One of the most surprising developments for fans of contemporary Christian music would be the prospect of Russ Taff covering a song by the band The National. Even more unexpected is the fact that Taff has chosen to perform a track titled “Demons” on his latest album, “Cover Story.” This project is entirely comprised of CCM star Taff interpreting secular songs from artists like Paul Simon to Duran Duran, all delivered in a raw, bluesy style that diverges from his traditional sound.
“Cover Story” was initiated by executive producer Steve Taylor, another notable figure who rose to fame in the Christian rock scene during the 1980s, albeit with a distinct artistic approach. While Taylor was known for his alternative rock style, Taff gained recognition for his powerful vocals after transitioning from the vocal group The Imperials to a successful solo career. For those familiar with their respective beginnings, it may appear to be an unconventional collaboration. However, Taylor has shifted his focus from being a recording artist to a producer, creating a vision where Taff could redefine his sound in this later stage of his career, much like how Rick Rubin guided the legendary Johnny Cash. The resulting album showcases Taff’s striking covers of songs by Prince, Bill Withers, U2, and Depeche Mode, emphasizing grit over gloss.
The earthiness of Taff’s sound is a fitting evolution, especially as he has recently captivated his audience with a candid memoir and discussions about his previously hidden struggles during appearances like the “Soft White Underbelly” interview series. Raised by an abusive and alcoholic Pentecostal preacher, Taff ultimately battled alcoholism himself, grappling with the shame from his traumatic childhood. His journey of recovery and his commitment to authenticity in addressing these challenges stands in stark contrast to the ongoing scandal surrounding Michael Tait in the Christian music community, illustrating that even Christian music stars can confront and admit their personal demons before external pressures force them to do so.
This Saturday night, Taff and Taylor will perform at the Mulehouse, a renowned House of Blues-style venue located just outside Nashville in Columbia, Tennessee. This event is a celebration of Taff’s album “Cover Story,” with Taylor joined by his former band Chagall Guevara as the opening act. This all-star group recorded for MCA in the early ‘90s and has rarely reunited since. Given that Taff’s appearance at Chagall’s last reunion concert inspired the concept for “Cover Story,” this double-bill feels like a natural fit.
Taff and Taylor connected over Zoom this week to discuss with Variety what this exciting collaboration means to them.
How did this unique collaboration come into being?
Taylor: Three years ago, my old band, Chagall Guevara, held a reunion show at the Ryman Auditorium. Before that, we hadn’t performed together in 30 years, and we haven’t performed since. During that event, we organized an after-party at Jack White’s club in Nashville, the Blue Room, where we promised to have some special guests join us for a jam. We invited Russ, and… well, Russ, you might want to cover your ears for this part. I hadn’t heard him sing in a long time, and while he was always one of my favorite artists, I assumed that with age, singers lose some of their skills. We had planned for Charlie Peacock to join us to perform “Down on the Lowlands” from his late ‘80s album, but when Charlie fell ill, Russ stepped in last minute and delivered a breathtaking performance. He brought the house down and lifted us all spiritually. I don’t identify as Pentecostal, but at one point, I found myself waving my hands in the air. It was an incredible experience, and it was evident that Russ still had it.
Afterward, we all thought he should make an album to showcase that talent. We were inspired by what Rick Rubin achieved with Johnny Cash later in his career through the American Recordings series. That’s when the idea for the album first emerged. This is why the members of Chagall Guevara thought it would be fitting to perform with Russ to return the favor after all these years, leading to their appearance on the bill at Mulehouse this weekend.
Taff: I’m genuinely moved by all of this; I’m starting to tear up.
When you were prominent in the Christian music scene during the ’80s, did you and Steve ever cross paths? It seems unusual that you would have been in the same circles. Steve, people perceived you as having a more diverse and satirical approach to your music, while Russ, your style was more straightforward. How did you both view each other during that time?
Taylor: I’ll start because I have a great story. Russ and I always got along well, and I admired his work. We were labelmates for a while on Myrrh Records. There was even a time when Russ generously let me stay at his home in Nashville while we were working on the “I Predict 1990” album. We performed together once, I believe in Oklahoma City, where I opened for him. After the concert, the local Christian radio station set up a post-show interview in the lobby and asked audience members about the performance. It’s not an exaggeration to say that at least ten people expressed their love for Russ Taff while dismissing anything I did. The radio station even sent me the video of that segment. [Laughs.] That was probably our only concert together.
Taff: We had our share of record release parties and other events. However, during those years, I didn’t have many friends because I was constantly on the road. Yet, I’ve always been a massive fan of Steve’s. I’ve said for years that he is one of the most creative people I’ve ever met, not just in music, but in everything he touches. He’s a remarkable artist with a unique perspective. Although I admired him from a distance, it wasn’t until this project that we really started laughing together and sharing stories. Working with him has been a genuine pleasure for me.
