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* DownerEnding: The album ends with the song “Horrendous Disc”. The lyrics are a paranoid, dream-like story about one’s hidden wrongdoings getting exposed. The music is minor-key, ending with a dirge-like coda.
to:
* DownerEnding: The album ends with the song “Horrendous Disc”. The lyrics are a paranoid, dream-like story about one’s hidden wrongdoings getting exposed. The music is minor-key, minor-[[{{Tonality}} key]], ending with a dirge-like coda.
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* CutAndPasteTranslation: The UK version of the album, which cuts out “Tidal Wave” and “Man in the Moon”, adds “After All These Years”, and rearranges the order of the remaining songs a bit.
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Cut trope
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* StockEpisodeTitles: While recording the album, Terry Taylor and Jerry Chamberlain visited a local record shop, skimmed through a recorded music directory, and found there were ''18'' different songs all named “I Love You”. Hence why DA called their song, “I Love You #19”.
to:
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On their first two albums, DA had played Musaic/{{Eagles}}-esque [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from Music/TheBeatles and Music/TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of Music/ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
to:
On their first two albums, DA had played Musaic/{{Eagles}}-esque Music/{{Eagles}}-esque [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from Music/TheBeatles and Music/TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of Music/ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
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None
Changed line(s) 8,9 (click to see context) from:
On their first two albums, DA had played Eagles-esque [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from Music/TheBeatles and Music/TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of Music/ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
to:
On their first two albums, DA had played Eagles-esque Musaic/{{Eagles}}-esque [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from Music/TheBeatles and Music/TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of Music/ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
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None
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[[AC:Daniel Amos is:]]
Added DiffLines:
[[AC:Additional Musicians:]]
* Sharon [=McLaughlin=]: Vocals on “Horrendous Disc”
* Janet [=McTaggart=]: Vocals on “Sky King” and “Horrendous Disc”
* Kim Hutchcroft: Saxophone on “On the Line”
* “Alex and Jerry ‘Gonzales’ y Los Romanticos”: mariachi guitars and vocals on “Tidal Wave”
* Sharon [=McLaughlin=]: Vocals on “Horrendous Disc”
* Janet [=McTaggart=]: Vocals on “Sky King” and “Horrendous Disc”
* Kim Hutchcroft: Saxophone on “On the Line”
* “Alex and Jerry ‘Gonzales’ y Los Romanticos”: mariachi guitars and vocals on “Tidal Wave”
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* LimitedSpecialCollectorsUltimateEdition: The 2007 reissue of the album could have been something really impressive, considering all the bonus tracks it had, many of which haven’t been released anywhere else. Unfortunately, it was a cheap reissue on CD-R’s, with home computer-printed liner notes. Reportedly, DA has been trying to put out a proper special edition for some years, but negotiations with Solid Rock Records have been slow.
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None
Changed line(s) 8,9 (click to see context) from:
On their first two albums, DA had played Eagles-esque [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from TheBeatles and TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
to:
On their first two albums, DA had played Eagles-esque [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from TheBeatles Music/TheBeatles and TheBeachBoys, Music/TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of ElectricLightOrchestra.Music/ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
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None
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!!Personnel
to:
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Side 1:
to:
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Side 2:
to:
[[AC:Side 2:]]
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Side 1:
to:
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Side 2:
to:
[[AC:Side 2:]]
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Changed line(s) 8,9 (click to see context) from:
On their first two albums, DA had played Eagles-esque country/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from TheBeatles and TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
to:
On their first two albums, DA had played Eagles-esque country/soft-rock, [[CountryMusic country]]/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from TheBeatles and TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
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I can alphabet real good.
* ScrewThisImOuttaHere: In “Horrendous Disc”, after the musician’s sins are exposed, he tries to run away from the problem, but that doesn’t help. He just runs into a billboard advertising all his wrongdoings.
Deleted line(s) 125 (click to see context) :
* ScrewThisImOuttaHere: In “Horrendous Disc”, after the musician’s sins are exposed, he tries to run away from the problem, but that doesn’t help. He just runs into a billboard advertising all his wrongdoings.
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Added DiffLines:
* StepUpToTheMicrophone: Guitarist Jerry Chamberlain sings lead on "Man in the Moon" and "Horrendous Disc". Keyboardist Mark Cook sings lead on "Never Leave You".
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Oops.
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* BigRockEnding: "Hound of Heaven" has a short one.
to:
* BigRockEnding: "Hound of Heaven" "I Love You #19" has a short one.
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* BigRockEnding: "Hound of Heaven" has a short one.
