David Meece Takes Us On His Odyssey | Posted July-19-2013
With the exception of a release in 2002 and another compilation a few years later, this was the final official release from David Meece. It’s a "hits" compilation of sorts, but it misses a little too much to be considered a "greatest" hits collection. Indeed, with the exception of 1 radio edit from each of his previous 2 albums, they aren't represented here at all. Instead, this collection seems to toss a bunch of Meece's older hits into one collection. While this might make the flow a lot more jarring, it's a definite comprehensive collection of the best Meece had to offer prior to Learning to Trust.
The album's hits include the Mozart-inspired "Falling Down," the Bach-inspired "You Can Go," the passionate "Higher Ground," and the Good Friday ballad "Forgiven." All of these are fine examples of Meece's fine songwriting. The Christmas classic "One Small Child" finally gets an official release on a Meece album. Meece wrote this song when he was a teenager, I believe, and it became a classic covered by many other artists. It's almost ironic that Meece's recording of his own song isn't better known. The classical influence is on powerful display here, and despite it being a Christmas tune, it fits right in thematically and musically is a treasure of an inclusion.
The classic rock "Tumblin' Down" provides a higher-energy moment on the album and is an excellent example of Meece’s ability to shake things up. "His Love Was Reaching" is another classic Meece ballad. But Meece's signature ballad that has been covered many, many times and is arguably his most well known song is the powerful declaration of Christ's love for us "We Are The Reason." This one can also double as a Christmas song, and often does in many covers. With its profound chorus, it's truly a lyrical gem: "We are the reason that He gave his life / we are the reason that He suffered and died / to a world that was lost, He gave all He could give / to show us the reason to live."
The new song from Meece’s previous compilation returns here and is a great inclusion. Truly "Seventy Times Seven" is probably one of Meece's better-known songs. Rightfully so due to its intense, rocking delivery and timeless theme of Christ's famous teaching on how often we are to forgive, and how we need Christ to forgive us. With a piano-driven melody with a splash of Latin flare, the song is one of Meece's most unique, but the pre-chorus establishes the song as a Meece classic. Lyrically, it’s also one of the stronger offerings on an already deep album, with profound and personal words such as "This prison has no walls / This bondage has no chains / My memories have no mercy / There's no one left to blame/Wish I could force back / The hands of time / And right every wrong / Grant me just this one last chance / Before it's gone, gone, gone."
As great as all of these hits are, the greatest inclusion on this album is arguably the album's sole original cut, the opening track "God’s Promise/Rainbows in the Night." Following in the tradition of Meece songs being inspired by a classical piece, this song is built around what is perhaps one of the most famous pieces of classical music today, Pachelbel's Canon.
The song is a dynamic and breathtaking roller coaster ride, balancing the soft and loud to perfection. The chorus singing of God's promises to us is one of the most memorable in Christian music history: "God's promises are rainbows in the night / Shining hope inside when shadows cloud my eyes / His promises are rainbows in the night / Guiding through the darkest times / God's promises are rainbows in the night." If you listen to nothing else in Meece's catalogue, check this one out. That will be harder as this is one album of his that isn't available for download, to my knowledge. But this song is a true underrated treasure of Christian music.
How Does The Music Hold Up?
All of Meece's music is arguably quite dated, taking many influences from the times it was released in. Yet, it also speaks to timely themes and thus should have lots of relevance to us today. The classical elements likely make the music more "timeless" than dated, as they’d always sound a tad out-of-place. Some of the ballads still hold up terrifically as well. So it's a bit of a mixed bag. Many of these songs could definitely still fit in with today's music, many are pleasant throwbacks, and many are just grand pieces of music that transcend musical trends. Meece is a fine musician and his music still offers much for us today.
What's Meece Up To Since?
Meece still writes and plays a decent amount of shows. He hasn't released an album since 2002, but I’ve heard he's hoping to release more music with the songs he's written lately. He might not be on the frontlines of CCM anymore, but he's still there on the outskirts of the industry poised to hopefully deliver more classic tunes.
Closing Thoughts:
As greatest hits albums go, this is a worthy collection. While it misses most of the previous two albums (which should be bought on their own anyway), it covers most of Meece's biggest hits and its new song is one of the best Meece ever penned. Odyssey is one hits collection worth checking out.
Song to Download Now:
I don't believe this is available for download but if you can somehow find it one day: "God's Promises/Rainbows in the Night"
Skillet Rises Higher than Ever with the Best Rock Music of the Year | Posted July-16-2013
There aren't many bands left that can be called true powerhouse headliners, but Skillet is one of the few and by far one of the most memorable. Their signature symphonic rock sound is arguably one of the most defining and legendary sounds of this Christian rock era. Furthermore, their live show is increasingly stronger with every passing year. Their sound has been one of the driving influences of the Christian rock genre.
With a growing rabid fanbase of "panheads," Skillet, coming off their first platinum album with Awake, is finally ready to release another genre-defining album in Rise.
It's been almost four years since Awake graced our ears and met with a fairly mixed response. While it was by far Skillet's most successful endeavor ever (solidified by the aforementioned Platinum status, plus a slew of smash hit singles on mainstream rock radio), it was also the one that met with the most backlash from critics and some longtime fans for sounding too generic and too much like a Comatose sequel.
