Vagabonds
by
The Classic Crime The title to The Classic Crime's latest long player implies a certain need to travel; and while the alternative rock act is no stranger to touring, the inspiration actually comes from a more missions-minded...
Eternity Invades
by
Vicky Before UK born and bred singer/songwriter, Vicky Beeching, began her pursuit of professional music she enrolled as a theology student at Britain's renowned Oxford University to ensure her spirit-led songs...
Miracle
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Robbie Seay Band Quick disclaimer: What I don't mean to say is "if you've heard one Robbie Seay Band album, you've heard them all." At the same time, RSB's latest batch of worshipful pop/rock tunes, entitled Miracle, features...
GOOSEBUMP-INDUCING HOLIDAY RECORD OF THE YEAR | Posted October-07-2008
After 10 years of leading worship for Beth Moore’s wildly successful Living Proof Bible study events, it is no surprise that Travis Cottrell’s new Christmas collection would incite a reputable buzz among worship ministry personnel across the nation. But expectations aside, listeners will in no way be prepared to be so genuinely moved by Ring the Bells, Cottrell’s first holiday recording.
Christmas music has always been revered for its rich spiritual heritage, but Cottrell supercedes any standard treatment of these distinguished carols, elevating them to a higher place of spiritual emphasis—a testament to his truly unique talent in orchestrating a sensitive set that gives honor where honor is due.
Backed by the London Symphony Orchestra and a magnificent choir, “Hark! The Herald Angels Sing,” “O Come, O Come Emmanuel” and the impeccably executed “O Holy Night” are swabbed with creative, larger-than-life arrangements that will no doubt be published for church use in the near future.
Another classic, “What Child is This?” benefits from Cottrell’s beautiful baritone and a mandolin/nylon-string guitar accompaniment. Including the rarely recorded second chorus adds to the simple beauty: “Nails, spear shall pierce Him through/The cross be borne for me, for you/Hail, hail the word made flesh/The babe, the son of Mary.”
Effortlessly intermingled with standards, half of Ring the Bells is made up of original hymns. The title track highlights the golden-throated Natalie Grant in a feature that perfectly complements Cottrell’s own substantial pipes. “In the First Light” is an orchestral dream, dramatically re-telling the Gospel story from the manger to the cross. And “Jesus Saves” is by far the greatest contribution to the record, exclaiming Jesus’ very purpose for being born and the reason why we celebrate so intensely.
If you buy just one holiday record this year, this is it. Ring the Bells is the perfect amalgamation of Cottrell’s artistic abilities and distinct call, which has an overwhelming effect on the listener. Some may call it goosebumps. –Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
CHRISTMAS THE SHANE & SHANE WAY | Posted October-07-2008
After 10 years and numerous studio albums, the InPop duo of Shane Barnard and Shane Everett reveal their first-ever Christmas themed project entitled Glory in the Highest.
Kicking things off is a trippy, up-tempo spin of “O Holy Night” that includes the acoustic and vocal theatrics that only Shane & Shane could pull off. It’s a signature sound that has won them numerous fans thus far (almost half a million career sales and counting) and provides a fresh take on holiday classics.
that’s mostly what you’ll find on Glory in the Highest. “Away in a Manger,” “O Come, O Come Emmanuel,” “It’s Beginning to Look a Lot Like Christmas,” “White Christmas,” “Silent Night” and “O Come Let Us Adore Him” are all present and accounted for.
Some familiar tracks are refreshed better than others. The attempts to lighten “Away in a Manger” are lost, but the fault might not lie in Shane’s (and Shane’s) hands, seeing as how the song is so familiar that any attempt to shift things around simply sounds off. “O Come Let Us Adore Him” is fairly straightforward, but the soaring harmonies are perfect for the album closer.
It’s the new tunes that stand out as the highlights. The instrumentation is richer on these tracks, and they are fully Shane & Shane—and that makes a huge difference. “Glory in the Highest” is a moving ballad that crescendos to great heights. “Born to Die” is a country-tinged, mid-tempo tune that broods in some places but is a fine track nonetheless.
