Bold Right Life
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Kierra Audiences have literally watched Kierra Sheard grow up in the spotlight, though now that the singer’s out of her teens and approaching womanhood, she’s making noticeable strides at more mature sounding...
Hail To The King
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Hillsong London In just over 10 years Hillsong London has grown from 100 congregants to well over 6,000. And considering the mass market modern worship contributions its sister church, Australia’s Sydney-based mega congregation,...
Christmas Songs
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Fernando Before his major label debut in 1997, Fernando Ortega recorded a variety of albums independently, utilizing mainly acoustic instruments and understated arrangements to capture the simple beauty of hymns...
A GEM HERE AND THERE | Posted September-24-2008
The three pint-sized brunettes who comprise The Rubyz set out to measure up to Hannah Montana, but on their self-titled debut, it’s clear they can’t quite fill the teen sensation’s shoes…er, high heels. The fluffy album opens with these lyrics: “Hey Alexis, Hey Marissa/It’s Cammie up on the phone/I’m wondering if you wanted to hang.” Lyrically, the album doesn’t make a whole lot of progress from there, punctuated by lots of “na-na-na’s” and “oh yeah’s.”
However, promising lyrics can be found on their first single, “Thirteen,” where the girls plead, “What I mean/is for once I’d like to act my age, instead of older.” The two outstanding musical tracks on the perky disc are the cover of Rihanna’s “Umbrella,” where the trio strips it down to a soothing acoustic rhythm, and the smooth R&B beats of “Just Like You.” Although they boast production from Chris Omartian (Jump5, Hilary Duff) and Joy Williams, the project is hit and miss as far as quality and musicianship, but the positive message the songs carry will resonate with tweens.Advertisement
On “Baila Chiquita,” the Latin rhythms gently accent the girl’s youthful vocals, but on the cover of Fee’s “We Shine” (the only real mention of God on the album), the frantic techno format and annoying shouting fail to impress. The remaining tracks are simplistic and trite. The trio simply lacks the charisma and “it” factor as Omartian’s last power teen group, Jump5. With experience, they certainly hold promise, but this debut is nothing teens haven’t heard before. –Grace Cartwright
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POSITIVE POWER POP | Posted September-24-2008
Here We Go Again, the sophomore project from tween group pureNRG is infectious. Whether young or old, it’s hard for a listener not to start singing along to this CD. Following in the success of groups like Jump5, Miley Cyrus and The Jonas Brothers, pureNRG takes positive power pop to a young audience.
The songs on Here We Go Again are essentially well done. Like their debut project did with “Footloose” and “Thy Word,” Here We Go Again relies on adult-friendly songs “Ain’t No Mountain High Enough,” “That’s What Friends Are For,” “More” and “Call On Jesus” to bring older songs to a new audience and to give parents something familiar to listen to with their children.
“Girls Can Change The World” is a surprisingly socially-aware song of how girls can tear each other apart with drama and back-biting. It successfully encourages girls to work together to make a positive impact on the world. The teens in pureNRG are effectively using their platform to motivate their peers to love and not act just as the world does. The song “Get Up” also serves to inspire teens to move in love and not sit in apathy.
Here We Go Again brings enhanced maturity from members Jordan, Carolyne and Caroline. The only drawback is that four of the 12 songs are covers. Fortunately, pureNRG’s rendition of each cover is distinctly different than the original. However, it would be nice to see more original songs on a future project. -Lindsay Scranton
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MANY QUESTIONS, ONE ANSWER | Posted September-24-2008
“What Would It Be Like?,” the first single from Salvador’s latest release, Aware, poses a hefty question that the band proceeds to answer throughout the album. The song, an infectious fusion of up-tempo, Latin-funk sounds, begs this question in its opening lyrics: “What would it be like if we loved each other/If we lived like we believe?” Attentive listeners find an answer in verse two: “No tears from a worried mother/No cries from a hungry child/No fear of a runaway father.”
That’s where the rest of the world typically stops. Inquiry answered. But the musically gifted, eight-piece crew digs deeper and offers a real solution to the problems referenced: Jesus—that’s the only way we will see the world start to change.
The remaining 10 songs on Aware address related topics, from the duet “Everybody Needs You (featuring Jaci Velasquez), which points to God as the ultimate provider, to the inspiring “Fly Again,” which offers hope for the downtrodden. The standout title track finds frontman and primary songwriter Nic Gonzalez begging for vision. Sweeping piano and strings swell, sonically mirroring his cry to be made “aware” of God’s plan over his own shortsightedness.
Standard Salvador sonics—rhythmic percussion, jubilant horns, flamenco-style guitar and salsa rhythms—distinguish this seasoned group from other pop/worship outfits. The smart lyrics mix keen observation and genuine, vertical praise. On Aware, Salvador continues to answer the aforementioned question with one consistent answer: Jesus. –Lizza Connor Bowen
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SEASONED WORSHIP LEADER SETS STAGE FOR FIRST STUDIO PROJECT | Posted September-24-2008
Selling truckloads of his eight live recordings, having penned songs sung by millions of worshippers worldwide and traveling with Promise Keepers and Franklin Graham Crusades, worship leader Tommy Walker has never released a strictly studio record…until now. Having served in his home church for the past 18 years, Walker uses his work experience to carefully craft 10 solid tracks, designing a cohesive collection of his best songwriting to date.
