Vagabonds
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The Classic Crime The title to The Classic Crime's latest long player implies a certain need to travel; and while the alternative rock act is no stranger to touring, the inspiration actually comes from a more missions-minded...
Eternity Invades
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Vicky Before UK born and bred singer/songwriter, Vicky Beeching, began her pursuit of professional music she enrolled as a theology student at Britain's renowned Oxford University to ensure her spirit-led songs...
Miracle
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Robbie Seay Band Quick disclaimer: What I don't mean to say is "if you've heard one Robbie Seay Band album, you've heard them all." At the same time, RSB's latest batch of worshipful pop/rock tunes, entitled Miracle, features...
KEARNEY DROPS HIP-HOP FLAVOR IN FAVOR OF IMPECCABLE ACOUSTIC LOVE FARE | Posted August-18-2009
Mat Kearney. The moniker is nearly synonymous with his signature soft-speak singles like “Bullet” and “Nothing Left to Lose,” but with City of Black & White, Kearney may soon be associated with impeccable love songs. Yes, love songs. While a few remnants of the hip-hop flavor that populated his debut remain, most have been replaced with flawless acoustic stylings peeking out from behind his somber vocal. There is something oddly charming in his careful, yearning tone, evident on “On and On,” where he sings, “If there’s one thing I know to be true/It’s that I’m in love with you/I don’t care if everyone knows what we are going through/All roads lead back to you… Nothing worth anything ever goes down easy.”
The artful album flows easily through every track, each one more cohesive and radiant than the last. Take “New York to California,” a piano-based balled where he croons lines like “Baby, I had one of those dreams again/And I lost you in the wind... For you I would crawl from New York to California.” First single “Closer to Love” wins with its shuffling syncopated beat, and “Runaway Car” sails along with a sprightly air. “All I Have” is even more impressive, showcasing the talent honed through Kearney’s impressive resume thus far.
He just hits home run after home run with this album, likely to find a home with fans of The Fray. Much like Fray front man Isaac Slade’s (who has graced the stage with this talented singer, along with elitists Jason Mraz and John Mayer) urgent vocal and almost mournful arrangements, City of Black & White is painfully honest, moving and Kearney’s best work to date. —Grace S. Cartwright
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
REMARKABLE FULL-LENGTH DEBUT FROM RISING SONGSTRESS | Posted August-18-2009
Rarely does an untried name in music record not only one of the better discs in her new artist class but one of the year’s best CDs—period. Twenty-four-year-old Lanae’ Hale is that artist. And Back & Forth, her first full-length project, is that record.
Following a well-received (and reviewed) EP in 2007, Hale debuts 11 brand-new tracks, tacking on a significant amount of edgy grit that gives her buoyant vocal chops added depth and significantly matures her listener reach.
Raising the bar on Hale’s already anomalous brand of songwriter-focused pop/rock, Christian popster Mark Hammond (Nichole Nordeman, Ashley Tisdale) and Allen Salmon (This Beautiful Republic, Seabird) masterfully helm production, showcasing Hale’s vulnerable verses against an accessible radio-ready backdrop. With a voice powerful enough to soar against the pounding guitars on the really, really hip title track, yet vulnerable enough to gracethe closing lullaby “Don’t Cry” and heart-pounding ballad “If I’m Broken,” Hale is one of the freshest original vocalists in Christian music.
It’s not that she’s without influences. Hints of the Cranberries and Sixpence’s Leigh Nash are easily evidenced, but they only serve to benefit the standout singer instead of distracting with comparisons. You think, “I’ve heard that before!” until you realize not exactly—maybe a piece of this verse and part of that lick, but nothing overwhelmingly reciprocal. It makes Back & Forth sound both fresh and familiar, an incredibly marketable posture for an up-and-coming artist like Hale.
Without much prelude, Hale is quickly becoming a “ccm” original. —Andrew Greer
JUSTICE IS SERVED ON FAVORITE “AI” FINALISTS’ FIRST SET | Posted August-18-2009
Having been trumped in the final hours of “American Idol” Season 6 by some unforeseen reality TV coup, Melinda Doolittle’s premature elimination has been criticized as the greatest injustice in the reality show’s historic eight-year run.
