Resurrection Band
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Resurrection Band
| For The Record... |
| Members include Stu Heiss(born on April 21, 1948), guitars, keyboards; Johnny Herrin, drums; Glenn Kaiser (born on January 21, 1953), guitar, harmonica, dulcimer, lead vocals; Wendi Kaiser (born on April \ 8, 1953), vocals; Roy Montroy(born on September 6, 1952), bass, vocals. Group formed as offshoot of Jesus People USA (JPUSA), 1973; toured to promote work of JPUSA; began recording career, late 1978; released 17 albums through the 1990s. Addresses: Record company—Grrr Records, 939 West Wilson, Chicago, IL 60640, website: http://www.grrrrecords.com. |
Christian rock group
In its twenty-plus years as a group, Resurrection Band has had one of the most unusual careers in Contemporary Christian music. Originating in the Christian outreach group Jesus People (JPUSA) in 1973, Resurrection Band played at revival meetings across the United States, bringing listeners a Christian message through rock music. Although the group issued a couple of independent-label recordings in the mid-1970s, it found a broader audience with its releases on various Christian labels, beginning with 1978’s Awaiting Your Reply.
With 17 albums and two collected works issued over the next 18 years, Resurrection Band was nothing short of prolific. Its members also helped create an independent record label, Grrr Records, in conjunction with JPUSA, in 1988. As its mission statement made clear, the aim of such an endeavor was to spread a Christian message: "We firmly believe that our work is an offering to God…. It is our prayer that these offerings will be pleasing to the Lord and that He will use them for His glory!"
The leader of Resurrection Band, Glenn Kaiser, grew up poor in rural Wisconsin before he found a measure of stability with JPUSA. "In the winter, I often times went to bed with all my clothes on, two pair of socks, long underwear, and jeans, and two or even three quilts," he remembered in an interview with Jon Trott of the Cstone Music website. "We’d buy quilts at St. Vincent de Paul, or my mom would put more stuffing in the ones we had." As a teenager, Kaiser joined a number of bands, usually blues-oriented outfits in which he could indulge his love of R&B, rock, and even folk music. Around the age of 18, Kaiser experienced a religious awakening, an event that not only changed the direction of his music but his entire life as well. "Life didn’t make a lot of sense until I met Jesus," he told Trott. "It really didn’t. When [Jimi] Hendrix said, ‘There ain’t no life nowhere,’ I mean, those were the truest words I heard until I heard Jesus’ words about things."
Kaiser became a Christian at 18, and soon joined JPUSA, a small group that had coalesced from a larger Wisconsin evangelical organization around 1971. Although the group seemed to be a far cry from traditional religious groups—its members were typically young and dressed in jeans—its top priority was spreading a Christian message. Riding in a dilapidated red school bus with the word "Jesus" painted on one side, the group toured the country until the bus eventually broke down in Chicago in early 1973. Over the next several years, JPUSA became well known throughout the city for the various outreach programs it ran for the elderly, homeless, and those seeking help for alcohol- and drug-related problems.
The group’s most successful program, however, was the formation of Resurrection Band around 1973. Before long, the group was playing at venues that ranged from coffeehouses to senior citizens homes. It also helped to make the annual summertime Cornerstone Festival organized by JPUSA in western Illinois into a major evangelical event. As a Chicago Tribune profile would later recount, the band "soon was being tapped for a national recording deal and drawing thousands of teenagers to concerts that often ended with the lead singer announcing, ‘God is calling two among you to join us.’"
Although Christian music was still dominated by gospel and traditional worship tunes at the time, Kaiser and his colleagues in Resurrection Band created a sound that was more akin to hard rocking heavy metal music. Kaiser also developed lyrics heavily influenced by his love of the blues. As he later commented in a Cstone interview, "The Scriptures give serious credence to the integrity factor of struggle and suffering and the pain in life. To me, there’s a connection between the writing in the Book of Psalms and a lot of secular blues, in the sense that ‘this is the way things are.’ The stories that blues tunes tell are honest stories. People admit their urge and their desire and their pain and their struggle; they talk about injustice."