When Steve approached you with this idea for an album, were you immediately receptive, or did you feel like, “I appreciate your ideas, but that’s not really my style”?
Taff: I’ve been pretty open about my experiences in recent years and had been contemplating creating an album that reflects various situations from my life and my journey. So when Steve and John approached me, saying, “We’re interested in doing this,” it intrigued me. However, it wasn’t until we got into the studio that I realized the extent of the challenge. I’m an old road dog and have my preferred way of doing things—specific microphones and compressors that I like to use, and I like to sing with a full band. But Steve said, “We just want something honest and real, you singing without overthinking it.”
To be honest, after a couple of songs, I became frustrated. I felt like I couldn’t grasp what this was or how it was evolving, and I questioned whether I wanted to continue. I wasn’t comfortable. However, this discomfort ultimately led to discovering powerful performances. I met with Steve during my frustration, and he reassured me, “Russ, I won’t let you embarrass yourself.” I had never made an album like this, with such stripped-down instrumentation and raw emotion. I had trust in Steve from our previous encounters, so when he said that, I decided to embrace the process and go for it.
Beyond the overall concept and mood for the album, one major difference is your vocal style, particularly singing in the lower part of your range, which isn’t the Russ Taff fans remember. Was this adjustment part of what made you feel uneasy?
Taff: Typically, since my time with The Imperials, everyone wanted me to sing as high and as powerfully as I could. That’s what people gravitated to, until this album. John and Steve suggested, “Let’s try something unprecedented. Let’s explore the lower register that you’ve seldom used on an album.” I was unaware of those vocal colors within me. I had never heard myself sing like that. As I began to explore that passion in singing lower, without relying on belting, I was amazed at the emotions I could convey. I started to appreciate what they were doing with my voice and how they placed me within the track, allowing me to soar to higher notes and then come back down. It was truly a joy to listen to the final product and realize the depth of my lower register.
Your voice carries a unique blend of strength and vulnerability throughout this album. You’ve been open about your struggles, especially following the documentary about you a few years ago and the podcast you participated in last year. Many people are now familiar with your story and the challenges you’ve faced. How much of this album reflects that emotional journey and your desire to connect with listeners who have experienced similar hardships?
Taff: Please, Steve, go ahead.
Taylor: As we sifted through potential songs for the album, each choice felt significant. Russ had a hand in selecting many of the tracks, and we felt that each song fit perfectly within the narrative of “Cover Story,” telling Russ’s journey through these cover songs. I think the last one we chose was the track from The National. His older audience may not entirely appreciate Russ Taff singing a song titled “Demons.” However, after Russ and I connected during a challenging moment for him, the thought of that song came to me because I adore The National and particularly love that track. I called him and said, “Hey, check out this song. What do you think?” I believe Russ’s response was quite swift, right?
Taff: Yes, because it resonated with me regarding addiction and relapse. That’s how I interpreted the lyrics, reflecting those times in my life when I would fall back into my demons and return to where I started. When I heard that song, Steve… you know, I’ve been in therapy since I was a child, but it’s remarkable how quickly we can be triggered by something. My mother, before she passed, would call out my name, “Russell,” and suddenly, I felt like a 14-year-old again. I would climb out of those dark moments only to find myself back in that pit, grappling with my demons once more. Despite the fact that many in my audience may not relate, a significant number do understand. In fact, I’ve experienced less backlash than I anticipated regarding this song. If you know my story, you comprehend the song’s depth.
Is there a particular track on the album that you found especially challenging to sing, whether vocally or emotionally?
Taff: Absolutely, many of them. When “The Sound of Silence” by Paul Simon was suggested, I had never sung anything like it before. It reminded me of how having some sobriety under my belt can quickly lead to relapse, as I walked back into that familiar darkness. It felt like, “Hey, darkness, my old friend.” That was emotionally intense for me to perform.
Moreover, the song “I Will” contains the line, “If you need someone to cry with you, I will.” Making that statement towards the end of my career to everyone around me… you know, when you reach a certain phase of life and have had maybe five close friends… I’m not dying yet, but it’s a reflective moment. That song “I Will” held special meaning for me to sing. And of course, I adore the U2 and BB King collaboration, “When Love Comes to Town.” I mean, I get to dance around like a Pentecostal during that one.
Steve, are there any specific songs on this album that resonate with you deeply?
Taylor: I’m not the best person to ask since I genuinely love this album. “The Cross,” Russ’s cover of the Prince song, hits me every time. “I Believe in You,” the Dylan track… Russ, you felt a personal connection to that one, didn’t you?