While I never subscribed to those views, I did have high hopes that Skillet would alleviate any worries with their follow-up record. And now that it's finally with us, I can breathe a sigh of relief in knowing that not only does Skillet still have it, but they're bigger and better than ever.
The album opens with the gritty and powerful title track, "Rise," which is a call to action for us today as we struggle to survive "in a world gone mad." The song sets the tone perfectly for the theme that permeates the entire album. Rise stands as Skillet's first concept album about a teen growing up in our modern, troubled world. This title track perfectly sets up the conflict and gives hope that we can fight back against it.
It's almost spooky knowing that this song, and the others, were largely written before the tragedies in Sandy Hook and Boston reminded us that evil is alive in our culture. It's so easy to take tomorrow for granted, but so often "yesterday is gone, faster than the blast of a car bomb." The lyrics have proven themselves very relevant for our time given the events that have unfolded in recent years, or even since the song was initially written.
Musically, the song is a great balance between the orchestral rock and edgy rock sounds the band is known for, and an appearance of a children's choir really makes it impossible to define the song as anything but epic. The song ends in a transitional track consisting of audio snippets of a 9-1-1 call, news of economic decline, and a parent verbally abusing their child.
This leads perfectly into lead single, "Sick of It." The song is a great rocker about standing up to all the negative influences in our lives. With the return of Cooper's screams and Skillet's old industrial influences, this track should be pleasing to longtime fans.
Crossover anthem "Good To Be Alive" follows next and is another fine track that reminded me a bit of previous hits "The Older I Get" and "One Day Too Late." There are some pop melodies that really helped make the song a standout for me.
A haunting interlude with a girl singing quickly escalates into a full-on adult operatic choir. (Yeah, you read that right: Skillet's gone opera on us.) After what is an awesome kind of over-the-top intro, "Not Gonna Die" bursts forth in all of its orchestral rock glory. This song is essentially the picture of the kind of music Skillet has made its signature, with dual male/female vocals, strings, and a wicked guitar solo. The emotional chorus is also one of the strongest on the album. All of this makes this song an instant Skillet classic.
The edgy "Circus for a Psycho" is next and proves to be another hit for the band. With gritty vocals, excellent guitar work throughout by Skillet's newest member—Seth Morrison—and a soaring chorus, this is another great cut on the album. If you haven't figured it out by now, there are a lot of those. This song transitions into the power anthem and CHR single, "American Noise," which would feel right at home at any patriotic outdoor concert.
"Madness in Me" brings back the rock for what could be the most intense rocker on the album, complete with some throwback electro-industrial flare (which hasn't been seen much since Alien Youth, but which is subtly there on several tracks here).
Following is the album's final interlude, the Coopers' daughter, Alex, provides a powerful reading from Isaiah, leading into what is being defined as the climax of the album's story, "Salvation." The song is when the main protagonist finally discovers Christ. It starts off dark, haunting and subdued, but unexpectedly escalates into a powerful rocker. This song also marks the first time in Skillet history that Jen Ledger takes the lead on a song. John's still a big presence on the song, particularly on the chorus, but Jen takes the verses and pulls this off like a champ. There is actually quite a bit of Ledger vocals on a good half of the album's cuts. They fit in perfectly.
"Fire and Fury" follows in what could open up a new kind of classification for Skillet, an epic ballad of sorts. This song starts off fairly restrained but you can tell that it's just begging to burst forth, and in the second half, it does. John and Jen's vocals are intense and passionate and help make this a standout cut. Lyrically, it feels like the natural follow-up to "Salvation," with both songs confessing a burning passion for Christ.
"My Religion" is probably one of my most frustrating songs in the history of my music listening experience. Stuck between two highly emotional songs, this quirky attempt at a Southern sound is quite the 180 for the musical momentum. Lyrically, I have some issues with it, which is rare for a Skillet song. And while I can't deny its catchiness, I can't help but think that it'd have been much better served as a bonus track, perhaps swapped with one of the songs that ultimately did get the cut. (More on those later.) Still, this song will undeniably have a lot of fans too, and so I can forgive it and understand why they went with it.
"Hard to Find" has an emotional piano opener (with stringed backing) that sounds ripped from a dramatic movie trailer. Again, the emotional relevance is undeniable as Cooper sings "turned on the TV yesterday, so much pain bleeding through, I had to look away." But the chorus proudly declares that Christ gives us faith, even "when faith is hard to find." There aren't many genuine power ballads on Rise, but this one is so strong that it alone can fill the entire emotional quota of several.
"What I Believe" closes out the "regular edition" in grand fashion. While you might expect another slow song based on the title, the classic epic strings of Jonathan Chu and Tate Olsen promise one more trip down the rock-and-roll road on Rise, and that's exactly what we get. While the chorus is the most pop-driven of the rockers, it's still rock. The song proudly concludes the journey through the album as Christ is declared to be what the protagonist of the story believes, and that he or she will live and die for Him. And this is a declaration all Christians can join in singing. He's our light in the darkness; our hope in a hopeless world. The music conveys this upbeat tone so well while still keeping the rock coming. The strings are a fantastic way to send the album off and truly leave you wanting more. And it just so happens, Skillet's prepared for that.
If Skillet had just given us the songs featured on the regular edition, it'd be a stellar album by any standards. But, as they did with Awake, there's also a Deluxe Edition of the album releasing the same day. (It also comes with a live DVD of their 2012 Winter Jam set that isn't reviewed here.) And this one comes jam-packed with three additional songs.
