Resurrection Band – Colours (Limited Run Vinyl) 3 Colors, Gatefold Jacket + Band Poster
!!!LESS THAN 20 COPIES LEFT!!!
- Re-mastered Audiophile Pressing from Original Sources by Rob Colwell
- Gatefold Jacket Design with Lyrics and Photos
- Includes Part 1 Liner notes from JJT (True Tunes) 3-Part Write-up across all 3 records
- Includes Huge 24" x 24" Band Poster
- First time on Transparent Royal Blue Vinyl (75 units)
- Hype Sticker matching Each Colored Vinyl Pressing
- Limited to just 250 copies world-wide (50 Black)
- Ships in a Bufferzone Mailer
- UPC 763416069534
- 2021 Girder Records
Product Description
Resurrection Bands’ Colours (1980), Mommy Don’t Love Daddy Anymore (1981) and D.M.Z. (1982) are 3 of the most iconic Christian rock albums of all time. They have been completed re-mastered and restored from original sources and are now available on vinyl, for the first time in 40 years. Each one comes in high-quality gatefold with historical photos, lyrics and a liner notes, written in 3 parts; one in each release, by none other than John J Thompson (True Tunes). All 3 also include a large 24” x 24” band poster and come in different colors (see below) with matching hype stickers. These are truly an elite collectors dream and expected to sell out quickly with only 250 units of each being pressed.
Vinyl Color Options
Colours Color Options
- Crystal Clear Vinyl with Blue/Pink/Green Splatter
- Transparent Royal Blue
- Black
Mommy Don’t Love Daddy Anymore Color Options
- See-thru Glacier Blue with White Splatter
- Transparent Purple
- Black
D.M.Z. Color Options
- Explosive Orange/Yellow Swirl
- Transparent Red
- Black
Resurrection Band – The Light Years
There may be no better musical example of the concept of “tough love” than Chicago’s Resurrection Band. Boldly committed to embracing the outcast, speaking unvarnished truth to power, kicking over cultural stones and sacred cows with prophetic abandon, and shining the light of love into even the darkest corners, the members of Resurrection Band were a complete anomaly in both the world of rock and roll and the emerging evangelical industrial complex of the modern church.
After two excellent records in the 70s that captured the lingering aesthetic of the counter-culture by melding elements of progressive and acid rock with heavy blues, Resurrection Band emerged into the 1980s with a fresh musical and missional perspective. While still doggedly committed to taking the radical words of Jesus seriously, the group had been living in “intentional community” long enough by then to have faced the fallenness of man head-on. That they chose to do so not in some utopian commune in the desert but in a blood-stained Chicago neighborhood known for gang violence, prostitution, homelessness, and drugs, forced their eyes to stay wide open. The musical result was a trilogy of albums that combines elements of 80s hard rock, new wave, and even punk into something truly unique. Call it urban hard rock, if you will, but these three albums, Colours, Mommy Don’t Love Daddy Anymore, and DMZ, saw the band truly come of age. They would come to define the very concept of Gospel Rock.
Colours (1980)
Colours is considered by some music critics to be one of the band's defining works.
Colours was Resurrection Band's first release for Christian label Light Records, which had up to this time been known as the primary record label for Andraé Crouch and similar gospel artists. Colours is also considered by some music critics to be one of the band's defining works.
Colours begins with the powerful Autograph,' which opens with a full two minutes of exciting guitar riffs before Wendi weighs in with her Grace Slick vocals. The album's title track is an offering of worship that concludes with the poetic refrain, *Whatever one could ask of faith, obedience will give / Together all express the love in hearts where Jesus lives." "N.YC." describes the harsh urban life in the mean streets of Chicago's big sister city, but 'Amazing" expresses wonder at the hope and help God offers those who are metaphorically or literally homeless. "City Streets" and "Beggar in the Alleyway" continue the social consciousness, an attribute of Resurrection Band's albums almost totally absent from other mainstays of Christian music at the time. American Dream" predicts an apocalyptic nuclear holocaust: It will happen / Just don't think about it!" It is significant for being the first of many songs that Resurrection Band would write about the moral rot at the center of America's political and media culture, indicating a much more progressive political worldview than most Christian musicians would dare sing about at the time. Overall COLOURS embraced a more radio-friendly hard rock and sound with this album, which is a mix of personal reflections on God's sovereignty and love.