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* CutAndPasteTranslation: The UK version of the album, which cuts out “Tidal Wave” and “Man in the Moon”, and adds “After All These Years”.
to:
* CoverVersion: One CD version of the album tacks Music/LarryNorman's cover version of "Hound of Heaven" on the end. Or rather, ''two different cover versions'', both by Larry Norman. DA fans aren't sure why Larry thought this was a good idea.
* CutAndPasteTranslation: The UK version of the album, which cuts out “Tidal Wave” and “Man in the Moon”,and adds “After All These Years”.Years”, and rearranges the order of the remaining songs a bit.
* CutAndPasteTranslation: The UK version of the album, which cuts out “Tidal Wave” and “Man in the Moon”,
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Changed line(s) 26,29 (click to see context) from:
# I Love You #19
# Hound of Heaven
# (Near Sighted Girl with Approaching) Tidal Wave
# Sky King (Out Across the Sky)
# Hound of Heaven
# (Near Sighted Girl with Approaching) Tidal Wave
# Sky King (Out Across the Sky)
to:
# I Love You #19
#19 (3:33)
# Hound ofHeaven
Heaven (4:06)
# (Near Sighted Girl with Approaching) TidalWave
Wave (3:05)
# Sky King (Out Across theSky)Sky) (4:05)
# Hound of
# (Near Sighted Girl with Approaching) Tidal
# Sky King (Out Across the
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# On the Line
# I Believe in You
# Man in the Moon
# Never Leave You
# Horrendous Disc
# I Believe in You
# Man in the Moon
# Never Leave You
# Horrendous Disc
to:
# On the Line
Line (5:20)
# I Believe inYou
You (3:45)
# Man in theMoon
Moon (4:00)
# Never LeaveYou
You (3:08)
# HorrendousDisc
Disc (5:20)
# I Believe in
# Man in the
# Never Leave
# Horrendous
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[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/hdfront.jpg]]
[[caption-width-right:350:And the record plays...]]
->''Attention Earthlings: Allow hi-fi needle to orbit grooved musical saucer at maximum decibel level.''
''Horrendous Disc'' is Music/DanielAmos’ third studio album, recorded in late 1977 and early 1978. It wound up being a surprising lightning rod for controversy and [[ScrewedByTheNetwork record label shenanigans]].
On their first two albums, DA had played Eagles-esque country/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from TheBeatles and TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
Mismanagement by their label--LarryNorman’s Solid Rock Records--certainly didn’t help things. In spite of being completely finished in 1978, ''Horrendous Disc'' wasn’t released for three years. The album still got promotion via Christian radio and print ads (one ad stirred up controversy for looking like a horror movie poster), and DA still focused on their new material at live shows (much to the irritation of old fans who wanted to hear them play country)--but for fans who couldn’t actually buy the album, the hype was just confusing and annoying. DA got so frustrated with the delay that they eventually gave up on the album, switched to a new record label, and started working on a followup album.
So when ''Horrendous Disc'' finally hit the shelves in 1981, it was largely overshadowed by DA’s next album, ''Music/{{Alarma}}''--which was released mere weeks later and featured an even more radical departure from the old style. Nevertheless, to those in the alternative Christian rock scene, ''Horrendous Disc'' has been VindicatedByHistory. It’s highly regarded by those DA fans who didn’t jump ship when the band stopped playing country, and [[http://www.allmusic.com/album/horrendous-disc-mw0000856504 AllMusic gave it a five-star rating]].
!!Personnel
* Terry Scott Taylor: Guitars, Lead and Background Vocals
* Jerry Chamberlain: Guitars, Background Vocals, Lead Vocals on “Man in the Moon” and “Horrendous Disc”
* Marty Dieckmeyer: Bass Guitar, Background Vocals
* Mark Cook: Keyboards, Background Vocals, Lead Vocals on “Never Leave You”
* Ed [=McTaggart=]: Drums, Percussion, Background Vocals
* Alex [=MacDougal=]: Percussion
!!Tracklist:
'''US Version:'''\\
Side 1:
# I Love You #19
# Hound of Heaven
# (Near Sighted Girl with Approaching) Tidal Wave
# Sky King (Out Across the Sky)
Side 2:
# On the Line
# I Believe in You
# Man in the Moon
# Never Leave You
# Horrendous Disc
[[folder:Other versions]]
'''Canadian version:''' Same as the US version, but omits “Never Leave You.”