By now living in JPUSA’s communal compound in Chicago, the members of Resurrection Band recorded two independent releases—All Your Life and Music to Raise the Dead—in 1974 before securing a distribution deal with Star Song Records for 1978’s Awaiting Your Reply. As Kaiser described the breakthrough in an article for Cross Rhythms Magazine, the album was "done for about $8,000, in two weeks, all night
sessions. Every label in the U.S., Canada, and the U.K. turned it down, except Star Song. ‘He loves you—what is your response?’ is the message and it’s the same message L/we/He gives today." In 1988 JPUSA created its own independent label, Grrr Records, to produce and release Resurrection Band albums through other distributors. Eventually, the label added a number of other Christian bands to its roster.
With 17 albums and two collected works released over the next 18 years, Resurrection Band explored a number of musical styles from acoustic to full-out rock ‘n’ roll. The band’s progress also reflected the musical trends of the 1980s and 1990s, with forays into New Wave, pop, blues, and dance-oriented productions. In 1995 the band released Lament, which Kaiser told Cross Rhythms Magazine was the band’s "milestone." Based on the Book of Psalms, Kaiser found the text ideal for bringing a different vision of Christianity to his band’s fans. "God doesn’t always say ‘yes’ to your prayers," he told Jon Trott. "He doesn’t always do things according to your timetable. He doesn’t always jump through your hoops. You don’t just leverage God and throw a bunch of verses up in His face and demand He does what you want Him to do. God is God is God." He added, "In the blues, there is an honesty and integrity that needs to show up in our hymns and choruses. Often that reality is lacking. Where are the new worship choruses that talk about the struggle and pain of life? Most modern choruses don’t."
Having helped usher in a wave of harder-rocking Christian and Christian-oriented bands like Creed, Resurrection’s mid-1990s output such as Lament marked an artistic and popular peak for the group. The same period, however, marked the beginning of several years of controversy for JPUSA. In 1994 Ron Enroth’s book Recovering from Churches That Abuse detailed the controversial—and long since disavowed—practices of JPUSA, including corporal punishment for adults, ritual exorcisms, and the removal of members’ children from parents who were deemed unfit to raise them. Furious at the accusations, JPUSA organized a widespread letter-writing counter-publicity effort against Enroth and Zondervan, his publisher. Because of the intensity of its response, JPUSA’s reaction soon became the primary focus of the story, which shook the Christian media world.
In 2001 further allegations about the "iron grip" of JPUSA resurfaced in a series of articles published by the Chicago Tribune. While the articles detailed many of the valuable outreach programs run by the group in its Chicago neighborhood, it also questioned the organization’s demand that its members forgo a paycheck and workman’s compensation while working for its various enterprises. Again, the group launched a public relations counterattack in the wake of the reports that threatened to overshadow the initial story.
After its final releases in 1996, Resurrection Band stopped recording as a group; one original member, bassist Jim Denton, had already grown dissatisfied with JPUSA and left the organization to begin his own ministry in Virginia. Still living with JPUSA in its communal arrangement, Kaiser continued to praise the organization’s work as he carried on with a solo career. He also issued a statement on his website that raised the possibility of a reunited Resurrection Band. "I think we probably will [record again], but in God’s timing. We all pray about such things, and when we are so inspired to write enough rock tunes that fit the sound of the band, I expect we’ll record."
Selected discography
Awaiting Your Reply, Star Song, 1978.
Rainbow’s End, Star Song, 1979.
Colours, Light, 1980.
Mommy Don’t Love Daddy Anymore, Light, 1981.
D.M.Z. Light, 1982.
Best of the Rez, Light, 1984.
Hostage, Sparrow, 1984.
Between Heaven ‘n’ Hell, Sparrow, 1985.
Compact Favorites, Sparrow, 1988.
