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”...
Veteran songwriter Andrew Peterson began Light for the Lost Boy with the intention of writing a set of songs for his children. As the songs developed, it became clear that the intended audience was much broader. For spiritually we are all children, filled with a yearning for what's been lost.
The album opens in melancholic fashion with "Come Back Soon," which begins with a recollection of the Tennessee flood and continues with images of loneliness, loss, and death. It touches on Marjorie Kinnan Rawlings' classic novel, The Yearling, the bitterness of nature, the cycle of life and death in the seasons, and the darkness that pervades our world. Humanity "wake[s] in the night," calling for deliverance, asking Jesus to "come back soon."
"The Cornerstone" opens with Peterson's voice layered at two different pitches. Bright piano, resonant bass, and gritty guitars perfectly capture the mystery and might of our Savior on this powerful song brimming with biblical references. My favorite lines: "You've been a mystery since the moment that I met You / You never move but I can never seem to catch You."
Next up is "Rest Easy," the first radio single. A reminder of the promise of the gospel, its serene melody provides a respite from the storminess and weight that inhabits the record. The soothing continues with "The Voice of Jesus," a calming lullaby for all God's lost children, and perhaps the most tender recorded moment I've heard all year.
Named after the protagonist of The Yearling, "The Ballad of Jody Baxter" likens the loss of innocence to the expulsion from Eden: "I mourned cause the field was green as Eden / then it withered into brown / In the middle of my grieving, well they came and cut it down... / The day they mowed the garden to the ground."
"Day by Day" was inspired by a trip to Kensington Gardens, a setting made famous by author J. M. Barrie. Peter Pan imagery is woven throughout (a continuation of the Lost Boy reference in the album's title), but I especially like Peterson's appropriation and metaphysical adaptation of a Barrie metaphor: "We just can't get used to being here / where the ticking clock is loud and clear / Children of Eternity / On the run from entropy." Peterson entreats: "Don't lose heart though your body's wasting away / Your soul is not--it's being remade / Day by day."
"Shine Your Light on Me" requests help from Jesus while giving thanks for past instances of received guidance and assistance during moments of darkness. Instrumentally, the music echoes the heartache expressed in the lyrics, with a guitar that seems to howl and moan against the larger soundscape that feels dark, lonely, and, at times, dangerous. Peterson's poetic lyrics are simultaneously at their most haunting and beautiful as he brings to light stark scenes: "Two years I drove into a darkness / I straightened every curve on King Ridge Road / I could hear the flapping wings of every devil I have known."
A rhythmically stirring number, "Carry the Fire" points to our promised hope and assurance in Christ: "And we dream in the night of a feast and a wedding / And the Groom in His glory when the Bride is made ready."
"You'll Find Your Way" sounds at once like a song for a growing son as well as a lyrical depiction of the journey each of us takes from childhood through adolescence into adulthood. "I wanna go with you, but I can't follow," Peterson sings. "So keep to the old roads / keep to the old roads and you'll find your way."
Light for the Lost Boy closes with the epic "Don't You Want to Thank Someone." The song is an atmospheric reflection on the beauty that abounds in nature and the fact that, though much is wrong with the world, we have much to be thankful for. This begs the question, "Don't you want to thank someone for this?" This ten minute piece brings the album full-circle, but rather than the melancholy of the first track, here Peterson makes peace with the longing as he considers the promised Kingdom yet to come and concludes: "Maybe it's a better thing... to be more than merely innocent / Oh, but to be broken then redeemed by love."
Grand in scope, this closing track leaves the listener not sorrowed by but thankful for his aching heart, and sustained by the promise of an eternity to come. Hallelujah!
Closing Thoughts:
Thematically, Light for the Lost Boy is about childhood, our life's journey as we walk out of innocence into experience, and the duality contained therein – joy and pain, loneliness and love, darkness and light – as we strive to recapture what we've lost along the way. The songwriting is superb. Don't be surprised if you find a treasured lyric not just in one song, but at least once in every song! This isn't an album to be gobbled up. It's one you'll need to chew on a while. Lyrically deep, you'll discover nuances and meaning with each listen.
Musically, Peterson gets a fuller backing than ever before. However, the arrangements, as well as the production, never hinder the delivery of the lyrics. Instead, the music breathes and sighs, aches and groans, and hopes and smiles in just the right places. As you listen, you'll feel you've stepped into another place for a time, and you'll come away from your journey having had heart, mind, and soul engaged. What more could one ask for?
If you are unfamiliar with Andrew Peterson but enjoy the depth and poetry of songwriters like Rich Mullins, give this album a listen!
Uplifting and Promising Debut | Posted June-25-2012
It has taken her longer than she might have planned, but with the upcoming release of her debut album Reach the Sky, Marlene Brehm is realizing her dream. A Texas native, Brehm moved to LA to pursue opportunities in pop music, TV, and film. After a life-changing trip to India where she learned about human trafficking, she came home and found a new church family, where she began serving as a worship leader. While leading worship, Brehm was discovered by a Universal Music/Dream Records executive, and her desire to sing about her faith was one step closer to fruition. For Reach the Sky, Marlene worked with Dove Award-winning producer Rusty Varenkamp as well as Aaron Rice. The result is an encouraging, uplifting, and energizing set of songs that is sure to connect with youthful audiences.
Brehm begins Reach the Sky with “Who You Are,” a song about pursuing a meaningful relationship with God. Her voice has a gentle tone which sounds appropriately vulnerable and trusting. It’s a nice start to the album and a hint that there will be depth and a guiding purpose to the project.
Indeed, with title track “Reach the Sky” Brehm encourages her listener that with faith and prayer, struggle and adversity can be overcome. Bright and optimistic, the song recalls Point of Grace, and Brehm’s voice sounds a bit like Denise Jones. On the hopeful chorus, she sings, “But the storm can never keep you down / If you hold on, you can overcome it now / On your knees is where it turns around / Cause the shell must break before a bird can fly / You can reach the sky.”
“Second Chances” is a thoughtful piece that speaks about the redeeming power of new beginnings. Inspired by her work with International Princess Project in India, the song reaches a bit further to include a call to action asking listeners to speak out and take a stand against human trafficking. On her website, Brehm pledges to donate a portion of the proceeds to International Princess Project.
From its opening bars, “Only You” is infectious and catchy. It’s bouncy, feel-good, and refreshing with energetic drums and synth. You’ll not be able to resist singing along as Brehm declares, “Everywhere I go You are with me / Nobody like You / You prove it’s You, and only You / I can feel the way that You love me / I’ve fallen for You / It’s true / It’s You, and only You.” This is a standout track, and with a voice that sounds as innocent as it does exuberant, Brehm seems poised to be a voice for her generation.
Life doesn’t become magically easier when we believe. Bumps in the road are inevitable, and Brehm acknowledges this reality with “Faithful to You,” pledging devotion and promising fidelity to God no matter how her faith might be tested.