'''UK version:'''\\
Side 1:
# I Love You #19
# Hound of Heaven
# I Believe in You
# Sky King (Out Across the Sky)
Side 2:
# On the Line
# Never Leave You
# After All These Years
# Horrendous Disc
'''2000 CD reissue:''' Uses the US tracklist, with the following bonus tracks:
[numlist:10]
# Hound of Heaven (covered by Larry Norman)
# Hound of Heaven (covered again by Larry Norman)
[/numlist]
'''2007 CD-R reissue:''' Uses the US tracklist, with the following bonus tracks:
[numlist:10]
# Fairy Tale
# After All These Years
# That Girl Likes To Talk (Yak, Yak, Yak)
# Twilight Love
# Noelle
# Hello Aloha
[/numlist]
[[/folder]]
----
!! Provides examples of:
* AccidentalPublicConfession: The title track, where a musician's abusive relationship with his wife keeps somehow getting projected for the entire world to see.
* CharmPerson: Why you shouldn’t trust the “Man in the Moon”:
-->I saw Mr. Moon last night, you know he's on the rise\\
There's something in his eyes I've never seen before\\
There's some kind of magic here, he's so full of surprises\\
He'll hypnotize like the lull of a lullaby
* CoversAlwaysLie: The Canadian version of the album had one less song than the US version... but some pressings claimed to still have that missing song, because the printers decided to just reuse the US cover, including the tracklist.
* CutAndPasteTranslation: The UK version of the album, which cuts out “Tidal Wave” and “Man in the Moon”, and adds “After All These Years”.
* DesperatelyLookingForAPurposeInLife: The protagonists of “Hound of Heaven”, who pursue “Hollywood flash, cash, mansions, and cars ... And for heaven’s sake, take this aching away.”
* {{Determinator}}: God is the “Hound of Heaven”, pursuing individuals relentlessly.
-->You can’t run\\
You can’t hide\\
From the Hound of Heaven\\
You’re free to choose\\
Can you refuse\\
The seeker of souls?
* DomesticAbuse: In “Horrendous Disc”, the husband is verbally abusive to his wife.
-->He's killed his wife with words, confident it's private rage
* DownerEnding: The album ends with the song “Horrendous Disc”. The lyrics are a paranoid, dream-like story about one’s hidden wrongdoings getting exposed. The music is minor-key, ending with a dirge-like coda.
* FailedASpotCheck:
** In “(Near Sighted Girl with Approaching) Tidal Wave”, the girl in the title sleeps through the warning signs of the coming wave, while everyone around her flees the beach.
** “On the Line” points out how the listener is constantly missing messages from God.
* FluffyCloudHeaven: “Sky King” invokes this with its description of God moving:
-->This is not a dream, you've taken flight, far above the world\\
You walk on clouds, you ride the light, far above my head
* GiantWallOfWateryDoom: In “Tidal Wave”.
-->It's a tidal wave \\
It's a watery grave\\
She really tried to swim\\
She couldn't in the end.
* GodIsLoveSongs: “I Love You #19” is a meta version, pondering both the difficulty of convincing your romantic interest that your feelings are sincere, and the difficulty of convincing other people that Jesus loves them.
* InMysteriousWays: “On the Line” is about how God constantly communicates with mankind, as much through the physical world as through Scriptures.
-->And when you draw back the curtain \\
He'll paint a pretty picture for you\\
And if a billion stars don't convince you, baby\\
He sent some letters signed His name with love, too
* LimitedSpecialCollectorsUltimateEdition: The 2007 reissue of the album could have been something really impressive, considering all the bonus tracks it had, many of which haven’t been released anywhere else. Unfortunately, it was a cheap reissue on CD-R’s, with home computer-printed liner notes. Reportedly, DA has been trying to put out a proper special edition for some years, but negotiations with Solid Rock Records have been slow.
* LoveMakesYouDumb: In “I Love You #19”:
-->Now if I said it real pretty in a pretty rhyme\\
Does your mind get cloudy that's a dirty crime
* LyricalDissonance: “(Near Sighted Girl with Approaching) Tidal Wave” is an upbeat, Beach Boys-esque pop tune--with lyrics ending in a watery grave.
* NewSoundAlbum: Goodbye, Daniel Amos the country band. Hello, Daniel Amos the pop-rock band. And this would be just the first of many abrupt style changes.
* NonAppearingTitle: “Horrendous Disc”.
* OminousChanting: The song “Horrendous Disc” ends with about a minute of wordless chanting.
* {{Robinsonade}}: The surreal “Man in the Moon” has a verse about being stranded on the moon, as a metaphor for being out-of-place in this world.