SIDE A
- "Autograph" – 4:03
- "Colours" – 4:58
- "N.Y.C." (Kaiser, Jim Denton) – 3:24
- "Hidden Man" – 2:48
- "Amazing" (Kaiser, Denton) – 2:22
SIDE B
- "American Dream" (Jon Trott, Kaiser, Denton) – 3:24
- "Benny & Sue" (Jon Trott, Kaiser, Denton, Stu Heiss) – 3:53
- "City Streets" (Kaiser, Trott, Denton) – 3:22
- "Beggar in the Alleyway" (Kaiser, Heiss) – 3:57
- "The Struggle" (Kaiser, Denton, Heiss) – 3:45
Personnel
- Glenn Kaiser – vocals, guitars
- Wendi Kaiser – vocals
- Stu Heiss – guitars
- Jim Denton – bass guitar
- John Herrin – drums
- Resurrection Band – producer, mixing
- Phil Bonanno – engineer
- Tom Henson – engineer
- Roger Heiss – assistant engineer
- Mike Szarzynski – assistant engineer
- Phil Bonanno – mixing
- JPUSA Graphics – album cover concept
- Dick Randall – outside cover art
- Janet Cameron – inside art and layout
- Bob Cox – additional staff
- Lyda Price – additional staff
- Al Mross – additional staff
- Tom Fjelstad – photography
Resurrection Band History
Forming in the early 70’s under the name “Charity” as part of a Christian community in Milwaukee, the band featured husband and wife lead singer, Glenn and Wendi Kaiser. After a move to Chicago and a change of name to “Resurrection Band” the group released a now rare cassette of demos called “Music to Raise the Dead.” That tape would actually contain a long time live favorite “Quite Enough” that would not be officially recorded and released until their live album, “Bootleg” more than a decade later.
In 1974 the band recorded their Music To Raise The Dead cassette on a 4-track recorder using headphones in a basement. It pure Led Zeppelin sounding with some amazing blues and rock, fuzz guitar and now-vintage amps. It would be the start of 15 full length albums, the best darn festival ever (Cornerstone) and a load a Glenn Kaiser solo albums to come later.
In 1978 the band was signed to the Star Song label that also includes Petra as an artist. It seemed like it would be a great fit as it was hoped that those at Star Song would understand the aggressive ministry, music and message of the band. But that relationship would only last for two albums before moving to Light Records for their next 3 releases, Colors, Mommy Don't Love Daddy Anymore and D.M.Z before moving to Sparrow in 1984. At that point the band name was shortened to REZ or REZ Band for their remaining albums
All Your Life (Cass, Promo) 1973
Music To Raise The Dead (Cass, Promo) 1974
Demos (Cass, Promo) 1976
Awaiting Your Reply Star Song 1978
Rainbow's End Star Song 1979
Colours Light Records 1980
Mommy Don't Love Daddy Any More Light Records 1981
DMZ Light Records 1982
Hostage Sparrow Records 1984
Rez Band Live: Bootleg Sparrow Records 1984
Between Heaven 'N Hell Sparrow Records 1985
Silence Screams Ocean Records Grrr Records 1988
Innocent Blood Ocean Records Grrr Records 1989
Civil Rites Ocean Records Grrr Records 1991
Twenty Years Ocean Records / Grrr Records 1992
Reach Of Love Ocean Records / Grrr Records 1993
Lament Grrr Records, R.E.X. Music 1995
Ampendectomy Grrr Records 1997
