credibility, proving Petra could play multiple styles of music and appeal to more than just the "radicals" in Christiandom. 1980–1985: The Greg X. Volz era Though the band had scored a hit – "Why Should the Father Bother?" was the 16th-biggest Christian radio single of 1979 – Washes Whiter Than was not a big seller, thanks largely to distribution problems that left many copies of the record out of stores until demand for the product had subsided. Still in search of a breakthrough record and restricted by finances from touring nationally, Frazier left the band, leaving just Hartman and Volz, whom Hartman had hired as the full-time lead vocalist. With no record sales, no way to promote the albums nationally and barely any band, Hartman considered breaking up Petra. Instead Hartman met Mark Kelly, a former lead vocalist and bassist for the band One Accord, and keyboardist John Slick at a Bible study and, after setting up a jam session, hired them to join him and Volz. Yet the two most important additions Petra made in 1980 did not play an instrument or sing a note for the band. With Petra having established its radio bona fides and refocused its lyrical message, Star Song looked for a producer who could take the band's fourth album back to its hard rock roots, hiring Jonathan David Brown, who had successfully produced albums with radio hits by fellow Jesus Music bands Daniel Amos, Sweet Comfort Band and Parable. Additionally, Petra hired Mark Hollingsworth, who had experience in the secular music industry, to manage and promote the band. Never Say Die (1981) The four band members and studio drummer Keith Edwards recorded Never Say Die and released it in 1981, with the first single a song originally written and performed by Volz's old band. "The Coloring Song" was Petra's big break, rocketing to the top of three Christian radio charts (rock, adult contemporary, inspirational) and reaching the top five of a fourth (southern gospel). Other songs – including the haunting "For Annie", a song about teen suicide; the rocking "Chameleon"; and the controversial "Killing My Old Man" – became audience favorites. Sporting a heavier, more polished sound in the vein of Foreigner, Styx or Kansas, Never Say Die became the breakthrough album for which the band and its label had hoped, receiving rave reviews. CCM Magazine compared the band's new sound to Boston's, praising