Album Of The Day: The Big Picture by Michael W. Smith

Album Art of Michael W. Smith's The Big Picture album - A photo of a boy of maybe 10 years old from the shoulders up sitting in front of a purple and black background with a golden white cloth hanging in front of the blurry background. The kid is wearing a shirt with words or symbols printed on it and is lit from the left side with an orange light. In front of him is a brow, ornately-carved frame, hanging askew and in front of the boy's mouth, with his eyes and hair inside the bottom left corner of the frame. To the top left and out of the frame, the artist name is printed in a variety of fonts and symbols. Across the bottom, behind the kid is printed a bunch of translations of the album title phrase, 'The Big Picture', it other languages from around the world.

"Wisdom from the sacred page / Is turned and ignored / In a world that's wired for sound." Released 40 years ago yesterday, this is the third album by Christian pop royalty Michael W. Smith. Smith and his frequent songwriting collaborator Wayne Kirkpatrick craft '80s keyboard-heavy pop songs about life and Christianity on this release. Though this was a few years before I started listening to Michael W. Smith as a kid, it's been an album I'd listen to on occasion over the last 25 years or so, and "Old Enough To Know" and "Rocketown" were on his first hits compilation that I listened to a lot throughout the '90s and beyond. More than his '90s works, I would say that the '80s music sounds very dated, but it's still pretty fun for an occasional listen. "Rocketown" is the most well-known song from this album, telling a story of a modern day Jesus Christ hanging out on the street and in the bars and presenting revolutionary ideas. The first half of the album is long songs full of electronic keyboard sounds, with "Lamu", "Wired For Sound" and "Pursuit Of The Dream" all over 5 minutes long. I think Michael W. Smith perfected his sound and started writing even better songs as the '80s and '90s progressed, but it's fun to hear these early, maybe more experimental years where the drum machines ruled and the guitars were hiding behind the keyboards on most songs.

Release Year: 1986
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