This one hour mini-movie is built around six state-of-the-art concept music videos by the rock band Petra, featuring songs from the album Beyond Belief. The movie features cameo appearances by Petra band-members John Schlitt, Bob Hartman, John Lawry, Louie Weaver and Ronny Cates, who interact with Chad in one of the movie's videos. The Beyond Belief Video Album is a trend-setting visual achievement, and a powerful testimony of God's faithfulness and love.
Beyond Belief is the twelfth studio album of the Christian rock band, Petra. It was released on June 20, 1990. In this album the band continues to polish the hard rock/arena rock sound the band had been working on their previous efforts before their praise album (On Fire! and This Means War!). As of late 2011, this is the band's most successful album both critically and commercially, and it is considered by most to be the peak of their discography. The album won the band their first Grammy after five previous nominations, and was certified gold on October 3, 1995.
In the jazz world, Vienna is about as far from New York's Lincoln Center as you can get. It follows that Mathias Rüegg's Vienna Art Orchestra has about as much in common with Wynton Marsalis' Lincoln Center big band as a Sacher torte has with a Hostess Cup Cake; while they share some ingredients, the Austrian product satisfies on a more profound level. By the turn of the century, the Lincoln Center paradigm defined the jazz big band as a finished concept – locked into the past, serving mostly as a repertory ensemble. The VAO, on the other hand, while hardly ignoring traditional jazz verities, lives in the present and looks to the future.
It's clear that Tommy Conwell & the Young Rumblers were given a bigger budget on his second album, 1990's Guitar Trouble, a record that has clean, slick punch thanks to Dwight Yoakam producer Pete Anderson and star cameos from the likes of Chuck Berry pianist Johnnie Johnson. Anderson's presence and his drafting of Johnson conspire to give Conwell a roots rock credibility he never aspired to in the first place, probably because he was writing boogies like "Let Me Love You Too" to get the barroom rocking – and when he wasn't doing that, he could toss off a bit of Sun rockabilly in the title track or turn introspective in songs like "I'm Seventeen," an angst anthem that plays like shorthand Paul Westerberg.