The Petra Zone

So is CP currently working on a new record? Or plan to start it soon? Does anyone have any solid info?

The most recent word is that they are currently discussing what to do next, whether another re-record or an all new album or both. They are on a the ANR label now and are working on plans for a 2012 tour.

I would like an album that is the opposite to Back to the Rock: All new material plus a remake song at the end!

I feel the same way. I'd like to see the process reversed. Ten new songs and two classics.

The new stuff I have heard doesn't have the Petra feel (BTTR, and Too Big). I think there are a lot of the old songs with those strong Biblical lyrics that still need to be re-recorded for todays sound. They got the process right with Back to the Rock.

My preference is really just quality. I really like some of the older songs and love it when they re record them. Early Petra records just don't sound so great, especially when compared to music of the day. That's why I like the new recording that are played the same as the originals. I like new tracks too- but the older I get the more I want from lyrics. I'd like some more grown up- thoughtful lyrics in the new music.

Everyone I did talk to Rick Stevens over at ANR, I'm still planning on dropping by the studio in the next couple of weeks as Rick's office is right here in Bakersfield. I took a tour of the studio as it was still being built a couple of years ago. The only thing Rick could tell me at the moment is they are going to try and do something for Petra soon. It dosn't leave room for a lot of info but Rick is like that, quick to the point just wait and see type of guy.

I have alot of faith in Rick and He has been in the busniness a long time.

rexreed wrote:Early Petra records just don't sound so great, especially when compared to music of the day.

I'm not sure what other stuff you're comparing it to, but the Johnathan David Brown records have a great sound to them. I wish they still mixed albums that way as opposed to the modern trend of "Make everything LOUD!".

Ditto. JDBs records, given the lack of a budget and time, sound killer for that era of Christian rock, and his mixes hold up to this day. His mixes hold up on LP, CD, etc. The music mixed today would not make in on LPs, because of the hyper extension of frequencies on both ends, the over compression, and mixing of the kick drum as THE solo instrument that all must sit behind.

When people mix drums now, they do not get that the center of the drum kit is the snare, hat and kick, and the mics need to be positioned that way. JDB got it. So much of today's drum imaging is smeared and out of phase, because most of these guys do not get it. They were not trained by real engineers and/or they do not understood math, physics and music. JDB understood it and pushed the perfectionist limits, given what he had to work with.

I would say that JDBs mixes beat the livin' snot out of the E brothers records, which sound dated today, even more so than the warm, authentic and natural sounding JDB records. Of course, the E brothers were trying to turn Petra in Def Leppard, and had lots of overproduced, overprocessed, overly brittle and bright sounds. Of course, some of this could have been because of the crappy state of digital back then, but those albums have distortion that just is not soothing harmonically to me. It is almost like they were pushing odd order harmonics over even.

Every generation has fad techniques and sounds revealed in music production. The 80s brought us the "lovely" (not) FM synthesis via the Yamaha DX7, with those stupid bell sounds. That sound was AAAAAAALLLLL over CCM, pop and R&B. The 70s had the Whirlitzers, Fender/Rhodes, and a few other oddities. The 90s brought nothing memorable synth wise, but guitar definitely started changing. In this age we have Antares Autotune, Waves Tune, Celemony Melodyne and LOTS of compression misapplied, becoming instruments replacing the talent. So, I cannot completely write off the E brothers stuff, because they too were miserly building a business, trying to make good music, and doing what it took to be relevant at that time. I guess, since I heard Def Lep, and I knew what went into making those records, it was stupid (in my mind) for E brothers to try and copy it. This is when Petra became a follower of exterior influences, instead of a pioneer in and for Christian music. Different challenges, different approaches, different markets. I get it.

I like the JDB sound over E Brothers, but I think the JDB sound lacked the punch on the low end for the day. Listen to Rez and secular artists in that time frame and you will hear the lack of punch and quality that Petra had compared to them.
Rez has always had superior quality in the production area compared to Petra, and also anything Brown Bannister did in the 80's was far superior then Petra. I would have loved to hear BB do 80's production for Petra.

executioner wrote:I would have loved to hear BB do 80's production for Petra.

That's basically what Wake Up Call is, a return to the glory days of real musicians playing real instruments in a real studio.

Mountain Man wrote:

executioner wrote:I would have loved to hear BB do 80's production for Petra.

That's basically what Wake Up Call is, a return to the glory days of real musicians playing real instruments in a real studio.

You got it!

brent wrote: When people mix drums now, they do not get that the center of the drum kit is the snare, hat and kick, and the mics need to be positioned that way. JDB got it. So much of today's drum imaging is smeared and out of phase, because most of these guys do not get it. They were not trained by real engineers and/or they do not understood math, physics and music. JDB understood it and pushed the perfectionist limits, given what he had to work with.

JDB Got it? So you're saying, at least for the albums, "Fire Louie"?

JDB loved Louie. Louie loved JDB. When it comes to making a record, quickly, with little to no money, you need someone to cooperate with you. Historically, the recording band has been different from the touring band. If you guys think that the majority of major label bands record the albums completely themselves, you are mistaken. Go to Nashville and you will find about three or four rhythm sections that lay the majority of all of the major country artist's tracks.

I love Louie. I have used Louie for PDC. But Louie likes to give what Louie wants to play. Louie wants to be heard and appreciated. Nothing wrong with that. Sometimes, people do not jive. The recording session brings this out, making the best of relationships strained at times. So, sometimes it is better for the unity of the band and the complete project to side step issues before they happen.

I don't know why you are picking this out. The E brothers and John Lawry completely excluded Louie from all of those albums except for overdubbing cymbals and playing syncopated hi-hat stuff. You are not bashing them?

The early records don't sound so hot to me. If you have to make an excuse for how they turned out, like budget or what not then they just don't sound the same as other bands of the time.