“Love Like You” sounds like a worship song that’s been injected with an infusion of pop sensibility. Don’t let the shiny wrappings fool you, though. There’s a nice message inside. In the first verse, Brehm reflects on things she can’t do - miracles performed by Jesus. However, she concludes that she can love like Jesus. And the second verse mentions different things she can do by translating that love into actions.
“Forever Yours” is another immediately accessible tune. You’ll find yourself smiling and singing along with Brehm this love song to God. It’s a musical counting of blessings with a chorus brimming with thanksgiving: “Thanks for the good friends / Thanks for the good times / You fill all my heart’s desires / I’m so happy I’m alive / Thanks for the music / Thanks for the love You give to me / I’m so grateful that I’ll be / Forever Yours.”
Brehm shifts gears once again for “Be There For Me.” Two different storylines deliver the song’s message: a soldier leaving his baby and loved ones, and a mother and child facing possible foreclosure and loss of their home. Each character in the song has an “I can’t do this on my own” moment that finds them reaching a point of surrender and reaching out to God for the first time, asking for help and protection.
“Right Here Right Now” is a straight-ahead romantic love song. Brehm is joyful to have found love and confidently sings to her companion about their ability to weather the tough times together.
“Beautiful Life” centers around waiting for love and trusting that God knows exactly what and who we need. The song has a confessional quality as Brehm sings: “I thought I wanted someone to hold onto / Just to fill this empty space / Now I know that perfect love is out there / Cause I found it in Your grace / And I know You’ll find the one You plan forever to be mine / And it’s gonna be a beautiful life.” The album effectively comes full circle. Where the opening track found Brehm voicing her desire for deeper relationship, the concluding piece reveals a resolved and trusting follower grateful for God’s provision and certain of blue skies ahead.
Closing Thoughts:
Thematically, Reach the Sky centers around relationship with God, surrender, faith, and trust. While mostly bright and happy, there are thoughtful songs that run a little deeper to help provide a good balance. The album instantly establishes and maintains throughout a hopeful and positive outlook. And it’s precisely this easy, breezy feel that makes Marlene Brehm so appealing. Some of the biggest praise I can give this project is that I hear shades of Point of Grace and Amy Grant in the production and in Brehm’s effervescent appeal. This is a strong, promising debut, and I look forward to watching Marlene Brehm grow!
Album Highlights:
“Reach The Sky,” “Only You,” “Faithful to You,” “Love Like You,” “Forever Yours” and “Beautiful Life.”
California Indie band Lovelite--comprised of husband-wife songwriting team Andrew and Jen Polfer, along with Brandon Burr and Jonathan Hall--have released In Three Persons, their third full-length project to date. Musically, Lovelite is an interesting blend of retro and modern: part '80s new-wave, part Euro-pop and Indie rock. The band definitely has a unique sound, and they are a refreshing change from the standard modern worship radio fare.
In Three Persons focuses on the triune nature of God. In fact, prior to the album's release, Lovelite presented the songs as three EPs--The Faithful Father, His Beloved Son, and Our Holy Ghost--each focused on a part of the Trinity. In Three Persons, instead of being the EPs pasted into a larger whole, has its own integrated track list which takes the three strands and weaves them together.
For ease, I'm going to group the songs thematically rather than discuss them in sequenced order. Lovelite begins and ends the record with Holy Spirit based songs: "Brother Sister" and "Our Holy Ghost." The former, which speaks of inviting the Holy Spirit into our lives, is a suitable opener to a worship set. "Teach Me" is a prayerful song that begins wide open and dirge-like, but eventually is augmented by synth, bass, and a snare playing a battle march. Andrew's vocals ask the Holy Spirit to teach him "patience in the fire... gentleness toward hate... to be wanting only You."
"Sand and Stone," with its outro "PS," rounds out the songs written about the Holy Spirit. Together, the two tracks clock in at over six minutes, and evoke an atmosphere characteristic of the Holy Ghost. The refrain for "Sand and Stone" is simple but effective: "You gave us a gift / by sending us a ghost / to bring us peace / when we need it most / Come in and dwell / by making us your home / Soften our hearts / and bring us strength to our bones."
Now let's talk about the songs that focus on Jesus as Messiah. The first is "Heart Starts Beating," the album's energetic second track that definitely jump starts this project! Driving drums and melodic guitar riffs support the dual lead vocals of Andrew and Jen. The track perfectly harnesses the energy and vigor that spiritual awakening brings. "Your death awakens me to life / And my heart starts beating / my heart starts beating."
"Overcome" is another rocker which talks about our Edenic fall and the present state of darkness in our world, but gives thanks to Jesus who overcame the Cross to bring us mercy and hope. The thoughtful "Every Breath is a Chance" uses harmonies and layered vocals as it explores our need to rise above our selfishness and brokenness and live a purposeful, Christ-centered life. "All Fair" is a love song to Jesus, centered around a lyric from Song of Solomon 4:7: "You are all fair, my love / and there is no spot in You." This gorgeous number is a stunning showcase for Jen Polfer's emotive vocals and a track not to be missed!
"Wonderful Jesus" begins as a piano ballad, sung first by Andrew, then by Andrew and Jen in tandem, before breaking open into a full-band interlude. It then returns to a quiet place before segueing into the album's closing song.
Worship anthem "King of Love" is not an entirely new song, but one that Andrew and Jen rewrote recently with the aid of Phil Wickham. A melodic song in the style of Depeche Mode, you'll find yourself singing along to the refrain: "Glory to the King of love / You are lifted high above / Great are You in all Your ways / You will never be replaced."
"Collided" centers on God as Father and Creator, the title stemming from the fact that God "collided justice and mercy." The fragmented lyrical lines mesh well with highly percussive music to create a punchy and rhythmic song that is infectiously vibrant in its praise of our Heavenly Father. The two-and-a-half minute "Your Love is as Wide as It's Tall" inserts a quiet space for contemplation that touches on our fruitless attempt to wall up our hearts which inherently connect us to God: "There's a secret hidden in our skin / Of this ancient hope we have within."
Andrew entreats: "Forgive us, for we are small / and we often forget that / Your love is as wide as it's tall." Though brief, this song is compelling, and I found myself wishing it had been longer. Jen, with occasional support from Andrew, sings "Strength of the Father's Love." Beautiful, bright, and hymn-like, it's a fitting tribute to a loving God who created a world for us and brought us a promised Savior when we needed Him most.
Closing Thoughts:
Although you may be unfamiliar with Lovelite, they deserve a listen. Musically creative and unique, the band has created a lush soundscape on In Three Persons to sing praises to our triune God. I especially applaud them for writing several songs about the under-represented Holy Spirit. Both Andrew and Jen have expressive voices that, combined with the music, create an atmosphere conducive to worship, prayer, and contemplation. Highlights include "Heart Starts Beating", "King of Love", "Every Breath is a Chance", "All Fair" and "Strength of the Father's Love."
