VIP
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Manic Drive Canadian pop-rock group Manic Drive (brothers Shawn and Michael Cavallo and friend Anthony Moreino) have released their fifth album, VIP. When the record begins, pulsing opening track “Electric”...
It's no news when 57-time Dove Award winner Steven Curtis Chapman debuts at No. 1 on the charts. But perhaps it is news when it's Billboard's Bluegrass Albums chart we're talking about. Deep Roots, Chapman's latest offering (in partnership with Cracker Barrel Old Country Store), is an homage to his roots--his Kentucky birthplace, his Christian faith, and his family.
From the opening fiddle strains on "Tis So Sweet To Trust in Jesus," it's clear this album is going to be a special experience. What a refreshingly bright, happy sound! It's one of my favorite hymns and a great way to begin a record thematically focused on trusting God and leaning on faith to endure hardship and loss.
A gorgeous rendition of "How Great Thou Art" follows, centered on acoustic guitars and banjo rather than the usual piano or organ. Steven's joined on the track by daughter-in-law Jillian Edwards Chapman, wife of son Will. A solo performer in her own right, and also one-third of the family venture, The In-Laws (with her husband and Caleb Chapman), Jillian has a sweet tone reminiscent of Leigh Nash. The music gently envelops and caresses the singers in their vocal performances as they trade lines and sing together.
The legendary Ricky Skaggs adds his voice and mandolin to "What a Friend We Have in Jesus." Steven has done a great job of choosing melodic hymns, and this is no exception. I particularly like the fade out where Steven and Ricky simultaneously sing different parts.
Many of the hymns chosen for the record are songs inspired by tragedy or written by those who suffered great loss. "Blessed Assurance" owes its lyrics to the great Fanny J. Crosby who, like Chapman, experienced the loss of a child. This is Steven's renewed declaration of faith.
Father Herb Sr., and big brother, Herb Jr., join Steven as the pace picks up for the "Life is Like a Mountain Railroad." After his early lead, and some perfect harmonies, Steven sits back and lets dad and brother have the spotlight. This is a sure-fire album highlight, full of foot-tapping energy, and I wouldn't doubt that the family turned some heads when they recently performed this song on the Grand Ole Opry. Casual listeners may be disappointed to find that these guys aren't a touring band!
I'm completely taken with "He Touched Me." It's the knock-out encore performance for the two Herbs. Herb Sr., honored with the lead vocal, proves to have a robust resonance and strength that sounds more youthful than his 73 years. This is hands down my favorite moment on the album, and if Herb Chapman should ever release a solo record, I'd be first in line to get it!
Since the latter half of the record is dominated by revisions of some of Steven's past works, I'll skip ahead to the final hymn, and the oldest one on the disc, "Rock of Ages." Steven shines as he turns in a terrific, emotionally stirring performance. The highest praise I can give is that when he sings, "let me hide myself in thee," I understand the song and its lyrical message better than ever before.
As mentioned, the remainder of the record consists of new versions of old SCC songs. He chooses primarily early works dating back to the late 1980s. First up is a favorite of mine, "Hiding Place." In live shows it's often part of an acoustic medley that Steven does alone. I'm grateful for this recording as it gives the song a treatment that is its lyrical birthright. The song deserved a stronger musical accompaniment than the original recording offered, and this rendering gives it a timeless feel.
Steven treats us to another family duet on "Be Still and Know," as his eldest son joins him. Caleb Chapman's voice is more tender than I've ever heard it, and he blends in smoothly with his father. The re-visioned tune takes a simpler approach than the original, which boasted grand orchestration. And less is more, for there's a peace in this measured, intimate approach.
"His Eyes" and "My Redeemer is Faithful and True" also receive the respect of an update with these new recordings. On the latter, we are blessed to have the Herbs return on background vocals. Like "Hiding Place," both classics are improved and kept vital while remaining faithful to their history.
It's not surprising that Steven concludes this intimate album with one of his most personal songs, "Cinderella." Rather than ending after the final lyric as in the original, an extended instrumental follows the line, "but I know / the truth is / the dance will go on." What better way to close the record than by reminding us of the eternal life that awaits us in Jesus?
Closing Thoughts:
The out-of-time aspect of bluegrass is delightful. Of all the types of American roots music, bluegrass remains perhaps the most unchanged by modern music. So these are fitting clothes for century-old hymns, and a nice way to marry Chapman's songwriting to the tradition that preceded him. On the other side of personal tragedy, Steven chose from his own catalog simple songs that, refined by grief, now speak even more powerfully about faith and trust. It doesn't feel like a stretch to say that Chapman has elevated these hits to the status of modern hymns. But Deep Roots is more than just another hymns record – it's an artist reconnecting with his past and reminding us that hope and light are found in a deep-rooted faith.
Last fall, courtesy of SocialCam, I witnessed Jason Crabb overcome his fear of heights by jumping off a cliff into a river. Though it was not a considerable drop, it was clearly not an easy feat for him. He first ran and pulled up short, but finally, after some encouragement and cajoling from his friends, took off again and jumped. Did he enjoy it? Probably not. Did he conquer some fear? You bet!
