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Daniel Amos
Daniel Amos
Daniel Amos
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Daniel Amos (aka D. A., Dä) is an American Christian rock band formed in 1974 by Terry Scott Taylor on guitars and vocals, Marty Dieckmeyer on bass guitar, Steve Baxter on guitars and Jerry Chamberlain on lead guitars. The band currently consists of Taylor, guitarist Greg Flesch and drummer Ed McTaggart. Over the band's career, they have included keyboardist Mark Cook, drummer Alex MacDougall, bassist Tim Chandler and keyboardist Rob Watson with sounds that experimented with country rock, rock, new wave and alternative rock.

Key Information

Beginnings

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The roots of Daniel Amos began to grow out of Jubal's Last Band, an acoustic quartet consisting of Taylor, Kenny Paxton, Chuck Starnes and Steve Baxter, who spent their time performing for Bible study groups and at coffee shops throughout Southern California.[1] In 1974, JLB recorded a demo tape together and eventually lost Starnes and Paxton. Bassist Marty Dieckmeyer and guitarist Jerry Chamberlain were brought in to fill the empty spots. Sometime in the middle of 1975, Jubal's Last Band (minus Baxter) auditioned for Maranatha! Music and Calvary Chapel in hopes of signing a recording and performance contract. Another band at the meeting, led by Darrell Mansfield, had a similar name – Jubal. The two bands decided to change their names to avoid confusion. Mansfield renamed his band Gentle Faith (taken from the name of co-band member Henry Cutrona's earlier band), and Jubal's Last Band became Daniel Amos.[1][2]

Maranatha! Records era

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Daniel Amos succeeded in landing a recording and performance contract and quickly recorded their first song for the label in 1975, Taylor's "Ain't Gonna Fight It", released later that year on the label's compilation album Maranatha 5.[3] The band released their debut eponymous album in 1976 which was produced by pedal steel guitar player and producer Al Perkins. Soon after the release of that album, DA enlisted Ed McTaggart as their full-time drummer. Previously, McTaggart had been the drummer for Bill Sprouse Jr.'s The Road Home.[1]

By 1977, the band had begun to shed their country sound with the album Shotgun Angel, which took some fans by surprise. Shotgun Angel was half country and half rock-opera. Side two of the LP featured lush orchestrations and a string of rock songs linked together in a way reminiscent of Queen, Pink Floyd and Abbey Road.[1] Shotgun Angel also saw the departure of Steve Baxter and the addition of keyboardist Mark Cook. Cook had been the keyboardist for the band Spring Canyon, which had recorded an album for Warner Brothers a few years earlier with producer Richard Podolor that was never released, due to a change in management at Warner Brothers.[4]

Switch to Solid Rock Records

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By 1978, the band had recorded their first entirely rock effort, Horrendous Disc, with help from newly added drummer/percussionist, Alex MacDougall. MacDougall had been a member of another Maranatha! Music band, The Way. Although it was recorded for Maranatha! Music,[5] the album was dropped because of a major change in the focus of the label. They stopped releasing albums by rock and roll acts and instead focused on children's and praise music.

The band shopped the new record around to several labels, ending up on Larry Norman's Solid Rock Records. Solid Rock delayed the release for nearly three years and despite magazine article and radio specials promoting it, the album did not hit record store shelves until a week before the release of the band's newly recorded fourth album ¡Alarma! in 1981.[6] The long delay led to the departure of MacDougall and Cook, and was the subject of a series of articles and letters to the editor in CCM Magazine.[3]: pg 79 

From the connection with Solid Rock, Daniel Amos began working with singer/songwriter Randy Stonehill. The band began touring heavily with Stonehill in the late 1970s. DA performed their own set and, after a Stonehill acoustic set, served as Stonehill's backing band for another set. That tour, known as the "Amos n' Randy Tour",[7] became legendary for DA and Stonehill fans. Taylor produced four of Stonehill's albums (1981's Between the Glory and the Flame, 1983's Equator, 1992's Wonderama, and 1993's Stories), using DA as backing musicians.[1]: pg 881 

¡Alarma! Chronicles

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¡Alarma! was the first of a four-part series of albums entitled The ¡Alarma! Chronicles,[1]: pg 229  which also included the albums Doppelgänger, Vox Humana, and Fearful Symmetry. On the tours that followed each release beginning with Doppelgänger, the band used a full multimedia event complete with video screens synchronized to the music.[8] The stage setup also included mannequins, a 3D slide show and actors portraying game show announcers and models for the song "New Car!"[8] More personnel changes occurred during this era as Tim Chandler replaced Dieckmeyer in September 1981.[9] Chamberlain left in mid 1983.[10] For a short time, guitarist Milo Carter toured with the band. For the first half of 1984, they toured without a second guitarist and made Vox Humana. Greg Flesch joined as the lead guitar player in September 1984 for the subsequent tour.[11] Keyboardist Rob Watson joined the band to play keyboards on tour in 1983 and for the next two albums.[1]: pg 229 

In 2000, the band released the four albums in a three-disc set packaged together with a booklet collectively titled, The ¡Alarma! Chronicles.[1]: pg 229  Additional material was provided by columnists John Thompson, Bruce Brown, Randy Layton, Brian Quincy Newcomb and others.[12][13]