Singer-songwriter Cheri Keaggy, a nominee for GMA New Artist of the Year in 1995, returns with her eigth recording and sixth studio effort, So I Can Tell. Five years have passed since her last record, Because He First Loved Us, and Keaggy has weathered much hardship, most notably the end of her 23-year marriage to high school sweetheart Eddie Keaggy (nephew of Phil Keaggy).
Funded by Kickstarter, Keaggy teamed up with producers Scott Dente and Ken Lewis to make the album. On her Kickstarter page, she states their goal was "to create an honest, stripped down recording that reflects the vulnerability of the songs written after a very difficult season in life." Though exposed and at times painful, the songs on this project are stitched together by threads of faith, hope, and love. Keaggy has come out of the darkness a stronger woman, and through So I Can Tell she's sharing her life experiences and the lessons she's learned."I feel like God has given me some gold," Cheri explains, "and now is the season of pouring out everything He's poured into me."
The first song and title track, "So I Can Tell," is a fitting introduction to the album. It speaks of the ups and downs of life as well as relating nuggets of God-given wisdom and truth culled from experience. In addition, Cheri communicates her resolve to share her life lessons on the steadfastness of God. "I have heard the truth so I can tell," she sings. And she'll use the remainder of the album to do the telling.
"There Will Be One Day," a moving track akin to Bebo Norman's "One Bright Hour," talks about suffering and grief, but is focused hopefully on the time when those things will be washed away. This prayerful song expresses the promised joy of our Heavenly Homecoming. I appreciate the lyrics so much that it's tempting to transcribe them all. Instead, I'll share only the refrain: "There will be one day when there will be no more tears to wipe away / And there will be one day when there will be no more Death to navigate / But until then we are Your children / Your love cannot forsake." Keaggy's message is to hold tight, peaceful relief is coming.
Though Heaven holds promise, life can be difficult. "When You Were Jesus To Me" is a story-driven piano ballad with Keaggy touching on those times the love and support of friends helped her hold on when her own grip was shaky. She compares her friends' actions to Jesus, and relates how their words of advice and comfort were confirmed by God. By song's end, she's singing directly of Jesus' love and sacrifice on the cross.
The personal songs continue with "Starting a New Year Today." Written on the one-year anniversary of her divorce, the track finds a reflective Keaggy reviewing old journal entries: "Here's where I tried a lot / Page 5 I cried a lot / This part I don't understand / Still I see Your good hand / Jesus, You're the man who has stayed with me / Jesus, You're the hand that has steadied me / Jesus, You've been faithful on every page / So I'm starting a new year today." The verses chronicle heartbreak and doubt, as well as prayer and thanksgiving. But the consistent theme throughout is God's faithfulness.
Keaggy's songwriting is remarkable in that its introspective focus never narrows to the point of self-indulgence. Enough open space is provided to allow listeners to inhabit the songs with her. So rather than feeling like flies on the wall eavesdropping on her quiet time with God, we feel that Keaggy, like the Psalmist, has given voice to our own feelings and put them to song. By looking back, she can see healing has taken place, and secure in the belief that God's mercies are new each morning, she looks forward with optimism remarking, "This could be a good year."
The wave of hopefulness becomes a full-blown swell of joy on "Air, Food, and Water." This ebullient number struts, bounces, and dances in praise as it playfully celebrates the sufficiency of God's provision. It's a reminder that we can live an abundantly happy life in God with only the barest of necessities. Musically, with its ukulele and harmonica, this rhythmic little country romp is just plain fun!
The dancing stops as the mood shifts for the soul-baring "Hello, God." More than any other on the record, this song, in its lyrical and vocal honesty, reads like a Psalm. Cheri begins broken and hurting, asking God for help: "Look down here / Won't You send me an angel to guard and to cheer." And later: "Please pass by / Let the hem of Your garment brush by my side." While asking God to take notice of her sorrow and longing, she repeatedly affirms her faith in His perfect omnipotence, limitless reach, and healing power. By the time she reaches the final verse, she says "Hello, God / It's just me / Only now I am lighter / Happy and free."
"Hello, God" masterfully displays how we can come to God broken and burdened and walk away restored and renewed. What a testament to the power of prayer!
Next up is Keaggy's declaration of faith and service, as she, like Apostle Paul, professes "To Live Is Christ."Naturally, the song draws upon Philippians 1:21, "to live is Christ, to die is gain." Lyrically she also pulls from other scripture verses, including Psalm 25:4-5, which she recasts as "Show me / Guide me / Teach me / Try me." The song is breathtaking in its sincerity and simplicity.
The album continues as Jesus calls to us "Come To Me." It's a loving invitation, with a hint of calming lullaby, to peace and fulfillment in Him: "If you've had enough of ‘I'll be happy whens' / And your ‘someday, somehow' always comes tomorrow / If you're waiting at the station for your life to begin / Come to me, come to me, my friend / Come to me, come to me, again."
"Bind Me To You" is a plaintive, trembling plea to Jesus. Keaggy sings, "Bind me to you, my Lord / Seal me against Your heart / This child is trembling here all by herself / Desperately clinging to nobody else." Emotionally gripping and full of vivid imagery, the song presents Jesus as "loving and faithful", a "covenant keeper", "knight in shining armor", and "Prince of Peace." This song is something special – it's her version of the naked fragility found in Rich Mullins' "Hold Me Jesus." (As that's one of my all-time favorite songs, there is no higher praise.)
Just when you think it couldn't get better, Keaggy follows up with the bright "Romans 15:13 (Benediction Song)."The main body of the song is taken almost verbatim from the NIV verse: "May the God of hope fill you with all joy and peace as you trust in Him / So that You [may know and] overflow with hope by the power of the Holy Spirit." The melody is uplifting, and Keaggy's voice illuminates Scripture to great effect. The result is a song that could serve as a balm for whatever ails our heavy spirits. Having gone through a little soul searching and prayer alongside Keaggy, we come out of the darkness into the shining light of the Son. Pun intended!
The album ends with a meditative touch as Phil Keaggy guests on "Postlude: Invitation To Hope." He plays the melody of "Benediction Song" on a classical guitar, and it feels like a blessing, lending us a perfect opportunity to use the last couple minutes of our listening experience giving thanks to God.
Closing Thoughts:
So I Can Tell is a breath of fresh air – simple, honest, and pure. Though born out of a period of darkness for Keaggy, the songs never become despairing. Cheri vocalizes the longings we all have at times while accurately presenting the hope and rest that is found in Christ. Perhaps most importantly, and this is impressive, the words are never trite, so the album's message and emotional impact is never trivialized.