Silence Screams, Word, 1988.
Innocent Blood, Word, 1989.
Civil Rites, Word, 1991.
XX Years Live, Word, 1992.
Reach of Love, Ocean, 1993.
Lament, Light, 1995.
The Light Years, Light, 1996.
Best of the Resurrection Band, Light, 1996.
Rez Band Live, Sparrow, 1996.
Ampendectomy, Grrr, 1997.
Sources
Periodicals
Chicago Tribune, May 16, 2001.
Christianity Today, January 8, 2001.
Cross Rhythms Magazine, October/November 2000.
Online
Christian Music Reviews Headquarters, http://www.christianmusic.org/cmp/cmrh/index.cgi?comand=Display_Review&review_id=205 (December 23, 2001).
Christianity Today, http://www.christianitytoday.com/ct/2001/114/25.0.html (December 23, 2001).
Cstone Music, http://www.cstonemusic.com/article.cfm?ContentlD=36 (December 23, 2001).
Glenn Kaiser Official Website, http://www.glennkaiser.com/music_content.cfm?Music_ContentlD=16 (December 23, 2001).
Grrr Records, http://www.grrrrecords.com/grrr/aboutus.html(December 16, 2001).
JPUSA, http://www.jpusa.org/jpusa/documents/tribune_response.htm (December 23, 2001).
Phantom Tollbooth, http://www.tollbooth.org/2000/reviews/wmtersun.html (December 23, 2001).
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Resurrection Band
- Genres: Gospel
Biography
Christian rock pioneers the Resurrection Band formed during the early '70s, a product of the Jesus People USA revival movement sweeping the West Coast during that time; comprised of vocalists Glenn and Wendi Kaiser, guitarist/keyboardist Stu Heiss, bassist Roy Montroy, and drummer John Herrin, the group -- also known as simply Rez -- debuted in 1974 with Music to Raise the Dead, followed that same year by All Your Life. After a four-year hiatus, the Resurrection Band resurfaced with Awaiting Your Reply, beginning a highly prolific period that saw the group issuing a new LP virtually every year through the mid-'80s. With 1988's Silence Screams, they inaugurated their own label, Grrr Records. The band followed up Silence Screams with a number of additional studio albums, including Innocent Blood (1989), Civil Rites (1991), and Reach of Love (1993), as well as 1995’s Lament, a concept album with creative input from King’s X’s Ty Tabor. The band announced its dissolution following the Lament tour, although the Resurrection Band returned to the studio in 1997 to record the all-acoustic Ampendectomy album. The Resurrection Band gave a farewell performance in July 2000, although the group has reconvened for occasional live performances in subsequent years. ~ Jason Ankeny, RoviWikipedia on Answers.com:
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Resurrection Band
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009) |
| Resurrection Band | |
|---|---|
 Rez Band live in concert, August 1988 |
|
| Background information | |
| Origin | Chicago, Illinois, USA |
| Genres | Christian rock, rock, blues rock, heavy metal, new wave |
| Years active | 1972–2000 |
| Labels | Star Song, Light, Sparrow, Word, Ocean, Grrr, REX |
| Associated acts | Glenn Kaiser, Glenn Kaiser Band, GKB |
| Website | www.resurrectionband.com |
| Members | |
| Glenn Kaiser, Wendi Kaiser, Stu Heiss, Roy Montroy, John Herrin | |
| Past members | |
| Jim Denton, Tom Cameron | |
Resurrection Band, also known as Rez Band or REZ, was a Christian rock band formed in 1972. They were part of the Jesus People USA Christian community in Chicago and most of its members have continued in that community to this day. Known for their blend of blues-rock and hard rock, Resurrection Band is credited as one of the forerunners of the Christian metal genre. Christianity Today called them "the most influential band in Christian music history."[1]. Following their debut in 1978, the band's greatest popularity was during the early 1980s, but later in the decade they received some crossover success when they had two music videos featured on MTV.[2]
Led by the husband-and-wife team of Glenn and Wendi Kaiser, the band sought to evangelize using Christian rock, and addressed a variety of social ills in the lyrics of their music. While the group is officially disbanded, they occasionally play one-off dates at the Cornerstone Festival, which members of the band helped establish. Currently Glenn Kaiser has an established solo career as a blues musician and is also a speaker on various spiritual issues to youth and adults.[3]
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Contents
