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,...
Ayiesha Woods' "Love Like This": A Review | Posted September-26-2008
by C.E. Moore
I was pleasantly surprised by Ayiesha Wood’s light, breezy music. Having not heard her pervious studio “Introducing Ayiesha Woods,” I must admit that I expected a totally different sound from someone on Gotee Records. But, her album “Love Like This” blew all my expectations out of the water. A feel-good project permeated by themes of love and relationships—both temporal and eternal—this is one for the collection. Vascillating between neo-soul, jazz, and pop, “Love Like This” provides the listener with a unique listening experience to be sure.
Title track “Love Like This” starts things out on a whimsical, breathy note. Woods’ vocal shine through like the morning sun as they bounce over the instruments. Actually, it seems as if Woods and the musicians that back her are quite comfortable with each other, complimenting each other almost flawlessly. “Alive” is one of my favorite track on the album and is basically a song of adoration to God for sending a love that is alive. “Never” definitely strays into Out of Eden territory and in a fun, poppy way speaks about unrelenting love. “Take Me There” slows things down and is much more contemplative than most tracks on the album. The real gem on the album, though, is Woods’ cover of label mate Jennifer Knapp’s “Refine Me.” When Knapp originally did the song it was more of a stripped-down acoustic piece. Woods has added a more symphonic feel to the number and made the song all her own. It is a rich experience.
The flaw that some may have is the upbeat nature of the music. It is definitely music for the Christian radio crowd. She sticks pretty much to the surface of things, skirting such topics as the pain and suffering that invades the lives of Christ’s followers. So, it’s not going to appeal to everyone. Normally, it wouldn’t even appeal to me, but Woods is impressive in how she carries herself and works within her genre of choice.
On the whole, I like “Love Like This.” Woods’ vocal performance is strong and diverse without losing the listener. The production side of things is also particularly brilliant. It is the quality listeners have come to expect from Gotee Records and the trend continues. Again, the sound isn’t for everyone, but it those who appreciate the genre will definitely appreciate the album.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Underoath's "Lost In The Sound Of Separation": A Review | Posted September-15-2008
by C.E. Moore
I freely admit, I’m not a connoisseur of the hard rock/scream-o sound that Tooth & Nail Records is so apt to flood the market with. I also freely admit that Lost in the Sound of Separation is the first Underoath album I have ever heard, so I may not be the best judge when it comes to their sound. I do not know whether their sound has progressed or if this is more of what listeners have come to love about the hard rock outfit. So, I apologize in advance if I sound like an idiot.
That being said, I liked the album.
Generally speaking, the album has a rather dark tone to it. Not hopeless, just dark. The first track “Breathing In A New Mentality” grinds hard and is actually a desperate prayer to God saying, “There’s been something else talkin’ in my ear/Someone save me/When I speak it begins to decay/I’m not about to bury myself/Oh, God my hands are shaking again/Calm down/Now I can’t feel the floor and my vision takes it’s toll on me/I’m the desperate and you’re the savior…” The next track “Anyone Can Dig A Hole But It Takes A Real Man To Call It Home” follows the same formula. Truth be told, when it comes to the first three tracks of this album, they’re so seamless and so close thematically that you really have to be listening to know the songs have changed. They quite literally crash into each other. Though, admittedly, the third track “A Fault Line. A Fault of Mine” is a bit more melodic than the first two. The second half of the album is where things become a bit more accessible to those unfamiliar with Underoath’s sound. They lighten things up in terms of the scream-o aspect and blend a lot more melodies and harmonies one might not quite expect from a metalcore band. “The Created Void” is my favorite track on the album because it displays the band’s versatility and ability to adapt it’s own sound. The lyrics are strong, the instrumentation bold and haunting, and the vocals full-bodied. “Desperate Times, Desperate Measures” is a nice piece of dissonance and the lead guitar is perfect. The mostly instrumental piece “Desolate Earth: The End is Here” finishes out the album with a rather epic vibe. It is a proper closer to the album and will likely leave fans of their sound pondering the overarching theme(s) of the album and have them clamoring for more.
