By 1983, Petra was riding a wave of success. With Never Say Die and More Power to Ya, the band had finally found stable footing in the Christian music market in album sales as well as radio. They hit the studio grindstone soon enough, returning to work with producer Jonathan David Brown to put out Not of This World. For the most part, Petra picks up where they left off with More Power to Ya, using a similar style and themes. The album art also continues the guitar spaceship motif (which fits a little more with this album title). In multiple ways, Not of This World feels like a sequel to a hit movie, nailing many of the same beats as its predecessor.

That’s not to say it’s a complete copy and paste job, however. There are little hints of experimentation to be found. The main one is in the instrumental tracks that bookend the album. “Visions (Doxology),” and its reprise, allow keyboardist John Slick to play around with the latest synth technology while opening and closing the album with a space-aged feel. An increased synth presence persists throughout the record, hinting at where Brown would push the band in their next effort. There are also other little attempts at pushing the band’s creative boundaries, such as a bass solo for Mark Kelly on “Blinded Eyes” backed by bongo drums. Session drummer Keith Edwards also took the sticks for most of the record in place of Louie Weaver, giving the rhythm section a little more energy. Another creative choice that was made was utilizing unusually quick fadeouts on a couple songs. It’s noticeable on “Grave Robber,” but egregious on “Lift Him Up,” where it fades out halfway through the final chorus. Not sure if this was done to save space on the vinyl, but it feels like it clips the tracks too soon and takes the listener out of the moment.

Thematically, Petra continues to encourage the Christian listener to persist in the faith. The title track notes our strange place in the world, but doesn’t advocate aloofness with lines like, “We are envoys/We must tarry/With this message/We must carry.” “Bema Seat” looks to the end of time when our works will be judged, encouraging believers to stay the course in good works (not for salvation, of course). Other tracks, like “Not By Sight” and “Godpleaser,” further promote a life of faith in an unbelieving world. There are some digressions from the usual themes, though. “Grave Robber” is, perhaps, the best song about death ever written, weaving together scripture references with common comfort. “Pied Piper” is another standout, going after TV preachers who are just in it for the money. “Blinded Eyes” is the gospel track of the album, though it comes at its message from a more confrontational angle. What’s noticeably missing is a Greg X. Volz-penned praise track. I’ll leave it to the listener to decide whether that helps or hurts the album.

In many ways, Not of This World feels more cohesive and complete compared to its predecessor. The sound carries more energy, likely born from more experience playing live. In spite of that, what it lacks compared to More Power to Ya is that intangible “classic” element. Rather than feeling settled, Not of This World takes bigger swings, trying not to be a repeat of Petra’s previous record. Most of those swings work, but there’s little things here and there (fadeouts, track order) that hold the album back — in this reviewer’s mind, at least — from reaching the same “classic” feel as More Power to Ya. Still, Not of This World is a pillar in Petra’s catalog, producing a number of radio hits and fan favorites. It only further cemented the band’s place as CCM’s premier Christian rock group of the ’80s.

– Review date: 12/2/25, written by John Underdown of Jesusfreakhideout.com