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Band history
The 1970s: Breaking new ground
The band originally played together under the name "Charity" in 1972 with Jesus People Milwaukee, based in Milwaukee. When the community split into four groups, one became the "Jesus People USA Traveling Team", working primarily in Florida. Before their relocation to Chicago, the name "Resurrection Band" was chosen and the band became a primary focus of the community's ministry. After arriving in Chicago, the band recorded two independent cassettes that were given away after their concerts. These were performed anywhere Resurrection Band was allowed to play, from schools to prisons to street corners. The first cassette, Music to Raise the Dead, featured hard rock, while All Your Life comprised only their acoustic numbers. These were a reflection of the folk-oriented sets they would play at more conservative venues such as nursing homes and churches. The churches were deeply sceptical of Christian rock, especially the borderline heavy metal that Resurrection Band specialized in.
Four years later, thanks to a $8000 gift from a friend, Resurrection Band recorded their first album, Awaiting Your Reply, over a two-week period of marathon all-night sessions. Although the band had completed the album, including the cover art, no Christian record label would risk releasing it, as the Led Zeppelin/Jefferson Airplane inspired music was considered much too controversial for the Christian market at that time. Star Song Records were warned away from the project by other gospel music executives, but the tiny label had nothing to lose so they signed the band and released the record as it was. To everyone's surprise, Awaiting Your Reply hit big in the Christian market, and reached #6 on the Gospel album sales charts. Although misunderstood by many critics at the time, the album has been re-evaluated and highly praised in recent years and is now listed at #91 in the book, CCM Presents: The 100 Greatest Albums in Christian Music, released in 2001.
The band followed up the success of that album with Rainbow's End, which continued in the same progressive hard rock/metal vein akin to Black Sabbath and Aerosmith. Although the band was pleased with the effort, Star Song was not, and the band was forced to find another label shortly after its release. Rainbow's End is significant for being the first album by an American rock band to address the racist system of apartheid in South Africa, a full year before Peter Gabriel brought the issue to the world's attention with his classic song "Biko." Resurrection Band would eventually become known for grappling with a variety of social and political ills in its music, from the evils of the military-industrial complex to the corrupting influence of American materialism, racism, homelessness, AIDS, drug addiction, prostitution and many other issues that the band personally confronted in its ministry to their surrounding urban community in Chicago.
1980-1982: Acceptance and critical respect
Once signed by Light Records, Resurrection Band shed its progressive rock leanings and went for a more radio-friendly hard rock/metal sound. Both Colours, released in 1980, and Mommy Don't Love Daddy Anymore, released in 1981, were solid collections of music that alternately addressed larger social issues such as poverty and divorce as well as personal spiritual issues of salvation and discipleship, along with the intersection between the two. While the mainstream Christian press was still adapting to the idea of Christian hard rock, both albums were highly praised by alternative Christian music newspapers and their leading publication Harvest Rock Syndicate awarded both five stars. In addition, Resurrection Band began receiving greater airplay on radio stations that played Christian rock. Combined with their reputation as a powerful live act and effective evangelistic ministry (thanks to the fiery sermons preached at the end of Resurrection Band concerts by Glenn Kaiser), the band gained a positive reputation among church youth leaders as well as an enthusiastic and devoted fanbase. In spite of the increased attention, Resurrection Band funneled any and all profits back into the Jesus People USA community, as members held all monies in common according to the example set by the New Testament church.
