VIP
by
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”...
With his albumForevermore,Jon Bauer makes his American debut. But this Canadian Modern Worship artist is no newcomer to the music world. Prior to Forevermore, he released four CDs in Canada, and in 2008 was named Male Vocalist of the Year by the Canadian Gospel Music Association. For help with his introduction to American listeners, Bauer enlisted popular producer Rusty Varenkamp.
Bauer opens with "Our God." A guitar riff and drum hook begins the song with energy, but the lyrics aren't original enough for the song to be particularly memorable. So the catchy riff and "Oh, Oh, Oh" vocal stand alone as my favorite part of the song.
The second song, "Light of Another World," might have served as a better opener.This minor-key gem feels more inspired and is more compelling. Written from the point of view of a believer praying, "Jesus, help me search for answers in a world that's not my home," the song touches on what Heaven will be like, reminding us that this world is our temporary home. Fans of mid-tempo offerings from Jeremy Camp and Kutless will delight in this track.
"Come and Save Us" brings the tempo back up. Here the verses present different adjectives and descriptive phrases for Jesus (Glorious, Marvelous, Infinite, MercifulKing of Love, God of Grace, Wounded Healer), while the chorus is a hopeful entreaty to Jesus to return and save us. Though commercial and easy to listen to, the track is not as lyrically memorable as the slower "Beautiful Name" which offers up the nice line: "There is a name that we can call on and whisper through the roar."
Although "Chasing After Me" sits in the middle of the record, it's the highpoint and the song you'll not want to miss. A poppy, bouncy ukulele tune à la Jason Mraz or Francesca Battistelli, Bauer sings alongside songstress and fellow Canadian, Laurell. The pair brings genuine energy on this loose, joyous ditty about a God who pursues us: "There's nowhere I could ever hide 'cause you keep coming / Your love is chasing after me / And I don't know what I've been running from."
Next, Bauer reminds his listeners that Jesus is "A Prayer Away." While the production is polished and prime for radio, this song may been more effective had Bauer chosen to present it stripped down. The more intimate "Fall Over Me" which follows is produced more lightly, allowingBauer's gentle vocals to shine on this prayerful number as he confesses, "Lord, I'm on my knees / I need your love to fall over me."
Title track "Forevermore" begins spare and open, allowing the words to come to the foreground. The atmospheric production is a good lyrical accompaniment as Bauer sings: "to the One who carved oceans with His hand / to the One who gave His life to ransom man/ Be blessing and honor and glory and power/ Forevermore." The song builds before finishing with a chorus singing to a full band-backing. This Chris Tomlin-style anthem should earn Bauer steady radio play.
As Forevermore wraps up, Bauergets contemplative with "Life of Worship" in which he pledges to worship God, not just through song, but with his life. The CD concludes with an energetic rendition of Paul Baloche's "Hosanna" that stands out as one of the album's strongest cuts. This is a great closer.
Closing Thoughts:
While the familiar sounds on Forevermore will find favor with many fans of modern worship, the album may be a little lackluster for those looking for something new and different. More consistency and originality in the lyrics, as well as a little more variety in tempo, could have produced a stronger record. Highlights are "Light of Another World", "Beautiful Name", "Chasing After Me" and "Hosanna."
Christmas | Posted January-09-2012
I'm unfamiliar with California worship leader Jadon Lavik, so I greeted his release, Christmas without any preconceived ideas. With Christmas songs though, comes tradition. And with tradition comes expectation. When traditional arrangements and melodies are altered, the results may please some while leaving others reaching for Nat King Cole or Perry Como to find satisfaction.
Jadon Lavik's approach on Christmas is non-traditional. With the exception of "Mele Kalikmaka," and the Lavik-penned "Hallelujah the Lord Has Come," the songs are traditional. But Lavik's arrangements are often unique. The acoustic album has an organic and often jazzy feel, and the opener, "Have Yourself a Merry Little Christmas," sets the mellow tone for what is to come. Next is Lavik's original worship tune, "Hallelujah the Lord Has Come," followed by a jazzed up "Little Drummer Boy" that adds guitar and horn to the familiar percussive rhythms.
The spare "I'll Be Home For Christmas" is the album's standout track. The quiet piano accompaniment allows Lavik's vocals to shine through unhindered. He sings a straight-ahead version, in keeping with the song's original spirit. Lavik then shifts gears to bring us an uptempo, poppy rendition of "Silent Night." While non-traditional, the increased tempo works here to give the album a needed infusion of energy and joy. The female vocal accompaniment is also welcome.
Lavik's arrangement on "Christmas Time Is Here" is true to the familiar Guaraldi Trio's. But while I applaud him for taking chances, I find Lavik's arrangements are not uniformly successful. On "O Come All Ye Faithful," his inclusion of a jazzy vocal "fa la la...la la la..." interlude ultimately removes the power and majesty from this song. "Joy to the World" similarly suffers from its laid back presentation. "Go Tell It on the Mountain" is an annual favorite of mine, but I didn't enjoy Lavik's changes on his folky version. The altered melody and tempo diminish the joyous feeling the song usually inspires.
Lavik wraps up Christmas with a ukelele on "Mele Kalikimaka," and finishes with energy and electric instruments on "Winter Wonderland," a spirited pop confection that again includes a female guest vocal.
Closing Thoughts:
If you're a fan of acoustic music, particularly if you like jazz, you'll enjoy Christmas, Jadon Lavik's mellow holiday presentation. While lovers of jazz and fans of Lavik will enjoy the album as a whole, others may prefer a more traditional approach to their Christmas standards. The album's most immediately accessible tracks, "Winter Wonderland," "I'll Be Home For Christmas," and "Silent Night," should be enjoyed by all merry Christians.