After years of performing with his parents and siblings as part of The Crabb Family, it must have felt daunting in 2007 when the group ended its journey and Jason ventured out on his own--a little like jumping off a cliff. Time has given us the luxury of knowing how things turned out. His self-titled solo debut was awarded the 2010 Grammy for Best Southern/Country/Bluegrass Gospel Album. On top of that, in 2012 the Gospel Music Association named Crabb Male Vocalist of the Year and Artist of the Year.
Certainly there was pressure for the 17-time GMA Dove winner to deliver a solid follow-up studio record. With the help of talented songwriters, and producers Jay DeMarcus (of Rascal Flatts), Ed Cash, and Wayne Haun, Jason Crabb has created a gem of a record in Love Is Stronger.
Opener "Give" finds Jason's warm vocals wrapped around a chorus that entreats listeners to be an example of what they are seeking: "If you want to get love then give it / If you want to feel some forgiveness / You've gotta let go and do some forgiving of your own / If you want a friend then be one / A little bit of kindness show some / .... / If you want it, give."
Having gained your attention, Jason brings you to your feet--and likely to your knees--with the Ronnie Freeman/Tony Wood gospel ballad "What the Blood is For." Jason uses tremendous vocal control as he slides effortlessly from soft, tender notes to full-on power belting. The lyrics remind us that, concerning God's love, grace renders performance unnecessary: "What if I can't get my act together? / That's what the blood is for / It cleans the dirty man I am / Makes it possible to stand / before you, Lord / That's what the blood is for."
The focus remains on the cross and the hope it provides with "Let Mercy Hold You," a powerful song that is already finding a lot of airplay on pop radio. The song communicates that God's mercy and love reach beyond our strongest doubt to find us in our greatest need: "There's a cross reaching to the furthest place."
On "Living Life Upside Down," a song previously recorded by Russ Lee, Jason sings about truth and priorities. This cautionary tale asks, "What if we fall into the bottom of a well / thinking we've risen to the top of a mountain / What if we're knocking at the gates of Hell / thinking we're Heaven bound ... / What if we reach up and touch the ground / to find we're living life upside-down?"
Jason draws on his wife's health struggles for "Love is Stronger." The terrific chorus can be interpreted as a celebration of endurance and victory as well as a promised hope for better days ahead. Jason's passionate vocals underscore the song's message that "life is tough, but love is stronger." This song has huge potential to expand Crabb's audience, and I wouldn't be surprised to see it chart across multiple formats, including mainstream Country radio.
The heavy-hitters continue with one of my favorites, another song by Freeman and Wood, along with Barry Weeks, the triumphant "Morning." Lyrically straightforward, the music and vocals convey God's promise that "joy comes in the morning." Nearly all chorus, the song builds to a bursting climax that sits perfectly in the middle of the album.
Up next is the familiar "There's Not a Crown (Without a Cross)," first made popular by Michael English and later recorded by the Martins. What better way to revisit a well-loved song than to unite with those who have recorded it before? Michael English and Joyce Martin Sanders join Jason to create a special moment--the arrangement is strong, the individual performances flawless, and the harmonies breathtaking. This is a recording not to be missed that will ensure this gorgeous song and its important message continue to land on listening ears.
Jason shifts gears with the upbeat "God's Up to Something," another song that uses everyday language to give voice to the fact that God is continually working in our lives: "Hold on as long as you can / cause when you're down to nothing / God's up to something."
Another guest appearance results in a song that is sure to turn heads as Kari Jobe joins her voice with Jason's on "Love Wins." A rarity today, the song was a true duet, with the two performers facing each other in the studio. The chemistry resulting from being together is evident, and Jobe's delightfully tender voice serves as a suitable foil to Jason's forceful vocal delivery. The song defies categorization and should reach and bolster many.
"Near" is a robust worship track with a chorus that leaves me feeling like I've heard it before. That's not a criticism, but rather a huge compliment. This song feels like a sister to giant hits performed by the likes of Casting Crowns.
After two big pop/worship numbers, the album comes to a thoughtful close with "Satisfied," another Freeman/Wood song. This gospel track, which feels like a hymn, is supported by an orchestral backing. The song swells and soars at moments, but the production wisely allows breathing room for quieter, more vulnerable vocal moments that reveal Jason Crabb's servant heart.
Closing Thoughts:
Love is Stronger is a breakthrough album that will thrust Jason Crabb into a bright spotlight. Packed from start to finish with strong songs, versatile vocal performances, and an abundance of energy and emotion, this album is not limited to a single musical category. Already finding airplay on Sirius XM's The Message and other broad-market AC/Pop Christian radio stations, Kentucky-born Crabb, whose resume is studded with achievements and awards, is leaping across genre and generational barriers and is poised to take off to even greater heights.
Calling NewSong industry veterans feels like an understatement. With 20 No. 1 songs, the founders of the WinterJam Tour have been around the block and back. During the group's tenure of more than 30 years, the lineup has seen many changes. Much like newsboys, members of NewSong have come and gone, and some have even come back again. What hasn't changed is NewSong's mission of evangelism, and music is still the vehicle they use to introduce God to those who might not know Him.