But listen up. The soul sister is getting revenge, and boy does it sound sweet. Boasting vintage strings, dirty tambourines, chiming bells, one perfectly placed horn hit after another and the funkiest three part background vocals this side of the ’60s, Coming Back to You is completely retro but brilliantly modern, a mature R&B/funk debut to balance today’s pop/rock tween scene.
One of only a handful of legitimately superstar “American Idol” alumni, Doolittle’s instrument has consistently, and fairly, been compared to the feverish Tina Turner. But the throwback vocalist has an even wider range of nuance. Consider Patti Labelle’s whiny runs and Gladys Knight’s passionate interpretations, and Doolittle sounds like a singer born in the wrong era.
Songs covered include Bonnie Raitt’s “Fundamental Things,” Doris Day’s “I’ll Never Stop Loving You” and a pair of Robert Johnson blues standards—“Dust My Broom” and “Walking Blues”—both having been covered by countless artists from various genres over the years.
But curious Christian audience shouldn’t expect a great revelation here. Though Melinda was well acquainted with the gospel music industry well before her “AI” stint, these 12 tracks consult the heavens very little, at least lyrically. Even so, Melinda’s gospel-driven, preach-it-girl pipes make Coming Back to You a religious experience all its own.
And yeah, from song to song the record sounds much the same. But it all sounds good. So forget Doolittle’s silly little grin and hesitant demeanor; this girl means business, and the fiery gumption of Coming Back to You proves it. –Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
NOCKELS SHINES ON SOLO DEBUT | Posted August-18-2009
To the delight of loyal fans, Christy Nockels finally makes her debut as a solo artist with sixstepsrecords, home to other Passion Conference-born lead worshippers Chris Tomlin, David Crowder Band, Kristian Stanfill, etc. She and husband Nathan (previously known as Watermark) moved to Atlanta to be a part of Passion City Church, and Christy began writing a new collection of worship songs based on her real-life worship experiences.
Life Light Up kicks off with celebratory pop anthem “No Not One” (co-written with Brandon Heath) and title track “Life Light Up,” a passionate, real cry for God’s fame to shine. Triumph in God’s promise flows through “You Are Able” and “In Your Hands.” The album is not all upbeat victories, however. Nockels explores the choice of slavery to Christ in the ballads “My Master” and “Choose.” Her “Song of the Beautiful” is a haunting glimpse of a broken people crying to Savior Jesus.
She includes two cover songs, Charlie Hall’s “Marvelous Light” and Brooke Fraser’s “Hosanna,” which she also recorded for Passion: God of This City. The opening to “Hosanna” sounds eerily like Coldplay, but the remainder of the song is a replica of the original sung by Hillsong United. Her take on Hall’s “Light” is also true to the original, albeit shaped by Nockels’ powerful vocals.
Chris Tomlin has said that Christy Nockels is his favorite vocalist, and it’s not difficult to imagine after listening to Life Light Up. Her voice is as pure as it is powerful, beautifully matching the spirit of each song. Moreover, her convincing performances are boosted by arrangements and production that make them feel like a live event. While her work with Watermark should be remembered, Life Light Up takes her work as a worship leader to a brand-new level. —Jackie A. Chapman
ENERGY AND MATURITY MEET ON FOURTH GO-AROUND | Posted August-18-2009
Two statements are true concerning Everyday Sunday’s latest, Best Night of Our Lives. First, the guys are clearly comfortable and settled in their own artistic skin. Second, they’re having as much fun as ever. These two facets combine to create ES’s best work yet.
The high energy of former releases like Wake Up! Wake Up! is definitely present here on Best Night, so those Relient K and Jimmy Eat World comparisons still hold. Yet there’s a cohesion and lack of “look at me” antics that showcase a band with a solid platform. The songwriting, especially on title track “Where I Ended” and “Figure It Out,” blends mature themes with tight, appropriate musicianship. And speaking of music, there’s plenty to love here.
The frenetic riffs of “Under Your Thumb” immediately catch your attention, while “Lies and Fear Go Hand in Hand” keeps the relentless energy moving through the album’s first four tracks. Trey Pearson’s vocals remain earnest without going overboard, and he really comes into his own on the slower tracks.
