I’m pretty eclectic when it comes to music; I can enjoy at least some music from pretty much every genre, from Bach to bluegrass.

One of the high points of my year is the annual concert by The Nashville Symphony in Shelbyville. I’m on the local steering committee for this fun, casual community concert.

I have a special affinity for two singer-songwriters that I was first exposed to while I was in college; both are from the general area of contemporary Christian music, although at least one is dark and satirical enough to leave a lot of CCM fans scratching their heads.

Terry Scott Taylor is the focal point of two overlapping bands, Daniel Amos (sometimes called DA or Da) and The Swirling Eddies, and he also releases albums as a solo artist and is involved with the band Lost Dogs. Taylor’s music is heavily influenced by the Beatles and Brian Wilson, but his lyrics run the gamut, from a dreamy ode to the Second Coming (”Soon”) to a biting attack on self-righteousness, “Hide the Beer, the Pastor’s Here,” which drew the wrath of some of the Christian colleges mentioned in the lyrics. “Outdoor Elvis” lampoons modern society’s aching desire to believe in something — anything — by wrapping up Bigfoot and the Elvis-is-alive myth into a single character. “The Twist” uses poetic imagery to bring the crucifixion alive in modern terms, while “The Pool” is about the symbolism of being baptized. “Arthur Fhardy’s Yodeling Party” has no deep meaning whatsoever; it’s just joyfully silly.

The most famous Daniel Amos album, “Horrendous Disc,” might have been a crossover hit if it had been released when first recorded in 1978. But a dispute between the band and its record label postponed the album’s release until 1980. Even so, it’s achieved legendary status within Christian rock and was re-released in 2000 on CD. “Horrendous Disc” was followed in the 1980s by a series of four concept albums known collectively as “The Alarma Chronicles.” There’s a greatest-hits compilation called “Our Personal Favorite World Famous Hits.” “Mr. Buechner’s Dream,” released in 2002, is some of the best music they’ve ever recorded — a big two-disk set.

The Swirling Eddies, too, have a best-of album, “The Berry Vest of the Swirling Eddies.”

I’m also partial to Randy Stonehill, one of the early pioneers of CCM, whose career began in the 1970s and continues today. Stonehill also finds way to mix humor into his message, especially in his live performances, although he’s not quite as dark as Terry Taylor.