The 100 Greatest Albums in Christian Music — #55: Adam Again, Ten Songs By Adam Again (1988)

Intro

Appearing at #55 in The 100 Greatest Albums in Christian Music, Adam Again’s Ten Songs By Adam Again (1988) captures a moment when craft and conviction aligned. It remains a touchstone for how faith can sing with both sincerity and skill.

The Album in Context

Every era of CCM faces a choice—chase fashion or distill conviction. This record chooses distillation, tightening arrangements around songs that breathe and testify. The performances feel lived‑in, balancing studio discipline with the kind of spontaneity that keeps the spirit near the surface.

Production choices serve the lyric: rhythm sections support without crowding, textures color without clutter, and vocals sit forward so the message lands plainly. Tempos and dynamics are purposeful, guiding the ear through confession, celebration, and calls to perseverance. You can hear musicians listening to one another—and to the text.

Within the scene, the project expanded what faith‑forward pop could sound like while honoring the church it came from. It gave emerging artists a template for excellence without excess, and it offered listeners songs durable enough for both weekday commutes and Sunday sanctuaries.

Standout Songs

• “Tree House” — A defining cut that captures the project’s blend of conviction and craft. Its arrangement invites repeated plays while the lyric turns familiar doctrine into lived devotion.
• “It Is What It Is (What It Is)” — A defining cut that captures the project’s blend of conviction and craft. Its arrangement invites repeated plays while the lyric turns familiar doctrine into lived devotion.
• “Eyes Wide Open” — A defining cut that captures the project’s blend of conviction and craft. Its arrangement invites repeated plays while the lyric turns familiar doctrine into lived devotion.

Why It Matters

Artistically, the album shows how intentional limitations unlock clarity—parts interlock, hooks carry weight, and performances put the song first. The result is a body of work that sounds confident without bluster, memorable without pandering.

Historically, it helped mainstream audiences hear church language sung with radio‑ready grace. The record’s fingerprints appear on worship sets, songwriting workshops, and the broader sound of Christian pop that learned to value both excellence and empathy.

For listeners, these tracks became companions for transition seasons—weddings and funerals, road trips and quiet rooms. They testify that faith is not only proclaimed from pulpits; it’s carried in melodies people hum while doing the dishes.

What’s Next

Tomorrow on The 100 Greatest Albums in Christian Music countdown, we continue with #54 — Take 6, Take 6 (1988). Be sure to catch the companion podcast episode of The CCM Professor with Greg Rice, where we connect the dots between these landmark recordings.
 

Soli Deo Gloria!

This post is part of the series The 100 Greatest Albums in Christian Music, celebrating the artists and recordings that defined a generation of faith-filled creativity.

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