In an attempt to be more efficient stewards of those monies, Resurrection Band built their own recording studio in the heart of their community, later nicknamed "Tone Zone." Although put together on a shoestring budget (with old mattresses on the walls in the studio's early incarnation), it was there that the band recorded its next album, D.M.Z., during the summer of 1982. A transitional work, the album was half Van Halen-inspired hard rock featuring blistering guitar solos from Stu Heiss, while the other half took a much more New Wave-driven approach, a controversial musical direction the band would pursue with greater vigor on future releases. The split personality of the album was not well-received critically, although it generated two tracks that became live staples for years to come: "Military Man" and "White Noise."
To that end, those songs appeared again on the band's next release, Live Bootleg, a live album recorded before an enthusiastic local audience at the Odeum in Villa Park, IL in October 1983. This was the band's first release for Sparrow Records, one of the largest and most successful Christian record labels, which at that time was seeking to sign more Christian musical acts with ministry as their primary focus. Live Bootleg was the first album to be released under the band's shortened moniker "Rez Band," a colloquialism created by fans, and it also featured a number of songs that directly addressed issues of concern to high school-aged listeners. The latter focus would continue for as long as the band recorded music.
The mid-1980s: From New Wave to MTV
After a number of successful tours throughout the United States and Europe in the early 1980s with a variety of Christian hard rock acts—including a high-profile tour in 1982 with Swedish quartet Jerusalem—Rez Band was viewed by both fans and music critics as the preeminent Christian hard rock band. As a result, when Rez Band released Hostage in late 1984, listeners were caught completely off guard. Moderately keyboard-driven, the album reflected the band's increasing interest in New Wave music with the first single "S.O.S." featuring almost no guitar whatsoever (although it does feature a Speak & Spell). "S.O.S." shot to the top of the Christian rock singles chart, staying there for several weeks and in doing so, the band attracted an entirely new audience. Still, the move was controversial and the critical reaction highly divided.
Rez Band hadn't completely abandoned its hard rock sound, though. The next single, "Crimes" - sung by co-lead singer Wendi Kaiser - is a traditional headbanging Rez Band number about inner-city violence, a topic that band members and the Jesus People USA community know first-hand. "Crimes" was even more popular on Christian radio, and received airplay on some mainstream rock stations as well, thanks to its music video, one of the first from the Contemporary Christian music industry to be broadcast on MTV.
That brief taste of mainstream success had a major influence on the band's next album, Between Heaven 'N Hell, which jettisoned most of the New Wave stylings of Hostage in favor of radio-friendly hard rock more akin to their Colours period. Shortening their moniker even further to "REZ," the band took advantage of the fact that Capitol Records now handled Sparrow's distribution. While the lyrics on the album represent a strong Christian worldview, explicit references to God or Jesus were almost non-existent. The catchy "Love Comes Down" was chosen as the band's first single and the music video - featuring lots of dance choreography - was a far more polished effort and as a result, received far more airplay on MTV than "Crimes" ever did. There was some controversy concerning this particular song as the guitar riff is almost exactly the same as AC/DC's "Whole Lotta Rosie." However, the band's most controversial decision was to eliminate the traditional altar call at the end of their concerts as a concession to playing more secular venues for the tour that supported this album, leading some to accuse the band of selling out their message for greater mainstream acceptance.
1988-1993: Incorporating the blues
It would be three years before REZ returned to the studio to record their next album and much changed in the Contemporary Christian music industry during that time. REZ was no longer the dominant force in Christian rock; instead, Stryper had burst onto the scene in all their yellow-and-black glory, bringing Christian metal to the mainstream with To Hell with the Devil in 1986, which sold millions of albums and made the band a mainstay on MTV. Amy Grant had scored her first #1 US pop hit the same year with "The Next Time I Fall," a duet with former Chicago lead singer Peter Cetera. Even Christian alternative music had made inroads into the mainstream when The 77s signed with Island Records and their self-titled album received a favorable review in Rolling Stone. In addition, the Jesus People USA community established the annual Cornerstone Festival during this period, which would serve as a springboard to mainstream success for future Christian artists like Sixpence None the Richer and P.O.D.