While some B-sides in general are treats that understandably didn't make the cut, every so often a B-side will be so good that you wonder how it could possibly be banished to a lesser-known deluxe edition. And to no surprise, Skillet's B-sides fall into the latter category.
"Battle Cry" is the first of these. It opens up with a brief harp-intro that is almost heavenly. Then the bass picks up and the verse builds to a powerful rock chorus. The song stands as one of the best crossover songs Skillet's ever done, perfectly balancing an energetic rock sound with accessible pop melodies and "ohs" that will make this song destined to be a fan-favorite, despite not being on the regular album. Thematically, it fits right into the story, as it sings standing strong against the world and all it can throw at you, because the world "can't take us down, if we stand our ground. If we live, if we die, we will shout out, our battle cry." It's truly a standout on what was already an album of epic proportions. And as the song fades out, there are still two more bonuses to go.
"Everything Goes Black" might make you think of a head-banging rocker from the title, but it's actually quite a lot more restrained. In fact, the song starts with soft strings and keys and softer, melancholy vocals from John that are a lot quieter than just about anything we've seen from Skillet in several albums.
The song picks up a bit after the first chorus and ends up being a dark and emotional rock ballad. The song's lyrics are among the darkest and most personal on the album, speaking of how empty and painful life is when Christ, the Light of the world, isn't in our lives. John and Jen's dueling vocals return and complement each other to perfection. When John sings, "Whenever you're gone away, the darkness hides the day / whenever you're gone, the bleeding won't stop / it hurts 'til you come back / everything goes black," you can feel the honesty and emotion. The song's softness and simple melody allow the lyrics to truly resonate. One can easily see this being played acoustically and I hope its status as a bonus track doesn't cause it to get overlooked.
The bonus tracks come to a close in the unique rocker, "Freak Show." Opening with an announcer welcoming a crowd to the "freak show," this rocker proves to be an album highlight. The electronic influences are on full display here but there's still Skillet's fierce edge and guitar goodness driving the song.
Thematically, the song plays on the classic "not of this world" theme (literally quoted in the intro) and harkens back memories of Alien Youth both in theme and sound. "Welcome to the freak show / this is where the freaks go / this is the place that they can never take away," might come off as a tad cheesy, but I bet you'll find yourself singing along to it all day long.
When Cooper sings "I'm a freak naturally, it's how I wanna be / you're a freak, just like me," it's a truly relevant and rousing moment and a great thought to leave us with as Rise (Deluxe Edition) comes to a close. It's an overall satisfying entry and completes the trio of delectable bonus offerings that each could've felt right at home on the album.
Those who miss Skillet's lyrically bolder days should find this album refreshing. While the lyrics are still largely what we've come to expect since Collide, this is arguably their boldest faith-based release since Alien Youth, with everything from "Salvation" on being undeniably Christ-centric, and even outright worship. Any basis for Skillet selling out that there was (which wasn't really strong to begin with) is totally washed away with this release.
Deluxe Edition DVD:
In addition to the bonus tracks, the Deluxe Edition of the album comes with a DVD full of goodies. While many might expect some of the behind-the-scenes featurettes that are here, the Awake and Live DVD is actually focused on a live concert captured from a Michigan stop of the 2012 Winter Jam that Skillet headlined.
The set list is only 9 songs, making it noticeably shorter than previous live album, Comatose Comes Alive. Yet that was to be expected, as this is just a bonus on a regular CD release. The Winter Jam set was an ideal one to pick though, as it hits what are arguably the strongest and most memorable cuts from Comatose and Awake. Also included are John Cooper's powerful speeches leading into "Awake and Alive" and "The Last Night." It's great to finally have a professional quality "war for your soul" monologue. My only regret is that Skillet didn't give the powerful story behind "Lucy" during this tour, as it would've been a timely inclusion. But what's here is sufficient.
Finally having professional video of the revamped set intro to "Whispers in the Dark" and the intro/outro to "Rebirthing" alone made this a winner for me. For just nine songs, this one is one of the tightest set lists Skillet's ever had. (Pre-Rise, at least.)
The sound and video quality are more than satisfactory. There are times when the sound feels a bit overproduced and the audience's responses aren't always audible. The video gets up close and personal with the band's performance, which helps you get a much closer view of what's going on than you otherwise would in a sold-out stadium. Perhaps there'd be reason to expect more if this was a full-length live release, but for a Deluxe bonus, this live DVD is exceptional and quite the enjoyable treat. It definitely elevates this Deluxe Edition worlds above Awake's. For once, it doesn't just feel like a cheap gimmick to get you to spend extra money for bonus songs. This one actually feels deluxe.
There are three behind-the-scenes featurettes scattered throughout the concert showing things such as backstage and photo shoots for Rise. These are all very interesting but would've probably been better in the bonus material to avoid interrupting the flow of the concert. There's also a "Making of Rise" featurette. It's more of what you'd expect from such a DVD, but it's still a worthy inclusion. It's always interesting to see the process of what goes into the making of an album and there are several little nuggets of info that are interesting. (There also are glimpses of artwork Jen drew that had previously not been released.) It's a great way to top off a fine Deluxe package.