Fittingly, Swallow the Ocean begins with NewSong carrying out that mission, announcing God with energy and crunchy guitars on the upbeat "All We Need." Matt Butler sings from the perspective of a redeemed follower of Christ, proclaiming, "Now I live to tell of His amazing grace / Anybody out there searching / Jesus / Jesus is all we need."
The baton is passed to Russ Lee for the second track, "Choose to Love," which highlights personal choice. We can either erect walls or open our hearts to forgiveness and grace. Lee asks,"What if we stood with hearts wide open, ready to start again? / What if we let God's grace take over and learn to forgive and forget? / What if we choose to love?"
Butler returns to the microphone for title cut and lead single, "Swallow the Ocean (Coming Alive)." Drawing inspiration from the century-old hymn, "The Love of God," NewSong brings vigor and vitality to their performance as they sing about life in Christ. The track is a big, bold, unabashed testament to God's infinite love.
"Never Be Another" begins as an intimate tune with a pretty piano part accompanying Lee's moody vocal. But as the song progresses, the tune blossoms into a full-blown, whole-band worship anthem exalting God's supreme love, declaring "there will never be another One like You."
Billy Goodwin takes a turn at lead vocals with "In Jesus' Name," which is both a personal resolution to live for Jesus as well as an evangelistic promise to herald Christ the King to the world.
Matt Butler proves his versatility by answering his passionate performance of "Swallow the Ocean" with the tender "Who Loved You First." He encourages the listener to find comfort and forgiveness by capitulating to Christ: "Raise up your flag, lay your guard down / He'll shatter the walls that have surrounded you / You know you'll never have to thirst. / Surrender to the One who loved you first."
For a simple, straight ahead worship track, "Every Victory" delivers a powerful punch that derives its strength in equal parts from Russ Lee's soulful vocal delivery and the band's vibrant performance. NewSong recorded much of this album together in one room, and the resultant unity is obvious on this tune.
The uncomplicated, positive praise message continues with "Our Reward," which states, "All we want is more of You, Jesus / All we want is more of You, Jesus / You will be our reward and we won't stop / No we won't stop ‘til we find what we're looking for."
Crunchy, amped-up guitars return for "As It Is In Heaven" which desires the praises in Heaven to be found as abundantly on earth, and seeks to establish that kind of worship in the present: "As it is in Heaven, let it be on earth / Let every heart that's present give you the praise you deserve."
One of the most compelling tracks on the record is "Could It Be." Musically, it has a gritty, singer/songwriter feel supported by an appealing guitar riff. Inspired by Matthew 25 and NewSong's mission work in El Salvador, the lyrics are a call to service as Russ Lee asks, "Could it be / When we stand there face to face, I'll finally see / I passed You every day out on the street / Yeah, it was You there reaching out to me / Could the greatest really be the least of these?" The song reminds us that God is ever-present with those in need, and when we turn away from lending a hand, we are turning away from Him.
Billy Goodwin and NewSong bring the set to a close with the popular Getty-penned "In Christ Alone." While their effort may not supplant previous recordings of the song, NewSong brings an earnest, communal effort that resonates as it reveals the group's Christ-centered focus.
Closing Thoughts:
With Swallow the Ocean, NewSong offers up a solid set of songs that honor and glorify God in a musically relevant context. While the album may not break new ground, it should find great favor among their loyal following. The message is consistently positive, passionate, and focused on sharing God's love with the world.
Songwriting duties and vocals are shared within the seven-member group. With no single personality or vision predominant, the collaborative nature of the group serves as one of its strengths. The group may have changed, but the mission has remained.
"I don't want to leave any doubt of whose I am or what I'm about" sings NewSong in "In Jesus' Name." With Swallow the Ocean, the group has left no doubt that they belong to God and that their purpose is to serve Him and spread His message. Sing on, brothers!
If Jenny Simmons looks or sounds familiar, it's because she's no new kid on the Christian music block. Chances are you've heard the former lead singer of Addison Road before on songs like "Hope Now," "What Do I Know of Holy," and "Fight Another Day."
After having invested ten years in Addison Road, when the touring stopped and the band dissolved, Jenny found herself overwhelmed by the unfamiliarity of her new day-to-day life. So much so that a trip to the grocery store ended with her confusedly clutching a box of spaghetti and sobbing in the arms of a stranger. Jenny recounts the whole tale in "Aisle 7 and the Evil Spaghetti" on her blog, Cupcakes, Sprinkles, and Other Happy Things.
So how did Jenny Simmons get from crying in aisle 7 to releasing her first solo project, The Becoming? Answers are found in the music. Let's start at the beginning:
"Where I Belong" starts with uncertainty as Jenny confesses, "I don't know where I'm going." But her voice and the music soon become confident and purposeful, not because she has the answers, but because she trusts that God does. And what's important is not finding her own place in the world, but resting in faith and walking with God: "[I] don't need a place to call my own / Cause with You I'm right where I belong."
Jenny wrestles with negative "what if" questions in "What Faith's About". That is, until the chorus turns those doubts on end and the "what ifs" become positive. That's what trusting God does to our outlook. As the lyric states, "When it looks impossible, but still works out / What if that's what faith's about?"
