Billy Sprague

Item: The Wind and the Wave
Author: Steve Timm

The Wind and the Wave

(1993)

Reviewed by Steve Timm

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Label Benson Music GroupThe LighthouseMarch 1994

ccm pop pop rock

The Wind And The Wave is Billy Sprague's latest effort to "Press on, mi amigo," as it says in the lead cut. Production is a combination between Billy Sprague, Chris Harris, and Wayne Kirkpatrick. Sprague wrote most of the songs on his own, with Wayne Kirkpatrick assisting on one track, and Jim Weber contributing another.

Christine Denté adds a visible and well-blended second vocal to "A Way Back." Kelly Willard joins in "The Blessing of the Fleet," while Ashley Cleveland and Phil Madeira join on "When Nothing's Sacred." Studio musicians include John Hammond on drums, Jimmie Lee Sloas on bass, and Gordon Kennedy and Sprague on guitars.

Billy Luz Sprague still has the middle name that he took after the death of his late fiancee, and some memories from that time show up in his songs, which always are intensely personal (see his previous album, Torn Between Two Worlds for the whole story.) But on the whole, this album is the story of a life that is moving forward again in an upbeat way. As usual, the lyrics hit home, particularly those of "When Nothing's Sacred." "People need identity/But are satisfied with titles/They need true courage/But bravado looks sincere/People need a living God/But seem content with idols/People need a destiny/But settle for careers."

Billy explores his Paul McCartney/Beatle-esque musical roots on the album with songs like "I Saw a Blind Man," which he wrote in 1975, and "Whatever Happened To Love," which he describes as a "Grass Roots meets Beatles meets Motown" type of style. There are several spots where he really approaches a McCartney sound. "Mona Lisa Said" is a song that is as enigmatic and artful as the picture itself. It appears once in full and again in reprise to end the album. "Kumquat May" is a celebration of "munchkin logic"-seeing the world through the eyes of a child.

In many places on the album, Sprague shows a strong similarity to Phil Keaggy, vocally, and even musically, with some nice subtle guitar work. In terms of lyrical content and production quality, this is his best album ever. It serves as a valuable testimony of the healing power of God in Sprague's life, and it's also enjoyable music.