Meltdown | ||||
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Studio album by | ||||
Released | 1984 | |||
Studio | Sundberg Studios, Denver, Colorado | |||
Genre | New wave, Christian rock | |||
Length | 43:00 | |||
Label | Sparrow | |||
Producer | Jonathan David Brown | |||
Steve Taylor chronology | ||||
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Review scores | |
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Source | Rating |
AllMusic | [1] |
Meltdown is the second release and first full-length album by American musician Steve Taylor. It followed 1983's I Want to Be a Clone and featured a similar kind of style, involving Christian rock incorporating new wave musical influences, while also being produced by Jonathan David Brown. The album did well, commercially, reaching the No. 10 spot on Billboard's Top Contemporary Christian chart. [2]
It additionally received positive critical reviews from publications such as Billboard , saying that "Taylor has an edge and vitality". The album was listed at No. 18 in the 2001 book CCM Presents: The 100 Greatest Albums in Christian Music. [3] Like other works by Taylor, the album's songs touch on many socio-political issues; "We Don't Need No Colour Code" denounces Christian organizations that practice racism while "Over My Dead Body" calls for more attention to violations of human rights overseas. [2]
Side one
Side two
The CD was issued more than a year after the vinyl and cassette versions. It was entitled Meltdown and Meltdown Remixes and was also released on Sparrow Records.
CD track listing
The title track alludes to the famous attraction of Madame Tussauds, a wax museum in London, England.
"Baby Doe" was a vocal response to the early 1980 incidents involving the deaths of handicapped newborns that resulted from the withholding of medical treatment. The lyrics go beyond specific criticism to the individuals directly involved in those cases to condemning societal indifference and callousness in general, having lyrics about how "lawyers are bought" and the "presses have run". Taylor later remarked, "I don't like the idea of me just pointing the finger. In the song 'Baby Doe,' I was just as much to blame as the parents, because I wasn't doing anything about it."[ citation needed ]
"We Don't Need No Colour Code" challenged and ridiculed the racial policies of Bob Jones University, among other institutions. In its style, Taylor intentionally[ citation needed ] used musical references to African-American musician Bo Diddley. More recently, Taylor has explained that he finds joy in the song given the success of anti-racist efforts worldwide over the years.[ citation needed ]
"Guilty By Association" condemns evangelists that abuse Christian teachings and just seek fame and money for themselves.[ citation needed ]
"Over My Dead Body" called for more attention to be given to international violations of human rights. [2]
Some Band
Production notes
Roland Stephen "Steve" Taylor is an American singer, songwriter, record producer, music executive, film maker, assistant professor, and actor. A figure in what has come to be known as Christian alternative rock, Taylor enjoyed a successful solo career during the 1980s, and also served in the short-lived group Chagall Guevara. In contrast to many Christian musical artists, his songs have often taken aim at other Christians with the use of satirical, sardonic lyrics. In 1997, he founded the record label Squint Entertainment, which fueled the careers of artists such as Sixpence None the Richer, Chevelle, and Burlap to Cashmere. Despite this success, Taylor was ousted from the label by its parent, Word Entertainment, in 2001. He has produced and written for numerous musical acts, one of the most consistent being Newsboys. As a film-maker, Taylor co-wrote, directed, and produced the feature films Down Under the Big Top, The Second Chance, and Blue Like Jazz. After a decade and a half of hiatus, Taylor returned to performing music in 2010 as the front-man for Steve Taylor & The Perfect Foil, a supergroup he founded with Peter Furler, Jimmy Abegg, and John Mark Painter. Along with a university residency and continued filmmaking, Taylor would resume work on unfinished Chagall Guevara material into the 2020s.
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