The first song written for the project, "Heaven Waits For Me," is about the promised reward awaiting believers of Christ. In Jenny's words, this song is about "living in the tension of life and death and embracing every beautiful thing in between." It's about choosing to live in freedom rather than in fear, because death isn't the end; Heaven waits.
Jenny's voice dances along to the music in "This I Know" as she celebrates: "Jesus loves me this I know.../ This love is unconditional / So at my worst or at my best / He don't love me less / He can't love me more / This I know for sure." The carefree melody and drum beat, and Jenny's glee combine to make this tune irresistibly sweet!
Sometimes we dance and sometimes we cry. Jenny deftly combines the personal and the scriptural, the individual and communal, in "Broken Hallelujah," a song that seems destined to contend for Song of the Year. It's about finding faith, or holding onto it, even when we are broken: "I'd almost given up, and then I found this place / Where broken children gather and they sing their Father's song / My heart was aching at the sound / I had to sing along..." She continues in the refrain, "And find me on my knees / with nothing left to hide / I'll be by the river / leaving all my shame behind / I'll be singing loud / I'll be singing clear / Broken hallelujahs for everyone to hear."
Jenny knows that God can bring beauty from destruction. But it may take time. So, in the gorgeously organic "The Becoming," she cries, "Jesus, meet me / Be everything I need / In the waiting / In the in between / Jesus, hold me / And keep me from running / Cause I don't want to miss / The beauty of becoming."
"Letting You Go" strikes me as a "Dear John" letter to the enemy, in this case the security offered by the world. "If I hold this life too tightly my heart will break / And it's time to say goodbye to everything I've ever known / But I choose freedom."
Jenny sings again about leaning on faith through life's trials in "The In Between." The song is ultimately about the freedom that comes from surrender: "Throw away my plans / And I finally feel free / I can dream again / See where Your spirit leads / And I will cross this desert ground / Cause what was lost can now be found / Here in between."
In "Don't Lose Heart" we are reminded that God never promised life in Christ would be easy: "Following the Great Unknown might cost you everything." And though we might feel lost, we are never alone, and Jenny draws on Psalm 27:13 to comfort her listener: "He began a work, He will complete / We'll see the goodness of the Lord in the land of the living."
The album closes in knockout fashion with Jenny's own soulful take on the Leonard Cohen-penned "Come Healing." Her voice perfectly matches the beauty and power of Cohen's words. Grand in scope, her recording conjures images of throngs of believers coming to Jesus for healing. Told from the Savior's perspective, the song is a blessed balm for the wounded sufferer: "O, Gather up the brokenness / And bring it to Me now / The fragrance of those promises / You've never dared to vow / The splinters that you carry / The cross you left behind / Come healing of the body / Come healing of the mind / And let the Heavens hear it / The penitential hymn / Come healing of the spirit / Come healing of the limb."
Closing Thoughts:
Though The Becoming is not lengthy--the ten songs clock in at just under 38 minutes--it lacks for nothing. Jenny Simmons has poured herself into this record. The writing is solid and the performances commanding. The result is an honest, deeply personal chronicle of her journey marked by a vulnerability and authenticity that is sure to capture listeners' ears and hearts.
Thematically, The Becoming is shaped by Jenny's life lived "in between." There are threads of doubt and suffering in the songs, but woven in amidst the darkness and pain, there is faith, joy, hope, and healing. It serves as a reminder that sometimes you have to get lost to be found. You have to be broken to be healed.
This is an important album that ministers to searchers and sufferers. It provides encouragement and comfort to believers who might be struggling. And more significantly, it sends an important message for seekers and new believers: there is no magical moment after which the life of the saved becomes safe, easy, and worry-free. Life can be hard, messy, and heartbreaking. These songs realistically show what faith in action looks like. Sometimes that's holding on to Jesus. But more often, it is Jesus holding on to us.
You might say Jason Castro has been forging his path. The American Idol alum (fourth place, Season 7) released his eponymous pop debut in 2010 on Atlantic Records. Six months later, Atlantic Records and Word Records teamed up to re-introduce Castro to the Christian market with Who I Am, an album comprised of five songs from his debut combined with five new faith-based songs. One gets the sense that professionally, young Castro, who had joined the I Am Second campaign, was trying to find a place where he belonged. Fast forward to 2013, and Jason Castro is releasing Only A Mountain, his first full-length Word Records release.
If you are familiar with Castro’s earlier, primarily acoustic sound, you’ll notice that he and producers Matt Bronlewee, Ben Glover, and David Garcia have amped things up. In a sense, Castro is starting anew. And he appears to have label support as he readies to promote the record on tour beginning with Winter Jam.
Castro has written or co-written all eleven songs on Only a Mountain. Informed by his family life and spiritual journey, the compositions explore themes of faith and hope. Castro sings with confidence on lead single and title track “Only a Mountain”, inspired by Matthew 17:20, where Jesus explains to the apostles that faith “the size of a mustard seed” has the power to move mountains. Castro sings with conviction, and he is already hearing stories about how God is reaching people through this song.