The record reads like chapters of a book meant to be taken together as a whole. There is no filler or weak song, and for this reason I'm reluctant to name highlights or favorites. Keaggy's sentiment that God has given her gold couldn't be more true. This album is a treasure!
Point of Grace has been a Christian music mainstay for more than 20 years. In that time, they've seen many changes, personally and professionally. Only half of the original four-piece group remains--Shelley Breen and Denise Jones. Newest member Leigh Cappillino completes the group's current trio line-up.
It took some time for the transformed group to find their feet. Since the departure of Heather Payne in 2008, Point of Grace has released a repackaged version of their 2007 project followed by a Christmas album, a 2010 studio album, another Christmas record, and a Greatest Hits compilation.
When POG's membership was reduced to three, their 2010 release No Changin' Us was more than a personnel change; it was a marked shift in sound from Contemporary Christian to Country, helmed by Taylor Swift's producer, Nathan Chapman. Though the change was challenging for many long-time fans, one can't help but wonder if the move was a conscious effort to avoid direct comparisons between the new trio and the beloved original quartet. Whatever the reason, it doesn't matter: Point of Grace returns to form with their ninth studio album, A Thousand Little Things. Produced by Ian Eskelin, the project includes three songs that Shelley, Denise, and Leigh helped write. It's clear that the ladies have established their new identity while finding a sound that should please new and old fans alike.
The album bounds out of the gate with the Cindy Morgan penned "Good Enough." The sound is poppy but organic, with a hopeful, breezy attitude that feels like classic Point of Grace. Rhythmic and happy, it reminds us that we shouldn't feel pressured to measure up or perform. Rather, when life overwhelms us, we need "to trust in the way He loves, and that's good enough." The message of the gospel–Grace–preached in a pop song. Love it!
"Heaven Knows" takes a moodier turn. It sounds like a Martina McBride number with story-song lyrics that address questions we all ask, like why bad things happen to good people. The song is about surrender. As the lyrics suggest, we can't control things or have all the answers: "This crazy life has shown me that even when I don't, Heaven knows."
By the time track three and current single "A Thousand Little Things" rolls around, Point of Grace has hit their stride. They're clearly having a blast on this joyful piece they co-wrote, giving thanks for all the mundane daily ways in which God shows us His love. It's a bouncy little ditty, assisted by a ukulele. As you sing along thinking of your own list of little blessings, you'll find yourself smiling all the while.
This happy little tune is followed by "Only Jesus," a story song where each verse presents a different scenario of struggle and pain: broken promises, infidelity, shame, heartbreak, loss. The production is big on this one. It's a mega-chorus ballad with lyrics that ask, "What kind of water can wash this stain? / What kind of heart can heal this kind of pain? / What kind of love but Jesus? / Only Jesus". Before the song takes a grand finish, there's a sermonette that reminds us why God sent Jesus. This is old school Point of Grace, folks. The voices may be different, but they are as good as ever.
How do you follow up a big production number? Point of Grace does it with a quiet song that packs a punch, "What I Already Know." In a blog posting on the POG website, Leigh shares that she fought for this introspective tune which she calls her "melodic diary." And I'm so glad she did! Understated production and straightforward instrumentation allows the vocals and the message to shine. The result is a prayerful song that confesses "all I really need is just a little more faith to believe what I already know." The instrumental rendering of "Jesus Loves Me" at song's end will bring a tear to your eye.
The girls bring things straight back to bouncy with "Might Be Today," an anthem of hope encouraging us to hold on while waiting for brighter days: "Things can change in an instant / Gray clouds run out of rain / It's just a matter of time til it happens / Hey! / Might be today!" The swift tempo and beautiful three part harmonies make this more than just a toe-tapper. You'll feel like dancing!
The momentum continues with "Wash Me Away," a song of spiritual cleansing and rebirth. This track is like the bluegrass sister of MercyMe's "So Long Self." Impeccably performed and produced, it boasts a sing-along refrain: "I'm going down to wade in the water / Far too long, been a wayward daughter / Father, won't you change what needs to change / Wash me away / ‘Til only You remain." With it's strong melody and tight harmonies, this is a stand-out track that I found myself returning to over and over. It's one of the best songs the group has ever recorded!
Point of Grace rounds out much of the remainder of the record with inspirational songs. First comes "You Be the One," a song challenging listeners to be the one to help others, to forgive, to show mercy, and to "shine the eyes of Jesus." It's a Christ-centered "Be the change you want to see" set to music. Next up is "I Believe in You (Dedication Song)," an advice-packed song of imparted wisdom that would serve as a good graduation theme. This is the ladies' mother-to-child blessing. It will find broad appeal though, as its reach is wide enough for listeners of all ages to identify with and draw strength from.
Finally, POG wraps things up with "Saving Jesus," a song for doubters and those struggling to trust and lean on faith. The heart of the message is an entreaty to surrender: "How low do you have to go before your knees finally hit the floor? / What do you think you're saving Jesus for?" The record closes by leaving the listener in the ideal position–worship.
Closing Thoughts:
With A Thousand Little Things, Point of Grace and producer Ian Eskelin have crafted a wonderful album. It's honest and real, presenting both the ups and downs of life. And most importantly, it's balanced. Production wise, it's sometimes large and other times small. Musically and vocally, each song gets precisely what it needs. The result is a strong album, perfectly sequenced, with several top-notch tunes. And I couldn't be happier to announce that Shelley, Denise, and Leigh have found a balance in their sound -- one that steps forward and takes chances while remaining respectful of their past. If the changes in lineup and style have made you a reluctant listener, have no fear! There's no doubt about it, this is a Point of Grace record!
To accomplish his fourth studio release, Till the Sunrise, Juno Award-winning independent artist Matt Brouwer looked to friends, community, and the Internet. The project, produced by Michael Omartian was funded by Kickstarter. Additionally, Brouwer used Skype to hold songwriting sessions with friends for six of the eleven tracks. His first album since his 2010 marriage to wife Hannah, Till the Sunrise has love written all over it.
Rather than take a sequential, song-by-song approach, I'm going to talk about songs that are thematically tied. As previously mentioned, this record is largely inspired by Brouwer's wife, Hannah. Let's start with her songs. The album opens with "Till the Sunrise," a carefree love song born out of Brouwer's newfound contentment in marital unity. The track was inspired by a night he and Hannah spent on the beach in Hawaii gazing up at the stars. Brouwer captures the feelings that accompanied his new beginning in marriage and the eternity and promise he glimpsed in the stars.
Two more songs were written with his wife in mind. "One in a Million" is a highly percussive, bouncy pop tune about falling in love with your one perfect match. Fans of Brandon Heath will enjoy this song as Brouwer expresses the jubilance and exuberance one feels when love blossoms. On the flip side, "Wish You Were Here," written in New York City during his first time apart from Hannah, explores the melancholy of separation. Where Brouwer once would have felt at home alone on the road, he now finds himself lonely in surroundings that hold no joy or meaning.
