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Big God is a 1991 studio album by Christian music vocal group The Imperials and is their second album released on the Star Song label. The personnel line-up for this album consists of Armond Morales, David Will and two new singers Jonathan Pierce (who was credited on the album by his birth name Jonathan Hildreth. Pierce is his middle name.) and, in an Imperials first, Armond's sister Pam Morales. Morales would be the first and only female member of the group. Morales and Pierce replaced Ron Hemby and David Robertson whom both previously appeared on the 1990 album Love's Still Changing Hearts. Jason Beddoe was with the group temporarily but he left the group while in the midst of recording Big God so Armond brought Pam to fill in for Beddoe. This line-up would stay on until their next album Stir It Up (1992). Big God peaked at number 22 on the BillboardTop Christian Albums chart.
Track listing
No.
Title
Writer(s)
Length
1.
"Big God"
John Olson, Terry Esau
6:12
2.
"Take Me There"
Bill Cantos, Julius Drummin, Ty Lacy
4:30
3.
"Nothing Less"
Gary Driskell, Leonard Ahlstrom
5:26
4.
"What Can I Do with This Love (Woman at the Well)"
Kristin Wilkinson – string arrangements and conductor
John Catchings and Bob Mason – cello
Jim Grosjean and Gary Vanosdale – viola
David Angell, Conni Ellisor, Carl Gorodetzky, Lee Larrison, Ted Madsen, Laura Molynlaux and Pamela Sixfin – violin
Leah Jane Berinati – vocal arrangements (1, 2, 4-9)
Mark Pagen – vocal arrangements (3, 10)
Production
Armond Morales – executive producer
Ken Mansfield – producer, arrangements
Bryan Lenox – first engineer
John Kuniz – second engineer
Brent King – overdub engineer
Milan Bogdan – editing and sequencing at Masterfonics (Nashville, Tennessee)
Stephen Marcussen – mastering at Precision Mastering (Hollywood, California)
Toni Thigpen – creative direction
Gina Binkley – design, photo illustration
Mark Tucker – photography, photo illustration
Michael Tyler – make-up
Critical reception
Phil Thomson of Cross Rhythms gave Big God 8 out of 10 saying "the choice of songs, the gutsy production, soaring quasi-black vocal leads against disciplined harmony, insistent percussion and a real sense of purpose - just enough drama to imbue the set with urgency, you have to rise above the penchant for oh-so-sincere build-up on one or two tracks, treatments which, in any other context might slip into parody. To their credit, they have been economical with the strings. There's significance in the label - Star Song Communications - where so many other acts dish up elevator music, this quartet really does communicate."