No Crisis Here | Posted December-01-2011
It's been a fruitful season for Society Revival Music Group. Label CEO, Jerel Paul Bland aka Rel Paul, released his debut solo project Spoiler Alert on November 1st. Just a week prior came Crisis Worship, the first offering from Pavilion Towers Worship. Here the label exec/music artist/songwriter/pastor shines the spotlight on his place of worship, Pavilion Towers, and its gifted worship leader, Cortney Joi. Listening to Spoiler Alert, it was clear that Rel Paul not only has a strong musical vision, but also an intense passion for the Lord. I was so impressed with Spoiler Alert that I became curious about Crisis Worship. Then, when I read Cortney Joi's biography and discovered that she is a walking miracle (having survived being hit by a drunk driver going 100 mph), I knew that I had to hear what she had to say.
Just as Rel Paul has a clear vision, so does Pavilion Towers. The label was right to release both records virtually in tandem. Spoiler Alert confronts the listener with the need to make a choice in the battle between good and evil, and presents Jesus as the only option. In other words, Spoiler Alert is evangelical--it draws people to Christ. Crisis Worship shows people how to respond to Christ--it brings them to their knees.
Crisis Worship opens with a short spoken introduction from Pastor Rel. He defines crisis as the turning point. Quoting Proverbs 24:10, he suggests that crisis should keep us ready, waiting, and listening. To present the current state of our world, he invokes John 3:19, people running from God's light into darkness. "Society," says Rel, "is in need of revival. And at the heart of revival is recognizing that we are in crisis. When you begin to recognize that you are in that place, the proper position, at that time, is worship."
On that note, Cortney Joi begins to gently sing praises to Jesus in "No One Like You." With the lyric, "You stepped into time to pay my crime," she gives thanks for the Savior's sacrifice. After the first verse, the rest of the Pavilion Towers chorus joins in and all proclaim, "There is none like You...There's no love like Yours." Appropriately, the next track is titled "Yours." It's another praise song, giving "glory and honor" to God and surrending everything to Him: "My hopes and my dreams -- Yours, Yours / My plans and my needs -- Yours, Yours."
By track four, "It's In You," a worshipful atmosphere has been established and the record hits its stride. You'll find yourself singing along, "You are more than my strength, more than my friend / You are Alpha, Omega, Beginning, the End/ You are Holy. Move in Me. All that I do it's in You." Without God, the song declares, we are lost. We need God. And when we acknowledge our need for Him and think about the gift He gave us and the way He loves us, we naturally want to give back. The outstanding "I Want To" vocalizes this gratitude. "I'll worship cause I need to. And I need to, cause I have to. And I have to, cause I love You. And I love You, cause You loved me. You loved me, so You died for me, and You died for me, so I'll live for You. And I'll live for You cause I want to...." On and on the cycle goes, and with each repeated chorus, the listener is moved deeper into worship. At over seven minutes, the song is extended, but it never grows tired. After the four minute mark, Pastor Rel steps in to talk about David and encourage us to be "after" God's heart. The song soon resumes its infectious chorus, bursting out passionately as the music explodes with a guitar solo. Cortney Joi then wraps up the song with a quiet, "I'm after you...."
Track 6, "Send Me," is a declaration of willingness and readiness to do God's will: "Send me, I'll go. Wherever Lord, I'll go...Send me, I'll go. To distant lands and seas. Here am I. Send me, I'll go." The song also reminds us of our role: "We are the generation that will change the nation." The drum beats pound like a beating heart--a heart beating in rhythm to God's call. "However You Come" follows with a beautiful piano intro, drum beats, and ambient sounds as Cortney Joi invites the Holy Spirit to descend: "Burning deep, burning free, burning passion, burn in me. However You come, please just Spirit fall." A favorite of mine, this song perfectly captures our almost desperate desire to be wholly consumed by God's fire. You'll find yourself singing along with the communal chant, and Cortney Joi's final a capella "I want more" will be a prayer on your lips.
Pavilion Towers seizes the moment as Cortney Joi moves into the prayerful "Great God." This intimate, meditative song is short and sweet, but it serves as a wonderful chance to pause and pray. The quiet mood continues in "Consumed," which has a gentle, breathy vocal over a pretty melody. It lists virtues like mercy, wisdom, love, and forgiveness, attributing these to God. The song is an aural depiction of a peaceful kind of jubilation. The lyrics very cleverly use the phrase "I am." Cortney Joi states "I am rejoicing," "I am forgiven," "I am a winner", etc., as she counts her many blessings, concluding with "because of You." She then turns the phrase from herself to God as she sings, "I am Yours and You are...the Great I Am."
Gentle songs continue as the album encourages you to sustain your prayerful posture. "Delight In Me" sings of God's love, the lyric capturing our astonishment that He would love us so extravagantly: "Here I stand, bowed before Your throne, singing songs of love to You, God. Filled with joy at the mere beauty that You take delight in us." Cortney Joi's voice is beautifully tender, and she uses it to great emotional effect on the vulnerable "Broken Pieces." I was moved as the song's verses related a personal journey of drawing closer to God. Nowhere is her voice more expressive than on the bridge: "Piece by piece, chip by chip, I'm letting You have my centerpiece, my broken core, my everything. And I'll sing in the shadows of Your wings, God. You heal all broken pieces." By the song's end, I had tears in my eyes.
