The 13th Tribe
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For 3500 years, the tribe has searched for redemption and reconciliation to God. Afraid to die, but tired of living, they’re sole desire is to execute God’s judgment in the hope of gaining...
The Last Plea Bargain
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What would happen to the legal system if suddenly every defendant demanded a trial by jury? With over 90% of cases settled by plea bargain agreements, if defendants were no longer willing to work...
The Generous Mr. Lovewell
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MercyMe GENRE: POP/ADULT CONTEMPORY/ALTERNATIVE
LABEL: INO RECORDS
RELEASE DATE: MAY 4, 2010
RATING: 5 OUT OF 5
Review By Brian Hall
I have a lot of respect for MercyMe. Of all the AC bands out there,...
Music Review: Happy Day | Posted October-14-2009
By M. Christian Anders
GENRE: WORSHIP
LABEL: SURVIVOR RECORDS
RELEASE DATE: MARCH 16, 2009
RATING: 2 OUT OF 5
Tim Hughes is one of those perennial worship writers. There is a small class of writers that have multiple songs that everyone in the Church has heard. With “Here I Am To Worship,” “Beautiful One,” and “Happy Day,” Hughes has certainly solidified his reputation for being one of those writers. His newest album Happy Day – Live Worship – London lets the listener hear not only the voice of Hughes, but of thousands others. That being said, I have one rule for live albums, and that is it has to either be better or different than what we’ve heard before. If you’re going to play the same stuff we’ve already heard, then throw in some guest musicians, or a chorus from another song, but please do not just play the same stuff we’ve all heard before. Sadly, Hughes does not follow this simple principal.
For the record, I really like Tim Hughes’ previous albums. It’s because of my enjoyment for those albums that I was disappointed in this one. “Beautiful One,” “God of Justice,” “Happy Day,” “Here I am to Worship,” along with many more were just poor sound quality versions of the originals. The album did not do a good job of letting the listener experience the passion of the room to the point where you feel like you’re missing out on something. Even on a song like “We Won’t Stay Silent,” the original was far better. Granted, it was a part of the phenomenal Compassionart project, and the golden pipes of Steven Curtis Chapman greatly enhanced the original; but that’s the bar “Happy Day” tracks failed to live up to.
Even new songs “Dance” and “Remember” contributed to the disappointment of this album. Neither sounded better or different than anything else. “Dance” was a silly upbeat song with a very awkward rap in the middle. “Remember,” while having a great message, just dragged on for 4 minutes.
On a positive note, “Jesus Saves” is a new song that is vintage Hughes. I believe it’s only a matter of time before it becomes a favorite of your local contemporary church service. “Give Us Your Courage” is also catchy song that translated well on the album.
Overall, while Hughes is a tremendous writer and worship leader, this album had no pizzazz. This album had huge potential, but all I got out of it was, two standout tracks and an uncontrollable urge to speak with an English accent for the rest of the day.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Music Review: Ending Is Beginning | Posted October-14-2009
By Thomas Jenkins
GENRE: ALTERNATIVE/POP
LABEL: CENTRICITY
RELEASE DATE: SEPTEMBER 23, 2008
RATING: 3.5 OUT OF 5
When I first heard of Downhere, and their current album, Ending is Beginning, I assumed that this album was their debut. I was wrong. Similar to several other bands in the Christian music scene, Downhere had led a musical career of several years before they were able to strike gold with a hit CHR single. Prior to Ending is Beginning, Downhere had released four studio albums, in a period of six years. The long period of relative obscurity paid off however, and in September of 2008, they released their fifth, and widely considered best to date album, Ending is Beginning.
