Chad Bryant Edmundson – Wonder and Strangeness

Chad Bryant Edmundson
Wonder and Strangeness
1993 Sonic Hope Records
San Juan Cap, California, USA

Chad Bryant Edmundson – Vocals, electric and acoustic guitars, keyboard, harmonica, hand drums on “Alcatraz”
John R. Williamson – Bass, second vocals on “Saving Grace,” lead electric on “Colombo’s Wife”
David Finley – Piano and electric guitar on “Underhanded”

Side 1:

  1. Driven
  2. Saving Grace
  3. Walking on Water
  4. Alcatraz was Winking
  5. Felicity

Side 2:

  1. Underhanded
  2. Morning
  3. Story of Ruth
  4. Scooby
  5. Colombo’s Wife
  6. [phone message]

Sonic Hope Records certainly was very prolific – but I have never seen an actual vinyl records by them. Still, it seems that John R. Williamson plays on almost all of their recordings in some way. This demo is like other releases by the label – acoustic folk music with a few different instruments and styles thrown in to keep it interesting. It seems there is bass guitar on many songs, but not all of them have drums or percussion. Well, it actually seems like there are always two instruments on most songs: bass and acoustic, or electric and acoustic, or even percussion and acoustic.

John R. Williamson – Canvas of Blue

John R. Williamson
Canvas of Blue
1993 Sonic Hope Records
Claremont, California, USA

John R. Williamson – Vocals, guitars, other instruments?

Chad Edmunson – Vocals on “Where Did the Doctor Go?”
David Finley – Vocals on “Where Did the Doctor Go?”
Eric Paulsen – Strumming and croaking on “A Humdrum Conundrum,” boost guitar on “Chess With Death”
Michael Knepher – Strumming and croaking on “A Humdrum Conundrum”
Korby Paulsen – Drums on “Temecula”

Side 1:

  1. Danish Straightjacket
  2. Bigger Than Blue
  3. Our Guilt-Ridden Alchemist
  4. Chess With Death
  5. Where Did the Doctor Go?
  6. Temecula
  7. A Humdrum Conundrum

Side 2:

  1. Juggler Treading Water
  2. Captivity
  3. Move It Along
  4. Arise
  5. Sarah and Abraham
  6. Landing in a Family
  7. Testimony in the Mother Tongue

This is one of several recordings by Williamson on Sonic Hope Records, the same label home as Robert Deeble of Days Like These fame. As one would guess, this is acoustic folk music, but with a more noticeable rock ‘n roll sensibility in that there is more percussion and upright bass than you usually find on these types of albums. Also some more electric guitar here and there. There is kind of a rollicking Hee-Haw-ish groove underneath some of the songs, but with Williamson doing something more like acoustic Indie rock over the top. Which makes for a more interesting listen across the whole album than it would be if he was just doing the acoustic singer/songwriter thing for a dozen or so songs. The cover is actually a near full page color laser-printer printed page, folded to the size and shape of a j-card.

Robert Deeble – The Big Yellow

Robert Deeble
The Big Yellow
1992 Liberation Music / Sonic Hope Records
Long Beach, California, USA

Robert Deeble – Vocals, acoustic guitars, drums
J.R.W – Bass on 1, 2, and 7
Kirby Paulsen – Guitars on 2 and 8
Steve Light – Bass on 6
Billy B – Drums on 9
Steve M – Bass on 9
Trevor – Guitar on 9

Side 1:

  1. The Queen of England
  2. Pop Song
  3. Penpal
  4. Greyhound
  5. Interlude

Side 2:

  1. Dondee
  2. All My Friends Kim
  3. Answering Machine Song
  4. Shantytown
  5. The Queen (reprise)

Robert Deeble is fairly known in the Christian music underground. This tape is a some-what eclectic collection of acoustic folk songs, random recordings / samples, and even a guitar alternative rock track or two. I have heard this tape before, but I was surprised to find out that “Pop Song” was recorded for a Mark Krischak compilation that never happened. Deeble was later signed to Brainstorm Artists International to release an album as Days Like These, but he also had a few other recordings reach national attention as well.