I Have A Hope opens with the title track’s comfortable, relaxed groove, setting the tone both musically and lyrically with its declaration of praise: “I will yet praise Him, my great Redeemer/I will yet stand up and give Him glory with my life… I have a hope.” Smoothly transitioning into the subtly grand “Hallelujah, We Will Sing” and beautifully simple “In the Light of Your Glory,” it’s easy to see why over 100 of Walker’s songs have found prominent positions on CCLI’s current chart and in churches worldwide.
With producer Ed Cash (Chris Tomlin, Bebo Norman) at the helm, I Have A Hope resists the genre’s temptation to overproduce, utilizing Walker’s easy vocals to define, rather than distract from each song’s powerful lyric.
Thanks to Walker and Cash’s collaborative sensitivity, I Have a Hope prepares Walker to effectively bridge the gap between worship leader/songwriter and recording artist. Whether singing corporately or listening alone, I Have a Hope is an extremely accessible worship record. –Andrew Greer
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SEISMIC SHIFT | Posted September-24-2008
Stand Out proves that Tye Tribbett is a talented ringmaster with a bit of ADD—a calculated songwriter with completely spontaneous live chops. Tribbett can wail like James Brown or bark like an evangelical drill sergeant marching his vocal group G.A. (Greater Anointing) tightly through tracks like the disc’s punchy, horn-accented title cut.
Just as quickly, the group can downshift into an updated neo-soul grove with young urban gospel star KiKi Sheard on “Look Up.” Other cameos include the shining jazzy vocals of Kim Burrell (“He Has Made Me Glad”). More than a few tracks, like “Hold On,” sound like they were built on the corner of “Kirk Franklin Boulevard” and “Israel & New Breed Avenue.”
Tribbett, unlike other artists who flirt with gospel music boundaries, never looks over his shoulder to placate traditionalists with the obligatory conventional gospel or worship filler track. Musically, Tribbett’s unit is ready for anything, effortlessly shifting from muscular urban radio funk (“Good in the Hood”) to avant jazz gospel vamps (“I Made It Through”) to guitar pop melodies with approachable contemporary worship vocals (“Let Us Worship”). Stand Out may mark a seismic shift in worship and gospel music, one that hasn’t been seen since the mid-’90s halcyon days of urban gospel. –Anthony Barr-Jeffrey
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YEAH! | Posted September-24-2008
It’s about time. That’s one of the first things that come to mind when listening to Kingdom Business, Canton Jones’ third full-length album. For one, think of the timing: Usher’s Confessions happened four years ago, yet there hasn’t been anything remotely similar in urban gospel since its release. That is, not until Kingdom Business.
Like Usher, Ne-Yo and Chris Brown, Jones is an R&B crooner who favors slick urban grooves and smooth serenading—not to the ladies, but their Maker. This is a sound that has been done before in mainstream circles, but it’s a novelty in Christian music; very few artists, if any, are catering to the urban-pop contingent with the surefootedness of Jones.
This is rhythm-and-praise at its most accomplished, never more remarkable in bangers like “Living Clean” and “The Professional,” both of which seem lifted—rap for rap, synth for synth—from the Ludacris and Lil Jon playbooks. That’s not necessarily a knock; the vibe may be copycat Dirty South, but the lyricism is entirely Spirit-inspired, as the foundation of just about every song is Scriptural—even when dubious titles like “Pimp Hard” and “Hater Day” may suggest otherwise.
For all its sanctified street posturing, Kingdom Business is a well-produced shot in the arm to an ailing faction of faith-based music. It’s almost guaranteed to make fans of the style go, “Yeah!” –Andree Farias
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TRANSPARENT WORSHIP | Posted September-24-2008
To borrow a line from Randy Jackson (yes, “American Idol” Jackson)… “If you can sing, you can sing anything.” Ashmont Hill can sing! Its self-titled debut is comprised of song after song of impressive vocals, accessible harmonies and lyrics so simple they are undeniably honest and transparent reflections of hearts filled with the love of Christ.
Musically, the production takes full advantage of the impressive vocal range of all four members. At the same time, this album achieves something few can—a smooth, almost buttery personality that resonates with a sense of worship and quiet, assured faith. Not that the talent emanating from this album is even remotely quiet; rather it is a beautiful and rare collaboration of voices, spirits and performances that deliver a unified voice of conviction and praise.
The album begins with an organ riff and toe-tapping beat that’s slightly reminiscent of a Jackson 5 number from back in the day. Following that are some beautiful praise ballads that complement the controlled delivery of each member with interesting and varied orchestration. Track five is a refreshing take on praise standard “Blessed Be Your Name.”