The album continues with praise number "All Hail the King," and "Heaven on Earth," which continues the imagery of the King and His Kingdom. Cortney Joi sings about her wonderment as she contemplates Heaven: "I can't believe that if I just believe, I'll get to see the glory of the King." She urges us: "Let's prepare by joining with the angels." Rel Paul guests on the tune which has a little hip/hop flavor and an occasional hiccup to the lyric. "We need a little Heaven on Earth," Cortney Joi asserts, "I'mma worship like Heaven's on Earth." This is another sing-along moment on an album packed with choruses that encourage participation.
"Free to Praise" opens with a pretty piano melody worthy of Michael W. Smith that blossoms into a lovely offering of praise and thanksgiving: "O, how I love to say Your name (Jesus). O How I love to give You thanks. Thank You for grace and mercy. Thank You for dying for me."
The penultimate track, "I'll Never Leave," shifts the album into a moodier sound. But the minor key notes capture our doubts and fears, and the song's chorus reminds us of Jesus' promise: "I'll never leave you alone." It's a song about suffering, but suffering with Christ who suffered for us. We need the reminder this song provides when we are feeling deserted and forsaken, for because of Jesus' faithful promise, we are never truly alone. And nothing can separate us from His love.
It's only fitting then, that Crisis Worship ends with "Love of My Life," an energetic, passionate love song sung from our point of view as the bride to Christ. Rel Paul makes a rapping appearance as Cortney Joi sings, "I know You are the only One that I forever truly love." As the song comes to a close, she avows, "Because of You I'm finally believing that I can do anything, as long as I have You." Here the album abruptly ends, but it leaves us in the perfect position: grateful dependence.
Closing Thoughts:
With Crisis Worship, Pavilion Towers Worship brings their A-game. Over the course of this 80-minute CD, Pavilion Towers creates and sustains an intimate, prayerful, passionate worship experience. With this project, Cortney Joi, who shares writing credit on ten of the songs, showcases both her terrific, emotive voice as well as her strong, melodic songwriting. After my husband listened to the CD, he called it "both soul stirring and soul quieting." That's the best way to describe it. Rather than direct you to certain songs, I would encourage you to listen to this album in its entirety. And since time spent worshiping the Lord is never wasted, it will be time well spent!
Glory Hallelujah | Posted November-19-2011
In 2000, Michael W. Smith released an instrumental project entitled Freedom. The project has sold more than 500,000 copies, and fans have often asked when he was going to make another record like it. Just over a decade later, the time has finally come. With his twenty-third album, Smith brings us Glory.
Smith began the project at home in Tennessee, later traveling to England to AIR Studios where he recorded with a 71-piece symphony orchestra. While Glory captures a spirit similar to Freedom, this record is its own project. Where Freedom had a strong Celtic influence, Glory is more American, and more cinematic in scope. Like Freedom, though, Glory will transport you. And you'll enjoy your journey through the different scenes that Smith presents on this album.
"Glory Overture" kicks off the record with tympani and brass. The piece is grand and vibrant, melodic and cinematic. The early part is reminiscent of Raiders of the Lost Ark and feels boldly adventurous. The song later slows and takes a magical, sweeping turn with bells and strings. Smith says the song was influenced by John Williams' movie score for E.T. While you'll be able to hear that influence, Smith has his own flair and flavor, and he is clearly at home creatively on the project. "Glory Overture" sets the tone for something special to come.
The next two tracks are distinctly patriotic, filled with love for home and country. "The Patriot" feels victorious, strong, and proud, like a soldier greeted with a parade after coming home from battle. The song pairs nicely with "Heroes," the next track. A tribute to the sacrifices of U.S. soldiers past and present, "Heroes" contains a hint of sadness, but it builds from strings and a lone, clear horn into a gorgeous, majestic piano piece. This album is not just a collection of songs. It is an array of musical landscapes. Eventually, strings and drums join the piano, and then the rest of the orchestra comes in. The melody for "Heroes" is one that will stick in your head, and the song would be right at home in a grand military ceremony or even as an Olympic Games theme.
Michael shifts his gaze for the next few tracks. First comes "Forever," his love song for his wife, Debbie. He says the song is a family favorite at home and that friend Wes King has even written a lyric for it. For now, though, it's presented as an instrumental. The piece is moving and vast, so the name "Forever" is fitting, because the emotion it imparts feels unshakeable and boundless. It feels like love.
Track five, "The Blessing," is meant to be the musical embodiment of Smith's book, A Simple Blessing. With this song, Smith says he wants to evoke a feeling of thanksgiving, and he does. The song lends itself to a prayerful experience, and it's brimming with emotion.
Next, it's time to play. "Whitaker's Wonder" is a whimsical tune inspired by Smith's grandson. Wonder perfectly describes the feeling this song conveys. There are some beautiful interludes and featured solos along the way, as the piece playfully prances in an enchanting style reminiscent of The Nutcracker Suite, Harry Potter, and even Home Alone.
After the delight of "Whitaker's Wonder," the tone shifts dramatically for the upcoming four-song sequence. The moody, "Joy Follows Suffering," depicts the life of Jesus. I feel like we're with Him as He knowingly contemplates His life-purpose in the garden. There is a particularly moving classical guitar solo in the middle. And while the song is peaceful and elegant, a note of sadness lingers.
"Glory Battle" is a stirring song which Smith says represent spiritual warfare. This anthem is a clash between good and evil, darkness and light. I imagine a landscape like that in The Lord of the Rings during the fight against Sauron. The arrangement becomes imposing, but toward the end the dark notes vanish and the light, airy sounds dominate. The tune seems headed for a quiet ending, but it is not an ending, only a lull, as Smith thrusts us right back into battle with driving beats and racing strings. "Glory Battle" has a punctuated, punchy ending that moves into a desolate sound like wind in the desert.