The main gripe I have with Lost in the Sound of Separation is more a gripe with the style of music in general. While the rock sound is superb, I could rarely understand anything other than the choruses, which tended to be more discernable than the corresponding stanzas. From time to time Spencer Chamberlain and Aaron Gillespie are more comprehensible in their vocal delivery, but for the most part I wish I had access to liner notes. While I appreciate the musicality of metalcore, I am sure the artists intend to convey some sort of message through their lyrics. It should not take 15-20 listens for me to understand what that message is. Also, whether Underoath has progressed or not in terms of their sound, they haven’t done anything to break new ground within the genre of metalcore.
Again, Lost in the Sound of Separation is a great effort by a band that has clearly proven itself to its fan base. While this isn’t normally the style of music I would generally listen to, I am certainly not opposed to it and I feel as if this album has convinced me just a little more of the viability of such a genre. Fans of bands like Emery, Blindside, Thrice, or Norman Jean will definitely gravitate towards this outing.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
David Crowder Band's "Remedy Club Tour Edition": A Review | Posted September-10-2008
by Camaren Stebila
Some music is slick. Polished and produced to a point that it sounds best on an official studio recording. Some music is best experienced live. Worship music falls into the latter category. It can only reach its full potential in such an environment; where the atmosphere, others partaking, and sense of vulnerability create an experience that is unlike any other. The “Remedy Club Tour Edition” offers just that.
What may be the curveball of “Remedy Club” is that it doesn’t bare similarities to worship giant Hillsong, who have seemingly mastered the art of mixing production with live music. In fact, “Remedy Club” although live worship, feels entirely “Crowder.” The music remains true to that of the official recordings, the live element contributing just the slightest “raw” feel. From the electronic beats, to Crowder’s signature vocals, it’s all here.
The set is comprised of sixteen songs from their latest two ventures with the exception of “O Praise Him.” As far as performance goes, there is no disappointment, and as far as something “different” the crowd adds a great element of corporate worship, shining bright on the beautifully intense “You Are My Joy” and the hopeful “Never Let Go.” It’s also fun to hear Crowder interact with the audience, adding a slight personal vibe to the disc. These live elements are welcomed additions, especially for those who have played the songs to the point that they comprise sixteen of their iTunes top 25 playlist.
The “Remedy Club Tour Edition” will make a great addition to any worship enthusiasts library, and is bound to sell. Is it a must have? Not necessarily. However if you’re an advent Crowder fan, be sure to pick it up.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
This Beautiful Republic's "Perceptions": A Review | Posted September-10-2008
by C.E. Moore
Calling This Beautiful Republic a modern rock band is somewhat of a misnomer. I recently spoke of this album during The Christian Manifesto's "Profess" podcast program and mistakenly compared them to bands like Remedy Drive and Switchfoot (who do sound similar). But, TBR’s sophomore effort Perceptions has less in common with those bands and more in common with harder acts like Tooth & Nail’s Since October. In fact, it is quite surprising that these guys are on Forefront Records at all. TBR doesn’t quite fit the Forefront mold, boasting such acts as Rebecca St. James and former acts like Degarmo & Key. Be that as it may, TBR adds great weight to Forefront Records’ sparse artist roster.
So, it’s settled. This Beautiful Republic is one part modern rock, one part hard rock. And “Perceptions” is a step above their debut offering, “Even Heroes Need A Parachute.”