Swirling Eddies/Stunt Records

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The band released Darn Floor-Big Bite in 1987. Although Darn Floor was an artistically ambitious and critically acclaimed effort, it sold poorly.[1] In the late 1980s, many of the band members became The Swirling Eddies for a string of releases through the early 1990s.[1]: pgs 227. 908  In 1990, D.A. would form their own independent record label, Stunt Records, with help from friend Tom Gulotta.[14] One of the first albums released by Stunt was the half comedy, half rarities and best of compilation from Dr. Edward Daniel Taylor, The Miracle Faith Prickly Heat Telethon of Love.[1]: pg 935  Over the years that followed, Stunt became the primary source for new DA material, including the live albums, Live Bootleg '82 and Preachers from Outer Space!. Jason and Eric Townsend, producers of the DA Tribute CD When Worlds Collide, would join the Stunt Records organization in 2000 to help with promotion and production work.[14]

In addition to recording several albums as The Swirling Eddies, the members of DA returned in 1991 with Kalhöun.[1]: pg 227, 229  1993's MotorCycle followed, which also marked the return of Chamberlain, who would hang around long enough for two additional DA releases in the 1990s, BibleLand in 1994 and Songs of the Heart in 1995.[1]: pg 230  Songs of the Heart was a concept album that followed the fictional couple, Bud & Irma Ackendorf, on a trip down the historic U.S. Route 66.[1]: pg 230 [15] The concept was explored in greater detail in the 2002 three-CD "book set" entitled When Everyone Wore Hats.[16] That collection not only included the entire 1995 album, but also the entire album reworked as an acoustic band, three new songs, an interview of Taylor by Starflyer59's Jason Martin, photos, expanded liner notes and a newly written short story by Taylor. In 1994, DA joined artists like Randy Stonehill, The Choir, Bruce Cockburn, Victoria Williams, Kate Taylor, Debby Boone, Chagall Guevara, Carolyn Arends, and others to record songs for Orphans of God, a double disc release that paid tributed to singer/songwriter Mark Heard,[17] who died in 1992 following a performance at the Cornerstone Festival.

2000–present

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In mid-1999, a number of artists joined to contribute to a tribute album entitled When Worlds Collide: A Tribute to Daniel Amos. Artists lending their voices (and guitars) to the project included longtime band friends like Randy Stonehill, Jimmy Abegg, Phil Madeira, Starflyer 59, Brian Healy, and others.[1]: pg 232 [18][19] Also making a surprise appearance on the project was Larry Norman, who had not worked with the band since the delays surrounding the Horrendous Disc album. The tribute album was released in time for Cornerstone 2000.

In 2001, DA released what many critics[20] called their best album to date, Mr Buechner's Dream, named after author Frederick Buechner.[21][22] The album also pays tribute to Walker Percy, T. S. Eliot, G. K. Chesterton, Flannery O'Connor, Lewis Carroll, Dorothy L. Sayers, and other authors that have inspired DA's lyrics for years.[20] The album was released on Stunt Records. The band had such a creative time in the studio that they ended up with more than 30 brand new songs to include on the new album.

Stunt Records released a two-disc 30th anniversary deluxe edition of the band's first album, Daniel Amos in June 2006.[20] It included an expanded booklet of never-before-seen photos, additional liner notes, and an entire extra disc of bonus material including early demos and live recordings from the pre-DA years. Five years later, Born Twice Records re-issued the disc alone for the 35th anniversary. This deluxe reissue was the first in a series of deluxe multi-disc reissues of the band's catalog.

In 2010 the band's official website announced plans to release a new Daniel Amos studio album in 2011. The band will also be performing some concerts in 2011, including an appearance at Cornerstone Festival. The band's website also announced that Deluxe Editions of their debut album, Shotgun Angel and Mr. Buechner's Dream would be released in June in time for the band's tour.[23] The Deluxe Edition of Shotgun Angel premiered at the band's first 2011 show in Nashville, TN. The Deluxe Mr Buechner's Dream premiered at the band's show of June 18, 2011 in Wilmington, OH.[23]

In late 2012, Daniel Amos launched a Kickstarter campaign to fund the production of a new album.[24] Titled Dig Here Said the Angel,[25][26] it featured the lineup of Taylor, Flesch,[27] Chandler and McTaggart[28] with appearances from earlier band members Jerry Chamberlain and Rob Watson.[29] Recording sessions began in Nashville, TN. in February, 2013, at Brown Owl Studios and was released in July 2013. At the same time a remastered two-CD deluxe edition of the band's ¡Alarma! album was released. Stunt Records followed that reissue with a deluxe edition of Doppelgänger in 2014, a deluxe edition of Vox Humana in 2016, and with the help of another Kickstarter campaign, a deluxe Horrendous Disc box set was released on CD and vinyl in 2018.

Tim Chandler, who had been the band's bass guitarist since 1982, died on October 8, 2018.[30] Founding member Steve Baxter died on September 9, 2020.