Thus begins "Atonement," which has some of the prettiest piano work I've ever heard, from Smith or anyone else. This piece is an aural representation of the death of Christ. It begins with minor key sounds but eventually brightens. There are two distinct sections to the song, suggested by producer David Hamilton. This is a technique that Chopin used to convey a broad range of emotion and evoke an emotional response in the listener. The track ends on a victorious note before the orchestra bounces into "Redemption," the final segment of the four-part sequence.
"Redemption" weaves together two very different sounds: bouncy Americana and an Old West celebratory romp. I picture lace-up boots and hoop skirts whirling and twirling in celebration. Near the song's end, there is a tinkling of bells, like a sprinkling of fairy dust, which soon swells into a joyous brightness, like the bursting forth of a grand sunrise. What an apt representation for the victory and glory won for us through Christ's triumph over death!
Michael W. Smith wraps things up by returning home for "The Romance," another gentle love song for Debbie, his wife of thirty years. The song is romantic and lush, and the listener feels wrapped in a loving embrace. Need I say more?
The album closes with a two-part piece. "The Tribute" was written to commemorate the 60th wedding anniversary of George H.W. Bush and Barbara Bush, and Smith played it for the former First Couple at the White House. From "The Tribute," he subtly shifts into an instrumental version of "Agnus Dei." You'll find yourself breathing slowly and deeply until, as the quiet song breaks open to the glory of God, your meditative spirit bubbles over into spontaneous song and praise. Worthy is the Lamb, indeed!
Closing Thoughts:
While it may not be a standard lyrical project from Michael W. Smith, Glory is worth repeated listens. The album is by turns contemplative, majestic, somber, romantic, joyful, and playful. But it is always melodic and filled with feeling and passion, fueled by Smith's God-given talent and enthusiasm for music, as well as by his thankfulness for the blessings bestowed by a loving Creator. To listen to Smitty's newest record is to be filled with awe and wonder. The music is the perfect backdrop for the holidays. Play it while you're working on a project for a special someone, or while you're baking cookies or wrapping gifts. You'll feel the magic of the Season--a magic that comes from the miracle of Christ's birth and the beauty of His loving sacrifice.
Rel Paul, born Jerel Paul Bland, is a busy man. As a father, pastor, record label CEO, and recording artist, his plate is full. So it's only fitting that for his debut album, Spoiler Alert, Rel Paul takes advantage of the CD format and serves up a full disc with over 79 minutes of rap, hip hop, and gospel-tinged urban music with a Godly message. Spoiler Alert is brimming with music, and Rel Paul calls on many friends and fellow artists to help him spread the Good News. The result is an album varied enough to have something for everyone and songs to fit nearly every radio format.
The album begins with a bang. Track one, "Spoiler Alert...We Win," starts with a droning hum like a warning signal as Rel Paul makes a passionate declaration in the form of an introductory rap. He may be behind a microphone instead of a pulpit, but you can't take the preacher out of this rapper. The climax of this 'sermon' is that "with us unified in the face of the One whom there is no equal, we say the battle is His, vengeance is His, and we are His, and with victory guaranteed, the Spoiler Alert is.......We Win." The "We...Win..." chorus that follows is Christian rap's equivalent to Queen's "We Will Rock You." It's a Christian soldier's war cry. Rel Paul declares, "There are only two sides, only two teams," and he warns, "this here is eternal, yeah, life or death / Two gates, the pearly ones or to Hell...no game, stop, drop, and roll don't work there." It's a gripping, stirring opening song that sets the stage for all that follows.
Rel stays on his pulpit in "Dogmatic," saying, "I insist you listen to this, this is more than music, I'ma tell you what the truth is..." He then boldly and unapologetically states the case for Jesus as Lord and King. Not only is freedom derived from Jesus -- "Even the Statue of Liberty raises her flames to the one who reigns" -- but Heaven can only be assured through Jesus. In the final verse, Rel says, "I still can't believe that they still believe there's multiple ways to Heaven," but he enjoys "knowin' that they can still probably make it in, in, all the in." And that's his goal on this record, helping folks find the way in to Heaven.
"Still Here" features rhymes from guest rapper Viktory and a beautiful female vocal from Jade Harrell. Rel announces to doubters and haters that the Devil did not and will not win. Rel's "still here" and he's not going anywhere. He's on a mission to glorify God and spread the Gospel, and his work won't be derailed or sabotaged.
"Dudz" focuses on living a passion-filled life in Christ. Rel reminds listeners that this is something they can have, and the next two songs zero in on personal decision and the need to accept Christ as Lord and Savior. "Crescendo of the Heart" is my favorite song, and features Washington Projects, the brother-sister duo of Jekob and Rachael Washington. Rachael sings, "Today, I decided I'm not gonna settle for livin' so ordinary / Tonight, gonna open my heart, give it away, give it away." You'll find yourself singing along with the team-sung chorus, "He's breathing life, I'm breathing death / Before I know it, there won't be nothin' left / I'm tryna live my life blameless, shameless / I'm on my knees Father, give me a crescendo of the heart." What a cool way to explain the way that God builds us up and increases our capacity to feel and love! "Forevermore," which features Elle Renee with a gorgeous chorus vocal, serves as a companion song to "Crescendo of the Heart," explaining that it's not too late to make a decision and a new start, even if you've tried before and failed. Rel announces, "I can get you in...I know the number, quick call Him / Tell 'em you believe, quit stallin'." He warns the listener not to delay: "What ya waitin' on, a decision this good shouldn't take this long."