Closing Thoughts:
Rise is the picture of a legendary album. The music is epic and memorable, with every song a classic in the making. It's a thematic renaissance for Skillet as well as a musical one. There's the best of everything Skillet here: the strings, the rock focus, the gritty and dueling rock vocals, the industrial influence and lots of new surprises.
Even in all of these, I can't accurately describe how great this album is. There are so many layers and intricate details that you will discover upon subsequent listens—even after many listens. Add to that a fine Deluxe package, and you have one magnificent album. (The Deluxe looks amazing in it's Digipak packaging, by the way. It felt really good to go and buy it. Just from how cool it looked, I knew I was holding something special. The lyric booklet with poster on back, the artwork, it all contributes to the amped up look.)
The Skillet gold standard has been met, and raised once more. Rise is the quintessential album of the year and one destined to go down in the history books. In short, Skillet is back, better than ever, and ready to send shockwaves through the rock world yet again.
Trivia Tidbit:
Jen Ledger did the artwork for the album and the album cover. While John Cooper wrote the songs thinking about a boy, Jen drew a collection of artwork inspired by the songs featuring a young girl. The artwork on this record is actually very creative and memorable. Major props to Jen for a job well done.
A few months back, Thousand Foot Krutch showed off how well some of their songs from The End Is Where We Begin translated to a remix with their Metamorphosiz EP, The End Remixes Vol. 1. In an age where remix albums seem to be growing ever more popular, TFK showed that their music could hang with the best of the techno and dubstep kings.
It was pretty clear by the "Volume I" designation that a follow-up wouldn't be too far off, and that bring us to Metamorphosiz II - The End Remixes, Vol. 2, featuring more hits from their most recent studio album making the jump to remix.
"Fly On The Wall (The Robbie Bronnimann Mix)" opens up the EP and is an exciting transformation from the original. While the original was an emotional mid-level rock number, the remix version sounds great as an electro-dance number. The song's emotional depth remains and McNevan's vocals gain even more nuances set to this electro beat.
The theme of speaking to our vices through the context of a dream and declaring that we're ready to move on remains solid and perhaps takes on new meaning in the new setting.
"The End Is Where We Begin (Solomon Olds Remix)" is Family Force 5 frontman Soul Glow Activatur's faster-paced take on the title track. It's a clever transition and helps to add a new layer of excitement to the song.
"Courtesy Call (Rui Da Silva Remix)" is next and opens with the strings similar to the album version plus some of the album's memorable creepy voice introduction. The song was always perhaps a logical candidate to be remixed as it sounded much like a club song the first time around. And a lot of rock elements are still present, with electronic elements added in between and over these elements.
Unsurprisingly, this one turns out really well and feels like one of the more natural remixes on the collection. "The mark you make is up to you" is also a great message to bookend the song. Of all the songs, this one feels the most like it could've passed as the original.
"Down (Andy Hunter Remix)" is an appealing take on the rap number and the electronic beats actually work out pretty well, perhaps better than the original. The song about standing up to critics who put you down offers a positive message and the new coating of paint makes it a positive club-ready tune.
"Be Somebody (The Robbie Bronnimann Mix)" offers a bit of a slower electro beat, appropriate for a slower song. The original album version was one of TFK's most emotional singles yet. The beat adds some welcome eeriness and tension to the chorus, and some delectable piano hooks add an intriguing kick to the track that I really like. The emotional power of the original is mostly present here. While this isn't likely to replace the original on TFK playlists, it's good enough to merit it's own space there.
"So Far Gone (Joshua Silverberg Remix)" has a more ambient take on the track than the stripped-down original. This approach offers a different angle on the intimacy of the song. Some of the electro elements, restrained though they are compared to the others, could use to be dialed back even more. The piano and synth backing was enough to add a different take to the song—although the electro beat does make for a fun bridge. Still, the track is a definite success as a remix and is a great way to close out the album.
As a rock fan, I'll still probably always prefer the originals for the large majority of these remixes, as I do with most remixes. But as one who isn't generally a fan of remix projects, this EP was a pleasant surprise and offered some fun and memorable takes on the originals. Whether they are an improvement or not will depend on individual tastes, but I'll at least be giving these some playback in the future.
Closing Thoughts:
This is a great second half to TFK's remix EPs. There are new facets of depth revealed through these remixes. It's a satisfactory holdover until the next full-length TFK project. Whether you like remixes projects or not, it's definitely worth your time at least giving a few listens to.
Song to Download Now:
"Courtesy Call (Rui Da Silva Remix)" (Get it on iTunes here.)
Folk Flair For Your Sunday Morning Worship | Posted June-17-2013
Ghost Ship might be a band name that suggests some dark, alternative rock act. But in actuality, this is a worship band who adds a good deal of unexpected flare to praise music.
While the song selection is definitely in line with an extended Sunday Morning worship set list, the sound is definitely not your typical Church music. Thematically, the album has an especially deep layer that goes beyond any individual songs that is best seen when the songs stand together as a cohesive collection.
The Good King opens with the peppy "Mediator," which sets the tone for much of the album. The lyrically simple songs makes catchy use of Christ's being our mediator to God. The song's "Mumford"-like folk sensibilities are enhanced with some well-placed banjos. The cheering vocals help to make it a good song to sing along to. "Lion Man" carries the stripped-down folk feel even further and ends up being unexpectedly catchy in the process. You can definitely picture this one being played live and up close, acoustically.
