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In 1983, the fledgling Contemporary Christian Music scene was dominated largely by inspirational pop and behind-the-times rock bands. Amy Grant was still a rising star and virtually no one had heard of Michael W. Smith. Suddenly, a young twenty-something emerged with his debut EP, I Want to Be a Clone, armed with a relevant new wave rock sound and lyrical wit that challenged Christians to consider their faith and actions.

Steve Taylor (left) gives direction to actors in the new movie,The Second Chance

That artist was Steve Taylor, who went on to become one of the most important Christian artists in the next two decades—half that time in a solo career, including an all-too-brief stint with the mainstream band Chagall Guevara. Since then, Taylor has made an impact as a producer, record label executive, and music video director. But it's been ten years since his last album, and his Squint record label—once home for Sixpence None the Richer, Burlap to Cashmere, and Chevelle—folded. We wanted to know what he's been up to, so we caught up with Taylor in Nashville, where we looked back on his contributions to Christian music and ahead to his first feature film, starring another Christian music legend.

What Christian music trends have impressed you most in the last 20 years?

Steve Taylor I read an article about a year ago that interviewed some A&R people at major [secular] labels. They were talking about how they were seeking out Christian rock bands to sign because they tended to be the better bands. Apparently it's due to the circuit we've developed through churches, coffeehouses, and things like that, where rock bands have grown up in a performance environment and are better for it.

The idea that major labels are specifically seeking out Christian bands because of superior talent is really a mindbender, though it kind of makes sense because it is such a fertile ground for breeding talent. With under-funded public education and artist programs, I suppose it's one of the few common outlets for people to gain consistent musical experience. So it really impresses me that Christian music continues to expand, and that there's less of a stigma attached to it.

What do you consider your best work in your years as a solo artist?

Taylor I feel like I was a pretty slow learner. As I've dabbled in different aspects of the entertainment business, hopefully I didn't jump into something where I was completely incompetent, but I never felt that I jumped into something thinking I'd ever make a masterpiece either.

It's hard for me to listen to I Want to Be a Clone and Meltdown—there are songs in there that I think are fun and good, but others where I wonder today what I was thinking. I think the albums got better with time. Probably the Chagall Guevara album and Squint are the two pinnacles for me that I can still listen to today without squirming.

Most remember your solo work for your honest, witty, and satirical writing. How naturally did that come to you?

Taylor (Smiling) Yeah, the satire probably came a little too naturally for me. I think there was an aspect of that which probably garnered attention because it was Christian music—when you're working in a small enough pool, it's easier to make a big splash.

That's part of the reason for starting Chagall Guevara or taking a chance signing a band like Sixpence None the Richer [at Squint]. You just want to find out if what you're doing is competitive on a broader level. That's part of the reason I got into production—to learn more and more about making records through experience.

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