Even the lineup of REZ changed during this time as well. Bassist Jim Denton left to attend theological seminary and was replaced by long-time REZ roadie and songwriter Roy Montroy, who would soon become a major creative force in the band.
Although REZ had been left out of the mainstream success which arguably the band had spearheaded for others, REZ was nevertheless more interested in using its music to speak plainly to both non-Christians about the reality of God and to Christians about their responsibility to the disenfranchised and hurting in the world around them. To that end, REZ returned to the studio in 1988, and the result was Silence Screams, a hybrid of blues, hard rock and heavy metal that served as a musical blueprint for all of the band's successive releases. Sporting unsettling cover art, Silence Screams deals forcefully with social concerns such as abortion, greed, racial profiling and even terrorism, proving that—as they did with confronting apartheid in 1979—the band was once again ahead of the curve. The album is also unique in that it is the first to have been released on the band's own record label, Grrr Records, a wordplay on Myrrh Records, the most successful Contemporary Christian record label at that time. Now, the band could exercise complete creative and financial control over their music.
Creatively invigorated, REZ released a new studio album every 18 months on average. Innocent Blood, Civil Rites and Reach of Love continued the formula first begun on Silence Screams. Each album dealt with current topics of social and spiritual concern, and each release contained more and more blues influence, thanks to lead singer Glenn Kaiser, who was beginning a new career as a blues artist outside of REZ. With Kaiser focusing more of his attention on his solo work, Roy Montroy became a greater contributor to REZ, and for Reach of Love, he wrote every single track, a feat never accomplished before by any member of the band. However, there was a growing sense - not just among music critics but also within the band itself - that the formula was growing stale and that REZ had fallen into a creative rut. As a result, for the first time in the band's history, REZ reached outside the Jesus People USA community for creative inspiration. It came in the form of Ty Tabor, guitarist and co-lead singer of King's X.
The late 1990s: Creative reinvention
The result of Ty Tabor's influence was Lament, released in 1995. Unlike any of the band's previous work, Lament is the band's first concept album, a song cycle about one man's disillusionment with the harshness and cruelty of life and his growing realization that things cannot change unless he experiences spiritual redemption. Recognizing the importance of how the songs are ordered, Resurrection Band (which had now reverted back to its original moniker) played the entire album from beginning to end on the tour which supported this album. This was rare enough in rock music—save for The Who and Styx—but unheard of in Christian rock. As a result, the creative rebirth of Lament was highly praised among long-time fans of Resurrection Band as well as prominent Christian music critics, with some calling the album the finest the band ever recorded.
Despite the praise the band received for Lament, Resurrection Band called it quits at the end of the tour; however, it would play an annual live set at the Cornerstone Festival, which had become one of the Christian music industry's pre-eminent events. Then, in 1997, the band returned to the studio for one last recording. The MTV Unplugged craze was at its highest pitch, and Resurrection Band felt it was an appropriate time to reinvent some of its hard rock material in an acoustic format. The result was Ampendectomy, featuring 15 selections pulled from the band's history. The reviews of the album were mixed.
2000 and Beyond
In July 2000, Resurrection Band brought almost 30 years of music and ministry to a close with a farewell performance, leaving behind them a transformed Christian music industry, and a platform upon which future Christian musicians could build.