"The Truth" is a soaring praise anthem that stands as an album highlight. With one of the most energetic choruses on the album breaking forth, right from the get go, it's easy to get into this one. It praises what Jesus has done for us and who He is as sovereign king.
Next is "Holy, Holy, Holy," which is a rousing cover of the classic hymn praising the Triune God. It fits in well and keeps the flow of good music going. "Behold the Lamb of God" and "Son of David" are examples of slower, more reflective fare done well on the album.
Lyrically, the album is pretty straightforward in its use of popular Christian truths, stated simply and delivered in a heartfelt way (for example, "Jesus Christ is King / he will reign forever").
The power of the driving music propels tried-and-true (and in some cases, ancient) lyrics into worshipful freshness and relevance. The message is solid and the music complements it to form an uplifting worship experience.
It all builds on the theme of who the "good King" is and what He has done for us through His death on the cross and ministry. The collection of praise anthems work together to paint a greater picture of Jesus. The different titles used on the album—such as Son of David, The Truth, The Good King, Mediator—help reveal different facets that even then can just barely scratch the surface of who He is. He's a mediator, a savior, part of the sacred mystery of the Trinity, and so much more.
Each song builds on the previous to add another layer to Christ and culminates in recognizing that Jesus wants to be there for us as a friend and guide so that we can be with Him, eternally. And through life, the ultimate goal is to draw us into a deeper relationship with Him. Whereas some albums are a collection of stories, or even one big story, this album is like one big picture, which each song being a different coat of paint that makes the image clearer.
Closing Thoughts:
Ghost Ship successfully infuse fairly traditional worship music with a fun and upbeat sound that makes for an overall fresher and more dynamic listening and worshiping experience than you might be used to.
Hour6 may not be a band on your radar, but a quick listen to their latest offering, This is Life, will give you a pretty good idea of why they should be. They do a great job at balancing an edgy, exciting, driving rock sound with accessible melodies. They definitely can stand toe to toe with many of the acts populating Christian Rock radio.
After a brief intro track, "Inside Out" kicks in and starts the album off with a strong rock entry full of catchy hooks and a head-banging beat. "Right Now" is a radio-ready ballad about devoting ourselves to Christ now and not waiting. The passionate chorus, "Right now I'm grabbing on / I'm holding on to You / Right now I'm giving all of me / I'll never let You go," makes this one a real standout.
"Fists on Fire" amps up the rock to its hardest level yet and produces an edgy guitar-driven burst of energy that is a true high point on the album. It's also a lyrical highlight with some honest portrayal of our need of God: "We're losing ground but gaining speed / we're tryin' to find out what we need / We're looking for you, we're tryin' to see / the truth is what will set us free / When all it takes is for one to fall / to set the chain that starts so small / Let's stand up tall with fists on fire come one come all."
Other highlights include the energetic "Where It Starts," the edgy "Lesser Man," and the anthematic "Back From the Dead." The latter has another standout lyrical moment in the intensely delivered: "Bang, Bang, Bang / Nails in my coffin, holes in my soul / In the light slowly fades / It's a shipwreck rising / a return like none before." The cheers in the chorus help to lift this one to one of the more memorable tracks as well as one that utilizes the best of both the rock and pop sides of the band.
The album is start to finish a solid pop/rock release with enough crunch guitars and rock melodies to make it appealing to rock fans while more than accessible to those who prefer the softer side of music. Hour6 blends these two sounds nicely and the result is a very compelling release that could position them to take a hold of Christian rock.
Closing Thoughts:
These guys know how to rock and they know how to rock in a way that can satisfy both rock and pop fans. The music manages to feel fresh and relevant, making this a standout release. I'm curious to see where Hour6 will go next as this album is overflowing with potential and is on the cusp of something really good. Keep an eye on these guys. I think they're ones to watch.
Nathan Jess Fits Well Into The CCM Scene | Posted June-07-2013
Nathan Jess isn't (yet) a name that will likely ring many bells when discussing contemporary Christian music. But he has a couple of albums out and brings a familiar, yet intimate, sound to the table. Now with sophomore effort Love Stands Forever, he offers several chances for some potential hits.
Opening track "No Limit To Your Love" will probably resonate quickly with listeners of CCM. It's an upbeat track that still stays soft and soothing throughout. And to some slightly varying degrees, this is Nathan Jess' sound throughout the album.
With God always kept front and center and familiar phrases of praise, Nathan Jess produces very accessible music that's beautiful and simple. There seems to be a lot of influences in this album at various times, but none of them really stand out and thus it feels sort of like a fusion of a lot influences. I heard a bit that reminded me of Crowder, Tomlin, and other lesser-known worship artists at times. And this helps Jess keep a bit of his own musical identity.
There are fine moments throughout in songs like "Burning Heart" and "My Jesus." Jess' music remains constantly prayerful throughout and the melodies and music don't try to get in the way of the heart behind the music. "I Am Redeemed" proclaims: "So I will sing of how your love has washed me clean / I am redeemed / to which I'll sing / for you're my kind." And songs like "No Limit To Your Love" sings out, "There is no limit to your love and grace / greater than we'll ever know / you showed it on the cross." The album pretty much follows the same lyrical trends, praising God. It's all fairly familiar but it's still done in a heartfelt way to make it a very personal and intimate worship experience.