The album starts off with a solid almost worshipful track, “Bleed For This Love”. The next track we’ve all heard before, “Here I Am”. The song is based off of Isaiah 6:8, with the worshipful chorus, Here I am, Lord send me, somehow my story is part of your plan, fitting quite well, and avoids being too cliche. Although it’s plainly tailored all too well for radio, it’s a pleasing listen, and nothing is harmed when the bridge takes a Copeland-ish feel on the vocals. After another solid track, “Cathedral Made of People” follows one of the highlights of the album, “My Last Amen”. Starting off with an edgy piano intro, and continuing that piano throughout the song, it takes a Queen feel, and is quite enjoyable. When I first heard this track, its edginess put me off a little, and until I heard it again, I didn’t think much of the song, or the band as a whole. Here however, Downhere shows a keen willingness to venture out into new territory, something that sadly isn’t seen enough in the music industry.
Sadly though, they don’t manage to avoid all of the pitfalls of most modern music. Some of the songs toward the end seem to blend together, and there’s a noticeable difference in quality between the first half of the album and the second half. For example, “All at War”, and “The Beggar who Gives Alms” seem a little too familiar, albeit there’s nothing inherently wrong with the two tracks. Overall though, these problems are slight, and there’s definitely more good than bad here.
Downhere has done something many have tried and failed to do; they’ve created a solid mainstream pop album with lasting appeal. Not meaning to rant about the industry, but sadly, many Christian bands have been satisfied with popular music and little to no musical talent. Downhere has and venture out here. managed to break the mold . While a little more artistry would have been nice, songs like “Bleed For This Love” and “My Last Amen” are a solid example of this band’s great potential. So while they still may be working a few kinks out, Downhere is definitely here to stay.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Johnny Diaz’s “More Beautiful You" Review | Posted June-24-2009
By Lydia Akinola
If I were the gambling type, I’d put my money on Jonny Diaz at least getting a nod for next year’s ‘Artist of the Year’. And if my blood sugar levels were compliant, I might also say he’s the sure winner. But let me not jinx anything.
Artistically similar to Brandon Heath, Jason Mraz and Bebo Norman, Diaz decided to follow God’s voice and pursue a career in music rather than a life in professional baseball. As always, God knows what He’s doing. With his easy pop style, Diaz is set to be a household name. Armed with a guitar and a clear message, his music is easily identifiable as that “safe” genre ‘acoustic pop’. But, at least, it is stellar acoustic pop, this time.
The opening and title track “More Beautiful You” is a message to young girls, reminding them that ‘You were made to fill a purpose that only you could do, So there could never be a more beautiful you’. It is not a new idea, but it is a truth that needs to be heard, and Jonny Diaz offers a fresh take that is both touching and catchy. So turn around you’re not too far, To back away be who you are, To change your path go another way’. Young women everywhere, listen and be encouraged. Whilst society may make us feel otherwise, “More Beautiful You” serves as a clear reminder that God ‘will take your dark distorted view, And with His light He will show you truth.’
“Soon Will Fade,” upbeat and peppy, is anti-materialism and recognizes that everything in this world is temporal. “Love Like You Loved” with its slight reggae touch, reminds us to follow Christ’s example, loving and serving others. Also the noteworthy “Waiting Room” declares that ‘When that miracle comes cause Your answer is yes, I will praise you for all of my days, But when Your wisdom declares that a no is best, I will praise You just the same.’ Jonny Diaz delivers his own offering on some trials of faith and manages to avoid major pitfalls that are found in sugar-coated pop served without substance. This is likely to endear him to a mass market of Christian families, eager to find easy listening, but wanting something with at least a semblance of meaning. Diaz gets tops marks for both.
The bonus track “The Opening Act” gives us a glimpse of a relaxed Diaz, doing what he does best, on his guitar. It is funny, a little cheeky and rather pointless, but it does serve to show Jonny’s individual talent and quirky style. It would be good to see more of this originality, as whilst More Beautiful You is solid, it does like individuality, and struggles to be distinctive at times. Although there are almost no flaws in the whole album, I would love to see a little more creativity and flair. “The Opening Act” reveals what Jonny Diaz is capable of.