Ashmont Hill possesses the kind of individual talent that could lead to promising solo careers for each member; but they have somehow grasped the concept and mechanism of blending, so that each voice truly does come together with the others to become a single instrument of praise. Add to that the attention given to melodic hooks and the order of the tracks, and you’ve got a compelling and inspiring ebb and flow of reverence, praise, repentance and pure love—from God and of God. –Caroline Lusk
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LEGENDARY SONGSTRESS SHARES LIFE EXPERIENCE | Posted September-24-2008
Over the past three decades Sandi Patty has become one of the most recognizable voices in Christian music. With an armload of Grammy and Dove awards, multiple platinum and gold records, Presidential performances, television appearances on “Dr. Phil,” “The Tonight Show” and “7th Heaven,” along with a host of major symphony dates nationwide, Sandi’s supernatural soprano has traversed the entire scope of popular music.
Crisscrossing the country as a part of Women of Faith’s weekend entourage, Sandi is finding new opportunities to share her story, and it pays off. With her 26th recording, Songs for the Journey, the Gospel Music Hall of Famer eases through 11 diverse, but cohesive tracks, pondering her faith from childhood to present day.
“Praise to the Almighty,” “Be Thou My Vision” and “Joyful, Joyful” offer original arrangements of definitive hymns, issuing a worthy sequel to 2004’s Hymns of Faith collection, while Andrae Crouch’s “Through It All” plays like a retro 1970’s vinyl. Highlights run throughout the CD’s generous 50 minutes, including an exquisite duet with husband Don. However, Sandi sings with such believable conviction on “Were It Not For Grace,” it is worth the cost of the album alone.
Though the song selection, at times, seems a bit disjointed, the recording as a whole is effective, due largely to David Hamilton’s (Michael W. Smith, FFH) fantastic musicianship and seamless production.
Sandi Patty has made an indelible mark on gospel music, and Songs for the Journey further establishes her legendary stay in this industry. –Andrew Greer
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NOTABLE WORSHIP PROJECT LOST IN SHUFFLE | Posted September-24-2008
Hearing your original tunes sung by 6,000-plus congregants weekly isn’t a shabby gig for a singer/songwriter whose main focus is creating music for the Church’s corporate musical offering. Leading worship at Grace Community Church, a mega-congregation located just outside Indianapolis, Carmen D’Arcy contends worship is more than the musical components she helps craft for Sunday mornings, but a bigger picture of lifestyle.
“In worship, we’re called to be filled up, moved, changed, turned around and sent out so we can be the light that God uses to change the culture and draw people to Himself,” D’Arcy explains on her official website. And on the songstress’ debut disc, A Place Called Grace, D’Arcy concentrates on the “filling up,” offering help with 11 songs of distinct praise.
Utilizing her church’s own worship choir, “Holy Is Our God,” “Hallelujah, We Sing to You” and the ebullient first single “You Are Everything” fuse the organic feel of a live worship service with top-notch studio players and production, giving the tracks possibility beyond worship music circles while sufficiently serving their priority audience. “Fade,” the intimate CD closer, is less congregational with its poignant lyric quietly reiterating D’Arcy’s focus on God versus man.
Though D'Arcy's a talented vocalist (think Nichole Nordeman’s timbre with Christy Nockels’ thick tone) and the disc is notably produced by Bryan Lenox (Michael W. Smith, Sonicflood), A Place Called Grace is unsuccessful in making its impression among the throngs of praise and worship CD releases, a niche growing exponentially every year. The songs, while certainly effective in their intended setting, fail to stand out in a broader, artist-driven industry.
But it is doubtful this criticism will impose any doom on D’Arcy’s continued ministry, as the songs’ (and songwriter’s) center care less about market trends, focusing instead on directing willing participants to the rightful Owner of praise. –Andrew Greer
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FAIRLY IMPRESIVE ADULT CONTEMPORARY COMEBACK | Posted September-24-2008
After spending the 1980s and ’90s as one of Christian music’s most prolific and decorated singer/songwriters, a six-year wait between proper albums seems interminable for faithful followers. While it would be easy to argue his best days are in the past (especially after 2002’s highly bland Living Room), the tunesmith behind classics like “Watercolour Ponies,” “Home Free” and “When God’s People Pray” (to name a few) musters up a fairly productive comeback throughout Even This. Whether touching upon the tender acoustic prayer of praise “For All You’ve Done,” turning in the emotive piano ballad “Twenty-Twenty” or the jazz-infused pop of “Newfound” (co-written with Nichole Nordeman), Watson’s voice and pen are both in fine form.
The track list also throws listeners for a marvelous loop via the unexpected cover of alternative country icon Patty Griffin’s “When It Don’t Come Easy.” Even though she’s not a core Christian artist, the lyrics speak of perseverance and can certainly be applied to anyone of faith, which Watson interprets with convincing candor. Yet, even amidst all these standout selections, the disc’s sonic palette seems a little too similar at times, often sounding like a batch of back porch songs rather than mixing up the production with a more fleshed-out feel. But considering just how much he’s improved since the last official trip to the studio, it’s great to have Watson back toward the same track that yielded so many contemporary Christian chestnuts. –Andy Argyrakis
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