Closing Thoughts:
Nathan Jess fits comfortably in the soft AC radio sound and will undoubtedly be very appealing to fans of the genre. With Christ-centric lyrics and calming music to go with it, Nathan Jess offers a quiet worship experience that draws one's mind to Christ. With just enough influence from a myriad of popular artists, Nathan Jess has an inviting sound that should help to win him many fans.
A Song to Bring Hope in the Midst of Tragedy | Posted May-23-2013
Suffice it to say, there have been some rough times these past few months. From the tragic shooting at Sandy Hook Elementary to the bombing at the Boston Marathon, we've seen the sad and horrific effects of a lack of Christ in our culture, and the devastation levied upon the innocent people caught in this violence.
However, in the midst of all the pain, we've seen heartwarming photos of the good that has shone through. While many of these pictures come in the form of the heroes who stepped forward to lend a helping hand, others come from seeing the glimpses into the lives of the victims. Seeing the snapshots of their lives is a bittersweet experience, but they still can inspire us, even though most of us never knew them and will now never get the chance to this side of heaven.
One such snapshot that has touched the hearts of many is of 8-year-old Martin Richard—the youngest of the three victims killed in the Boston Marathon bombing. After the tragic events, a picture of the boy holding a hand-written sign reading "No More Hurting People" went viral around the web. The boy's message is so simple and yet it seems like so many seem to have such a hard time keeping it. Nevertheless, the hope of that simple message has proved an inspiration for many, including Marc Martel of Downhere fame.
Martel co-wrote a song named after Martin Richard's now-famous wish with longtime Downhere producer Mark Heimermann and recorded it. And now he's sharing it with us. "No More Hurting People" truly is a touching anthem reflecting Martin's message, and Martel's powerful voice adds another layer of earnestness to the song.
The song is packed with meaningful lyrics that resonate in our turbulent times: "A sign for love / a cry for peace / from a city's child / to the grieving streets / with simple phrase / the banner pleas / what heavy hearts want to still believe."The song offers hope that one day, Martin's wish will come true: "The tears will dry / the wounds will heal / we'll always leave with the loss we feel / make no mistake / we'll run again / 'cause the light won't ever let the darkness win."
When Martel sings, "I believe there will someday be no more hurting people," you find yourself believing it. We know we'll never get there without the love of Christ, but perhaps Martin's simple message can remind us that Jesus Himself said that we must become like little children. Maybe it's a childlike naivety to think that such a thing could ever happen, but it never will unless we are willing to do our part to fight against it by reflecting the Light of Christ in everything that we do. And of course, when Jesus restores all things in eternity, there indeed will be no more hurting people.
Marc Martel has done it again and crafted a meaningful song for our time. He's made it available on Noisetrade for donation. One-hundred percent of profits of the song will go to One Fund Boston Inc., which is providing support to those most impacted by the tragic attack at the Boston Marathon. So not only can you get a powerful song, you can donate to a worthy cause through it. It seems like a win-win to me.
Closing Thoughts:
Martel's songwriting ability is always magnificent and this song is no exception. Go pick up this song and give to a worthy cause. It's likely to fly under the radar as just another indie song floating around on Noisetrade but I hope we can help give this song and it's portrayal of Martin's message the exposure it deserves. It's definitely one of the best songs of the year and one well worth checking out, both for it's musical goodness and lyrics that speak to the heart in a time where every week seems to bring more tragedies.
When you think of the best albums of the mid-'90s, you probably will think of Jesus Freak or Take Me To Your Leader or Jars of Clay's debut or something else from a big name CCM artist. But here's an album you probably don't remember much, from an artist who you know little to nothing about, that can musically come at least very close to the greatness of some of these classic albums.
Nouveaux (prounounced noo-vo) was only around for two albums. And I've only ever heard one of them. This was one of the albums of my childhood. (And I mean childhood. I was 4 when it came out and my folks played it quite a bit for a while after that. So this album has a big nostalgic bonus for me, personally. But the music is great regardless.)
And despite touring with some recognizable names and having a slew of radio hits (including a pair of No. 1 songs), they seem to have been largely one of the overlooked acts of CCM in the '90s. And since they disappeared so quickly, they are little more than a footnote in CCM history. But taking a look at their second album, ...And This Is How I Feel, one has to wonder why. From start to finish, it's pretty stinkin' consistent in delivering quality pop/rock that is both refreshing and radio friendly.
The album opens with a quasi-intro track called "Nice" that showcases a sense of humor. But once the real first song gets into gear, it's clear that this album is no joke. "Maybe Tomorrow" is an emotional song about finding a wife one day. For those not currently in a relationship seeking to one day find that special somebody God has created for us, the song is a bittersweet wish of hope.
"Simply Beautiful" is next, beginning with a low and almost mysterious riff that with the pro-chorus escalates into a passionate anthem. "Never See The Day" is a passionate and emotional love song with a great chorus that has a line I've remembered clearly since childhood: "If a star fell from the sky every time I thought of you / there would be none." It's a bit on the cheesy side but it's sung with such passion by vocalist Paul Alan (yes, the same Paul Alan who released some solo albums in the 2000s) that it comes off as a serious declaration.