To craft "Thornside," an album highlight, Brouwer mines 2 Corinthians 12:7, where the apostle Paul mentions a "thorn in his side." This gritty Americana number feels a little bit outlaw country, using Wild West imagery to paint the town of Thornside. The song explores how God uses pain and suffering to make us stronger. Thus, Brouwer sings, "I've been waiting for this thorn in my side to set me free." Brouwer's spirited performance makes this a track you won't want to miss.
A couple of songs deal with darkness, but from the hopeful perspective of coming out of darkness into light, from hopelessness into the shelter of God's love. "Tonight" is about the freedom that comes from starting afresh when we surrender control and rest in faith, trusting our safety and security to God. The piano-driven "Ocean" describes the fear we experience as we drift "lost on the ocean," as well as the peace that pervades when we glimpse God's light piercing through the night. Brouwer employs lighthouse imagery to describe Jesus' love: "Peace like a river is surrounding me / when my whole world is a raging sea / Only Your light is what my soul has found / Lost on the ocean."
Brouwer further explores God's love with songs that describe His reach and power, as well as His steadfast commitment to us. The Psalm 139-based "Everlasting" is a melodic, affirming moment of worship, praising God's everlasting love that not only reaches, but surrounds us and never lets go. Similarly, the optimistic "Love Can Find a Way," written with husband and wife team JJ and Dave Heller, paints love as patient, far-reaching, and saving. Brouwer and Heller's vocals combine to great effect as the two sing on the chorus: "Love is patient / It doesn't mind / Even if it has to wait a lifetime / When you think you can't be saved / Love can find a way."
Brouwer takes his exploration of God's loving commitment to us a step farther with the emotive "Someone Else's Arms." On this tune, informed by the book of Hosea, Brouwer and producer Omartian use moody piano and weeping electric guitar to create a soundscape that portrays the tender, forgiving heart we find in God, the faithful lover who awaits the return of the wayward spouse with open arms.
On "One For Another," a co-write with Jill Paquette, Brouwer sings about Christian love and the need for community. Musically, the song has a lot to offer. It creates a landscape of sound with jaunty piano, guitar, drums and percussion, layered background vocals, and strings. Lyrically, though, the verses are a little wordy. Had the melody been tighter, I think the song's message would have greater impact.
The record ends on a bittersweet note as it explores loss and grieving on the vulnerable "Outside, Inside." What began as a reaction to the devastating tornadoes in Joplin, Missouri, took a personal turn as Brouwer unexpectedly found himself singing about his father's death from his mother's eyes. It's a haunting song that demonstrates how our world is turned upside down by loss. Artistically, the piece feels like a bookend to "Till the Sunrise," as each reflects a moment in the life cycle of love. I can't help but feel the album could use one more track to reestablish a hopeful mood rather than ending on such a somber note. However, since answers aren't always provided and help does not always come immediately, it's nice that Brouwer does not minimize feelings of loss by glossing over the pain.
Closing Thoughts:
Matt Brouwer's Till the Sunrise is an album about love, commitment, and community. The songs touch on many shades of love, including romantic, Divine, and brotherly, as well as the pain that comes from losing someone we loved. The album's production is pristine and the instruments come through crisply, creating an attractive backdrop for Brouwser's honest, personal reflections on life, love, marriage, and faith.
After nearly 30 years in the industry, in many ways Don Moen is starting over. In 2007, with over 20 years experience as a songwriter, producer, and executive at Integrity Music, Moen resigned. He began a new venture, Don Moen & Friends Productions, a platform from which he hosts Don Moen & Friends, a weekly radio program, as well as online podcasts and worldwide worship events, most recently in India, the United Arab Emirates, Nigeria, and Ghana. Uncharted Territory, his first record in three years, almost didn't happen. His resignation resulted in some strained and severed friendships and business relationships, and a period of personal doubt which caused him to lose the desire to write songs or sing. Eventually, he found his voice again, used Kickstarter and the support of friends and listeners to fund the project, and formed a partnership with in:ciite media to release it.
Moen’s prayer for the songs on Uncharted Territory is that they will “help people offer sincere praise to God, even in the most difficult situations.” So, with a project born out of his own period of darkness, Moen seeks to offer hope to others who find themselves in a similar place.
The title track, “Uncharted Territory,” is a confessional inspired by Psalm 137 that speaks about feeling lost and afraid while surrounded by darkness and chaos. While the verses are questioning, “Where are you, Lord?” the choruses remember what God has already accomplished, asking Him to “teach me how to pray / teach me how to praise / even in the darkness / teach me how to sing your song.” The theme of finding refuge in God continues with “You Will Be My Song,” which reminds us that God is always with us and will always provide.
On the vulnerable “Somebody’s Praying for Me,” Moen explores the power of prayer. He writes about a time when his faith was shaken and he grappled with not knowing how to pray or praise. But suddenly he felt bolstered, and he intuitively understood that it was the prayers of others that were holding him up.
The upbeat “Great Things” is energized by the inclusion of a Celtic fiddle and bouncy drums. Lyrically, it is a straight praise song: “You alone have done great things / I can’t boast of anything / Mighty One and King of Kings, Jesus.” With a sing-along refrain, this song is sure to be a favorite.
“You stay the same through the ages / Your love never changes / There may be pain in the night / but joy comes in the morning.” So Moen sings of God’s unchanging love on “Your Love Never Fails.” The remake of this Bethel Worship songs is one of my favorite tracks on the album, and it should provide comfort and assurance to many.
“Lord Have Mercy” is a prayer set to music. For those who are brokenhearted, ashamed, afraid, failing, hurt, and otherwise struggling, Moen entreats, “We lift a song in the light of our need / For You are able always in all things / And in this moment, we fall at Your feet / Lord, have mercy.”
Appropriately, Moen follows “Lord Have Mercy” with a pair of songs that touch on the merciful sacrifice of Jesus on the cross. First comes, “Ransomed,” a worship song celebrating Jesus, who “made a way for me to enter in.” It’s significant that the lyrics speak of Jesus’ ransom in both past and present tense, because the Savior continues to save us today as He did on Calvary.
The emotional “Divine Exchange” asks us to visualize the crucifixion with lines like “Oh, hear the scoffer mocking / See the Savior’s tears,” and at the same time give thanks for the “divine exchange” that the cross embodies. In an interview, Moen explained the exchange like this: “Jesus took everything bad intended for us and gave us everything good that was given to Him as the Son of God.”
While differing musically, thematically the next two songs feel like Moen’s personal Psalms. “My Portion You Will Ever Be” and “No Fear” both employ biblical language to underscore that God will always provide for and protect us. A brief analysis of “No Fear” uncovers words from verses in Psalms 27, 43, and 119, as well as Isaiah 43. As support for the argument that with God on our side we have nothing to fear, nothing is more effective than looking to God’s word. “No Fear” even concludes with a recitation of Psalm 23.