-->Man in the moon, I was shooting for a star much higher\\
Man in the moon, there's no life nowhere near\\
I'm dying to get out of here\\
Lord don't leave me high and dry, let me fly
* ScrewThisImOuttaHere: In “Horrendous Disc”, after the musician’s sins are exposed, he tries to run away from the problem, but that doesn’t help. He just runs into a billboard advertising all his wrongdoings.
* StockEpisodeTitles: While recording the album, Terry Taylor and Jerry Chamberlain visited a local record shop, skimmed through a recorded music directory, and found there were ''18'' different songs all named “I Love You”. Hence why DA called their song, “I Love You #19”.
----
[[caption-width-right:350:And the record plays...]]
->''Attention Earthlings: Allow hi-fi needle to orbit grooved musical saucer at maximum decibel level.''
''Horrendous Disc'' is Music/DanielAmos’ third studio album, recorded in late 1977 and early 1978. It wound up being a surprising lightning rod for controversy and [[ScrewedByTheNetwork record label shenanigans]].
On their first two albums, DA had played Eagles-esque country/soft-rock, earning themselves a significant fanbase among the [[ChristianRock Jesus Music]] scene. Those prior albums also had some stylistic experiments that hinted at what was to come, if any fans had been paying attention. Because, for album number three, DA decided to [[NewSoundAlbum abandon country altogether and record a bunch of rock songs]]. They drew influence primarily from TheBeatles and TheBeachBoys, and also made forays into HardRock, {{funk}}, and [[ProgressiveRock pop-prog]] in the vein of ElectricLightOrchestra. Though musically tame by modern standards, it was a risky style for DA to play in the late ’70s, when much of their (white conservative Christian) audience still didn't quite trust any music that rocked too much.
Mismanagement by their label--LarryNorman’s Solid Rock Records--certainly didn’t help things. In spite of being completely finished in 1978, ''Horrendous Disc'' wasn’t released for three years. The album still got promotion via Christian radio and print ads (one ad stirred up controversy for looking like a horror movie poster), and DA still focused on their new material at live shows (much to the irritation of old fans who wanted to hear them play country)--but for fans who couldn’t actually buy the album, the hype was just confusing and annoying. DA got so frustrated with the delay that they eventually gave up on the album, switched to a new record label, and started working on a followup album.
So when ''Horrendous Disc'' finally hit the shelves in 1981, it was largely overshadowed by DA’s next album, ''Music/{{Alarma}}''--which was released mere weeks later and featured an even more radical departure from the old style. Nevertheless, to those in the alternative Christian rock scene, ''Horrendous Disc'' has been VindicatedByHistory. It’s highly regarded by those DA fans who didn’t jump ship when the band stopped playing country, and [[http://www.allmusic.com/album/horrendous-disc-mw0000856504 AllMusic gave it a five-star rating]].
!!Personnel
* Terry Scott Taylor: Guitars, Lead and Background Vocals
* Jerry Chamberlain: Guitars, Background Vocals, Lead Vocals on “Man in the Moon” and “Horrendous Disc”
* Marty Dieckmeyer: Bass Guitar, Background Vocals
* Mark Cook: Keyboards, Background Vocals, Lead Vocals on “Never Leave You”
* Ed [=McTaggart=]: Drums, Percussion, Background Vocals
* Alex [=MacDougal=]: Percussion
!!Tracklist:
'''US Version:'''\\
Side 1:
# I Love You #19
# Hound of Heaven
# (Near Sighted Girl with Approaching) Tidal Wave
# Sky King (Out Across the Sky)
Side 2:
# On the Line
# I Believe in You
# Man in the Moon
# Never Leave You
# Horrendous Disc
[[folder:Other versions]]
'''Canadian version:''' Same as the US version, but omits “Never Leave You.”
'''UK version:'''\\
Side 1:
# I Love You #19
# Hound of Heaven
# I Believe in You
# Sky King (Out Across the Sky)
Side 2:
# On the Line
# Never Leave You
# After All These Years
# Horrendous Disc
'''2000 CD reissue:''' Uses the US tracklist, with the following bonus tracks:
[numlist:10]
# Hound of Heaven (covered by Larry Norman)
# Hound of Heaven (covered again by Larry Norman)
[/numlist]
'''2007 CD-R reissue:''' Uses the US tracklist, with the following bonus tracks:
[numlist:10]
# Fairy Tale
# After All These Years
# That Girl Likes To Talk (Yak, Yak, Yak)
# Twilight Love
# Noelle
# Hello Aloha
[/numlist]
[[/folder]]
----
!! Provides examples of:
* AccidentalPublicConfession: The title track, where a musician's abusive relationship with his wife keeps somehow getting projected for the entire world to see.