Discography

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Albums

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Live albums

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Special releases

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Compilation albums

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Videos

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Personnel

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Current members

  • Terry Taylor — guitars, harmonica, lead vocals (1975–present)
  • Ed McTaggart - drums, background vocals (1976–present)
  • Greg Flesch – guitars, accordion, keyboards, pan flute, violin, mandolin (1984–present)

Former members

  • Jerry Chamberlain — lead guitars, lead and background vocals (1975–1983, 1993–1995, guest 2013)
  • Marty Dieckmeyer — bass guitar, keyboards (1975–1982)
  • Steve Baxter — acoustic guitar, harmonica, lead and background vocals (1975–1976)
  • Mark Cook - keyboards, lead and background vocals (1975–1980)
  • Alex MacDougall - drums, percussion (1978–1980)
  • Tim Chandler – bass guitar, guitars, background vocals (1982–2018)
  • Rob Watson – keyboards (1983–1986, guest 2013)
75–76 76–78 78–80 80–82 82–83 83–84 84–86 86–93 93–95 95–13 13 13–18 18–present
Terry Taylor guitars, harmonica, lead vocals
Jerry Chamberlain lead guitars, lead and background vocals lead guitars, lead and background vocals lead guitars, lead and background vocals
Steve Baxter acoustic guitar, harmonica, lead and background vocals
Greg Flesch guitars, accordion, keyboards, pan flute, violin, mandolin
Marty Dieckmeyer bass guitar, keyboards
Tim Chandler bass guitar, guitars, background vocals
Mark Cook keyboards, lead and background vocals
Rob Watson keyboards keyboards
Ed McTaggart drums, background vocals
Alex MacDougall drums, percussion

References

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Daniel Amos

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Daniel Amos (also known as D.A. or Dä) is an American Christian rock band formed in 1974 in by guitarist and vocalist Terry Scott Taylor, bassist Marty Dieckmeyer, and guitarists Steve and Jerry Chamberlain, initially emerging from the as a country and western act before evolving into a pioneering force in new wave, pop, and within . The band's early work reflected the folk-country influences of the 1970s , with their self-titled debut album Daniel Amos released in 1976 on , followed by the experimental Shotgun Angel in 1977, which marked a shift toward more eclectic rock sounds. By the early 1980s, under the influence of artists like and , Daniel Amos adopted a new wave aesthetic, releasing the ambitious Horrendous Disc in 1981 through Larry Norman's Solid Rock Records label, followed by the conceptual ¡Alarma! later that year—a satirical critique of evangelical culture accompanied by a . Throughout the and , the band continued to innovate with albums such as Darn Floor, Big Bite (1987), often hailed as a for its literate and sophisticated production, and later works like Kaliforn (1991), (1993), and Bibleland (1994), exploring themes of , American culture, and personal introspection through complex narratives and literary allusions. Founding member Terry Scott Taylor has remained the creative core, contributing as the primary songwriter and multi-instrumentalist, while the lineup has included key collaborators like Ed McTaggart, Mark Cook, percussionist Alex MacDougall, and guitarist Greg Flesch across various eras. After a period of side projects, including Taylor's work with The Swirling Eddies and The Lost Dogs, Daniel Amos returned in the 2000s with the Mr. Buechner's Dream (2001), a concept piece inspired by author , and continued releasing material into the 2010s, such as Dig (2013), solidifying their reputation as one of the most influential and creatively enduring acts in history. The band has remained active with live performances and side projects into the 2020s, though no new studio albums have been released since 2013. The band's discography spans 14 studio albums, emphasizing thematic depth, musical experimentation, and a commitment to artistic integrity within the often commercial constraints of the genre.

Early History

Formation and Beginnings

Daniel Amos was formed in 1974 in by Terry Scott Taylor as an evolution from the earlier Christian group Jubal's Last Band, which had originated in in late 1972 with Taylor, Baxter, and Paxton. By mid-1974, following the departure of Paxton and drummer Chuck Starnes, the lineup solidified around Taylor on guitars and vocals, Marty Dieckmeyer on bass, Baxter on guitar, and Jerry Chamberlain on guitar. The band relocated to in the summer of 1974 to immerse themselves in the burgeoning scene centered around Calvary Chapel and . The name "Daniel Amos" was derived from two Old Testament prophets, Daniel and , chosen to evoke an image of a folksy, biblical strumming a guitar, aligning with their initial sound. Drawing from the 1970s movement, the group focused on a country-folk style that emphasized acoustic arrangements and faith-based lyrics, performing original songs written primarily by Taylor. Their first rehearsals took place in informal settings like studies, leading to an inaugural gig in mid-1974 at a local church gathering. Early performances from 1974 to 1975 centered on churches, coffeehouses, and youth-oriented venues within the Chapel circuit, such as Norwalk First Baptist Church and Eureka High School, where they played 10 to 20 shows over the first six months, often earning modest fees of $10 to $50 per appearance. These gigs targeted young Christian audiences and marked the beginning of a gradual transition from pure country-folk roots toward incorporating rock elements, including electric guitars and bass, as the band experimented during local outings and demo preparations. This shift reflected broader influences from the evolving scene, setting the stage for their .