Castro passionately declares his faith with “I Believe”: “In my darkest night you’ll guide me / I believe / When I lose my way you’ll find me / I believe / When I can’t see any way out, I find / And when I cannot see, I believe”. Built on the strength of this terrific chorus, “I Believe” is a beautiful song that feels like you’ve heard it before. That’s not to say it’s derivative, but rather it’s a compliment to a strong melody that creates an instant feeling of familiarity. Castro says it is his wife’s favorite. I think it’s also mine.
“If It’s Love” is a personal song shaped by the demands and difficulties that touring can bring, and the friction the road can cause in his relationship with his wife. The message: “If it’s love, then love is worth the fight”.
Another song about a different kind of relationship, “Starting Line” is an energetic take on the spiritual awakening that brings about a new beginning when faith becomes more tangible and personal. He aptly expresses this with the line, “[it] feels so good to finally meet you”.
Castro sings of the transforming power of grace on “Stay This Way”. Genuine and inviting, rather than intimidating and preachy, the song should reach listeners and touch hurting hearts. Castro explores brokenness and the universal need for grace with the captivating “Same Kind of Broken”. Moriah Peters joins in, her voice blending delightfully with his, on this intimate but lush number that encourages unity and brotherly love.
Hoping to draw awareness and call listeners to action, Castro wrote “Safehouse” in response to his involvement at a benefit event in Dallas to build the first Safe House in Texas where victims of sex trafficking could find refuge.
“Runaway” is the rocker of the record, and Castro delivers it with abandon. I had to overcome a hurdle before I could embrace this song. I wrestled with the fear that by giving positive connotations to the term runaway, Castro may have unintentionally glamorized running away. However, once I made peace with the fact that he’s talking about fleeing from the world and running toward God, I grew to love the song. When you think about our Heavenly future, Christ followers will all be runaways. But instead of running from home, we will finally have reached it.
“Enough” is a moving musical letter to his daughter. This will be a wonderful song for girls, but it is a message everyone needs to hear. I particularly like the final bridge: “We’ve all got pieces, we’ve got bruises / Grace can cover them up / Don’t have to be somebody perfect/ Cause you’re enough”.
“Rise to You” finds hope through faith even in darkness. I was surprised to read this song was almost not recorded. We all have those dark days, and listeners will find encouragement here.
Castro rounds out the album with the ebullient “Good Love”. What a happy, bouncy piece of joy! Castro has said that he aspires to “be undeniable”. Congratulations, Jason! “Good Love” is just that – undeniable!
Closing Thoughts:
Jason Castro has always had a strong, original voice. Up until now, his records haven’t had the strength of material to match it. However, with Only A Mountain, he has come into his own. His songwriting has matured, his music has grown more robust and varied, and his performance is consistently passionate and energetic. If listeners embrace it, Only A Mountain could be a breakthrough album for a bright new talent.
Highlights:
“I Believe”, “Starting Line”, “Stay This Way”, “Enough”, and “Good Love”
Add Houston-based songwriter, worship leader, and mother of four Rebekah Maddux El-Hakam to the growing list of independent artists using Kickstarter to gather the support of friends and listeners in order to record their music.
For her debut album, Radiant You, Rebekah worked with Marshall Altman who recently produced two records for Audrey Assad. Together, Rebekah and Altman have created a dazzling, remarkable record with a wonderful purity of heart.
The album opens with "Give Thanks to the Lord," a song based on Psalm 118. Joyful and uplifting, it's the perfect place from which to begin a worship project. Rebekah sings: "Let us rejoice and be glad!" And that's just what she will do for the duration of this record.
On "The Glory of It All," Rebekah's voice takes center stage as she passionately vocalizes her choice to follow Jesus and dedicate her life to Him. The music has the right amount of heft and mood to convey the glory and majesty of God. I particularly like the drum work that sounds like a military march or battle hymn.
It's always a challenge to follow up a big ballad without having the next song suffer in comparison. Rebekah handles this masterfully with "Hallelujah, I Love You." Inspired by Psalm 113, the simple song of gratitude is engagingly intimate while still boasting powerful vocals. I found myself belting out the chorus alongside Rebekah.
Title track "Radiant You" is arrestingly beautiful! The song's inventive, effervescent music captures the shining purity of God's love for us. Rebekah's voice is sunny, bright, and brimming with jubilance as she sings: "Radiant You / You are the Way, the Truth, and the Life / I am aglow in Your Spirit / Let Your Spirit shine on me." You're bound to want to put this one on repeat!
Next up, Rebekah remodels the hymn "Be Thou My Vision" by modernizing the melody a touch and adding her own chorus. The resulting track, titled "Be My Vision," is another showcase for her voice. It takes a special kind of voice to convey vulnerability as well as power. Rebekah not only presents both shades within the confines of this song, but as the album progresses she continually pulls the listener in with a genuine expression of her spirit. And once she has your attention, she wows you!
