Michael Omartian Album Reviews

Michael Omartian has a vast resume as a producer and studio musician. He played accordion on Billy Joel‘s ‘Piano Man’ and keyboards on Steely Dan‘s 1970s albums. He arranged and played keys on ‘We Are The World’, won producer of the year for Christopher Cross, and produced number-one hits in three different decades.

When you worked with Gary Katz, Donald Fagen and Walter Becker, you planned on long hours and not a lot of affirming moments. When they were happy, you would pretty much hear the words, “we got the take” and that was it. You would realize you did a good job when you got a call to do the next song.
Michael Omartian, Yuzu Melodies

But Omartian also took the centrestage. He formed Rhythm Heritage, who topped the US charts with “Theme from S.W.A.T.”. And he also released CCM albums as a solo artist in the 1970s and early 1980s. They’re some of the most interesting CCM albums of their era, creative, funky, and featuring the same top-tier musicians who appear on Steely Dan records.

White Horse

Adam Again

Seasons of the Soul (with Stormie Omartian)

5 Best Michael Omartian Songs

Michael Omartian Album Reviews

White Horse

1974, 8.5/10
Michael Omartian’s solo debut is one of the most beloved Christian albums of the 1970s. His wife wrote the lyrics, while he enlisted an amazing cast of backing musicians, including Larry Carlton (playing bass on the last two tracks as well as guitar), Dean Parks, and David Hungate. They take on progressive rock and funk. Omartian’s not a great vocalist, but he’s capable of navigating his own complex melodies.

Omartian later told Yuzu Melodies that it’s his favourite solo album – “I felt like a kid in a candy store. I recorded it in the early 70’s and I still get letters and e-mails about how people still love it today.”

Omartian’s keyboards are at the centre of the arrangements, like the funky clavinet and organ on ‘Fat City’ and the baroque introduction to ‘Silver Fish’. The best two songs bookend the album – ‘Jeremiah’ presents a roster of Old Testament prophets, with a gospel backing. Genesis made an epic Revelation-themed album closer a couple of years earlier, but ‘White Horse’ still feels fresh, wide-eyed in wonder.

With a stacked roster of guests and sense of adventure, White Horse is a rare CCM record with broader appeal.

Adam Again

1976, 8/10
Omartian’s second record is a touch less ambitious than his first, but it’s more of the same. It features the same imaginative lyrics and fearless melding of 1970s musical styles with gospel. There’s a similarly stellar cast of backing musicians, too. The album was released internationally as Onward, with a different cover.

Omartian takes on disco with ‘Whachersign’, a bizarre yet excellent parody of astrology. There’s plenty of high-class pop/rock, like ‘Ain’t You Glad’ and ‘Alive and Well’. The ballads are also memorable – ‘Annie the Poet’ is a tribute to Annie Herring, while the title track meditates on sin. Unlike most CCM, it sounds like Omartian dialogues with popular music – ‘Adam Again’ sounds like Genesis’ Trick of the Tail, while ‘Alive and Well’ resembles Chicago’s work.

Adam Again is an excellent sophomore effort, although it’s a shame about Omartian’s next record.

Seasons of the Soul (with Stormie Omartian)

1978, not rated
Michael Omartian’s first two albums were great because they were fearless and imaginative. But 1978’s Seasons of the Soul feels like it’s been toned down for the CCM market. It doesn’t help that Stormie Omartian was promoted from lyricist to co-lead vocalist – her insipid voice takes even more edge off the record.

There are flashes of old brilliance, like the closing title track, but I get off the Michael Omartian bus here.