While all of his albums are pure genius, this is one of two that have really stood the test of time the best, and became the springboard for Taylor to delve into other roles as producer and video director.
The 1987 ‘big 80s’ production of ‘1990’ was far above and beyond the quality of his previous albums, even though the songwriting both lyrically and musically was just as good.
The production by both he and David Perkins (Rick Cua, Randy Stonehill and collaborated with Taylor in Chagall Guevera) gave this an edge while keeping a solid polish. This effort helped showcase Taylor as a top-notch producer, and was part and parcel to helping convince The Newsboys that he was the right choice for them to develop as artists on their 1992 “Not Ashamed” album and others.
And speaking of production, the accompanying long-form video which Taylor directed, also proved that he was just as talented in the video genre as well. The videos were the best set of CCM concept videos of the era. They, too, have stood the test of time just as well as the album itself.
So between his audio production and his video production for this album, Taylor found himself springboarding into directing videos for other artists in the ’90s as well as producing for artists beyond The Newsboys, including Guardian and Sixpence None the Richer (and their hit song “kiss me”).
With all of its successes, ‘1990’ got Taylor into a bit of trouble. His ‘tarot card’ -looking album cover with the ‘I predict’ title and his album opener “I blew up the clinic real good” made people scratch their heads and wonder where in the world he was coming from. Of course (and unfortunately) Christians once again showed their lack of artistic interpretation and took this satirical artist a bit too seriously. In addition to “I blew up the clinic,” this album has other classics such as the warning over giving ourselves over to controlling people in “Svengali;” the critical look at atheistic indoctrination at colleges in “Since I Gave Up Hope (I feel a lot better)” and a look at our culture’s fascination with idolizing dead rock stars in “Jim Morrison’s Grave.”