Jonny Diaz has a talent for songwriting, and he tackles relevant and prominent issues in an even-handed way, whilst successfully keeping everything in 4 minutes or under. Radio friendly tracks are not exactly to everybody’s liking, but these, I feel, are accessible to all. If you like this album, you’ll love it; however if ‘acoustic pop’ is not your thing, stay well away. More Beautiful You may not be the most ground-breaking of albums, but it is infectious, honest and extremely well done. As for myself, I can’t wait to see what Jonny Diaz offers next.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Red's "Innocence & Instinct": A Review | Posted February-10-2009
by Kyle A. Kiekintveld
“Innocence & Instinct” is an album that would be very hard to improve upon. It has guitar riffs that any rock fan would love, loud lyrics that remain approachable and a fair amount of originality. The content of this album is strong. While it is not the most overtly Christian album ever, it has its moments.
This album deserves to stand with the better Hard Rock albums, secular or not. It is a good mix between hard tracks and mellow tracks, while never moving away from the bands obvious strengths. Strong lyrics, great loud and bold instrumental work with a dash of softer emotion.
The album has a cover of Duran Duran’s “Ordinary World” that quickly became my favorite track on the album. I am not a huge Duran Duran fan, and am often against putting covers on albums (unless they are live albums), but this cover blows the original out of the water. It is simply a stunning cover of an amazing song.
“Death of Me” is one of the hardest cuts in the album. The song centers around inner demons, but being one of, if not the hardest song on the album it is still approachable. The lyrics are well crafted. The guitar riffs are fresh and vivid. The bass on the track is deep and rumbling.
Author’s Note: This is another album I really want to give a five. It is really hard to not give it a five. Perhaps the only thing that holds me back is the question of will I listen to it with the same frequency in a month? In two months? It is a GREAT album. If you like Hard Rock this is one of the better albums I have listened to in a VERY long time.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
The Fray's "The Fray": A Review | Posted February-03-2009
by C.E. Moore
People who are genetically predisposed towards hating the kind of music that The Fray puts out may wonder why I am giving their sophomore album, “The Fray” such a high rating. What is more, long time fans of the band who cringe at the slightest tweak of the band’s signature sound may wonder the same thing. That is all well and good. To tell the truth, I am the one person on the planet who hadn’t heard about The Fray until a few weeks ago when I received a press release detailing their simultaneous release on a mainstream and Christian music label. I kid you not. I’ve been laughed at a lot these last few weeks.
Anyhow, if The Fray’s self-titled sophomore effort is any indication of their previous work (which I did not listen to, so as to keep my opinion bias-free), then I imagine it must have been a sound to behold. “The Fray” is just an amazing piece of music. I mean, I really cannot get over how much I like this band. I don’t know if they would consider themselves a Christian band in the narrow, classic sense of the word, but I wish more Christian bands could hone their craft to sound like this and mine life for the depth of lyricism that is found here.
But, before I talk about the songs, I want to make mention of the album’s packaging. I know paper CD slipcases are nothing new, but The Fray’s looks really nice. As the economy slows to a crawl, paper packaging is both fiscally and environmentally responsible. Artistically speaking, the neon lights motif is utilized very well. The liner notes features a picture of a different neon sign on each page that denotes the song’s title. The theme is executed well and provides the listener with a visual companion to deepen any contemplation that might take place along the way.