Moen sings about the unconditionality of Christ’s love on “He Loves You.” The tune is fittingly simple and sweet: “He loves you, just because He loves you.” Moen follows this number about grace and love with a tune of thanksgiving, “Thank You, Jesus.” The Motown feel of the musical arrangement, complete with Hammond organ, is very enjoyable. Don’t be misled, though; Moen’s vocal are decidedly more James Taylor than Stevie Wonder.
Uncharted Territory closes with “Burn,” Moen’s impassioned plea to God to deepen his love and faith. “Burn away my virtues,” he sings. “May there just be You in me.” This line resonates with me. We often like to think of virtues as redeeming qualities we have developed or refined in ourselves. But Moen reminds us that even these good pieces of us are actually God. And with “Burn,” he recognizes that, in the end, the only thing of eternal significance is God, so he asks the Lord, “Write me into Your great story.”
Closing Thoughts:
With Uncharted Territory, veteran Don Moen presents an album of hope for the broken, lost, and hurting. Musically, the album may not appeal to all. This collection of songs is more suited to inspirational radio than pop. It’s not the kind of material you’ll find yourself sliding into the CD player of your car on a road trip. Instead, it’s a record you’ll pull out on a night when you seek shelter from the storms of life. You’ll find comfort, hope, and the unfailing love of Jesus, a Friend with no equal. This is what the artist sought to accomplish with this project, and since the album leads the listener into the arms of the Lord, Don Moen should consider it a success!
A Glowing Showcase | Posted March-19-2012 Phillips, Craig & Dean mark their 21st year together with the release of their 11th album, Breathe In. Produced by Bernie Hermes and Nathan Nockels, the trio’s newest release for Fairtrade Services follows the successful Fearless project, which included the No. 1 hit, “Revelation Song,” also made popular by Kari Jobe. On Breathe In, Randy Phillips, Shawn Craig, and Dan Dean illustrate why they’ve enjoyed longevity: They consistently produce quality music and well-written songs while remaining musically relevant.
“Great and Glorious” kickstarts the record with fervor. Drumbeats and group vocals open the track. The powerful unison singing on the choruses matches the rock band backing. If you haven’t listened to these guys in a while, you could mistake this for a MercyMe song. The momentum continues with another worship rocker, “Our God is Here,” which speaks of the might of God that is employed on our behalf if we have faith unhindered by fear: “Mountains move. Giants lose. Dead men walk out of empty tombs!”
“Great I Am” sings praises to Jesus, expressing the desire to be near to God’s heart and witness Him moving through our lives. It’s a suitably big arrangement with a sweeping, orchestral-like ending that serves as a good bridge into the gorgeous lead single,“When the Stars Burn Down (Blessing and Honor).” Written by Jennie Lee Riddle (who wrote "Revelation Song") and Jonathan Lee, and recently recorded by Rebecca St. James, this standout song is already having chart success. With stirring lyrics, the vivid imagining of Heaven is supported by dynamic music with varied movements that contribute to the song’s mystery and awe.
The drum-heavy “Speechless” is not the Steven Curtis Chapman tune. It’s a straight-ahead worship song you’ll find yourself singing along to as the trio declares, “There is no one like You, God.” PCD shines on “Tell Your Heart to Beat Again.” This emotional song speaks of rebirth in Christ and the need for self-forgiveness: “Yesterday’s a closing door, but you don’t live there anymore / So say goodbye to where you’ve been and tell your heart to beat again.”
Each member gets a chance to solo as they alternate verses on “Great, Great God,” another solid worship number praising God’s power. The uplifting “I Choose to Believe” will be a comfort to listeners walking through darkness. God is always in control, even when we can’t see or feel Him working in our lives. As an effective added touch, the tune ends with the refrain from “‘Tis So Sweet to Trust in Jesus.”
Energy abounds in “These Bones,” which references the Valley of Dry Bones from chapter 37 in Ezekiel. Beginning with keyboards, bouncy percussion, and claps, it’s immediately infectious. The group is clearly enjoying themselves as they profess that hope is not lost, for “these bones are gonna rise / these bones will live again.” I adore this song, and it’s sure to be a crowd favorite at live shows.
The trio concludes the project with “All is Well.” Boasting a melodic piano intro, this piece celebrates Jesus’ victory in the cross:“Praise the lamb. All is well / He holds the keys of Death and Hell / Jesus reigns and all is well.”
Closing Thoughts:
Breathe In is a glowing showcase for time-tested musical trio Phillips, Craig & Dean. The three solidly demonstrate musical relevance, songwriting skills, and vocals that sound better than ever. The group is clearly still having fun after all these years!
Highlights include “Our God is Here”, “When the Stars Burn Down (Blessing and Honor)”, “Tell Your Heart to Beat Again” and “These Bones.”
After 20 years as a songwriter and worship leader, Paul Baloche needs no introduction. Though not all may know Baloche's name, chances are they know his songs. Baloche generally flies under the radar, and you get the sense he prefers it that way. For this newest release, his 12th effort on the Integrity label, Baloche has enlisted the help of friends, many of whom are part of the Integrity Music family. Nine of the thirteen songs were penned with at least one other songwriter, and seven of the songs feature guest vocals, making The Same Love a real community project. Writing and working with folks like Ben Fielding (Hillsong United), Jason Ingram (One Sonic Society), David Leonard and Leslie Jordan (All Sons & Daughters), Chris and Anthony Hoisington (Brothers McClurg), Ed Kerr, Lincoln Brewster, Kari Jobe, and Kathryn Scott, Baloche sounds rejuvenated and bursting with energy. The by-product is a top-notch worship album. It's the Paul Baloche you know and love -- the sensitive singer-songwriter with heartfelt songs -- and this CD is sure to capture listeners' hearts and radio programmers' ears. So, ready or not, Paul Baloche is about to be thrust into the spotlight.
What The Same Love shines the spotlight on is Jesus. Throughout this record, Baloche has a singular mission: drawing our eyes to Jesus -- Jesus on the cross, Jesus as our Savior, Healer, and King. On the opening track, "The Same Love," Baloche sings of Jesus' unchanging love and His unrelenting pursuit of us all. The same God we read about in the Bible is still alive today and He's calling us: "The same love that set the captives free / the same love that opened eyes to see / is calling us all by name." Though it's up to us to listen, Jesus has always been calling, "calling us all to the cross." Baloche's energetic opener is the perfect way to bring the listener in.
Baloche's focus remains on the cross for the anthemic "We Are Saved," written with Ben Fielding and Jason Ingram. Fielding sings along on this track as he and Baloche profess: "We stand amazed at the work of the cross / We are saved / We are saved / Our sin has been forgiven / You have broken every chain / We are saved."