A unique song written with her husband Moustapha, "For You" took years to come to fruition. And how glad I am that the couple finished this exceptional song! Focused on Jesus' sacrifice, it's both a unique Communion song and a moving worship song. The rhythm section supports Rebekah's spirited vocals creating a pulsing, tribal feel similar to the music of Covenant Award winning singer/songwriter Cheryl Bear. This pounding, driving rhythm captures the call of Destiny underlying the Savior's sacrifice. What a song!
After "For You" and its grandeur, "Dream Coming True" is the perfect little ditty to put a smile on your face and a spring in your step. Rebekah's glee is infectious as she pronounces: "You're my dream coming true / Everything that's good in me is made up of You." If you enjoy Francesca Battistelli's "I'm Letting Go," you're sure to love this song!
"This Is My Prayer" is a refreshing moment of prayer that reveals Rebekah's desire for purity of heart as she hungers and thirsts for righteousness. The track's simple, heartfelt intimacy allows listeners to make a personal connection and gives voice to the prayers on their own hearts.
Lovely piano ballad "Only In You" is about finding rest in God. You'll find yourself offering it up to God as you join Rebekah in singing: "In You I find Freedom / Freedom to let go / In You I find Joy / Joy from my soul / Hope for tomorrow / Only in You."
Rebekah's performance on "Breathless" will take your breath away. Although it's sung for a Divine lover, to an unknowing ear it's just a darn good love song. As such, it has limitless potential for media attention. I wouldn't be surprised if it were featured on a television show or included in a movie soundtrack.
As Radiant You draws to a close, "Your Promises" leaves us with a reminder that God is faithful and wants to bless us. Informed by her family's experience, it has taken on added meaning for Rebekah. After Rebekah's mother gave birth to her sister Melinda, who has Down's Syndrome, rather than being disheartened by the voices that surrounded her, as she held her baby girl her mother held tight to God's promises.
Closing Thoughts:
Radiant You is a shimmering introduction for Rebekah Maddux El-Hakam. The project is a good blend of giddy pop numbers, thoughtful ballads, and inspired worship songs. In fact, the album is so well-balanced that it's difficult to name a favorite song. What ties it all together is an uplifting, encouraging tone focusing on the faithfulness of a loving God.
I was astonished to read on Rebekah's website that there was a time she doubted her own voice and shied away from singing. Thankfully, God had plans for Rebekah. This was a record that needed to be recorded, and it's a record that absolutely must be heard. It's been some time since a voice has captivated me like hers has on this project. Rebekah Maddux El-Hakam is a ray of light! You'll not find a more fervent, impassioned debut than Radiant You.
Boston-based worship outfit Andy Needham Band got its start leading worship at a summer youth camp. The group, which has continued to grow, recently released their national debut Lifted High. Produced by Grammy-winning producer Mitch Dane, the record consists of ten songs written or co-written by founder and frontman Andy Needham.
The band starts strong with the earnest "No Love Song." Lyrically effective, Needham communicates his own inadequacy and insufficiency when considered against the grace of God: "There is no love song my heart knows / that's even a shadow / of the One who set my feet on a rock."
The album continues with "Refuge," an upbeat, straight-ahead worship song with a sing-along chorus. Following it is "Awaken Me," a simple prayer for spiritual awakening and for deeper relationship. Then comes "Lifted High," where Needham professes: "May the matchless name of Jesus be the anthem of our lives."
Most memorable is lead single "Open Arms." Stylistically reminiscent of Jack Johnson or Jason Mraz, this bouncy tune praising God's steadfast love is just plain fun. There's only one problem--the song ends too soon!
Another album highlight, the gentle "Pilgrim," is bolstered by emotive violin work that encourages personal worship.
Whereas"Open Arms"was too brief, "The Weight of Your Glory" feels like it goes on too long, as it fails to build on the momentum of the two preceding songs.
The band rounds out the record with "All For You", "Christ Alone", and "Only Just Begun." Of the three, "Christ Alone" is the most musically compelling, with a moody, stripped down acoustic backdrop that allows the lyrics to come to the foreground.
Closing Thoughts:
Young worship group Andy Needham Band's introductory effort Lifted High reveals a group that is sincere in their desire to glorify and magnify the name of Jesus. While the record will not make huge waves, songs like "Open Arms" and "No Love Song" are strong enough to gain the band radio play and plenty of downloads. "Pilgrim" is also a stand-out track worthy of repeated listens. Overall, though the record does not stun, it will serve as a good base for the band to build upon.
Where Grace and Gravity Collide | Posted October-21-2012
In Bebo Norman’s music, I’ve come to expect one thing: honesty. I appreciate his willingness to lay bare his vulnerabilities, and in his music I’ve often found assurance and comfort in knowing I’m not alone. On his latest effort, Lights of Distant Cities, it’s no surprise to find that Bebo’s done it again -- unapologetically written an album full of raw desperation. But don’t be deceived. Though he started writing steeped in hopelessness and spiritual darkness, he never ceased searching and praying. Eventually, God’s light broke through and hope found him, and Bebo finished with a set of songs that chronicle his personal journey through darkness into light and that serve as a beacon of encouragement for others.
Title track “Lights of Distant Cities” draws the listener in as Bebo speaks of the allure of the mystery and beauty of God. The song calls out, pulling us forward, beckoning like lights in the distance, and keeps us in pursuit of the hope that is ultimately found in Christ.