Maranatha! Records Era

In 1975, Daniel Amos signed a with on May 1, marking their entry into the professional Christian music scene. The band, drawing from their initial country roots established during formation, contributed the track "Ain't Gonna Fight It" to the Maranatha! 5, released later that year. They began recording sessions for their self-titled debut album in December 1975 at Mama Jo's Studios in Hollywood, California, under producer , following rehearsals in November, completing the recording by December. Released in 1976, Daniel Amos showcased a straightforward country-rock sound, featuring harmonious vocals and themes rooted in the ethos, which resonated with audiences at early live shows. The band's second album, Shotgun Angel, recorded from January to May 1977 at Martinsound Studios in Alhambra, California, and released in June by Maranatha! Music, represented a pivotal stylistic evolution. Produced by Jonathan David Brown, it blended lingering country-rock elements on its first side with experimental rock-opera structures, psychedelic textures, and progressive influences on the second, including tracks like the title song—a tribute to a deceased musician friend—and a multi-part finale. This shift highlighted the band's growing ambition to explore beyond folk-leaning Christian music, incorporating more ambitious arrangements and thematic depth. Lineup adjustments during this period solidified the band's core. Drummer Ed McTaggart joined in early 1976, bringing a steady that supported their expanding sound. Keyboardist Mark Cook joined in 1975, adding melodic layers evident in Shotgun Angel, while percussionist Alex MacDougall contributed to both albums and became an official member in 1978. Guitarist Steve Baxter departed after the debut, allowing , Jerry Chamberlain, and Marty Dieckmeyer to anchor the group. Daniel Amos maintained a rigorous touring schedule throughout the late 1970s, performing across the Southwestern and Northwestern United States, Hawaii, Canada, and the Midwest. Key engagements included multi-week circuits in 1975 and 1977, as well as high-profile appearances at Christian music festivals such as the Festival of the Lamb in April 1975, Maranatha! 75 at Knott's Berry Farm in October 1975, the SONshine Music Celebration in October 1977, the Ichthus Festival in Kentucky in April 1978, and the Maranatha! Musicians Conference in 1977. These performances, often tied to Calvary Chapel events and Easter celebrations, helped build a dedicated following within the contemporary Christian music community. Creative tensions emerged as the band's rock ambitions clashed with Maranatha!'s evolving priorities toward praise and worship records for adults and children. While the label had supported their early country-rock output, Daniel Amos sought greater artistic freedom to pursue harder-edged rock experimentation, leading to frustrations over stylistic expectations. By July 1978, the band amicably parted ways with Maranatha! Music amid these shifts, though the label later included their tracks "Father's Arms" and "Shotgun Angel" on the 1979 compilation The Best of Maranatha! Volume 2. This era concluded with the group finalizing additional recordings at Maranatha Studios (then Whitefield Studios) in March 1979, bridging their departure while advancing toward new directions.

Solid Rock Records Era

Transition to Solid Rock

In 1978, Daniel Amos mutually terminated their contract with amid growing stylistic tensions, as the band's evolving rock-oriented sound clashed with the label's focus on more traditional formats. This departure, building on earlier creative frictions during the era, allowed the group to seek greater artistic freedom. That same year, Daniel Amos signed a recording and publishing deal with Solid Rock Records, the independent label founded by pioneering Christian rocker . Under Norman's management through his Street Level Productions, the band gained access to his industry connections, including distribution via , enabling them to target broader secular audiences while maintaining their Christian lyrical perspective. Norman's mentorship proved instrumental, as he guided the band's artistic direction, facilitated bookings, and personally invested in their development to bridge with mainstream rock sensibilities. A significant lineup shift accompanied this transition, with percussionist Alex MacDougall officially joining in early 1978, bringing added rhythmic depth to support the band's rock pivot; he had previously contributed to their first two albums but now became a core member. This change, with the earlier departure of guitarist Steve Baxter and keyboardist Mark Cook remaining until 1980, solidified a leaner configuration centered on Terry Scott Taylor's songwriting vision. The band's early Solid Rock collaborations culminated in the 1981 release of Horrendous Disc, originally recorded in 1978 at Studios with producer Mike Stone but delayed by contractual disputes and tape issues. Norman played a key role in refining the album, suggesting the removal of two tracks and the addition of "I Love You #19" and "Hound of Heaven" to better capture the band's maturation. Serving as a transitional work, Horrendous Disc blended remnants of their country-rock roots with harder-edged rock elements, laying groundwork for the new wave and influences that would define their early 1980s sound.

¡Alarma! Chronicles

The ¡Alarma! Chronicles represents Daniel Amos's ambitious four-album concept series, released between 1981 and 1986, marking a pivotal evolution in their sound from country rock roots to innovative new wave and post-punk influences under the Solid Rock umbrella. The series commenced with ¡Alarma! in 1981 on Newpax Records, a raw yet urgent collection produced by the band and Thom Roy at Rebel Base and Whitefield Studios in Santa Ana, California, emphasizing a back-to-basics approach with punchy rhythms and angular guitars. This was followed by Doppelgänger: The ¡Alarma! Chronicles Volume II in 1983 on the band's self-founded Alarma! label, Vox Humana: The ¡Alarma! Chronicles Volume III in 1984 on Refuge Records, and Fearful Symmetry: The ¡Alarma! Chronicles Volume IV in 1986 on Frontline Records, each installment building on the narrative thread of a surreal novelette penned by frontman Terry Scott Taylor. Thematically, the Chronicles weaves media critique, surrealism, and Christian allegory into a framework of new wave urgency and punk-edged satire, portraying a dystopian world where consumerism and technology erode spiritual authenticity. ¡Alarma! acts as an alarm to the Christian community, urging maturity, love, and resistance against cultural complacency through tracks like the title song's call for faithfulness amid societal distractions. Doppelgänger explores dualities between earthly temptations and heavenly ideals, critiquing idolatry in a mechanized age with songs depicting inner conflicts and false gods. Subsequent volumes extend this allegory, using vivid imagery to blend biblical motifs with commentary on isolation and redemption in a media-saturated reality. Studio production across the series showcased multi-layered arrangements and sonic innovations, incorporating synthesizers, keyboards, and experimental textures to mirror the narrative's surreal elements, while featuring Taylor on vocals and guitar, Jerry Chamberlain on guitar and vocals, Ed McTaggart on drums and vocals, with bass duties handled by Marty Dieckmeyer on ¡Alarma! and Tim Chandler on subsequent volumes following Dieckmeyer's departure in 1981. Guest musicians enhanced the depth, including Rob Watson on keyboards for and Alex MacDougall on additional percussion for ¡Alarma!. To promote the series, Daniel Amos embarked on extensive live tours, including the 1982 Alarma! tour across the , captured in the official Live Bootleg '82 recording from a performance at New Covenant Fellowship in , , which featured high-energy renditions of ¡Alarma! material alongside previews of tracks like "Mall All Over the World." These shows highlighted the band's dynamic stage presence and growing audience engagement with their conceptual storytelling. Critically, the ¡Alarma! Chronicles stands as a high point in , lauded for its bold creativity, witty social commentary, and lasting influence despite initial commercial hurdles in the conservative market of the era. Reviewers have highlighted its innovative fusion of styles and thematic depth, earning consistent praise as a groundbreaking that pushed boundaries for faith-based .