For "King of Heaven," another co-write with Ingram, Baloche is joined by David Leonard and Leslie Jordan of All Sons & Daughters. Leslie Jordan's voice pairs nicely with Baloche on this beautiful, melodic song. The two are accompanied by a bouncy banjo and are eventually joined by Leonard. The three voices mesh wonderfully, and the production layers background vocals. The end result is a passionate, joyful, earthy song that is an invitation and a prayer to King Jesus: "King of Heaven come down / King of Heaven come now / let Your glory reign / shining like the day / King of Heaven come." This lovely offering is one of my favorites on the album.
We return to the cross for the next two songs. "All Because of the Cross," a modern reworking of "Nothing But the Blood," begins with the first two verses of the hymn, then Baloche adds a new refrain: "All because of the cross we are white as snow / All because of what You've done, there's a cleansing flow / For all who come." Baloche's sight remains cross-centered with "Your Blood Ran Down." The song is a piano-driven beauty that features a lone vocal augmented by moody cello and violin. Baloche sings, "From Your head, down Your face / From Your hands to Your feet / Your blood ran down for me." It may be spare on lyrics, but it's full of heart. These two songs work well in tandem, with the thoughtful "Your Blood Ran Down" allowing the space for prayer and contemplation.
In today's troubled world, the word 'hope' is frequently bandied about. With "My Hope," Baloche reminds us that the only constant and real source of hope is Jesus. On this record, I love his voice with female accompaniment, and on this gem he's joined by Kathyrn Scott. The two passionately declare: "My hope is built on nothing less / than Your great love, Your righteousness / I will not walk another way / I trust your heart, I trust Your name / I'm holding on...I'm holding on to You."
Just when you think it can't get any better, Baloche and All Sons & Daughters present "Oh Our Lord." Musically, this folksy song recalls Paul Simon at his best. Once again, Leslie Jordan's voice is a real treat. The lyrics are beautifully delivered with great harmonies as the three sing, "We behold the rising sun / the earth awakes/ Your hope has come / We look to You, We long for You, Oh Lord / Oh, oh, oh...Our Lord / Oh, oh oh...Our Lord / How majestic is Your name in all the earth." If the lyrics seem familiar, it's probably the song's biblical backbone showing through: part of the lyric comes from Psalm 8:9. Sung in praise to King Jesus, with poetic lyrical imagery, head-turning harmonies, and a full, organic sound, "Oh Our Lord" is nothing short of stunning and sure to be all over radio!
Baloche will bring you to your feet with "Christ the Lord." He sings of the cross, the sacrifice, and the freedom from shame and fear that Jesus bought for us. The chorus is catchy and energetic: "Christ the Lord is risen today / the Lamb of God has taken our sins away / Love's redeeming work is done / Raise your voice, the King has overcome!" This anthem ought to be sung in churches across the nation come Easter Sunday.
If "Reign In Me" reminds you of something from an Aaron Shust record, you're right on target. Co-written with Jason Ingram who has produced for Shust, this one has Ingram's stamp all over it. A little melancholy and minor key, the song is an honest prayer for deliverance and healing. Calling upon Jesus as Savior, Healer, and King, Baloche sings, "With groanings too deep for words, I yearn for You / I yearn for You / With all of my weakness I come / In need of You / In Need of You / Savior, save me / Healer, heal me / Jesus, have Your way / King of Glory, reign in me / Reign in me."
On "Just Say," an outstanding collaboration between Baloche and Brothers McClurg, the lyrics make allusions to biblical moments of Jesus' healing. Listen carefully and you'll hear references to Matthew 8, "Just say the word...," and Mark 9, "Hear my humble prayer, help my unbelief." The message here is about prayer-born faith and hope. And the song contains one of my favorite lines on the album, "You will be my ark that floats me up above the storm." This tender song of prayer has enough open space and lilting melody that it starts to feel like a soothing lullaby. A definite highlight!
Next up is a song that you may have heard on Lincoln Brewster's 2010 project, Real Life. Written with Brewster, "Loved by You" has simple, straightforward lyrics, heavily featuring the refrain, "I was made to be loved by You, Jesus." While the song might be less than stirring sung by another artist, Baloche breathes life into the track with his sincere delivery.
As the album draws near the end, Baloche brings out Kari Jobe for "Look Upon the Lord," which he wrote with Jobe and Ingram. What a gorgeous song! Inviting us to look at Jesus the King, the song is musically wide-open, with mainly strings, percussive backing, and occasional piano. The vocals are breathtaking -- Kari's voice is airy and lilting. Early on, the lyrics invoke the presence of God with "Let the glory of our God from Heaven come down." Indeed, you'll swear that angels have come down as Jobe and Baloche sing: "You are good and Your mercy will endure / You are good and forever we are Yours." This song is haunting. As you look upon the throne of Jesus, you'll have goosebumps on your flesh and tears in your eyes.
On the closer, "Shout for Joy," Baloche brings you back to your feet. This is another song from Lincoln Brewster's last project, and it returns the record to where it started, looking to the cross with Jesus as Savior. It's a celebration of what Jesus did for us through Love. The chorus exclaims: "Shout for joy, for the Son of God is the Saving One / He's the Saving One / Shout for joy, see what Love has done / Shout for Joy, He has come for us / He's the Saving One."
Closing Thoughts:
The Same Love is Paul Baloche's steadfast, earnest offering in which he, like his biblical namesake, points us again and again to the Gospel, the good news that is Jesus Christ. From beginning to end, the album's gaze never shifts. It's all about Jesus' love for us: Jesus as teacher, calling us to the cross, Jesus as Healer, Jesus as Savior, and Jesus as King. For worship music that is genuine and leaves plenty of quiet for prayer and reflection, and for God to move, look no further than Paul Baloche.
Highlights Include:
"The Same Love," "King of Heaven," "My Hope," "Oh Our Lord," "Christ the Lord," "Just Say," and "Look Upon the Lord."
Here We Are Again | Posted March-05-2012
Fans have waited a few years for Ernie Haase & Signature Sound (EHSS) to offer up a new studio recording of original material. And in the years that have elapsed since 2008's Dream On, the group has undergone much change. Lead singer Ryan Seaton and bass singer Tim Duncan have both exited the group, leaving Ernie Haase and Doug Anderson as the remaining founding members. Joining them for Here We Are Again are lead Devin McGlamery and bass Ian Owens. Devin is no stranger, having joined the group in late 2009, he participated on the last project, A Tribute to the Cathedral Quartet. However, this record is the first chance for many fans to hear Ian Owens. Because former bass Tim Duncan was a fan favorite, many will be apprehensive about this newest member of Signature Sound. They'll be listening to hear how he impacts the overall sound of the new line-up. Additionally, as each EHSS project has been unique, fans will surely be curious to find out where Here We Are Again takes the quartet. So what's the verdict? Read on....