For some, the overload on the overdone songs will be a nuisance, but Shane & Shane accommodate well with their special ingredients, spicing up the compilation for a fine acoustic blend. –Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
“IDOL” ALUM TURNS OUT FULL-LENGTH HOLIDAY EFFORT | Posted October-07-2008
After giving fans a flavor for her seasonal interpretations with last year’s Christmas Joy EP, Mandisa extends her holiday offerings on the full-length It’s Christmas. Three of the same songs pop up, but there are plenty of additional tracks in this soulful collection which find the “American Idol” alum soaring with vocal radiance and the occasional support of a well-matched duet partner. The previously heard “Christmas Makes Me Cry” with Matthew West straddles the line between shimmering R&B and glistening pop, relating to the truly moving sentiments the celebration can bring, while Michael W. Smith adds some extra star power to the gorgeous ballad “Christmas Day.”
Mandisa also showcases her radiant pipes in solo settings throughout the jazzy “What Christmas Means To Me” and an acoustic take on “Angels We Have Heard On High.” Though there’s no denying her talents throughout ballads like “Silent Night” and “O Holy Night,” the soft spoken orchestral arrangements are somewhat unimaginative and tiresome, not really standing out from the billion other versions on the market. Yet, Mandisa rounds out the disc with a bluesy/Memphis soul version of “Children Go Where I Send Thee,” which is hands-down the most unique rendition on the album. Aside from this offering, fans will be happy to hear the singer’s back in the studio putting the finishing touches on her next studio album, Freedom, slated for release sometime in March 2009. –Andy Argyrakis
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
FUN FOR THE WHOLE FAMILY | Posted October-07-2008
Effortlessly moving between the meaningful and the whimsical comes the first Yuletide release from Sara Groves, one of the most brilliant artists caroling on the contemporary Christian porch. And it’s about time.
In the accompanying press materials for O Holy Night, Groves mentions that she’s always wanted to make a Christmas album, and it’s clear that much thought and consideration was placed into such a release. The sequencing is perfect from beginning to end, drawing the listener right into the beauty and depth of the Christmas narrative and keeping the audience attuned throughout the duration.
Came Upon A Midnight Clear” receives a slight U2-esque electric treatment, especially around the bridge. The result is the most striking track on O Holy Night, and Groves’ vocals work particularly well here.
Groves’ higher register comes into play on the title track, “O Holy Night.” The song soars with her voice before softly coming back to earth along with the acoustic guitar. The arrangement of this particular tune is very pretty and provides the most sufficiently somber moment on the album.
The most buoyant and fun moment comes courtesy of original track “Toy Packaging.” On it, Groves laments the wrestling match known as “some assembly required” when she sings, “Nothing makes me lose my cool like toy packaging/Ask the kids to leave the room, it’s time for toy packaging.” It’s a nice reprieve from the rest of the album.
As the collection closes with a beautiful rendition of “Silent Night” and the Groves family singing “Go Tell It On The Mountain,” you realize that you’ve experienced everything the holidays have to offer all on one complete disc. It’s a strong Christmastime effort that deserves your attention. –Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
HOW CHRISTMAS SHOULD SOUND | Posted October-07-2008
know, I know. You hold fond memories dear of Bing Crosby crooning or even Amy Grant and Steven Curtis Chapman singing the old familiar standards. And there’s certainly a market for that, seeing as how every decently known artist has a tendency to eventually unfold a holiday-tinged release. But you have to admit, they all start to run together. Right.
Leave it to Leigh Nash and Matt Slocum to completely unveil what’s sure to be the standard for any forthcoming collection of Christmas tunes in the near future. The Dawn of Grace is hardly another ho-hum entry, but rather the most beautifully wrapped gift underneath the sonic tree.
Only two new tracks are present here, although that’s a bit deceiving since some of these are completely foreign to most. As for the well-known, they, too, are infused with a creative energy missing from other compilations. “Angels We Have Heard on High” comes alive under Nash’s beautiful vocal, while “O Come, O Come” borders on triumphant.