Independent and Stunt Records Era

Swirling Eddies and Side Projects

In the late , members of Daniel Amos formed the Swirling Eddies as a satirical alter-ego project, allowing them to explore humorous takes on the scene while using pseudonyms to maintain anonymity. The band emerged as a creative outlet following Daniel Amos's 1987 album Darn Floor, Big Bite, with core members including Terry Scott Taylor (as Camarillo Eddy), Tim Chandler (as Arthur F. Benson), Greg Flesch (as Berger Roy Al), and Ed McTaggart (as Spot), joined by new drummer David Raven. This spinoff enabled the group to industry tropes and conventions through exaggerated personas and witty lyrics, providing a lighthearted contrast to Daniel Amos's more introspective work. The Swirling Eddies debuted with the album Let's Spin! in 1988 on Alarma Records, a collection of eclectic rock tracks that lampooned contemporary Christian music's commercialization and stylistic excesses, featuring songs like "Drive, She Said" and "The Spinster." Their follow-up, Outdoor Elvis, released in 1989, continued the parody vein with absurd narratives and homages to pop culture icons, including tracks such as "God Is in Control of His Moods" and " Girl," further satirizing the genre's earnestness and market-driven trends. These releases not only showcased the band's versatility but also critiqued the limitations of label expectations during Daniel Amos's transitional period after parting with Benson Records. Beyond the Eddies, Daniel Amos members pursued individual side projects that sustained their artistic momentum amid label shifts. Frontman Terry Scott Taylor released two solo albums in the mid-1980s: Knowledge & Innocence in 1986 and A Briefing for the Ascent in 1987, both exploring poetic, faith-infused themes with experimental arrangements that echoed Daniel Amos's evolving sound. Taylor also collaborated closely with , the pioneering Christian rocker whose Solid Rock Records had previously issued Daniel Amos material; these ties included production assistance and shared performances, reinforcing creative networks during the band's independent pivot. Such endeavors kept the group's innovative spirit alive, fostering experimentation that influenced subsequent Daniel Amos output. The Swirling Eddies project notably boosted Daniel Amos's creativity during their post-Benson uncertainties, offering a platform for unfiltered that reinvigorated the band's approach to songwriting and performance. By channeling frustrations with industry norms into humor, it prevented creative stagnation and paved the way for self-directed ventures. In live settings, the groups occasionally blended material during rare late-1980s shows, such as informal gigs where Eddies pseudonyms morphed into Daniel Amos sets, delighting fans with seamless transitions between and sincerity—though full tours remained limited, with only a handful of Eddies performances overall. This cross-pollination, drawing briefly from the new wave aesthetics of Daniel Amos's ¡Alarma! era, amplified the satirical edge in their parodies.

Stunt Records Period

In 1990, Daniel Amos co-founder , along with associate Tom Gulotta, established Stunt Records as an independent label to afford greater creative autonomy following their departure from major label affiliations. This venture enabled the group to prioritize reissues, live recordings, and experimental projects tailored to their loyal audience, marking a shift toward self-determination in an era when bands often struggled with commercial pressures. Key releases under Stunt Records during this period included the live album Live Bootleg '82 in 1990, which captured raw performances from the band's early tours and served as the label's debut offering. In 1994, they issued the limited-edition live set Preachers from , featuring a 1978 concert recording augmented with bonus demo tracks, emphasizing archival material for collectors. These albums allowed Daniel Amos to experiment freely without external oversight. The band's lineup achieved notable stability in the 1990s, with guitarist Greg Flesch solidifying his role on after contributing sporadically in prior years, complementing mainstays on vocals and guitar, Tim Chandler on bass, and Ed McTaggart on . Flesch's technical prowess enhanced their sonic explorations, supporting a cohesive unit amid occasional side pursuits. As a small indie operation, Stunt Records encountered distribution hurdles typical of the pre-internet landscape, depending heavily on fan-driven sales through mail orders, convention booths, and events like the Cornerstone Festival to reach audiences. This model cultivated a devoted following but restricted broader , underscoring the band's reliance on support for . Satirical threads from their parallel Swirling Eddies occasionally infused Daniel Amos's work with wry humor during this independent phase.