* CharmPerson: Why you shouldn’t trust the “Man in the Moon”:
-->I saw Mr. Moon last night, you know he's on the rise\\
There's something in his eyes I've never seen before\\
There's some kind of magic here, he's so full of surprises\\
He'll hypnotize like the lull of a lullaby
* CoversAlwaysLie: The Canadian version of the album had one less song than the US version... but some pressings claimed to still have that missing song, because the printers decided to just reuse the US cover, including the tracklist.
* CutAndPasteTranslation: The UK version of the album, which cuts out “Tidal Wave” and “Man in the Moon”, and adds “After All These Years”.
* DesperatelyLookingForAPurposeInLife: The protagonists of “Hound of Heaven”, who pursue “Hollywood flash, cash, mansions, and cars ... And for heaven’s sake, take this aching away.”
* {{Determinator}}: God is the “Hound of Heaven”, pursuing individuals relentlessly.
-->You can’t run\\
You can’t hide\\
From the Hound of Heaven\\
You’re free to choose\\
Can you refuse\\
The seeker of souls?
* DomesticAbuse: In “Horrendous Disc”, the husband is verbally abusive to his wife.
-->He's killed his wife with words, confident it's private rage
* DownerEnding: The album ends with the song “Horrendous Disc”. The lyrics are a paranoid, dream-like story about one’s hidden wrongdoings getting exposed. The music is minor-key, ending with a dirge-like coda.
* FailedASpotCheck:
** In “(Near Sighted Girl with Approaching) Tidal Wave”, the girl in the title sleeps through the warning signs of the coming wave, while everyone around her flees the beach.
** “On the Line” points out how the listener is constantly missing messages from God.
* FluffyCloudHeaven: “Sky King” invokes this with its description of God moving:
-->This is not a dream, you've taken flight, far above the world\\
You walk on clouds, you ride the light, far above my head
* GiantWallOfWateryDoom: In “Tidal Wave”.
-->It's a tidal wave \\
It's a watery grave\\
She really tried to swim\\
She couldn't in the end.
* GodIsLoveSongs: “I Love You #19” is a meta version, pondering both the difficulty of convincing your romantic interest that your feelings are sincere, and the difficulty of convincing other people that Jesus loves them.
* InMysteriousWays: “On the Line” is about how God constantly communicates with mankind, as much through the physical world as through Scriptures.
-->And when you draw back the curtain \\
He'll paint a pretty picture for you\\
And if a billion stars don't convince you, baby\\
He sent some letters signed His name with love, too
* LimitedSpecialCollectorsUltimateEdition: The 2007 reissue of the album could have been something really impressive, considering all the bonus tracks it had, many of which haven’t been released anywhere else. Unfortunately, it was a cheap reissue on CD-R’s, with home computer-printed liner notes. Reportedly, DA has been trying to put out a proper special edition for some years, but negotiations with Solid Rock Records have been slow.
* LoveMakesYouDumb: In “I Love You #19”:
-->Now if I said it real pretty in a pretty rhyme\\
Does your mind get cloudy that's a dirty crime
* LyricalDissonance: “(Near Sighted Girl with Approaching) Tidal Wave” is an upbeat, Beach Boys-esque pop tune--with lyrics ending in a watery grave.
* NewSoundAlbum: Goodbye, Daniel Amos the country band. Hello, Daniel Amos the pop-rock band. And this would be just the first of many abrupt style changes.
* NonAppearingTitle: “Horrendous Disc”.
* OminousChanting: The song “Horrendous Disc” ends with about a minute of wordless chanting.
* {{Robinsonade}}: The surreal “Man in the Moon” has a verse about being stranded on the moon, as a metaphor for being out-of-place in this world.
-->Man in the moon, I was shooting for a star much higher\\
Man in the moon, there's no life nowhere near\\
I'm dying to get out of here\\
Lord don't leave me high and dry, let me fly
* ScrewThisImOuttaHere: In “Horrendous Disc”, after the musician’s sins are exposed, he tries to run away from the problem, but that doesn’t help. He just runs into a billboard advertising all his wrongdoings.
* StockEpisodeTitles: While recording the album, Terry Taylor and Jerry Chamberlain visited a local record shop, skimmed through a recorded music directory, and found there were ''18'' different songs all named “I Love You”. Hence why DA called their song, “I Love You #19”.
----