EHSS wastes no time introducing Ian Owens. They open with "Swing Low, Sweet Chariot," which provides him a moment to shine in the second verse. Their arrangement to this gospel standard is lively and fresh, and even includes an unexpected scat breakdown. The guys are clearly having fun!
The energy continues with "Singing in the Midnight Hour." It's a rollicking, blues-infused modern Southern Gospel gem and probably my favorite track on the album. Baritone Doug Anderson's voice is used to great effect as the quartet sings about rescue and deliverance, making references to Jericho and the Rapture. The guys sing: "God's people know that deliverance comes / When the troubles and the trials are finally done / The world keeps bringing on the flood and the fire / But we're still singing...in the midnight hour." This impassioned performance shows unwavering faith that God will not abandon us in our times of trouble.
After that toe-tapper, EHSS turns things down a notch to highlight their signature sound, those beautiful harmonies, as they sing in unison on "Here We Are Again." Ian comes in for the first verse and we discover that his voice has a smooth upper register. Ernie delivers his trademark silky tenor as the quartet sings this praise song about diverse people united in worship.
With "I Believe," the project takes another musical shift. Some may know this pop song from Frankie Laine's 1953 hit, or alternately, from Elvis Presley's 1957 rendition. This is the project's true introduction and feature moment for Ian Owens who performed the song regularly during his tenure with The Imperials. You'll find that Ian's voice has a unique quality and tone, almost operatic, with a higher register that adds a lyrical quality. He carries the song well, with beautiful background harmonies supplied by the rest of EHSS as the song moves from a quiet opening to a big finish.
Next up, it's Devin McGlamery's turn in the spotlight on "I've Been Here Before," the lead-off single for Here We Are Again. Devin's breathy, soulful vocal is augmented by Doug's rich tenor while Ian holds down the bottom as EHSS sings another Southern Gospel-tinged number. Ernie comes in a few times to show his vocal versatility, too. This a strong performance and a great opportunity for the guys to show their blend in a mid-tempo number. The chorus confidently sings of God's steadfast love that helps us weather adversity: "I've been here before and I'll be just fine / I've been here before, time after time / God steps into the fight and settles the score / He's already shown, I don't fight alone / I've been here before."
As this is the first EHSS project on newly-launched Stowtown Records, a joint business venture between Ernie and producer/musical director Wayne Haun, it makes sense that Haun is allowed his own feature song,"You Are Welcome Here." With a very adult-contemporary sound reminiscent of Mark Schultz, this story song was inspired by an encounter Haun had with a fan after a show who expressed gratitude at having felt embraced and welcomed while never feeling similarly received by any church. Although the song has a nice message, extending the welcome beyond the walls of a church to the heart of Jesus, the quartet takes a backseat to Haun with subdued background support.
Next up is a traditional gospel ballad, "Love Carried the Cross." Doug, Devin, and Ernie each take lead on a verse, while the group comes together on the choruses, blending beautifully in an emotional performance as they sing of Jesus' merciful sacrifice: "Although I was hopeless, dying and lost / Love carried the cross."
Lest you be caught sleeping -- and I can't imagine how you would be -- Ernie brings the new lineup back to the group's beginning as they revisit "Stand By Me." It's a daring move, as this song helped Tim Duncan find his way into the hearts of listeners in 2002. Some fans may be reluctant to wholeheartedly embrace this new rendition of a long-treasured favorite. However, judged on its own merit, you'll find that not only does Ian Owens hold his own, but the quartet approaches the song in a new way, adding electric guitar and big band brass to the arrangement. I'm not going to compare the two versions, but I will say that it has been ten years, and if the song is going to stay in the lineup, why not update it a bit and keep it vibrant?
In case reprising "Stand By Me" wasn't a bold enough venture, Ernie ups the ante with the nearly frenetic"Every Time." This song defies categorization. I am grateful to Wayne Haun for likening it to a rowdy 1950s sock-hop. It definitely has a musical theater feel, à la Grease or Hairspray, and Ernie turns a little wild as he cuts loose vocally. It should bring with it an energetic stage performance with audience response, but it may find you scratching your head on first listen because it's a leap from the previous track. Then again, I'm not sure how they could have more suitably segued into this song. I think they want it be a bit of a jolt. As such, it's a successful infusion of energy and fun. And who says a fun song can't still have a message rooted in the gospel? So don't over think it, just shout for joy alongside Ernie as you celebrate God's goodness.
You'll need to quickly shift gears again, as things slow down for the beautiful "Sometimes I Wonder." This song was written during a period where Ernie grieved the passing of father-in-law George Younce and co-writer Joel Lindsey's family also experienced a loss. Together the men wrote a moving piece that asks questions we have all asked when having to say goodbye to loved ones. It's another song highlighting Doug's talent and versatility. He can deliver any melody with warmth and sincerity. Musically the song has an easygoing sound similar to Bread or Glen Campbell. It may be overlooked the way it is sequenced here, but this delicate vocal performance is not to be missed!
"Thankful to You" is in the same vein as "Here We Are Again." While not the standout track on the album, it may be the best showcase for the vocal blend of this new lineup. It's a contemplative, earnest song of thanksgiving to God for all His blessings, and a good opportunity for listeners to pause, reflect, and give thanks. The melody is relaxing and restorative, and this song would have made a nice closer for the album.
Turns out the guys had other ideas for the finale. They've included a live performance from Romania of "Any Other Man." In case you weren't already aware that EHSS is stretching the boundaries, this song smacks you in the face! It's a rowdy, Southern rock burner that you'd expect from a pop/rock outfit like Third Day or even dc Talk circa Jesus Freak. No kidding! It's refreshing to hear an amped up song with a live band that also features the amazing voices of a vocal quartet. With fresh, younger blood -- Devin McGlamery is still just twenty-nine and Ian Owens thirty-one -- the group should bring their high-energy harmonies to new audiences with this rouser. Wow! Talk about a showstopper!
Closing Thoughts:
Here We Are Again proves that it is impossible to predict the direction an Ernie Haase & Signature Sound album will take. The project combines several different styles, so it may appeal to a broad spectrum of listeners. The varied approach and broader reach may also have a polarizing effect. While some fans might prefer the old sound and insist that Get Away, Jordan is the watermark for the quartet, there will be those who remain loyal to the group through all their lineup and stylistic changes. One thing is certain, this CD will be a rewarding listen for many. And while a departure from tradition, the record should nevertheless bring a new generation of listeners into the fold, who then may discover the treasure trove of gospel music that inspired these men.
Highlights include:
"Singing in the Midnight Hour," "I've Been Here Before," "Love Carried the Cross," "Sometimes I Wonder," and "Any Other Man."
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