Later Years and Legacy

2000–Present Activities

In 2001, Daniel Amos released Mr. Buechner's Dream, a sprawling two-disc comprising 33 tracks that explore themes of faith, doubt, and redemption through the lens of a fictional author's life. Produced by and the band for their independent Records label, the project was supported by fan preorders, with hundreds of autographed copies shipped in July of that year. This release marked a significant creative milestone, drawing on the band's established independent model from the era to deliver an ambitious narrative-driven work without major label backing. Following a period of relative quiet, the band embraced crowdfunding in the digital era with the 2013 album Dig Here Said the Angel, their first studio effort in twelve years. Funded through a successful Kickstarter campaign that exceeded its $14,000 goal by raising over $32,000 from supporters, the album was recorded at Brown Owl Studios in Nashville and featured a mix of rock, folk, and experimental elements. Released digitally to backers in June 2013 and in physical formats shortly after, it highlighted Daniel Amos's adaptation to fan-driven financing amid shifting music industry dynamics. No new studio albums followed, as the band focused on archival projects and personal endeavors. The 2020s saw a resurgence in reissues, with Girder Music and the band's own channels releasing deluxe editions of early works to celebrate their legacy. Notable among these was the two-disc 35th anniversary edition of the self-titled Daniel Amos album in April 2020, featuring remastered tracks, bonus live recordings, demos, and interviews on Disc 2. This effort, alongside similar expanded releases like ¡Alarma! and , catered to longtime fans via platforms such as and reflected the band's response to streaming and . However, the period was marked by profound losses: longtime bassist Tim Chandler passed away on October 8, 2018, at age 58 due to natural causes after years of health challenges, and founding guitarist Steve Baxter died on September 8, 2020, from complications related to . Ongoing activity has centered on Terry Taylor's related projects, maintaining the band's spirit without new Daniel Amos material. In 2025, Taylor launched a Kickstarter for The Lost Dogs' album Trick of the Light, reuniting with collaborators like Derri Daugherty and Steve Hindalong to fund production and vinyl pressing; the campaign concluded successfully on May 29, 2025, raising $151,607 from 1,564 backers and drawing support from the Christian music community. Occasional live performances persist through Taylor's solo and collaborative outings, including appearances with artists like Randy Stonehill, underscoring the enduring fan engagement that has sustained the group's influence in the digital age.

Musical Style and Influence

Daniel Amos began their musical journey in the mid-1970s with a country-folk and rock sound reminiscent of and Poco, characterized by harmonious vocals and light-hearted, faith-infused narratives that aligned with the emerging aesthetic. By the late 1970s, the band shifted toward a more robust rock style, incorporating progressive elements and drawing from acts, as evident in their exploration of eclectic arrangements on albums like Shotgun Angel. The 1980s marked a bold pivot to new wave and punk influences, adopting angular rhythms and synthesizer-driven textures inspired by secular acts, which positioned them as outliers in during the ¡Alarma! Chronicles era. In the , their sound evolved into with orchestral flourishes and conceptual depth, blending introspection and experimentation, while the 2000s embraced an eclectic progressive style that revisited folk and psychedelic roots with sophisticated production. Recurring themes in Daniel Amos' lyrics weave Biblical allusions with social critique, often employing to interrogate faith's place in modern culture. Songs frequently reference scriptural motifs—such as redemption and divine mystery—while lampooning societal hypocrisies, including and institutional , through whimsical, dream-like narratives that challenge listeners to confront spiritual complacency. This approach underscores a tension between earthly disillusionment and heavenly hope, using to bridge evangelical messaging with broader cultural commentary. The band's influences span rock pioneers and contemporary innovators, prominently featuring ' melodic versatility and conceptual ambition, which inspired Daniel Amos' genre-spanning discography. Elements of The Who's theatrical rock and Larry Norman's pioneering Christian songwriting also shaped their early ethos, particularly through Norman's Solid Rock Records imprint, fostering a blend of raw energy and theological depth. Secular new wave artists like contributed to their rhythmic innovation and intellectual lyricism, evident in the band's adoption of quirky, socially aware pop structures. Daniel Amos played a pivotal role in pioneering within , breaking from the genre's folk and worship norms to introduce experimental sounds that expanded its artistic boundaries. Their willingness to assimilate diverse styles influenced subsequent acts, including The Choir—whose early demos received endorsement from frontman Terry Scott Taylor—and The 77's, both of which echoed Daniel Amos' fusion of faith-driven lyrics with indie and aesthetics in the underground Christian scene. Despite earning critical acclaim for artistic integrity and conceptual albums, the band cultivated a dedicated rather than mainstream success, often clashing with commercial expectations due to their uncompromising evolution.

Band Members

Current Members

As of 2025, the core members of Daniel Amos are Terry Scott Taylor on vocals and guitars, Ed McTaggart on drums, and Greg Flesch on guitars. Since the death of longtime Tim Chandler in 2018, the band has not maintained a permanent and instead relies on session musicians for bass parts in recordings and performances. Terry Scott Taylor serves as the band's founder, lead vocalist, guitarist, and primary songwriter, roles he has held continuously since forming Daniel Amos in 1974. Taylor remains the creative driving force behind the group's output, including recent solo-adjacent projects that occasionally feature band contributions. Ed McTaggart has provided the band's rhythmic foundation on drums since joining in 1976, shortly after the release of their debut album, and continues to participate in collaborative efforts with Taylor. Greg Flesch has contributed guitar work to Daniel Amos since 1984, beginning with the album , and handles both studio and live performances as part of the current configuration. In recent years, bass support for Taylor's projects—which often intersect with Daniel Amos' aesthetic—has included session players such as Paul Averitt and Donohue, as heard on the 2020 solo album This Beautiful Mystery.