“Pain” is the lead off track and light guitar strums open the album lead singer Ben Olin’s vocals rise to the fore, light yet ever present. Soon though, the guitars begin crunching, the drums star booming, and Olin begins belting the lyrics out. It feels as if you know he could let loose even more vocally, but he’s got great control. “Surrender Saved My Life” ratchets things up a few notches and rocks out. Again, Olin’s vocals are crisp across the grinding instruments and the anthem-ish return of the other band members is cool. I imagine it translates very well from the stage. “Learning To Fall” tells the story of a prodigal and to be honest makes the album stumble after a promising start. Thankfully, songs like “Beautifully Broken,” “My God,” and “Last Second Chance” keep the band from hitting the Christian bookstore bargain bin. They’re all strong offerings tackling important themes such as our view of ourselves versus God’s view of us, the atrocity of personal isolationism, and the question of one’s eternal destination (or the reality of the existence of an eternal destination after death). Each song is delivered over great instrumentation and Ben Olin’s vocal prowess, which vacillates between thoughtfully-pensive and outright screamo. “For The Life Of Me” is a track I like as a fan of the band’s sound. But, as a critic, it is utterly cheesy. The song is predicated on a play on words that is clichéd in Christian music. I like that kind of thing, but the critic in me knows that it’s not going to win anyone but the converted. The light, wistful piece “Say Goodnight” closes out the album.
Overall, there’s a lot I liked about This Beautiful Republic’s “Perceptions.” I can’t say enough about Ben Olin’s vocal performance. He’s not unique by any means, but he certainly knows how to control how he comes across, displaying a very strong range. The theme of “seeing” permeates the album. Hopefully, when the music fades, listeners will see themselves a little better. More importantly, hopefully they’ll see Jesus a little better. I imagine that the members of TBR could think of no higher compliment.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Jimmy Needham's "Not Without Love": A Review | Posted September-10-2008
by Karen Gilmore
When I was first recommended checking out Needham’s MySpace page it was late at night and I was a little tired. His music didn’t quite catch with me except one of his older songs “Lost at Sea.” A John Mayer reference was mentioned so he had a pretty impressive comparison to live up to. But Needham is no John Mayer, and that’s a good thing.
Needham offers his own brand of soulful vocals with a light dose of a contemporary blues slant. “Hurricane” paints us a picture of someone wanting to break down their emotional walls to let let love in. While “Forgiven and Loved” is a heartfelt song that talks about the basic need to be loved and accepted. But the real treat is that Jimmy creates not one, but two bona fide romantic songs. “Firefly” is the best of the two and has swoon-worthy lyrics like: “your love is like an ocean / surf and spray and motion / Baby I’m a diver and I love to swim in.” I can’t remember the last time I heard a Christian song that could be played at a wedding so that is refreshing in itself. Hopefully Needham will spark a trend that reassures Christian music artists that it’s okay to sing songs outside the agape type of love. Yet for some reason I have a hard time seeing Christian radio encouraging that trend. But maybe Without Love just might do the trick.
Another highlight is the title track that nicely caps off this well packaged album and showcases Needham’s poetry skills. I wouldn’t be surprised if he’s had experience performing in coffeehouse poetry slam contests.
The only thing I would have liked to hear on this album a couple of songs that stood out more or varied a little off the similar tone he has. Perhaps a little bit of the Spanish guitar or something that would make us take notice of a slight shift change. That and a nicely placed collaboration with a soulful female vocalist like Stacie Orrico would have easily merited this album to get a 5 star rating. But even as I enjoy his latest batch of songs I’m already eagerly awaiting his next release because it might yield such results.
Fans of Gavin DeGraw and Jason Mraz will definitely enjoy Needham’s style. This is the kind of album that the Christian music industry should be producing. “Not Without Love” is simply good music. I almost hesitate to label it Christian, not because it lacks it spiritual substance but because it offers a universal beauty that can easily connect with anyone who enjoys songs about love, life and the search for God amidst it all. And the real tragedy would be if this album only got relegated to Christian bookstores because it has the musical integrity to stand on its own in the mainstream market. Inpop Records has truly found an emerging talent that has great potential.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Krystal Meyers' "Make Some Noise": A Review | Posted September-09-2008
by C.E. Moore
I hate it when I don’t like an album that I know is going to be popular with a very large segment of people. I feel as if I am raining on the artist’s parade. But, I honestly don’t like Krystal Meyers’ newest album, Make Some Noise. I’ve tried to set aside my bias against pop music in general (which, if you frequent the site, you know I tend to do rather well), so I know that hasn’t influenced my distaste for this album. But, Make Some Noise is just a bubble gum Christian substitute for the bubble gum secular albums out there that sound exactly the same. Essentially, its safe but nothing more.