“The Broken” continues the pull. From the opening bars of hammered dulcimer, musically it’s Bebo like you’ve never heard him before. For this project he worked alongside producers Gabe Scott and Ben Shive in a sort of vacuum, unconcerned with expectations or commercial success, but intent on creating music that sounded like the emotions the songs expressed. “The Broken” is a desperate plea for healing of a broken world. Unable to connect emotionally to his faith, Bebo asks God to rekindle the flame: “Can we fall in love again for the first time? / We wanna fall in love again just like the first time.” Though the music contains dark tones, there is a buoyancy and brightness threaded throughout that hints of renewal to come.
“At the End of Me” is at once a candid confession of inadequacy and a call for recovery. While there have been other songs about looking outside oneself, you’ll not find one more sincere or expressive than here: “Such a long time / Such an uphill climb just to finally get over myself / ... / So tell all my secrets / And open my scars / Break me to pieces / Cause at the end of me / at the end of me / That’s where You start.”
Acoustic, minor key number “Daylight Breaking” feels like classic Bebo. Again he yearns for his faith to be reinvigorated, recalling the passion and freedom he felt in his youthful first blush of faith. Though only a memory, he “can still see the daylight breaking now.”
The album gains a full head of steam with “World Gone Dark.” Energetic and percussive, the track gets a robust, full-band treatment. Though continually reaching and coming up empty, Bebo doesn’t lose heart: “I’m gonna lay my laboring open wide / Take this bird of burden, set it free and let it fly / Cause in a world gone dark / ... / I’m gonna feel a spark.” He sums up his divine lesson in trust with the poetic line, “The beauty of an empty soul is nothing left but letting go.”
Standout, “Sing of Your Glory,” is a tale of contrasts that recalls the Psalms of David. We see Bebo shaky and demoralized, yet clinging desperately to a truth he knows is real but cannot feel. With everything around him falling apart, still he sings in praise: “Hold tight the sacred ties that bind my weary soul / O God of light, of ancient skies, I sing it out...You’re alive.”
On “Collide,” Bebo speaks of his persistent building of temporal kingdoms. We all share this tendency toward personal sufficiency and a worldly, God-less salvation. Luckily, as the song demonstrates, even when we run from Him, God pursues us and claims us as His own.
In the lovely “Wine From Water,” Bebo sings about patiently waiting out a marital silence born from argument, trusting God that “there are miracles still unseen.”
Story song “Outside Her Window Was the World” is a tale of redemption fueled by grace. Trapped inside her own pain, the protagonist cries to be freed. Once saved, she realizes that, though she couldn’t see it, the hope she found was there all along.
A similar understanding takes place in “Just a Glimpse.” Not unlike “Daylight Breaking,” Bebo needs God to show up in a visible way. In His love, he longs to be “lost enough to find again the light that steals away the dark.”
The album ends with “Go With You,” a gorgeous love song written from the perspective of a committed couple finding peace in forging a path together into the unknown. Appropriately, the song begins at night and ends at hopeful daybreak.
Closing Thoughts:
Fear not, Bebo fans. Though sonically different, Lights of Distant Cities is unmistakably Bebo Norman. He is not experimenting with his lyrics, only painting his sound with additional brush strokes. The songs give voice to Bebo’s transition from spiritual desperation to recovery. His experience proves that even in impenetrable darkness, though we cannot see the Light, we need to continue to seek God. For if we do, our Shepherd will pierce the night like a searchlight until His lost lamb is found. Lights of Distant Cities ranks among Bebo’s best work and is a must-have fall release.
Worship Artist to Watch | Posted September-25-2012
After her graduation from Belmont University in 2007, Shelly Johnson quickly made a huge first impression. In 2008, at GMA’s “Music in the Rockies Conference” songwriting contest, she was awarded not once, but twice. Her song “Power of the Cross” was named Song of the Year, while “Draw Near” was celebrated as Scripture Song of the Year.
In 2009, she introduced herself to Christian music listeners with her independent album Mosaic of Grace. It was through this release that “Power of the Cross” caught the ear of Natalie Grant who recorded the tune on her Love Revolution album and helped propel it to popularity in churches across the nation.
Johnson had the opportunity to sign a publishing and recording deal with Lifeway Worship in Partnership with Marantha! Music in 2011. Without a doubt, the pianist, singer-songwriter, and worship leader shines on her major label debut EP, Power of the Cross.
Johnson’s newest single, “All Things Beautiful,” leads off the project. She begins by trying to understand the presence of pain and suffering, while proclaiming beauty in a hurting soul’s ability to praise God in the midst of life’s trouble. Finally, Johnson concludes that, though she’ll never understand God’s mysterious ways, His plan is beautiful and perfect, “and someday He’ll make all things beautiful.” This thoughtful piano piece is a terrific testament to our Heavenly hope promised in Christ.