Taff: Oh man, that’s the song I had to stop three times because I was crying. It was a profound declaration from my heart: as I distance myself from past struggles, I want to follow Christ—that’s my desire. Singing that track felt like I was affirming repeatedly, stepping out of the darkness I’ve faced, even when I stumble and fall, I’m still declaring, “I believe in you. Help me.” That was the one song that brought me to tears multiple times, and I had to pause during the recording.
Taylor: Another track I love performing for audiences is “Tear This Building Down,” because it showcases Russ’s lower register beautifully. I enjoy witnessing people’s reactions as he builds up to higher notes and nails them. “Grandma’s Hands” is another song that you made your own, as it truly felt like your story.
Taff: Right. Of course, that’s a Bill Withers tune, but we revised the lyrics. Growing up in a household with a Pentecostal preacher father who was also an alcoholic, you learn to hide the truth, telling people “Daddy’s okay” when he’s really passed out drunk in the back room. The only one who understood the situation was my grandmother. She lived just behind our house, and from the time I was around eight, nine, ten years old, I would visit her. She was a lovely old Pentecostal woman, and she’d lean down to brush her long grey hair before putting it up for church. I could confide in her about my fears, and she would always say, “Russ, God’s got this. Just keep trusting Him.” I have always cherished that song, and although I considered recording it a decade ago, I wasn’t ready then. With this album, I had the chance to rewrite the lyrics to honor her memory. She passed away when I was 12, and I felt lost for quite some time. This project allowed me to express my gratitude to my grandmother.
Taylor: John Painter is the album’s producer, and he truly is the genius behind this work. He was a fan of Russ’s music as a teenager and knew all of his albums inside and out. Over the years, he and Russ attended the same church, led by Becca Stevens, who founded Magdalene House. Therefore, John had the opportunity to hear Russ perform in a church setting, giving him a unique perspective on how Russ sounds in a fully produced track versus stripped down to just an acoustic guitar.
Russ, how has your audience reacted to this album, and to your openness about your experiences in recent years? You participated in an interview for the “Soft White Underbelly” YouTube channel last year, where you shared your family’s story candidly, and that video has garnered over half a million views. The feedback has been predominantly positive, though a few viewers mentioned being caught off guard by the swearing. Do you believe your followers were prepared for this level of honesty?
Taff: Most of my audience knows that I attend AA, so I’ve picked up a few colorful phrases from those meetings. When I participated in that interview, it was just me and Mark Laita in the room. Given the stories that Mark tells, I thought, “Well, there probably won’t be many Christians tuning in.” However, I discovered that many Christians were indeed watching. When I returned home and reflected with Steve, I realized, “Oh my Lord. I let a few words slip.” Surprisingly, I didn’t receive much backlash.
When you let go of religious constraints, which I have, and strive to be authentic, you become earthy, wanting to tell the truth. I have a strong disdain for religiosity because I believe it robs people of a genuine spiritual experience. Therefore, I wholeheartedly embraced this album. The response from long-time followers has been mostly positive, with only a small amount of criticism. I often say, “If you don’t like it, I didn’t create it for you.”
Are you still actively touring?
Taff: Not really. I don’t tour as extensively as I used to. There was a time when I was on the road for about 290 days a year for 20 years straight. After we had kids—given that we were married for 15 years before starting a family—I aimed to save enough money to ensure I wouldn’t always be away from home when they arrived. Now, I typically perform just one or two weekends a month, and I plan to spend three weeks touring in Europe this June. I still make it over there about every two years.
How do you envision integrating the material from “Cover Story” into your regular sets during performances, especially with secular songs mixed in with spiritual ones?
Taff: When the music is genuine and heartfelt, people respond positively. Spirituality isn’t a formula; it’s about what comes from your heart and what you receive from above. It doesn’t have to be filled with gospel lyrics and scripture all the time. I’ve experienced life-changing moments at a football game; it’s not necessary to be confined within the four walls of a church. I’ve accomplished everything I ever wanted to do, and I refuse to waste time worrying about criticisms or those who might say, “I just don’t like what you did.” Well, I don’t care. I’m doing what I want to do and believing in these songs. If you don’t like me, I’m not going to return to your church. I’m not concerned about that.
Any final thoughts on your friendship and how it has evolved? As you mentioned, you didn’t spend a lot of time together back when you were both emerging in the industry, but now you have this opportunity to reconnect after all these years.
Taff: Let me just say that when I call Steve, he answers.
Taylor: That’s right. Getting to know Russ on a deeper level has been incredibly enriching for me. Having faced challenges in recent years with extended family members dealing with addiction issues, Russ has offered me insight and prayers for those family members. It’s the kind of support you hope for. Moreover, he’s just a wonderful person. I truly enjoy our conversations, learning from him, and appreciating his wisdom. Working with him has been a joy, and I’m very grateful for that.
Taff: I feel the same way, Steve. I truly do.