“Where I Ended” sounds a tad like Aaron Sprinkle’s band, Fair (especially with the lyrical line, “I was just starting to come unglued”), and even more like Graham Colton. It’s the halfway-point ballad that works best on vinyl and serves as the album’s anchor—a surefire hit on multiple radio formats. Ultimately, it proves Everyday Sunday handles both the fast and the slow with equal precision and skill. —Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
BELMONT ALUM YIELD OUT OF THE BOX SUCCESS ON NATIONAL DEBUT | Posted August-18-2009
Born out of an impromptu jam session in a Belmont University dorm room, MIKESCHAIR has been cranking out tunes since its freshman formation six years ago. From the band’s first Christian music showcase at the Nashville university to signing with Curb Records in 2007 to releasing their self-titled debut, Mike, Sam, Jesse and Jon have been musically exploring faith through the lens of love since day one.
After testing Christian radio with the moody, programmed pop of “Other Side”—which peaked at a modest No. 24 on the AC charts and is ironically the record’s finest track due to its provocative lyrics, tasteful use of overdubbed violins and excellent drum sounds—MIKESCHAIR has turned a viable corner with the worship-driven single, “Can’t Take Away,” currently hovering in the Top 5.
Following suit, back-to-back disc highlights, “Let the Waters Rise” a la Coldplay and praise-perfect “Hallelujah,” capitalize on a commercial-ready formula that, though not innovative, could launch these fellas into the realm of consistent radio play given to acts such as Casting Crowns and MercyMe. If shown similar love at retail, it could potentially allow the band to choose from a radio buffet of Praise & Worship, AC and CHR if they so choose.
And yes, the worship-influenced band’s mainly-vertical lyrics often favor rhyme over substance; but from a production vantage point, MIKESCHAIR’s debut offers much more creative pounce than its predecessors.
Considering the CD’s excellent production, accessible slick rock and maturing ability, MIKESCHAIR has honed a formula for success. Here’s to continued creativity and growth on record No. 2. –Andrew Greer
SHINING DANCE DEBUT FROM MULTI-GENRE NEW ARTIST | Posted August-18-2009
I think Mary Mary just put the smack down on Family Force 5. Or was that Jill Scott singing Reggae? Wait. That has got to be a Motown cover. Forget trying to classify the sounds on Jade Harrell’s debut record, Class Reject. It’s all original and all new. With a hearty list of likes that begins with Rascal Flatts and checks off Prince, Brandy and Michael W. Smith along the way, dance/pop/singer/songwriter Jade Harrell experiments with an all-of-the-above list of genres that could keep her entire block hopping all night long.
Though her funky techno beats breed visions of disco balls and dance floors, Harrell goes deeper, finding her own “inner dance party” as she wades through the ins and outs of relationships—both human and heavenly. On the single “Me & My Radio,” she declares she “don’t need a club to dance tonight,” and gauging from the record’s back-to-back grooves, she’s right. “Who You Are” uses a pulsing piano backbone to drive home a message of self-acceptance, while the versatile singer rocks out on “The UnSeen,” asking the rebellious Christian, “Is the grass really greener on the other side?”
“Don’t Leave” features hardcore soul/pop with wild wurlitzers, downbeat tambourines and an Aretha-esque performance by Harrell. “Rain” flirts with reggae, and “What a Fool Believes” is none other than the Doobie Brothers ’70s classic, justified with an updated millennium sound, but completely and wonderfully recognizable.
Signed to rap/hip-hop duo GRITS’ Revolution Art label as a teen, Harrell is far from your typical new artist. And considering the musicians who discovered her, it’s not hard to understand why she is so artistically atypical. With a common denominator of dance, Class Reject throws an all-out musical soiree that’s as heavy in aural expression as it is hopeful messages.
Bye-bye, iShuffle. So long, mix tapes. One spin of Class Reject should satisfy all your musical cravings. —Andrew Greer
MORE OF WHAT WE LOVE FROM OUR FAVORITE AUSSIE WORSHIP BAND | Posted August-18-2009
For the past decade, the United band has extended a youthful arm to the enormous Hillsong congregation and millions of Hillsong listeners worldwide. An amplification of the Australian church’s youth ministry of the same name, the band successfully reaches a younger generation that may remain untapped, or at the very least uninterested, by the more “adult contemporary” stylings of, say, former worship pastor Darlene Zschech.
Now releasing their first completely live CD in three years, the modern-rock worship gurus forfeit the studio for a stage, returning to the format that first made them famous. With cuts by such United dream team members as Reuben Morgan, Joel Houston and new artist sensation Brooke Fraser (who became a contributing member after joining the church), Across the Earth: Tear Down the Walls features 12 sensational, stadium-sized songs of worship.