Former Members

Marty Dieckmeyer served as the bassist for Daniel Amos from the band's formation in 1975 until mid-1981, contributing to the early country rock sound on their debut self-titled album (1976) and Shotgun Angel (1977). He shaped the group's initial blend of country and western influences during the Jesus Movement era, performing on the first three studio albums and participating in extensive touring across the United States. Dieckmeyer left the band in July 1981 to pursue a Master's degree in engineering and prioritize family commitments. Steve Baxter was a founding member and guitarist/vocalist from 1975 to 1976, co-founding the band alongside Terry Scott Taylor and playing a key role in transitioning from their prior group Jubal's Last Band to Daniel Amos' country rock style. His contributions included lead guitar and vocals on the debut album Daniel Amos (1976), helping establish the band's early harmonies and songwriting foundation. Baxter departed in October 1976 to join the group Bethlehem, amid the band's evolving sound away from pure country rock. He passed away on September 8, 2020, due to complications from diabetes. Jerry Chamberlain joined as lead guitarist, vocalist, and songwriter in 1975 as part of the original lineup, remaining until 1983 and playing a pivotal role in the ¡Alarma! era with his innovative guitar work and harmonies on albums like Horrendous Disc (1981) and ¡Alarma! (1981). His songwriting and lead guitar defined the band's shift to new wave and , contributing to tracks such as "" and enhancing the experimental production. Chamberlain left in 1983 to form the mainstream pop band Boy-O-Boy. He briefly rejoined in the early 1990s for select recordings. Mark Cook joined as keyboardist in 1976, contributing to albums like Shotgun Angel (1977) and the early new wave transition through the ¡Alarma! era, remaining until around 1984. Alex MacDougall provided percussion from the late through the early , appearing on releases such as Horrendous Disc (1981). Tim Chandler was the longtime bassist from July 1981 until his death in 2018, providing rhythmic foundation across nearly four decades and multiple lineup changes, including the Stunt Records period and later releases like Mr. Buechner's Dream (2001). As a versatile collaborator, he supported the band's eclectic styles from new wave to , also contributing to side projects like The Choir and Swirling Eddies. Chandler passed away on October 8, 2018, at age 58 from natural causes. His death impacted recent band activities, leading to adjustments in live performances.

Discography

Studio Albums

Daniel Amos's studio discography spans over four decades, beginning with roots in country rock and evolving through experimental new wave, progressive, and influences. The band's early albums on established their presence in the scene, while later releases on independent labels like NewPax and Stunt allowed for ambitious conceptual projects. Key releases highlight shifts in style, production approaches, and thematic depth, often produced by band members or collaborators with ties to the broader rock community. The self-titled debut album, Daniel Amos, released in 1976 on , marked the band's entry into recording with a country-rock sound influenced by West Coast acts of the era. Produced by , known for his work with and , the album featured straightforward rock arrangements with accents, capturing themes of faith and everyday life. It laid the foundation for their initial audience in the burgeoning movement but did not achieve mainstream chart success. Shotgun Angel, issued in 1977 on , represented a psychedelic shift from the debut's country leanings, incorporating progressive elements, orchestral touches, and surreal lyrics. Produced by Jonathan David Brown, the album explored spiritual journeys through whimsical narratives, blending folk-rock with experimental production techniques like multi-layered vocals and sound effects. This release showcased the band's willingness to experiment early on, though it similarly remained outside major charts. ¡Alarma! (1981, NewPax Records) initiated the band's ambitious new wave era with a critiquing modern church culture through dystopian storytelling. Self-produced by the band alongside engineer Thom Roy at Whitefield Studios, it featured angular guitars, synthesizers, and rapid-fire rhythms, drawing from and influences. As the first installment in the four-album ¡Alarma! Chronicles, it emphasized narrative cohesion over singles, without notable commercial chart performance. After a period of label transitions and side projects, Mr. Buechner's Dream emerged in 2001 on Stunt Records as a monumental two-disc set comprising 33 tracks. Produced by the band and principal songwriter Terry Scott Taylor, this epic literary-themed work paid homage to author , weaving autobiographical and theological reflections into a with diverse styles from folk ballads to heavy riffs. Its expansive format and conceptual ambition solidified Daniel Amos's reputation for innovative, album-length narratives, bypassing traditional charts in favor of niche acclaim. The band's most recent studio effort, Dig Here Said the Angel (2013, Stunt Records), blended and progressive elements in a 16-track exploration of doubt, faith, and introspection. Produced by Terry Scott Taylor and funded primarily through a campaign that raised over $32,000 from fans, it marked a return after a 12-year hiatus from full-band albums. Recorded with a core lineup augmented by guests, the album's warm, acoustic-driven sound reflected matured songcraft, achieving modest visibility in Christian indie circles without broader chart impact.