A top-notch piano line begins “Syndicate,” before guitars rise to the fore and frontman Isaac Slade steps up to the microphone. His voice is as big as the music behind it, but Slade never overpowers nor does he lost in the…well, fray. “Absolute” is a robust number that vascillates between hard and fast and light and thoughtful. Slade has noted that this song “could very well be inspired by the risk of long distance relationships,” as each of the band members is now married and spends a significant amount of time away from their significant other due to life on the road. “You Found Me” has been making the rounds on Christian radio since early January and is a song rich with pain and insight. Slade sings, “Lost and insecure, You found me, You found me/Lying on the floor, surrounded, surrounded/Why’d You have to wait, where were You, where were You/Just a little late, You found me, You found me…” Coming out of a tough time in Slade’s life (that continues even now), this is ultimately a song about the demands upon one’s faith to keep believing. “Never Say Never” is a song about a tumultuous relationship that breaks apart only to come back together again. Wash, rinse, repeat. We all know of relationships like this, and the lyrics here are raw while being intensely accessible. “Ungodly Hour” is…beautiful. Slade lightly sings, “Don’t talk, don’t say a thing/Cause your eyes they tell me more than your words/Don’t go, don’t leave me now/Cause they say the best way out is through…” This one strikes between the eyes for me, someone who has faced abandonment when fighting for the relationship was all that I wanted to do. I’ve had this one on repeat for the better part of the afternoon. The album closes out with “Happiness” and this is paradoxical poetry that will have the listener pondering what moved Slade to pen the lyrics. Happiness damn near destroys you? What does that mean? Is this song about true happiness, the unending pursuit of something beyond our grasp, or the flitting away of the happiness we already have in the quest for a form of happiness that doesn’t even exist?
But, I need to be a critic for a moment, right? So, allow me a moment to lodge a complaint in the slightest form. The only grievance I might have with “The Fray” is that the band’s sound can be a bit repetitive. The lyrics are the saving grave in those moments, but it might grate some people the wrong way. I, for one, wish the album were a bit longer to remedy this situation.
That being said, this album is flat-out amazing. If you like the sound of piano-driven rock music, pick this one up.
By the way, I just downloaded The Fray’s entire discography…
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Julian Drive's "My Coming Day": A Review | Posted January-08-2009
by Kyle A. Kiekintveld
"My Coming Day" is a well put together album. It is hardly an overwhelming failure on any count other than execution. The target demographic seems to be a relatively young audience. The album is more aimed at commercial success than depth or emotional investment. If you are looking for an album with some heart to it, then simply stop reading now.
The album does not fail in production. It sounds solid. Nearly every cut is ready and worthy for radio play. It would be a struggle to credit the production for any failures in this album. Each instrument is perfectly placed. The instruments and voice match power in a perfect utilitarian dance.
"One Step Away", is the worse song in the album. It has a wonderfully mellow sound to it, yet the lyrics aren't strong enough to match the mellow instrumental backing. The title is a bit cliched but the lyrics pull out all the stops. The instrumental backing of this song is wonderful, yet the cliches are too continuous to ignore.
The best song in the album is hands down "The Reason", which is all around is strong, and has had fairly decent radio airplay. It is not ground breaking in lyrics or emotional depth, but it comes off as fair more heartfelt than most of the content of this album. I would highly recommend downloading the track.
This album isn't filled with horrible music by any stretch of the imagination. It all sounds crisp and very professionally done. Yet I am left with more questions than answers. What is the target demographic? Does this album even have a theme? The album seems like a collection of disjointed pop cuts with vaguely Christian overtones.
Author's Note: I question the purpose of this album, and the motivation behind the album. It isn't bad on grounds of the music. Yet it doesn't have much depth. I feel like with the growing 'Christian Entertainment' market, this album is an attempt to achieve commercial success. None of the songs are deeply religious. The album just feels disingenuous.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Mark White Band's "Now & Forever": A Review | Posted November-25-2008
by C.E. Moore
You’ve likely never heard of the Mark White Band. Consider this your official introduction. A modern worship act from Detroit, trust me when I say that their material is right up there with Starfield, David Crowder, Chris Tomlin, and Charlie Hall. One listen to their debut album “Now & Forever” and you will likely be convinced of the same thing. With the right exposure, these guys are on the brink of making a big splash.
Offering up 11 original worship songs, the quality is a rarity from a small time, local outfit. But, it seems like the Mark White Band is dedicated not only to glorifying God through their words, but also through the quality of their musicianship and production.