Track 7, "Moment's Notice", features Marvin Winans, Jr.'s (yes, from that Winans family) smooth, soulful vocal. It's a great song that pits the world view of "live for today because tomorrow isn't guaranteed" against the Christian's guarantee of eternal life. The true believer lives each moment to its fullest, not out of selfish fatalism, but out of a desire to make the most of life and to love God now "cause in a moment's notice, I'll be caught off the ground."
"Rain On My Parade" is another highlight. It's Rel's declaration that no matter what trials may come, He will not be deterred or defeated. The chorus references Rihanna's "Umbrella": "I'ma keep goin, wit no umbrella, ella, ella, aye...I'ma still have my parade, even if the rain never goes away." As Rel explains, "Gotta have the rain and the Son to get the roses up." His rap makes intelligent, creative references to biblical events, Benjamin Franklin, and the "other Franklin" (Kirk).
Jeremy Spring of the band Abandon Kansas lends his voice to "Sweet Painful Exodus," a song that must be autobiographical for Rel Paul. It's about the need to say goodbye when a relationship is negative and toxic, pulling you away from God. "What I do know," Rel says, "is that you keep me stagnant, super bad habit, you're my negative magnet, and I'm positive, that if I wanna live, them I'ma have to cut you off". The song is general enough that listeners will be able to identify in their own way.
"Rev 22:22" is an homage to Christian rap and hip hop. Rel reminisces about growing up listening to Christian rap and lists some of the notable artists of the past, while answering the question, Where do we go from here? "We go on," Rel sings. Though Rev 22:21 is the end of the Bible, the song's title points to the fact that there will be no end to the musical form.
"Cry Wolf " and "Devil I liveD" go well back-to-back, as both songs are from the point of view of one who has turned away from sin. "Cry Wolf" features Christy Johnson of Worth Dying For, and relates the story of a man seen by his peers as a hypocrite because he was not really walking the life he was talking about. However, he's changed, and he's telling his doubters, "I'm breaking from the masquerade, I'm changing my way / No never gonna back down, I'm not crying out wolf." "Devil I liveD" is another favorite of mine. It's a passionate, aggressive song in which Rel raps about the U-turn his life took and his new life in Jesus: "By reversing the devil, I lived."
Florida rapper Canton Jones guests on the melodic "Finally". The song is about Rel's long journey both professionally and spiritually as he went from "dream to reality." Sometimes the road is long and hard, but in the end, the rewards are worth the effort: "Freedom, love, joy, peace, no more grief / Finally / Victory, breakthrough triumph, happiness, no more cryin / Finally."
The album rounds out with more guests on "Foolishness" (TeTe), "Cherry Pickers" (Valdez Spikes), and "Sinbad" (Oz & Tyman Ray). The first song is appropriately chaotic with its dance beats as Rel is once again telling detractors and doubters of the truth that he'll not be quieted. In "Cherry Pickers," he vows to do the hard work and doesn't need selfish "cherry pickers" to step in: "I don't need assistance to get in His face, this is that Kingdom DNA / Abba Papa I do what He say, disobey Coach you'll lose the game / and me and you can't even be on the same team / if our jersey's don't even bear the same name." Rel, with help from friends, resumes his pulpit for "Sinbad," at once a condemnation of sin and an affirmation of life in Christ.
"Citizenship Award" may at first seem like a tongue-in-cheek song exposing the unpopularity of Christian rap, but it goes deeper than Rel saying "I'ma make my noise for the Lord, y'all can keep them citizenship awards." It continues the challenging stance of "Sinbad," with Rel demanding to know who will stand for the truth. He calls for change and asks Christians and non-Christians alike to stop fighting each other when the world is hurting and broken, and to recognize who the true Enemy is.
"Stone Age" (featuring R-Swift) follows, a rebuke about passing judgment and a cautionary reminder to those who pervert the intent of Galatians 6:1 that Jesus is the one who fixes things. "How quickly we forget, wrongs are made right at the cross, but when somebody fall it's easy for us to write em off. Gotta remain watchful, sober, bear each others burdens, the stone age is over."
Rel Paul is not one to go out with a whimper. "Breathe Out," the penultimate track on Spoiler Alert, is an aggressive, hard rocker that you'll want to crank up the volume for. It's Rel's personal declaration that he won't buy into the world's demand to "go numb" or "play dumb." It's a prayer to God, as well as an entreaty to listeners to wake up to the promises that God has offered. Rather than turn to drugs and things of the world to escape pain and heartache, we should turn to God. "Show me where the pain at, tell me can you feel that, Lord we ain't trying to hear you, we don't comprehend that you're the pain killer, you can cure all that..." We need help to fight the lies and temptations of the world, so Rel prays for revival, personally and for society: "Lord I'm tryin to live holy, tryin to stand boldly...But when I start to think, the wound starts to bleed, and when I dream, it becomes hard to breathe, but I can't fight the feelin, yeah I can feel Him...don't fight the feelin' y'all don't u feel Him, don't fight the feelin'...Breathe out!"
The final track, "Anonymous Triumph," (featuring Cortney Joi) reminds us again that we don't need to try to compete because we're guaranteed victory in Jesus -- it's not about us, it's about Him. And we need to die to self: "Talk is cheap unless you talkin' Jesus, then it's expensive, it's gon' cost you somethin, cost you everythin', kill yo ego." With the song's outro the album closes in much the same place it began: "Getting your approval, it's doesn't make me...Remember, I win, cause I belong to Him."