Truth be told, I’m not exactly how this album can be classified as “Christian,” other than that it’s not hyper-sexualized like Meyers’ counterparts. (Of course, the music video for the album’s title track ruins that notion.) The lyrics are sanitized and “hopeful,” but there’s nothing that truly distinguishes it as “Christian.” Maybe Meyers is attempting to avoid labels and push for mainstream acceptance (evidenced by the use of “Make Some Noise” in NBC’s Fall promos). But, if “Christian” simply means “a sanitized version of the same old crap,” then we’re in a lot of trouble as a viable subculture.
Really, it bothers me to even review this drivel. It’s almost all flash, no substance. “Make Some Noise” is a hip, poppy song that claims we were apparently born to make some noise. I think some will interpret this to mean that we’re supposed to make some noise for God. That’s well and good if you want to view things that way. But, the song’s message is so nebulous that it could simply be a youth anthem to make a ruckus. “Love It Away” claims that no matter what problems you have “He” (oh so nebulous) can “love it away.” I’m not sure what that even means, but it’s just not true. “S.O.S.” is the one redeeming track on the album and is the only thing that comes close to the quality of her earlier songs “Hallelujah” and “The Beauty of Grace.” Actually, its really the only track on the album that could be classified as “Christian.” A prayer to God, Meyers displays a strong versatility here that is otherwise lacking on the rest of the album.
Another difficulty I have with the album is the dance vibe that never quite got me to the point that made me actually want to dance. It’s got some grooves that got me bouncing a little in my seat, but nothing more. Even so, it seems like that is the gist of the album—to make you dance. Not much of a mission. Even worse considering the mission wasn’t accomplished. “Up To You” features Meyers doing something so nasally that it couldn’t be more annoying if she tried.
Don’t get me wrong. The album is well produced. The sound is crisp and slick. Fans of other pop princesses such as Britney Spears, Pink, and Christina Aguilera will definitely gravitate towards Make Some Noise. It would certainly hold it’s own. The target audience is definitely that tween and high school girl market—the album addressing themes of love, self-esteem, and identity. But, it sticks pretty close to the surface of things. The lyrics that do try to go deeper are mired in the shoddy power pop delivery. And, as the production is so good, I wonder how much of it is Meyers and how much of it is manipulation on the back end. If you’ve got a teenage girl in the family, go ahead and buy it. If not…purchase at your own risk.
Author’s Note: If you are a fourteen year old girl or someone who feels I have been overly harsh with this album, please bear in mind that that I did not like the music, but have the utmost respect for how Meyers is following God’s call on her life. At the end of the day, this is one man’s opinion. You are free to have yours. (But, if you feel like attacking me, I’ve developed a thick skin.)
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
The Ambassador's "The Chop Chop: From Milk to Meat": A Review | Posted September-03-2008
by C.E. Moore
With the retirement of the collective known as The Cross Movement, acts like Flame, Lecrae, J.R., and Da T.R.U.T.H. to carry on the mantle to a new generation of holy hip-hop heads. However, just because Cross Movement has retired from the public square, doesn’t mean its members have stopped their craft. Each of them are either working behind the scenes in a production capacity or they have chosen to drop solo albums. In the case of Cross Movement’s William ‘Duce’ Branch aka The Ambassador, he has chosen to balance his work as a co-pastor at Epiphany Fellowship in Philadelphia with his work as a Christian rap artist. His third solo effort The Chop Chop: From Milk To Meat is the fruit of his labor. Dropping everything from 70’s vibes and old skool break beats of the 80’s and 90’s, and even a little R&B infused crooning, Ambassador has crafted a project that fires on all cylinders.