“Glory” kicks things off and is a high-energy praise song. It really starts things out on a right note. Actually, after hearing the track once, I put it on repeat for the rest of the day before moving on to the rest of the album to review. It’s just an amazing number and needs to be heard to full understand what I’m getting at. “Forevermore” is more of a Starfield-influenced number—one part praise, one part all-out rocker. It’s not as palpable as the first track, but it should get people on their feet and dancing. “Priest & the Lamb” is a piano-infused piece where Mark White’s vocals really shine. Mark Labelle’s work on the keys are particularly impressive, accompanying White’s voice perfectly. “Moment” is a quiet, acoustic ballad that is both worshipful and contemplative. However, “God of Ages,” in my humble opinion, is the best track on the entire album. It’s a mid-tempo rocker that could easily get the group recognized if it hits AC radio. It’s not the strongest song lyrically, but it is catchy and well-delivered. “Hallelujah” is another light, piano-driven ballad. Title track “Now & Forever” starts out sounding a bit like Coldplay with its synth-pop vibe, but soon takes off into a crashing din of loud praise.
The album is not without its drawbacks, though. “Another Breath” is fun, but a little bit cheesy. It strikes me as more of a middle school or high school number. Better yet, it’d be good for the Christian camp scene.
In a market that is being inundated with more and more worship acts every year, the Mark White Band is a welcome voice that stands head and shoulders above the rest. I cannot stress how good I think this group is. If “Now & Forever” were the only album they ever released, the world would be a darker place for it. The church needs to always be creating fresh art, new expressions of praise to the Creator. The Mark White Band has taken that call seriously and crafted a wonderful piece of art to be enjoyed and engaged by the listener—and accepted as praise by God.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Randall Goodgame's "Bluebird EP": A Review | Posted November-25-2008
by C.E. Moore
If you listen to contemporary Christian music, especially Caedmon’s Call, then you’ve very likely heard Randall Goodgame’s work before. And if I had to pick a sound most akin to Goodgame’s “Bluebird EP”, Caedmon’s Call or Andy Gullahorn would immediately come to mind. Or maybe the soundtrack to Juno.
First things first, I love this EP. It’s simple, yet intricate; light, yet robust. It’s the kind of music I know I can put on repeat and not grow tired of it. It is as once relaxing and challenging. Goodgame’s EP is definitely the work of a man who knows his way around a recording studio, but also denotes the talent of person with his ear to the rhythms of the earth.
Title track “Bluebird” starts the project with light acoustic strumming and will likely conjure pictures of riding a Schwinn bicycle down a long country road, a fishing rod hanging over your shoulder and a tackle box rattling around in the bike’s basket. It’s the kind of music you listen to on a lazy summer day. Its just good stuff. “All The Years” features Goodgame at a piano, warbling his way through the track. And when Goodgame sings “take me away…” we are taken away with him. “Heaven Waits” continues the trend and has more of an orchestral feel to it. “Reverie” is more of Goodgame doing what listeners have come to know him for, more upbeat, popish crooning. However, with the overall folkish feel of the EP, it was the one track that seemed out of place. “California” is the best track on the album. The blending of Goodgame’s lyricism-meets-storyteller are at their best (California! California!/We’ll drive across America/Leaving everything behind/California! California!/Seeking fortune in unfortunate times!) Marry that to the fact that his voice simply dances with the instruments and you’ve got a total winner. “Jubilee” closes out the album on a fun, jazzy note. The gospel arrangement brings back more memories than I can even communicate.
Randall Goodgame is one of those rare gems of an artist who will likely be more appreciated behind-the-scenes than he will offering up his own interpretations of his songs. That is simply a shame, because it is always a good thing to hear the lyrics and music of a talented artist who can hold his own. You owe it to yourself to pick up the “Bluebird EP.” Fans of introspective artists like Chris Rice, Shawn McDonald, and Mark Schultz will enjoy this project.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Shane & Shane's "Glory In The Highest": A Review | Posted November-25-2008
by C.E. Moore
Shane & Shane have set the bar for acoustic-driven worship music. The partnership of Shane Barnard and Shane Everett has produced such powerful and memorable efforts as “Psalms,” “Clean,” and more recently “Pages.” Now, this dynamic duo bring their acoustic style to the Christmas season with the release of their first holiday album “Glory In The Highest (A Christmas Record).”