Johnson completes her one-two punch by reprising her well-known “Power of the Cross.” The song was inspired by her volunteer work with Nashville Rescue Mission where, over a four-year period, she spent two Wednesdays per month leading worship at the Mission’s Hope Center which ministers to homeless women and children. It was here that she witnessed women who were battling adversity, addiction, and abuse literally lay their “chains” at the foot of the cross. Undoubtedly, this emotionally charged experience aided Johnson in her cogent communication of the transformative, redemptive power of the cross. Supported to great effect by an eight-piece string ensemble, Johnson shows off vocals that are both emotive and powerful.
“Power of the Cross” is a huge song, and it casts a giant shadow. Consequently, although melodic and strong on its own, “Refuge” suffers for following in the wake of the hefty anthem which precedes it.
By contrast, “Hallelujah Forever” rounds out the project by forcefully impressing itself on the listener’s ear and heart. Musically vibrant and energetic, the song pairs bright xylophone with electric guitar in a full band backing. Lyrically, the track is a fitting conclusion to the EP, as Johnson sings out on the chorus: “Hallelujah, Forever / Hallelujah / It is done / Our Savior’s come / Hallelujah.”
Closing Thoughts:
Shelley Johnson’s songwriting talents make her an emerging worship artist to watch! Power of the Cross conveys its gospel-driven message loud and clear while serving as a strong introduction to listeners who haven’t yet discovered the promising young talent.
EPs are a difficult thing, though. Songs don’t always have a place to land on a short project. Where a song like “Refuge” might fare better sequenced among different material on a longer offering, here – sandwiched between two walloping wammies – it is a slight stumble. Still, this recording is a solid foundation for Johnson to build upon. It’s a welcome treat that will whet your appetite and leave you hungry for more. Fear not, for it is abundantly clear that Johnson has only just begun. She’s certain to return with many more great songs, and you’ll not want to miss it when she does!
Shealeen and Elle Puckett, Tooth and Nail sister act Poema, released their full-length debut, Remembering You, on Sept. 11. The record is the follow up to the girls' two EPs released in 2010, the introductory Sing It Now, and Once a Year, a Christmas project.
The sisters Puckett hail from Albuquerque, New Mexico, where they grew up in a musical family. Twenty-one-year-old Shealeen, who plays piano, was classically trained, while Elle, nineteen, is a self-taught guitarist. When asked about the meaning behind their name, the girls explain that poema is a Greek word meaning "beautiful masterpiece," which is what they hope to create with their music.
While more musically robust than their Sing It Now EP, Remembering You retains the natural aesthetic that Poema fans would expect. The music is a mixture of Nashville sounds--a little country, a little pop, a little folk--but it consistently maintains an organic feel that compliments the sisters' vocal harmonies. Thematically, Remembering You focuses on relationships, with much of the record centered on romantic love. The songs reflect feelings you would expect from young people still learning about and looking for love.
Some songs focus on building relationship: "Wonder" is an optimistic look at a new relationship with a Colbie Caillat feel, while "Falling" focuses on day-dreaming and hoping for love to blossom.
Other songs explore the downside or breakdown of relationship. We see a wiser, been-hurt-before girl on "Play With Fire," as well as the questioning, unsatisfied girl in "Would You" who asks, "If you knew what to do, would you?" Elsewhere, the girls' harmonies are supported by beautiful instrumentation, such as on "Apricots," a bittersweet remembrance of a past love with a tinge of regret for what might have been.
Romantic love is not the only type of relationship explored on the record. Lead single "Clean Getaway" tells a tale of heartbreak from the point-of-view of a child whose father decided to leave his family. Inspired by the real-life experience of a friend, Poema successfully communicates the thoughts, feelings, and questions their friend might have had, while demonstrating that the father's leaving was anything but clean for those left behind: "I wish you'd seen the mess that you made / With your clean getaway."
"My Turn to Go" is about saying goodbye. Written days before the death of their grandmother, the song is a remembrance of her. Sonically, Poema doesn't venture far from their hallmark breezy sound. Consequently, this emotional track never becomes a tearjerker, but it does serve as a reminder that life is short and our moments together brief.
The girls share this lesson in a more romantic context on the melodic "Hesitate." The message: Don't wait to tell someone how you feel, because you may not get a second chance. The youthfulness of their songwriting shows, though, in the unintended ambiguity of a lyric like "All I know is you never know how fast the time is gonna go / We're fools if we take it slow."
Poema joins their appealing vocals to a bouncy bass line from an upright bass and bright acoustic sounds on the peaceful escape, "Footprints." Whether "Love of My Life" has any spiritual significance is unclear, as is the type of lover they are singing about, which seems to flip-flop between being a Heavenly Lover and an earthly one. The album's one overt mention of God, the worship tune, "Your Song," would have benefited from a stronger melody and more inspired lyrics.
Closing Thoughts:
Remembering You showcases the musical and vocal talents of sister act Poema with a refreshingly natural acoustic sound. As songwriters, the girls show potential. Though not an overtly Christian record, the girls are believers and are signed to a Christian label. As they mature in their craft, the stories they tell will become more memorable and impactful, enabling the power of their words to match the beauty of their aural presentation. They haven't created the "beautiful masterpiece" their name implies, but almost all the pieces are present, and given time, they should get there.
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