Closing Thoughts:
With his debut album, Detroit-based rapper Rel Paul offers up a heaping helping of rap, hip hop, and other urban flavors that are sure to leave listeners satisfied. With 20 songs and nearly 80 minutes of music, no one will walk away hungry. Spoiler Alert is an album focused on the battle between good and evil, in the world and within our hearts and souls. Rel shows us that there is only one choice that guarantees victory. With Christ, "We Win!"
Before I conclude, I have a confession to make: This is the first rap record I have ever listened to front to back. I say this to support what Rel says in "Rev 22:22," that God has more than a "few tools for spreading good news." I think rap is still under-appreciated as a Christian genre. But just as different Bible translations speak to different audiences, Christian music needs a strong rap/hip hop presence. So if you've never listened to rap or think it's not your thing, I challenge you to sample Spoiler Alert. Taste and see that the Lord, served up rap style by Rel, is very good indeed!
Encouraging and Energizing | Posted October-03-2011
Four years after Hello & Goodbye, the final studio project from pop sensations Jump5, its youngest member, Brittany Hargest, is jumping back into the spotlight with her release, Love All The Way. Don't underestimate this girl. While she clearly still knows how to have fun, she's not a newcomer, and no longer a kid. At 23, Brittany is a seasoned industry veteran and her confidence and command behind the microphone is evident. She was behind the wheel on this project, having provided writing contributions to most of the songs. Brittany's back, and Love All The Way is sure to be a hit with listeners of all ages.
The album begins with the high-octane "Critical" which talks about the need for action-driven faith to save a world in crisis. Brittany warns, "Too many doing 95 down a dead-end road. We gotta do something quick! It's getting critical." As we witness the depravity of the world, we can't sit back and do nothing. She implores listeners to be part of the solution and calls them to prayer and bold action: "We see too much to act so blind." The song's message is supported by punchy music with heavy beats, chunky guitars that sound like sirens, and an unrelentingly fast pace that perfectly illustrates the urgent need for God in today's world.
At the personal level, "Critical" can also be interpreted as emphasizing the need for a personal faith decision. "It's life and death," she sings. "It is that serious." This song is a good opener for the album, showing the world's need for Jesus. And much of the rest of the record will show us what Jesus' love can do.
The first single, "Love All the Way," focuses on God's unchanging, constant, all-powerful love. Brittany sings, "I gotta tell you a secret that you already know. I'm not that easy to love, and I grow too slow. I've built so many walls around this heart...." We all feel like that at times: frustrated, ashamed, defensive, and broken. But God breaks through all our barriers and self-imposed limitations to change our lives. Brittany compares the unstoppable, untameable power of God's love to a heart grenade and a hurricane. And while we may have been heartbroken by worldly love, God will not let us down. His "love is different than the rest of the world. At my best I don't deserve a love like this. But I know that's not your concern and you just won't quit."
The next song, "Slow Motion," moves in anything but slow motion. This driving, beat-laden track encourages the tired and weary not to lose hope: "If you know your heart is broken, that's the moment that it's open. Even in slow motion, you've gotta keep going. Just keep on, keep on going. In slow, in slow motion...." This song definitely belongs on everyone's running playlist! Brittany's vocals are strong and confident, and the track is irresistibly infectious and adrenaline inducing. This song is sure to be a hit with the younger crowd! It carries an energy similar to tobyMac, and should succeed even on mainstream outlets like Radio Disney.
"Miracle" beautifully demonstrates the difference between what we see when we look at ourselves and what God sees when He looks at us. While we get caught up in our weaknesses and our flaws, God sees our potential: "You see a miracle. You see something beautiful when you look at me. See what I could be." God's love changes us and affects our perspective and the way we perceive the world. That's definitely a miracle worth celebrating!
Standout track "You Met Me" is the most stripped-down on the record. The more straightforward musical delivery of the song showcases Brittany's voice and its power to deliver an important lyrical message: the faithful pursuit of God's merciful love. Jesus' love meets us where we are and takes us as we are: "You met me. Right then and there. When and where I needed love but did not deserve to be loved." The song reminds us that we cannot fix ourselves -- we need a Savior. But it also points out that, thanks to God's mercy, we have no need for shame. Grace transforms us and gives us a new start. At the songs' end, the lyric is cleverly flipped. Brittany's life is changed, she sings in praise to God, "all because I met you."
The pace picks back up with "I Believe in You," a worship song set to a funky dance groove. It's a great pick-me-upper after a long day, and fans of Jump5 will feel right at home here. Like several of the songs on the record, it testifies to the constancy of God's love.
Musically, the easy, familiar sound of "I Believe in You" serves as a good lead-in to one of the most head-turning, aggressive songs on the record -- and probably my favorite -- "He Can." The song urges the disheartened soul to "keep believing 'cause God can." While our imperfect nature causes us to slip and fall, we shouldn't give up because nothing is too difficult for God. The sound is very current and in-your-face, with a chorus that's delivered in a passionate and energetic manner reminiscent of Rebecca St. James' revolutionary anthem, God. Brittany shouts, "When you can't, He can! When you fall, He stands! For the weak, for the hurt, for the broken man. When it's way too much and you can't, He can!"
The next two songs keep the energy level at a peak. In "Like a Fire," Brittany continues her bold declarations. She sings about her search for a spark, and how she found it by jumping into God. She likens her faith to a fire, one that she doesn't want to put out. She wants to keep her fervent faith and share it with others: "I just can't tame it 'cause it's out of control. And I won't contain it, gonna let it roll. So fan the flame and ignite my soul. It's like -- like a fire."