In July 2008, the group reunited for the 25th anniversary of Cornerstone Festival. That same year, Grrr Records released Music to Raise the Dead 1972-1998; three CDs with 52 re-mastered songs, an 80-page full-color booklet detailing the history of Rez Band with scores of photos, and one DVD with over an hour of previously unreleased live concert video footage and special features.[4]
In April 2010, the group reunited once again for the annual Easterfest Christian music festival in Toowoomba, Australia.[5]
Personnel
- Glenn Kaiser - vocals, guitar, dulcimer, harmonica
- Wendi Kaiser - vocals
- Stu Heiss - guitar, keyboards
- Deland Pelto - bass guitar (1972-1974)
- Jim Denton - bass guitar, keyboards (1974–1987)
- Roy Montroy - bass guitar, keyboards (1987–2000)
- John Herrin - drums
Discography
- Released: 1974
- Format: Cassette
- Label: Independent
- Producer: Resurrection Band
- Released: 1974
- Format: Cassette
- Label: Independent
- Producer: Resurrection Band
- Released: 1978
- Format: LP/Cassette/8-track/CD re-issue
- Label: Star Song
- Producer: Resurrection Band
- Released: 1979
- Format: LP/Cassette/8-track/CD re-issue
- Label: Star Song
- Producer: Resurrection Band
- Released: 1980
- Format: LP/Cassette/CD re-issue
- Label: Light Records
- Producer: Resurrection Band
Mommy Don't Love Daddy Anymore
- Released: 1981
- Format: LP/Cassette/CD re-issue
- Label: Light Records
- Producer: Resurrection Band
- Released: 1982
- Format: LP/Cassette/CD re-issue
- Label: Light Records
- Producer: Resurrection Band
- Released: 1984
- Format: LP/Cassette/CD re-issue
- Label: Sparrow Records
- Producer: Resurrection Band
The Best of REZ: Music to Raise the Dead
- Released: 1984
- Format: LP/Cassette
- Label: Light Records
- Producer: Resurrection Band
- Released: 1984
- Format: LP/Cassette/CD re-issue
- Label: Sparrow Records
- Producer: Resurrection Band
- Released: 1985
- Format: LP/Cassette/CD re-issue
- Label: Sparrow Records
- Producer: Resurrection Band
- Released: 1988
- Format: LP/Cassette/CD
- Label: Grrr Records
- Producer: Resurrection Band, Tom Cameron
- Released: 1988
- Format: CD only
- Label: Sparrow Records
- Producer: Resurrection Band
- Released: 1989
- Format: CD/Cassette
- Label: Grrr Records
- Producer: Resurrection Band, Tom Cameron
- Released: 1991
- Format: CD/Cassette
- Label: Grrr Records
- Producer: Resurrection Band, Tom Cameron
- Released: 1992
- Format: CD/Cassette
- Label: Grrr Records
- Producer: Resurrection Band, Tom Cameron
- Released: 1993
- Format: CD/Cassette
- Label: Grrr Records
- Producer: Resurrection Band, Tom Cameron
- Released: 1995
- Format: CD/Cassette
- Label: Light Records
- Producer: Resurrection Band
- Released: 1997
- Format: CD/Cassette
- Label: Grrr Records
- Producer: Resurrection Band
Music to Raise the Dead 1972–1998 (Boxed set)
- Released: 2008
- Format: CD only
- Label: Grrr Records
- Producer: Resurrection Band
References
- ^ http://www.christianitytoday.com/ct/2008/october/29.107.html
- ^ www.resurrectionband.com - Band Bios Section of Website (Flash)
- ^ www.glennkaiser.com/bios.cfm - Glenn Kaiser Official Website - Bios Section
- ^ Grrr Records
- ^ http://web.archive.org/web/20091015001930/http://www.easterfest.com.au/article/resurrection-band/
External links
- Resurrection Band official website
- Resurrection Band's MySpace
- Glenn Kaiser
- Wendi Kaiser
- Stu Heiss
- Jim Denton
- Cornerstone Festival
- Cornerstone Magazine
- Grrr Records
- Jesus People USA
- Marshall, Drew (7 February 2009). "(Podcast) Daniel Band & Rez Band - Christian Rock Pioneers". The Drew Marshall Show (JOY 1250). http://www.drewmarshall.ca/listen2009.html. Retrieved 2009-03-30.
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(1990 Album by King's X)
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(2007 Album by Rob Rock)
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