Live and Compilation Albums

Daniel Amos has released several live albums that capture the band's energetic performances across different eras of their career. The first official live recording, Live Bootleg '82, was issued in 1990 by Stunt Records. This album documents a concert from April 30, 1982, during the band's Alarma! tour, featuring the lineup of Terry Scott Taylor, Ed McTaggart, Jerry Chamberlain, and Tim Chandler performing tracks primarily from the ¡Alarma! and albums, such as "I Love You #19" and "Hound of Heaven." The raw, bootleg-style production emphasizes the band's new wave and influences from the early 1980s, serving as an archival release to preserve a pivotal moment in their transition from roots. In 2000, Daniel Amos released Live at 2000 through Millennium Eight Records, recorded at the annual . This double-disc set includes a mix of fan favorites spanning their , from early hits like "Walls of Doubt" to later material from Darn Floor, Big Bite, performed with the core lineup including Taylor, McTaggart, and guest musicians. The album highlights the band's enduring live rapport and ability to blend pop, prog, and alternative elements for festival audiences, released to support ongoing tours and celebrate their 25th . A more recent live release, Live in '79, emerged in 2018 as an archival effort to document the band's formative years. Capturing performances from 1979, shortly before their stylistic shift with ¡Alarma!, it features arrangements of songs from their debut album and Shotgun Angel, reflecting the West Coast scene. Issued independently, this compilation serves archival purposes, offering insight into Daniel Amos's pre-punk evolution and the enthusiasm of early fan support. On the compilation front, Our Personal Favorite World Famous Hits (1998, KMG Records) stands as a key retrospective, collecting 18 tracks selected by the band to represent their most accessible and popular songs from the 1980s and 1990s. Including staples like "Alarma," "Darn Floor/Big Bite," and "I'll Get Over It," the album provides a curated overview of their phase, with remastered audio to appeal to longtime fans and introduce newcomers to their satirical and melodic style. Released during a period of renewed interest via Stunt Records projects, it functioned as tour support material. Later compilations include Ten Biggies From Beyond (2018, Stunt Records), a limited-edition vinyl pressing of ten essential tracks drawn from the band's extensive catalog, emphasizing high-impact songs like "Hound of Heaven" and "Broken Ladders." This release, aimed at collectors, underscores Daniel Amos's influence in Christian alternative music through selective representation rather than exhaustive coverage, aligning with archival efforts to highlight their conceptual songwriting. Some compilations also feature live elements from Swirling Eddies crossovers, such as shared tour recordings, but these primarily serve to bridge the band's side projects with their core output for retrospective listening.

Special Releases and Reissues

In addition to their standard discography, Daniel Amos has produced a variety of special releases, including limited-edition formats, promotional materials, and video documentation of their performances. These items often cater to dedicated fans, offering unique packaging, bonus content, or archival material not available in mainstream albums. One prominent example of a format-specific release is the band's video output, particularly live concert footage from their 1980s tours. The 2003 DVD Daniel Amos Live in Anaheim 1985, released by Stunt Records, captures a full performance from their tour supporting the album, showcasing the band's high-energy new wave and rock sound with tracks like "Mall All Over the World" and "It's ." This release preserves key moments from their transition to more experimental styles and includes behind-the-scenes insights into their stage production during that era. During the Stunt Records era in the early 1990s, Daniel Amos issued several EPs and promotional singles to build anticipation for full-length projects. The 1993 promo CD Motor Cycle Tracks, distributed by Brainstorm Artists International and Records, features early versions and demos of songs from the upcoming album, such as acoustic takes and instrumental previews, limited to industry and fan club circulation. Similarly, the 10" vinyl EP Horrendous Disc (originally from 1980 but repressed in promo form during the Stunt period) included rare mixes and was pressed in limited quantities with blue swirl vinyl for promotional purposes. These items highlight the band's approach to engaging supporters through exclusive audio snippets. Reissues have played a significant role in revitalizing the band's catalog, often with expanded content. The 2011 Daniel Amos [Deluxe] edition, a two-disc 35th anniversary remaster released via and Born Twice Records, includes the complete 1976 self-titled debut album alongside a bonus disc of 17 previously unreleased demos, live recordings from early tours (such as "In Everything Give Him Thanks" performed live), and audio by frontman Terry Scott Taylor discussing the album's origins. This set emphasizes the raw, country-rock roots of the band and provides historical context through never-before-heard material. In the 2020s, Daniel Amos has embraced digital remastering and fan-funded exclusives to make their archive more accessible. Platforms like Bandcamp host remastered digital versions of classics such as Doppelgänger (expanded 2-CD edition with alternate mixes) and The Revelation (2020 remaster with high-resolution audio), allowing fans to stream or download enhanced editions without physical media. Kickstarter campaigns have enabled limited-run projects, including the 2018 Horrendous Disc Super Deluxe Edition, which funded a multi-disc set with remastered tracks, unreleased photos, and a companion book of interviews and stories; backers received exclusive variants like colored vinyl limited to 500 copies. In 2020-2021, a vinyl box set reissue of Horrendous Disc & Other Marvelous Mysteries was fulfilled via Kickstarter, featuring 2x12-inch LPs, a 12-inch LP, a 10-inch EP, and a 7-inch picture disc with 37 tracks total, including bonus material and optional protective packaging. These efforts, tied directly to the DA catalog, reflect the band's ongoing commitment to their legacy through modern distribution and community involvement.

References

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