Jars of Clay’s Dan Haseltine guests on “Silent Night,” and the tit-for-tat vocal arrangement works in spades. As for the new tracks, “The Last Christmas” is pitch-perfect for Nash’s layered vocals and Slocum’s wintry strum on a simple acoustic arrangement.
The Dawn of Grace stands as an ideal example of the talent of Sixpence None the Richer. Whether they’re dealing with original material or remakes from every other disc, the output is remarkable all the same. –Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
CASTING CHRISTMAS FAILS TO MEET EXPECTATIONS | Posted October-07-2008
After last year’s The Altar and the Door debuted at No. 2 on the Billboard Top 200, going down in the books as the highest debut week for a Christian music artist in chart history, Casting Crowns effectively secured its astonishing hold on the Gospel music industry. Only five years after releasing its record-breaking debut, the band has collectively amassed more than 20 Dove awards, a GRAMMY Award, an American Music Award and Platinum or Gold certifications for each of its three major releases and two live recordings.
Not too shabby for the seven members who famously maintain their individual youth ministry ties, working their now-illustrious career around the long-time rewards of their personal church responsibilities.
With Christmas cheers still a couple months away, Casting Crowns’ has amazingly found the time to record and release its first-ever Christmas collection. Even with a focus on the Christmas message versus the typical seasonal marketing ploys, Peace on Earth will no doubt be selling tens of thousands of units long before the official advent of the season.
But even with all the energy surrounding a Casting Crowns release, seasonal or otherwise, Peace on Earth lacks a certain spark that makes the music of this season so transformative. Standards such as “Silent Night,” “O Come All Ye Faithful” and “Joy to the World” receive fine treatments but lack original flair and fall flat.
“God is With Us” does little to differentiate from Amy Grant’s effective original. Paul Baloche’s “Christmas Offering” presents a congregation-ready chorus but fails to ignite much spirit on CD. And Mark Hall’s “While You Were Sleeping” issues a poorly executed derivative of its original from 2005’s Lifesong.
Though diehard Casting Crowns fans (and there are a lot of them) will find plenty to sink their teeth into, Peace on Earth misses the mark when compared to the band’s previous outings and the outstanding quality of other holiday releases. Casting Crowns may be at the top of its game, but this is not the band’s finest hour. –Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
PEPPY POP AND CLASSY ARRANGEMENTS EDGE OUT USUAL ROCK MOTIF | Posted October-07-2008
On BarlowGirl’s first-ever Christmas album, the Chicago-bred trio highlights some of its previous strengths while concurrently exploring an entirely new stylistic interest pool. The most immediate point of familiarity is the group’s tight knit harmonies (which are once again on target), though there’s a certain softening of the threesome’s rock edge in favor of more peppy pop and classy arrangements. Though that may turn off fans who only prefer these young ladies’ aggressive material, it really wouldn’t be appropriate to crank up the amplifiers during “It’s the Most Wonderful Time of the Year” or “I’ll Be Home For Christmas,” both of which are tastefully tailored to a more peaceful motif.
Though not necessarily the group’s future direction, this specialty project soars with a jazzy rendition of “What Child Is This?” and the vocal pop glow of the combined “Carol of the Bells/Sing We Now of Christmas.” Outside all these covers, the collection also features the original ballad “Hallelujah (Light Has Come),” which also displays radiance in orchestrated ballad contexts, even if it lacks the instant infectiousness of the group’s previous radio singles. In that regard, the project would’ve benefited from at least another original tune or two. Even with those omissions, Home For Christmas has a lot of surprising but impressive elements, likely to put longtime and even brand-new listeners in the spirit of the season. –Andy Argyrakis
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
LYRICALLY SOFT, BUT INNOVATIVE | Posted September-29-2008
In the wake of his well-received debut, Metamorphosis, and his stellar production work on recent projects by labelmates Cross Movement, R Swift and Da’ TRUTH, gifted singer-songwriter JR (nee Courtney D. Peebles) saved the best for his own sophomore release, Life by Stereo. This project is an adventurous, genre-bending leap into territory once exclusive to the likes of urban gospel bad boy Tonex. Without hesitation JR throws down the gauntlet with “Intro” and “Rock Star,” boasting risky avant rhythmic and melodic shifts that reflect the influence of innovative heavy hitters like Timbaland, Pharell, and Outkast. Although much of Life by Stereo is musically congruent with Chris Brown or Usher, vocally JR practically channel’s John Legend’s new Millennial crooning style. Unfortunately, JR greatest weakness also mirrors Legend’s early penchant for embarrassingly simple, rhyme-by-numbers lyrical style.