Comparable to Passion recordings here in the States, tight radio edits are traded for extended arrangements, and three-minute pop is exchanged for colossal climaxes, slowly building from the first solo lyric to the last communal phrase.
But when their songs of worship give way to fist-pumping arena rock, it’s hard to discern whether the band is promoting entertainment or corporate praise. United, however, purports its purposes are bigger than performance and its message more than a platform. And countering the idea that this musical outlet is solely about them as a band, they frequently rotate lead vocals, initiating a common spirit from the get-go.
Tear Down the Walls definitely further defines the band’s aptitude for creating relevant worship music for the church. And considering that is their explicit aim, I’m not sure what more we can ask from this fine Aussie collective. —Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
PROMISING ARTIST DALLIES WITH FORGETTABLE FARE | Posted August-18-2009
It’s hard to break into the pop world these days. With an abundance of music hopefuls and fewer labels, plus a struggling economy, the artists who get signed have to be good. Really good. Jonny Diaz, though not particularly groundbreaking, vocally proves he is worthy to join the ranks of artists who have made it through the gauntlet.
On his debut More Beautiful You, the fresh-faced singer churns out a stalwart set of tracks, starting with the single “More Beautiful You,” which promotes a not-so-original message about true beauty but nonetheless has a delightful hook. “Love Like You Loved” has a blissful Jason Mraz feel, though a damaging attempt at an “island” theme falls short of Mraz’s prowess. “Stand For You” is much more successful. Though lyrically uninspiring, musically Diaz excels via bounding guitar lines and rhythmic vocals, enough to launch his voice to gigantic proportions.
“See the Wind” is the best track on the album, a splendid moment where Diaz sounds fully comfortable with the range and speed of the track and demonstrates brilliant vocals. Songwriting also hits an album high here, with lines like, “And when I hear the thunder/I know that You draw near and then I watch in wonder as the evidence appears/Leaves grow mighty at your bidding, trees bow to branches low... I cannot really hold You, but I feel You in my life.”
Diaz will no doubt draw comparisons to artists like Mraz, Dave Barnes and Bebo Norman, which is a shame, because it would have been nice to see him fulfill all the potential of his vocals. He falls woefully short on tracks like “Nashville” and “Waiting Room,” where boring arrangements and lackluster lyrics earmark him as forgettable. Mercifully, he steadies his footing with “Prodigal Like Me,” and thanks to its commercial appeal (think Chris Sligh, Mark Harris), this tune will find an ideal home on AC radio. —Grace S. Cartwright
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
NEW BAND PROVIDES DELIGHTFUL CONGREGATIONAL WORSHIP | Posted August-18-2009
Don’t try to pigeonhole Seven Stories Up—it’s simply not feasible. The Atlanta-based group shifts vocal stylings and musical riffs faster than you can change songs on their debut EP, Falling. The six bounding worship tunes follow in the footsteps of Fee and By The Tree, with the contemporary tone of Jason Dunn (Hawk Nelson). It shouldn’t work …but it does.
While the diverse quartet sails through an ocean of unoriginal lyrics, they stay afloat via ultra-singable songs that belong on power-point screens in churches nationwide. These songs are made to be sung congregationally, which is why the somewhat standard lyrics are forgivable. And a distinct thread of redemption and joy weaves through this solid effort, starting with the opener “My King,” relying on Switchfoot-esque guitars to carry the fervent chorus: “You are good, I give my life for You/My all, my world for You/May it crumble in the hands of the Great I Am.”
On its heels is “Taking Over,” featuring an exuberant synth line—another strong vocal offering from front man Andy Rocker, who has been leading worship and working toward this album since 2002.
The seven years of preparation shine through on fourth track, “Hallelujah,” where just the right hints of Coldplay-tinged piano turn a simple chorus into a moving worship song. Lyrically, Seven Stories’ best efforts come on “Refuge,” where they sing, “Jesus, Lord of the nations/You will cause our hearts to dream again/Jesus, life to all dead places/We will sing new praises.”
Energetic, albeit not original, Seven Stories Up shows they have plenty to offer the worship arena, with lofty guitars and worshipful choruses to boot. —Grace S. Cartwright
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
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