This musical fire stays ablaze with the next charismatic tune, "Bring the Party." Brittany points out that Christians know how to have a good time, and she reminds us that God's promise of eternity gives us plenty of reason to express our joy now: "Don't understand why we're waiting for Heaven to celebrate....We can bring the party on down." And she convincingly delivers a party with this track!
The album ends with another of my favorite songs. "Put It All Together" might just be the bounciest, catchiest, most lovable pop confection I've heard all year. I'd put it up there with the best of Francesca Battistelli's melodic gems. And Brittany delivers the lyrics perfectly. She relates how Jesus takes all the little pieces of our broken selves and puts them together to make something beautiful.
The chorus elucidates the redeeming power of God's love to transform and improve our lives: "You can take a broken heart and a brand new start that seem so far. But you put it all together now." She uses words like unfixable, unlovable, unreliable, unreachable, unchangeable, unteachable, uncomfortable, and unforgivable to vocalize her self-criticism. But the song serves as a reminder that, even though we think of ourselves as lost causes, Jesus never gives up on us. He heals and transforms. The bridge sings to God: "You take the pieces that nobody wants and You hold them. You mold them. You go for all the impossible people like me." Amen! I could sing along to this tune all day!
Closing Thoughts:
Brittany Hargest's Love All The Way is full of energy, hope, and heart. My first listen to the record came at the end of a stressful day that was part of a long stretch of difficult days. But this record was just the balm I needed. I came away from it restored, energized, and emboldened. This is the mission and call of Christian music: to encourage, to bring hope, to spread the good news of God's love. Brittany can consider her mission accomplished! The only downside to the record is its brevity – the 10 tracks clock in at just under 33 minutes. However, this album succeeds in showcasing both a talented artist and a merciful, loving, unwavering God. Brittany Hargest doesn't miss a step. She's right on beat with this debut solo project.
This Album is One You Need | Posted October-10-2011
After a short break from recording, Shane Barnard and Shane Everett are back with their latest record, The One You Need. Life has taken a new direction for the Shanes. No longer touring heavily, they are now rooted to a home base and local church in Dallas, where they lead worship and teach music classes--Barnard teaches songwriting, while Everett focuses on the technical aspects.
The men have made a conscious effort to shift their focus and simplify their ministry in order to be attentive to their families and present in their community. As part of their new direction, Shane & Shane have partnered with their new label, Fair Trade Services (MercyMe, The Afters, Laura Story), to create an entirely self-written, self-produced project.
It's obvious from the first track that this is a different Shane & Shane album. "Liberty"--which opens with stomps, percussive beats, and rhythmic guitars--is a rollicking, raw, high-energy tune that would be right at home on a NEEDTOBREATHE record. Lyrically, the song starts with a scripture verse from 2 Corinthians 3:17: "The Lord is the Spirit and where the Spirit of the Lord is [now], there is liberty." Since Christ's sacrifice allows the Spirit of the Lord to live within us, the guys marry the first scripture verse to a Galatians 5:1-inspired bridge, which begins with "for freedom, you set me free." It then launches into a celebratory romp like no other, with the Shanes passionately declaring, "Yes am I free indeed! You rewrote my name, unshackled my shame; You opened my eyes to see...I am free."
It's worth noting that the song, which celebrates freedom in Christ and life in the Spirit (Romans 8), breaks free from its own musical confines for a loose interval that tells the story of the crucifixion and ends with free-form, gospel-style shouting and singing of "It is done!" and "I am free!" This section builds to a false ending before returning to the tune's sing-along, stomping, clapping refrain. "Liberty" is the highlight of the record, and Shane & Shane throw themselves into the performance with unbridled energy and a sound that perfectly captures the emotions we feel when Jesus frees us from the burdens and bondage of our spiritual chains.
Shane & Shane quickly shift gears for "Your Love." This tender, introspective song is sung by a grateful recipient of God's mercy and unfailing love. The central lyric speaks of God's power to break us apart and transform us, and how this divine transformation frees us from fear and doubt: "Your love tears me up and when it's done, puts me together. Your love calls me out of my doubt and my failure."
Once we experience His love, our lives are changed. And from that moment, we don't want to live apart from God, so it's fitting that the next track, "Without You," touches on this fact. It depicts a prayerful follower crying out to God: "Here I am. I'm calling out, Father. Can you hear me? Can you hear me? I don't want to go without you." This shows the fear and uncertainty we all have at times. Though we know that God strengthens us, and we understand, by faith, that He is with us, we want to be reassured. We cry out in prayer and ask God to make His presence felt: "Here I am. Can you talk a little louder? So I can hear you? I wanna hear you! I don't want to move without you."
"Future Version" is a funky little tune with a Hammond B-3 organ and a '70s sound that feels inspired by Stevie Wonder. Fans of Chris August will like this song, which discusses our constant legalistic struggle--our efforts to try to win God's love and approval. The narrator talks about improving himself: "Maybe a future version of me, you'll love... I'm trying to change into a future version you can embrace"
Luckily, as God reminds us in the song, nothing can separate us from Jesus' love: "You are loved, regardless of the things you've said and done. No mistake can change my mind. Come, seek, and find. My love is yours, right now." Did I mention the song is funky? It segues into a jazzy, bossa-nova-like section before later resuming the familiar groove. By the end, the spiritual striver, now confident in God's promise, repeats the words himself: "I am loved, regardless of the things I've said and done...."