Ranging from classics to modern staples to original pieces, Shane & Shane deliver up yet another great album. My only complaint is that, at 10 tracks long, the album feels much too short for such a wonderful display of talent.
“O Holy Night” starts things off and Barnard and Everett are as fresh as ever, crooning the honored lyrics over their dual acoustic guitars. “O Come O Come Emmanuel” has always been one of my favorite Christmas songs. A Latin hymn from the early 1700’s, this particular piece is one that has been embraced by many Christian artists as of late (during the holiday season) and Shane & Shane have likely delivered up one of the best renditions of it I have heard of it in a long, long time. “It’s Beginning To Look A Lot Like Christmas” is light, cheerful, and bouncy (as it should be), yet infused with Shane & Shane’s signature style.
“Born To Die,” “Holiday,” and “Glory In The Highest” are all original pieces by the singer-songwriter. While the first two are decent, title track “Glory In The Highest” is the best song of the three—and quite easily the best track on the entire album. As the two have found their footing in the modern worship genre, they have been able to tap into that and craft a new holiday worship piece that the church would do well to adopt as its own. The lyrics are as simple as those espoused in the book of Revelation, yet they are deep and powerful and will draw the listener/singer to the foot of a horse trough that holds the baby Messiah, come to die for our sins. What Shane & Shane have done here is remind us that though this child has no place to lay his head, all glory is due his name as he is the Creator of the cosmos. “O Come Let Us Adore Him” rightly follows and closes out the album.
“Glory In The Highest” is one of the few Christmas albums that is also a powerful piece of worship. If you’re skeptical about Christmas albums, Shane & Shane should help ally any lingering doubts or fears.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Casting Crowns' "Peace On Earth": A Review | Posted November-20-2008
by C.E. Moore
The current reigning torchbearers of CCM Casting Crowns have arrived with their first Christmas album in the form of “Peace On Earth.” And, whether I like it or not, it’s going to sell like hotcakes. Why? Name recognition. They’re Casting Crowns and they can do no wrong. They could be singing about the weather and people would buy it. Is the album good, though? Well, it’s not the best Christmas album released this year. Not by far. But, it’s still really good. Casting Crowns didn’t get to where they are because they have no idea what they’re doing.
The album begins with poet Henry Wadsworth Longfellow’s “I Heard The Bells On Christmas Day.” It’s a peaceful rendition of the holiday standard and Mark Hall’s knowing arrangement respects the material. “O Come All Ye Faithful,” another traditional is done well, but is nothing particularly memorable. Fans of Casting Crowns are already familiar with “While You Were Sleeping,” but this time around the band offers up the piece in its original Christmas version. I’m not sure what that means, as I’ve only ever heard this song in its non-Christmas version. Either way, all it amounts to is a few added lyrics that are clearly seasonally-minded. “Silent Night” is the best song on the album and Casting Crowns does what it does best on this number. A solid orchestral version of “O Come, O Come, Emmanuel” closes out the album and it is absolutely beautiful and heartbreaking in its delivery. The strings and piano are absolutely haunting.
There are a few things I have against this album. First, Casting Crowns never seems to make any of these songs truly their own. That may be a sign of respect, but none of the standards or covers really stick out. When I hear David Crowder sing “Feliz Navidad” or Jars of Clay sing “The Little Drummer Boy,” they are instantly recognizable. With the exception of the previously recorded “While You Were Sleeping,” much of the album is indistinguishable from the 100’s of other renditions of the same songs sung over the years. My other complaint is that, again, with the exception of “While You Were Sleeping,” there are no original Christmas pieces written by Hall or the group. Having proven himself as a capable scribe, I’m surprised by this omission.
“Peace On Earth” is a solid effort, but it’s not stellar. People will undoubtedly disagree with my opinion and that is fair. This is definitely for a certain crowd and I freely admit, I might not be it. Either way, what is here is good but had the potential to be so much more than it was.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
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