First, this album is long and heavy. Ambassador is quite the lyrical expositor. His first solo album “Christology In Laymen’s Terms” was quite a bit of testimony and, despite what its title might suggest, was rather light in terms of theological exposition for the listener (something Cross Movement Records and Reach Records are known for). His second effort “The Thesis” reflects Branch’s growth and maturity as a student of Scripture—much of the material garnered from his reflections on the implications of theology and the hip-hop culture. It boasted a bit more depth than his debut. Now, with The Chop Chop Branch challenges listeners to move on towards spiritual maturity—from milk to meat.
The album starts out hard and heavy with Ambassador’s signature Philly style on the track, appropriately titled “The Opener.” It’s a song that boasts a braggadocios attitude, but all of the bragging is on Christ and His position of superiority. It’s fun, but hardly as substantial as the rest of the album proves to be. Essentially, Branch gets the listeners on their feet, just so he can floor them with loads of theological truth over tight beats. Title track “The Chop Chop” follows, laying the groundwork for the album thematically. Branch raps “Get ready your mind for the chop chop/It’s comin’ steady so it’s time for the chop chop/It ain’t petty I hope you’re ready to chop chop/I know it’s heavy, but daddy that’s why we chop chop/Get His Word! Get HisWord for the chop chop/Present it perfect! It’s perfect the chop chop/And we can search it, it’s worth it the chop chop/It’s the chop chop! It’s the chop chop!” His reference to Soulja Boy is pretty fun and his use of Biblical Greek in the lyrics is just flawless. It may be missed by most, but it shows the genius and detail with which the members of Cross Movement Records approach their lyrics and standing/responsibility within the Christian subculture. “Checkin’ For My God Remix” features Reach Records artists Lecrae and Trip Lee, adding a decidedly southern swagger to the decidedly east coast vibe. The song gives an explanation of God’s attributes in light of Scripture and corrects faulty views that many people carry with them about Who God is. “Gimme Dat” is a just a straight-laced, rasta-infused number that boasts a good drum beat and clap-clap line that just clicks. It’s one for the repeat button as Ambassador prays to God to “Gimme dat fire, gimme dat flame, gimme dat fresh wind, gimme dat rain, gimme dat freedom, You can have the chains, Gimme dat God! You can gimme all things!” A prayer of supplication, the track reminds believers that God is a God who responds to our petitions. Not in a “God-is-an-ATM” or “God-is-a-genie” manner, but rather in a manner that acknowledges that He alone controls all things and promises provide if we would only “ask and receive.” “Hope Man” is my favorite track on the album. Here, the synth, bass line, drum line, and alliteration are just perfect. When he says, “Read dat papyri/Dat Johnny Mac (John MacArthur)/Dat Ryrie (Ryrie Study Bible)/Dat NAS (New American Standard) or NIV (New International Version)/Dat ESV (English Standard Version) or NetBible-y (The Net Bible)/Then you’ll see what I see…” I literally had to keep rewinding the track over and over again because I was amazed at how flawlessly he delivered a list of resources to the listener for further personal Biblical study. Thematically-speaking, “Whatcha Goin’ Do” is the track upon which the album rests or falls. It is the direct challenge to the guy or girl bobbing his head to the beats to move further in their faith now that they’ve been a Christian for a little while.
One of the strengths about Ambassador is that, while he utilizes guest artists on a few select tracks, he is strong enough to stand on his own. I’m all for guest spots and collaborations and the occasional cypha, but I like to know that an artist is confident enough in his own skin that he doesn’t feel the need to rely on the lyrical prowess of another artist. Ambassador has been in the game for some time now and seems to know who he is. One of the flaws (if it be a flaw at all), at times I get the feeling that he approaches the craft more as a pastor (which he is) than as someone still connected to the day-in/day-out of the streets that so characterized his “Christology in Laymen’s Term” outing. This may betray the fact that you can’t be “from the streets” forever.