"You Breathe" is the first true slow song on the album and also the most blatant expression of faith on the album thus far. It's a great worship ballad and another fine entry on the album. "If Only" follows next and is the picture of a great radio anthem. With a string-backed chorus, this song about what the world would be like if the Earth could praise God with words, we'd all believe in Him: "If only the wind could whisper words / and carry the Truth / to all the earth / It would speak the name of Jesus Christ / The Great I Am, the Truth, the Life." It's another majestic moment on the album sung in a way that makes you almost picture this "if only" scenario.
The mysterious track "Larisa" is next and serves as a sort of intro to "Listen," the song from which the album title is taken. There's a guest female speaker for this and the track is entirely spoken, and in what seems to be several different languages. The only English comes in the form of the album's title being spoken at the end, and I presume this is what was being said throughout in different languages of the world. "Listen" serves as one of the darker tracks on the album, crying out our need for Christ. "Well, this heart is bleeding, broken, needing / Slowly dying, hardly beating / Listening, are you listening / Like the air that I breathe, I need You / This image is so surreal / I don't want to live without you Lord / And this is how I feel." It's another powerful moment on the record.
"Through Heaven's Fields" follows and if you thought it'd be time to slow down by now, you'd be wrong. In fact, this song could be one of the strongest on the album. Spoken from the point-of-view of Christ, it's an emotional plea to let go of ourselves and surrender ourselves completely to Him. "Footsteps, Heartbeat / can't cry, can't sleep / Colors fading - winter sky / Miles before you, miles behind / Darkness laughing, close your eyes / I'll be waiting with arms open wide / The perfect picture of the day I died / Take my hand / I want to lead you to the other side of forever / Follow me / I want to run with you through Heaven's fields of gold." It's another emotional track that picks up some pep during the bridge.
"I'll Cry Too" is another slower emotional entry about God's desire to be with us in our pain. "Wonder" picks up the pep one last time before a solid cover of the haunting Kansas ballad "Chasing Shadows" (written and originally sung by John Elefante who also co-wrote a few of the other tracks on this album).
The album is musically and lyrically top-notch in just about all areas. It's mind-boggling how it wasn't ten times bigger than it was in 1990s CCM.
How Does It Hold Up Today?
So the question remains, is this just a fine nostalgic trip down memory lane or has this album held up well after over 15 years? I'd say it's a mixture of sorts. While the nostalgia may make anything from the era feel a bit "dated," there is an undeniable "90's CCM flare" to the music. That said, there's nothing I found overly outdated here, either. The lyrics and music are perfectly relevant today. So if you don't mind at least a moderate degree of throwback, this is a great release to check out today. It might've aged a little bit, but I think it's aged quite well.
What Is The Band Up To Lately?
The band disbanded after 1997. Lead singer Paul Alan released two solo albums about 8 years apart during the 2000s, and scored some moderate radio hits including "To Bring You Back," which still seems to fit naturally with how he sounded on this album. He currently is a staff songwriter for Word records.
I spoke to founding member Steve Ashley and he filled me in on what the rest of the band is currently up to. Ashley has been working with fellow Nouveaux member KC Smothers on some new music as well as recording songs for use in TV placements. Other members are still involved in music-related tasks ranging from teaching music, doing audio production, and doing small projects for local musicians out of a home recording studio.
Ashley is active on the newly started FB page commemorating the band. So give it a like if you want to follow the current goings-on for Steve Ashley as well as receive nostalgic nuggets of info about Nouveaux, check it out here.
One thing's for sure, music is still very much a part of their lives, even if they're keeping quiet, away from the spotlight.
Closing Thoughts:
Check this album out, if you can find it. This is a severely underrated gem of 90's pop/rock that has been locked up tight in the back of the CCM vault. There's a lot here worth rediscovering and I hope that somebody, some of these hidden classics might somehow get a little bit more recognition.
Great Collection to Close an Era | Posted May-10-2013
It should come as no surprise that after the David Crowder*Band announced their breakup--which sent shockwaves through the worship music industry--a great hits collection would soon follow. Here we are over a year later and that Hits collection is finally surfacing, and all the top songs are represented.
Such collections have always faced an uphill battle, but I think there's even more challenges facing them in the age of digital music where everyone already has their own personal "greatest hits" playlists for an artist long before the artist ever releases an official one. These collections always run at least two huge risks: the fact that most loyal fans already have most (if not all) of what's being released, and the fact that any band with a remotely lengthy discography will likely be unable to cover even all of their biggest hits, let alone every fan's favorite songs. From the start, at least some fan-favorites will not escape being left out of such collections, which will alienate some potential buyers. And that's assuming they'd consider shelling out the money for the collection anyway if they have most of these songs already.
Greatest Hits have always seemed to target casual fans who follow a band's singles but not their whole albums. And they also traditionally throw on a few new goodies to attract those who have the songs to consider purchasing the collection.
So how does this album fare in these terms? Pretty much exactly as I just described. Many of the bands most recognizable radio hits are here. "O Praise Him (All This For A King)," "Our Love Is Loud," "Wholly Yours," "Open Skies," "Here is Our King" and "Everything Glorious" are all included. There are a few lesser-known cuts such as "The Glory of It All."
There's the excellent cover of the John Mark McMillan breakout classic "How He Loves." These are all excellent songs and great reminders of why it is we love DC*B and are so sad to see them go. All of their major albums seem to get as fair representation as possible given the tracklist. And yes, there are some new goodies. Some of the bands new songs get new remixes and included here. And lastly, there is a sneak preview track from David Crowder's forthcoming release under his new moniker, Crowder.