This is a process we all go through. We struggle and doubt, God gently reminds us of His love, and eventually the message of grace sinks in. Grace is so illogical to us! It turns us upside-down! So we continually need to be reminded that even though it doesn't make any sense, God loves us in spite of our flaws. When our chase for perfection blinds us to the meaning of grace, this song will serve as the friendly nudge we need.
"Because He's God" is another of the album's standout tracks. It's written as God's answer to a seeker asking, "How do ya get to Heaven?" God's response: "There's a way to go, an open door for the human soul. You can come today. Jesus is the way. He's my only Son. He's the one I love, and I gave Him up for you to be saved. Jesus is the way."
The song talks about the two roads we are faced with and the need for personal decision in our lives here on Earth. While the wider road may be tempting and sometimes easier, only one path leads to salvation: Jesus is the way. This is a good lead-in to the title track, "The One You Need." The most personal composition on the CD, the song was started by Shane Barnard a week before the birth of Lucy, his daughter with wife Bethany Dillon. Shane Everett, who has two girls of his own, later helped Barnard finish the song. The duo put to music a father's prayer for his daughter, an earnest hope that she'll grow up to have Jesus in her heart. The father sings, "I wish that I could be your everything...Sometimes I'm gonna let you down. But there's someone if you just believe. He'll be your hero like He's always been for me. Darling, Jesus is the One you need." Though the song is written as a gift from father to daughter, it will be a sure comfort to any who may need God to father them. It's a reminder that we are all children of God.
"Miracle" is similar to "Without You." It's another prayer, another crying out to God. A weary soul is asking for a miracle, but not the kind you think. We read about miracles, but in our doubt, we don't feel like we see them in our lives. Shane sings, "I don't need to see a dead man come alive. All I want is You to fill me up inside. I need you, Lord. Even more than the air I breathe. I need you, Lord. Right away." The music supports the lyric perfectly, with a piano melody that echoes the cry, "I need you, Lord." We ask God to come to us, to make His presence felt. In our crying out, God always meets us, and that's the miracle. But more than that, because we tend to look for grand signs, we overlook God's presence in the small things, in every minute of our lives. Every moment we live and breathe is a miracle.
"Victory" is another scripture-inspired tune. In this case it's 1 Corinthians 15:57. The song celebrates the victory we are given by God through Christ. A seeker asks, "What could be great about my life?" The answer: Jesus. Shane & Shane sing: "You make me great. Your steadfast love gives the victory. Oh, Your love has made me great." This song is nearly all chorus, and as such is a great opportunity to sing along in praise.
"I'm Running" follows, and it's one of my favorites. The visual of a follower running to Jesus is perfect because we see people "come running" throughout the Gospels, particularly in Mark, when Jesus walks through towns performing miracles, healing people, and shaking up lives. Suitably, the chorus finds the Christ follower exclaiming: "I'm a dead man raised, a liberated slave. I'm running... to You... my hands are raised. I'm giving everything. And I'm running."
It's 2 Corinthians 12:9 that serves as the backbone of "Grace Is Sufficient." The song has a gospel flavor and the vocals are brimming with emotion. Several vignettes are presented, different scenes that happen in our everyday lives. It's a sequence of "what if" scenarios, little moments of "what are you gonna say to God when..." in which we run to God in prayer, but don't always have the words. God's reply never waivers or varies. "My Grace is Sufficient," He always says, reminding us that He is all we need and He'll carry us through.
The penultimate track, "Lift Up the Light," is my favorite, and sure to be a hit with listeners. Like "Liberty," it takes a couple scriptural verses and combines them. Shane & Shane were involved with the Glory Revealed CD projects which put scripture to song and this is a perfect example of that on their own record. First there is Psalm 4:6: "Lift up the light of Your countenance upon us, O Lord!" Shane Barnard explains that he combined this verse with images inspired by his reading of Revelation (Chapter 21: 23-27). He sings to God: "You are the light of the world (Matthew 5:14). Light up our darkness when the night is upon us. You are the light of the world. Nations will walk by the light of the glory of the Holy God." As the song continues, Shane & Shane ask God to shine His light on us that we might share it with others: "O Holy One, brighter than the sun... You are glorious. Shine Your light on us, 'til Your light in us is seen." This is a perfect worship song and many will be singing along, whether at concerts, through the radio, or in church congregations.
Finally, the album closes with the gentle "Praise Him." You'll notice more scripture, including Psalm 150:6: "Let everything that has breath..." and 1 Chronicles 23:30. The song urges us to praise God in all circumstances, at all times: "Praise Him in the morning when the feeling's gone, praise Him in the evening when you're all alone. Praise Him in the noonday when you're moving along. Praise Him when you have another moment to sing this song. Let the praise roll on." The song is musically the opposite of "Liberty," but together these songs create a perfect beginning and end for the record. While we were brought to our feet at the album's opening, we are brought to our knees at its close. And that's right where we need to be.
Closing Thoughts:
Shane & Shane's The One You Need is a scripture-soaked record full of the good news of the Gospel. Musically diverse, there are many styles present and sometimes blended: pop/rock, jazz, folk, worship, and gospel. The songs may not all grab you immediately--they aren't short, catchy pop tunes--and some may be better suited to corporate worship and personal listening than radio. But I think this is what Shane & Shane intended for their new musical direction. Upon repeated listening, these songs get under your skin. And you'll find the record is worth many listens. While the sounds vary, the collective themes connect the songs to form a unified message. As such, the album is appropriately titled, for all songs point to Jesus, the One you need.
Dawno's Music and Book Reviews 