Overall, The Chop Chop: From Milk to Meat is a weighty album. The message is not for the faint of heart, nor will those who are new to the faith necessarily be able to relate to it beyond the crisp beats and tight hooks. In a nutshell, while the beats are for everyone, the message seems geared for those who have been Christians for a little while and need a little encouragement to move into deeper theological waters. Some might frown on this, but when you consider what is happening here, Ambassador is doing Christian listeners a great service. So much Christian rap—even the most theologically astute—often sticks to the surface. When you only have an hour in which to get your message across and two years between albums, the formula seems to be, “Lots of fun, easy content.” Ambassador is beginning a trend for the urban community that pushes urban youth further than the general album or sermon is willing to do. Initially, I wasn’t sure this album outdid his previous two efforts. But after multiple listens and really contemplating the musical progression and the overarching theme and lyrics, I am convinced that The Chop Chop is Ambassador’s personal movement from milk to meat. Rap fans rejoice!
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Third Day's "Revelation": A Review | Posted September-02-2008
by C.E. Moore
Third Day is back with their best album yet. “Revelation” is a triumphant return to form for the band while also blazing a brand new trail creatively. In so many ways, this album marks a new beginning for Third Day. Beginning with their 10th studio effort, we find the band recording [for the first time] outside of Atlanta, working with new producer Howard Benson (Daughtry, Flyleaf, Hoobastank), down one band member, and partnering with a new management firm that has myriad inroads into the mainstream market in such ways that won’t alienate Third Day’s fan base.
Three years have passed since Third Day’s “Wherever You Are” hit the shelves and airwaves. While it took a while for that particular album to grow on me, with “Revelation” I was riveted from the get-go. This is everything that listeners have come to expect from Third Day over the years. The southern, rootsy rock sound is there. Mac Powell’s vocals are as potent as ever. The lyrics are God glorifying yet connect with culture. The instruments are forceful yet not overpowering, even with the absence of Brad Avery’s signature guitars.
Third Day ignites things with “This Is Who I Am” a go-ahead track that let’s you know they’re back with a new bag of tricks. Secure in where they’ve been as a band and how they’ve been received, Powell croons I’m a saint and a sinner/I’m a lover and a fighter/I’m a true believer with great desire/I’m a preacher of grace, prophet of love, teacher of truth/I’ve fallen down so many times/But here I stand in front of you…“Slow Down” is a great rocker that boasts tight harmonies and a guest spot from American Idol finalist, Daughtry. “Call My Name” is the current single that is sitting atop the AC charts and with the release of this album is poised to be there for quite a bit longer. “Run To You” is the best song on the album. One of Third Day’s mid-tempo signature ballads, Flyleaf frontwoman Lacey Moseley guests on the track with her haunting vocals, eclipsing Mac Powell—a feat in itself. In fact, this track is worth the price of the album alone. Never did I think I’d see the day where I would use one album to promote another artist’s, but this song will have you running to the nearest music store or digital media store to download Flyleaf’s album as well. It’s that good. Title track “Revelation” is another shining example of Mac Powell’s role as a modern day psalmist. The lyrics capture the words that so many of us emotionally and spiritually find ourselves at a loss for, but cry “Yes! That’s what I feel!” when Powell belts it out. And that’s just the first 5 songs! Lest you think the album is front heavy with hits and the back end sucks, let me assure you…the “back nine” are just as strong, especially “Otherside,” “I Will Always Be True,” and “Born Again.”
Normally, as a critic I feel a need to give some form of a critique. But, I’ve listened to this album several times now, thought on the music, thought on the words, thought on the changes, thought on the consistencies and I…just…can’t…find…a…flaw.
“Revelation” is an absolutely stellar album. May I humbly suggest that it might just be the definitive album of the summer and the magnum opus of Third Day’s career? Taking the best of such albums as “Time,” “Conspiracy #5,” “Wire,” and “Wherever You Are,” fans are in for a real treat with this new offering from a band that has stood the test of time and stands poised to continue that trend for a long time to come.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Brooke Barrettsmith's "Brooke Barrettsmith": A Review | Posted September-02-2008
by C.E. Moore
Long live the female rocker! Right now, it seems as if the Christian music world is being inundated with female-fronted rock bands (Flyleaf, Fireflight) and female rockers (Joy Whitlock). Some are good. Some I’d rather never hear again. Entering the fray is American Idol Season 5 alum Brooke Barrettsmith with her self-titled debut on Essential Records.