The new remixes sound exactly like remixes. If these are your things, that'll definitely be a plus for this collection. However, those who aren't fans of remixes already will probably not be won over by these. (Although "No One Like You" has an interesting new musical approach that adds some fine emotional layers to it.) The songs are still good but one cannot help but wonder if their originals would've made for more accessible inclusions when the number of regular hits is fairly small at just 10--excluding the bonus goodies.
The collection closes with the aforementioned new track from Crowder. "This I Know" has a bit of a country sound to it and is definitely a new musical direction for Crowder, while the chorus still has some hints of where he's been with his band. Lyrically, Crowder is just unashamed of Christ as ever: "Lift me up to feel your touch / it wouldn't be that much for you / this I know." It'll be interesting to see what the final product looks like. It should be a fine new chapter is one of CCM's most recognizable names.
Closing Thoughts:
Listeners will have to determine for themselves if this hits collection is worth their purchase or not. While DCB fans will likely want to check out the new track and perhaps the remixes, if they have all of the other songs already, they might be content with just hitting up digital retailers for the new stuff. However, if somebody has only been a casual DCB follower thus far, this is a solid collection of hits and they might consider giving this hits collection a shot.
Building 429 Shakes Up Their Sound | Posted May-01-2013
Building 429 has long been a sort of second-tier staple of CCM for about a decade now. They haven't been the arena headliners or consistent chart toppers that some other acts have been, but they've also been a consistent presence on compilations and radio station playlists, with big hits such as "Glory Defined" and "You Carried Me" getting significant airplay.
The band seemed to take a step up with the release of their 2011 hit, Listen to the Sound. While the title track did well enough on its own, it seemed that follow-up AC single "Where I Belong" was the true star of the show. Not only did it go No. 1 on several charts, but on the Billboard Christian Audience Chart, it stayed there for a record-smashing 15 weeks. Combined with a spot on the ever-growing WinterJam tour in 2012, this seemed to be the perfect chance to propel the band to new heights.
This leads us to the release of the much-anticipated We Won't Be Shaken. At first look at the album cover and the lead single/title track, it seems like it could be a natural sequel to Sound. The logo established on the last album cover returns, and seems poised to be for Building 429 what the flame symbol is to Thousand Foot Krutch.
As for the title track, "We Won't Be Shaken," it's peppy and fits well within 429's sound, making for another worthy single. Its message of not being shaken from our faith and resolve in Christ is a fitting one within the identity the band has established for themselves. But don't let that fool you into thinking that this album is just going to be only more of the same from the band.
Intro track "Get Up" is a foot-tapping mover of a track that doesn't really sound much like Building 429 at all. It reminds me of some other bands in CCM (maybe the Newboys? Manic Drive?). I can't put my finger on it. It's familiar, but it's definitely not what I expected from Building 429--but it's good. And they keep just enough of themselves in the song to make it recognizably them. It's a rousing number with a message of getting up and living our faith and not just being pew-warmers. It's definitely an interesting new direction for the band sound-wise, and they keep it up for several tracks of the album.
"Bonfire" is next. It opens with an electro beat and is quite the danceable number with rousing vocals and an absolutely infectious beat. There's still some good rock in this too. It's quite the dynamic sound, and should be fun in concerts.
"Press On" starts quietly with just a subdued drum beat and guitar backing the vocals. The song stays pretty reserved compared with the opening tracks. It keeps enough of the new sound to keep the slow going but it also feels a little more like the Building 429 we've come to know and love. Guest vocals from the increasingly prolific Blanca Reyes of Group 1 Crew help add another layer to the song's musical appeal.
"Set A Fire" is poised to follow "Where I Belong" as the band's next big worshipful hit. It would sound great on radio and is a great slower moment on the record. "Revolution" brings back the addictive new sound established in the opening tracks for another great danceable rock number.
"All I'm Holding" has a beautiful piano-driven opening that propels the song into a classic Building ballad that stands next to the best the band has offered to date. "Best and Worst" carries a similar feel and is another great entry. "All The Glory" closes the album out appropriately with a great and upbeat worship entry.
Lyrically, the band stays in the unashamed-of-the-Gospel territory in which they've always been. They have exciting messages of Christians standing up for what they believe in songs like "Bonfire": "If I was born to be a flame, then I wanna light a bonfire /…gonna burn something down if you get in my way."
There are honest moments of worship and pleas for God to work in us in songs like "Set a Fire": "Set in a fire in me / bring me to my knees / like a rushing wind / consume this heart again … Turn a spark inside of me into a holy flame." Lyrics also talk about the fact that this life isn't about us but about giving God "All The Glory": "You lift me up just to live you high / it never was about me / you get all the glory / and if I stand it's only that I am in your hands." The songs are all solid and relevant to Christians today and help round out these finely crafted songs with some deeper meaning than you'd get from secular acts.
Closing Thoughts:
Building 429 has kept everything that you loved about them: the Christ-centered lyrics, the upbeat light rock, the rousing chants to get crowds hopping, and the thoughtful introspective side that shows that these guys possess a deep love for their faith and a heart for Christ they long to share in their music. On top of all of this, they've gone and explored some new sounds to effective results. Overall, this is a fine album full of potential hits and is sure to raise the bar for them next time around.
JJFrancesco_NRT's Music and Book Reviews 