Fortunately, when JR’s lyrics turn personal, as in the otherworldly, bossa nova-lite fantasy, “Getaway,” things turn for the better. For all the lyrical missteps, nothing changes JR’s ability to explode musical preconceptions. Of its many high points, Life by Stereo soars highest when JR fluidly shape shifts his love of Coldplay into one of the year’s most captivating worship anthems “We Need You.” With this type of versatility and talent, JR might singlehandedly close 2007 as a banner year for Urban Christian music. -Anthony Barr-Jeffrey
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
COMMANDERS OF THE RESISTANCE | Posted September-29-2008
Not much of what socialite Paris Hilton says is quotable, that’s for sure. But her signature catchphrase “that’s hot” immediately comes to mind when one hears The Washington Projects’ debut Commanders of the Resistance. The long-awaited project from the brother/sister duo formerly known as Souljahz is not only insanely catchy (see “Move” and “Take it to the Streets” with beats made for sticking in your head) and cleverly produced, but there’s plenty of substance to go along with the group’s style.
Rather than focusing on the superficial, the lyrics cover everything from the need to spend time with God (“You Are My World”) to being intentional about relationships (“Love is Like an Ocean”) to living out your faith through action not words (“You Talk Too Much”). But unlike some Christian hip-hop/R&B/soul music that’s rich in message but sounds like a second-rate retread of something that’s already being done in the mainstream, the overall sound of Commanders of the Resistance is fresh and inventive, which should earn the band plenty of props—critically and otherwise.
And for those who’ve missed Souljahz, the Washington Project’s debut will serve as sweet reminder of just how talented these Washington siblings are—with or without the band’s former moniker. -Christa A. Banister
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
SOMETHING TO SAY | Posted September-29-2008
Since the time Matthew West burst onto the scene with his record-breaking smash “More,” there have been high expectations for the young singer/songwriter. Of course, much of his polish came from a successful career as a tunesmith; in addition to his career as an artist, West is a much-in-demand songwriter who has penned (and continues to pen) songs for many top names, from Rachael Lampa and Billy Ray Cyrus to, more recently, Rascal Flatts and Mandisa.
West’s strengths as a songwriter–and, now, seasoned performer–come to the fore with his latest, Something to Say. His first album of new material since 2005’s History, West returns with a collection of big, dramatic pop/rock that both reinforces his reputation and expands his craft. Although no fewer than five producers participate–Brown Bannister, Ed Cash, Christopher Stevens, Sam Mizell and Tim Lauer–there is a seamless quality to the album from beginning to end.
The album’s opening notes set the stage, as bittersweet, cinematic strings melt away into the album’s thesis statement, “Something to Say,” an up-tempo jaunt proclaiming that every living person has a God-given contribution to make to the world. From that point, much of the album–including songs like “The Motions” and “The Center”—revolves around the need to live, to breathe, to do. Other songs are first-person and third-person stories dealing with the various stages–and challenges—of life. “Life Inside You” reaches out to the lost and hopeless, “Save a Place For Me” is a tearful farewell to a loved one, and “Safe and Sound” is as lovely a welcome as a baby ever had.
In all, Something to Say is a welcome return for Matthew West. It’s a solid collection of stories, well told, that bring comfort, hope–and food for the soul. -Chris Well
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
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