vehicles. They appealed to a pop market, but were not really purely pop music for the day. Only NKMLY was in a class all past itself. All the while the CCM marketplace was discovering they had a treasure in Benny Hester the artist, who, over the years, has non merely delivered memorable songs, but actual classics that inverse and shaped the CCM mural. Most artists would exist honored to have one song that could be listed amongst the greatest in the history of the genre, while Hester has a scattering!
Long before he fabricated a mockery of radio nautical chart records with "When God Ran," has had made a very potent career of not just brilliant hits, simply overwhelming good albums within his genre. Borrowing liberally from the hit music makes of the late lxx's and early 80's (Hall & Oates, Christopher Cross, Bee Gee's, Elton John), Hester mastered his songwriting arts and crafts early and never slowed down. He was driven to be a recognized artist, all the while he was driven to express his faith in original and honest means.
Unlike the vast majority of his peers, Hester did non release an album every year like clockwork. Often there were a few years between releases and this gave him the opportunity to create smashing collections of well-written popular music. Only no anthology would surpass his third (second CCM) album.
With the album (and many albums like information technology) it is often the backstory that makes the anthology so intriguing and lasting.
In the late 70's Hester had record a series of songs and was getting nowhere with record labels. His debut (mainstream) release owns a tragic story and has become a collectors item of sorts. The label he was signed to folded and the warehouse holding the LP'due south burned to the ground, destroying most known copies. Merely a scattering ever found there style into the easily of listeners. I am one those lucky few.
Hester took those few songs and drove from Las Vegas to Canoga Park, CA and the then offices of Sparrow Records. Hester sat in the reception office until Bill hearn (Sr.) finally agreed to see with him. Hester played the songs for Hearn who signed him on the spot. Those songs and a few others were released as Hester's "debut," the self-titled Spirit Label release that was after knows as "Be a Receiver."
Shortly later on the release of the album, Hester plant himself driving across the Golden Gate span in San Fransisco. By the time he had crossed the bridge he had written the chorus to the song "Nobody Knows Me Similar" without an musical instrument. He spent the rest of the solar day in San Fransisco writing the song that he would forever fastened to and that would make Hester one of the most popular CCM artists at the fourth dimension.
Hester went into the studio with a who'south who collection of musicians and emerged several months after with his classic. Only the anthology took longer to get going because his new label (Myrrh) wanted Hester to work with producer, Michael Omartian. No i could arraign Hester and the label for waiting to piece of work with Omartian. But the fourth dimension off also immune Hester to fine tune his arts and crafts. Information technology besides gave the manufacture simply enough time to forget who he was, and Hester and the label would accept to showtime all over once again and making Hester a known commodity.
Information technology wouldn't accept too long.
The anthology starts off with the funky R&B melody, "Come Dorsum." The telephone call to the wandering pilgrim is the perfect lead rail as it possesses enough kicking to grab the listener while even so working on radio, where it institute a domicile. Omartian has this amazing knack for knowing exactly what sounds correct for an artist. His ability to arrange songs that sound unique and familiar at the same time has made him one of the all-time ever in the manufacture. Hither the combination of keyboards (prophylactic) and guitars (dangerous) work but correct.
"No Human being's state" is a warning to avoid assuasive oneself to enter a place where sin can have its way you. The funky guitar work fits with Omartians "horn section" sound perfectly. A picayune Chicago mixed with Hall & Oates puts the song squarely into the pop world of 1981. Again, the guitar work, is dandy, but it hither that one begins to note how great the bass work on the entire project really drives the rhythm. A quick peek at the credits testify information technology is the work of primary bassist Abraham Laboriel.
Side by side to the title track, the most compelling and memorable song (especially for long time fans) is "Rubber Canoe." An airline had sent Hester a rubber raft equally a promotional piece and while taking the device on its maiden voyage Hester realized what a powerful metaphor information technology represented; the life without God is a constant struggle on the ocean of life with piffling to nothing to grab onto. Laboriel and keyboardist Jeff lams drive that song musically. I can as well hear for the one of the first times the powerful vocals of Tommy Funderburk in the groundwork. Where virtually pop songs would be content to but verse/chorus its fashion through the song, Omartian adds a dandy instrumental closing subsequently a simulated finish.
This works well into the next vocal, the classic title song, equally it begins with a long and beautiful (almost classical) piano intro, with some limited string support. the long into was devised over several years of performing the song live. Hester would hash out the songs introduction and the speaking fourth dimension grew longer equally fourth dimension went by, and so did the introduction musically. Information technology worked then well live they decided to kee a limited instrumental into on the record. Singles released to radio had a express intro, and, equally it turns out, many radio stations went with the anthology version intro.
Every bit for the song itself, information technology is a classic by all standards. A beautiful and stirring carol, information technology was a mainstay on Christian radio for years and fifty-fifty crept into many hymnals and traditional worship services. the accompaniment rail remains one of the best sellers of all time. The patently and simple truth matched with an unforgettable tune fabricated for an all time favorite that worked both in concert and in Church services.
Interestingly enough, the song besides became a major crossover hitting on mainstream radio. the song charted extremely well on secular AC charts. Just sadly, Word Records was ill-prepared to respond to the demand and the album fell through the mainstream cracks and the song, despite its huge popular response did non drive the mainstream success it should accept.
"Pace by Step" returns the album to its pop roots with its conspicuously radio friendly tune and instrumentation.Again Hester here delivers on memorable hooks and a mutual CCM theme without sounding nearly as preachy or contrives as his contemporaries. A great bridge separates the vocal from well-nigh of the fluff that passes for CCM, and a message of promise and organized religion despite limited understanding. Knowing that God has a plan is piece of cake to believe until one has to act based on that assumption.
As a fledgling little rocker as a Sophomore in High school I take always has a soft spot for "One More Time." The nigh "upbeat" song on the anthology it also contains Martin Walsh's finest guitar work. Information technology is actually quite good and reminds the listener of Dan Huff and Michael Landau.
A vocal that would remain a staple of Hester fans over the years, and some other potential "classic" is "Goodbye Salty." There is more than a piffling Loggins and Messina here as the story of an former fisherman represents Jesus' call to be fishers of men.
the song that reminds the most of Omartian and his work with the Imperials is "Real Change." The vocal once again flirts with the similar of David Messina, Rupert Holmes and Steven Bishop with its California declension, polish jazz-influenced melody and Beach Boys similar bankroll vocals. Kim Hutchcroft's smashing and silky sax piece of work but sounds like the breezy coastal driving of 1980.
"You lot Loved me" remains my personal favorite musically. Jeff lams and Michael Omartian's keyboard piece of work drive this great song of God's unconditional love. The song would take worked quite well on Matthew Ward'southward "Toward Eternity" as well.
The anthology closes with a wonderful and stirring cover of the hymn, "Christ, the Solid Rock." The arrangement is simple and true to the song, only works well every bit a closer for an anthology of religion like this. It is also the first time the listener hears the rougher edge to Hester's vocals; something that would become a mainstay for Hester in a few years.
Many cringe at the whole concept of pop and Air-conditioning music, but when done well it can create a lasting legacy. The culling music snobs will probably not find the placement here proper or deserving, but another grouping of readers, who can trace their fandom back before The Choir and Steve Taylor volition recognize what an important and brilliant work that album is.
The album's lasting nature tin be attributed to an artist that never really received the total recognition he deserved. What limited contact I take with Hester would atomic number 82 me to believe that fame, fortune and public recognition were never the priorities with him.
Source: https://ccms500bestalbums.wordpress.com/2011/10/13/35-nobody-knows-me-like-you-benny-hester/
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