Barrettsmith’s sound is straight-ahead, good old-fashioned rock and roll that should appeal to a wide range of listeners. For those looking for a solid rock sound will get it. Those in need of cheerful Christian lyrics will find them. Those interested in continuing their American Idol obsession need look no further.
Barrettsmith’s material vacillates between grinding, crunching sonic dissonance and stripped-down, melodic ballads. The album boasts a good mix of both. “Right Now” starts things out hard and fast. There’s not a lot of intricate layering of the instruments, but it’ll get listeners out of their seats and dancing hard. “Farewell” is one of the best tracks on the album, both instrumentally and vocally. It is very unassuming but powerful in focus and delivery. Barrettsmith uses the track to encourage people to move past mistakes and into a “brand new day.” “Quiet My Heart” is a moving and prayerful ballad that cries out “Right here in the moment I’m given/I’ll treasure the breath that I breathe in/And I’ll rest in you/You quiet my heart…” Barrettsmith’s vocals are lithe and heartfelt as she sings out the lyrics. “Breakthrough” sounds a bit like a brooding ode to fellow American Idol alum Kelly Clarkson, but it works. Another prayer, Barrettsmith implores for God to break through the silence. “Ok” is more of a piano-driven piece and the layering of Barrettsmith’s vocals is exquisite. “Paper Tigers” is a wonderful piece of poetry and Barrettsmith ends the album on a light and deeply contemplative piece.
The downside to the album is that some of the tracks start to sound like other ones and Barrettsmith’s voice sometimes strays into Rebecca St. James territory, such as on “Father.” And, while Barrettsmith had a hand in penning all of the songs, the final song credits read like a veritable who’s who of Christian music producers, which can come across as a bit disingenuous.
If you’re going to name your album after yourself, you had better deliver something that says who you are. “Brooke Barrettsmith” is a proper introduction to the artist of the same name. She has worked hard to craft an album that is intensely listenable and fresh.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Chris Tomlin's "Hello Love": A Review | Posted September-02-2008
by Camaren Stebila
It’s always tough to approach a worship album for review. While the music, instrumentation, and album structure can be criticized, it remains difficult to do the same for the lyrics, depth of emotion, and passion on the disc as they can be perceived as inherently present, intrinsically true, and undoubtedly good. As good critics know, as opposed to coming across snobby, shooting mere opinion as fact, it is better to acknowledge one’s own biases and personal preferences, so feel free to disagree about Tomlin’s latest.
Among today’s worship crew Tomlin has received the most polarized reviews. While his audience swoons over his awe-inspiring singles which have become staples in most American church’s worship sets, critics often remain slightly skeptical, judging his albums on a more holistic basis as opposed to the singles (see “How Great is Our God” and “Made to Worship”). His latest “Hello Love” may escape said criticism.
While the album gets off to a relatively slow start with “Sing Sing Sing” the disc as a whole is relatively energetic, passionate, and authentic. Tomlin’s voice has been brought “up front,” and drives the music just as much as the background instruments.
by Camaren Stebila
“Love” is a memorable African stylized track, featuring a children’s choir singing in their native tongue, and “Praise the Father, Praise the Son” is a rather simplistic song which feels slightly less “Tomlin” and more traditional contemporary worship. (Oxymoron? Think Sonicflood). It is without a doubt that many of these songs will be incorporated into church’s worship sets. The most awe-inspiring, “God Of This City,” has already made its way into rotation, with others in line.
The only drawback to “Hello Love” is that it seems to lose a bit of its initial flare after first listen. Although it’s likeliness to be enjoyed a second and third time is certain, it’s not an album that could be spun multiple times in one sitting. Regardless, if you’re a Tomlin fan “Hello Love” was made for you. If you’re a worship leader, “Hello Love” was made for you. If you’re the typical contemporary worship fan “Hello Love” was made for you. However if you’re a music enthusiast who listens to new music on a daily basis, “Hello Love” will be best utilized for it’s more popular songs, on a great worship playlist.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
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