September is Gospel Music Heritage Month!

To celebrate, this site will… well, there’s going to be a conference on… wait, no… an awards show will honor…

Nevermind. September is Gospel Music Heritage Month and, every year, very little is done to celebrate it. I’m chiefly guilty of it– I think I may have attempted to begin thinking about doing something a couple of years back.

A bit of background… the country has been celebrating Gospel Music Heritage Month since 2008, after Congress passed legislation acknowledging September as the month to honor gospel music. The initiative was spearheaded by Congresswoman Sheila Jackson-Lee (D-TX) and the National Recording Academy for Arts & Sciences, Gospel Music Channel (now known as gmc) and the Gospel Music Association.

But did you even know it was Heritage Month? Do you support or celebrate it?

I bet you’re not among the 864 people who “like” its official Facebook fan page, nor are you among the 37 people who follow its official Twitter profile (don’t feel bad, I just learned of it as I wrote this). And I know you don’t visit the GospelMusicHeritage.com website, which now simply redirects to the homepage of gmc, the organization that hosted the web address as the movement grew.

Ok, it’s not completely as desolate as I’m making it seem.

At the top of this month, the Kennedy Center for the Performing Arts hosted its 3rd annual “Evolution of Gospel” celebration in honor of Heritage Month. With a “Kennedy Center Honors…” type of vibe, the night honored the contributions of Dr. Bobby Jones, Cathy Hughes and First Lady Michelle Obama, who was unable to attend. The evening featured performances by Kirk Franklin, Richard Smallwood, Marvin Sapp and more.

And Heritage Month’s social media properties are hinting at some OFFICIAL event taking place in Houston, TX this month, though they haven’t announced a date or location.

My thought is that, because the gospel music community does not have an official, unified trade organization representing it, there is no group charged with really celebrating anything in it, including Heritage Month. Plenty of organizations– from SAGMA to GMWA, GMA to BMI, NARAS to various acronyms in between– have done their part to honor the music and culture, but these groups are often overworked and understaffed, with other primary corporate objectives. Their celebrations are splintered across the country and across the calendar year. Who can plan a month’s worth of unified gospel music activities?!

Again, this is not a knock against anyone– GospelPundit.com hasn’t exactly been the hub of Heritage Month features, trivia and giveaways. I tend to tell myself “ahhh, next year!”

But my observations do raise the question– we don’t really celebrate Gospel Music Heritage Month, do we?

If you agree, fine. If you disagree, tell me where the party is and let’s have at it.

Either way, I think we all need to do a bit more.

It’s down to Amber Bullock and Andrea Helms as the finalists of this season’s Sunday Best on BET.  Public voting opened this past Sunday, and we’ll know the winner this Sunday, September 4th.  But, then what?

Sure, the winner will release her debut album on the Music World Gospel label, after Mathew Knowles struck a deal with BET to sign the winners of last season and this season. But after the buzz of winning dies down, and the album runs its cycle… what for the winner?

Big album sales? More performance opportunities? Big money? Maybe not…

The problem, as I see it, is similar across most talent competition shows– interest in the program does not equal interest in the winner’s album or long-term career.

We have cared enough to tune in, cared enough to comment, and we may even care enough to vote. It costs us nothing but our time. But to spend $10 on any one of the finalists’ albums is clearly more of a “vote” than even a fraction of the show’s millions of viewers are willing to make.

See, the audience cares, just not that much.  So, the biggest challenge for the winners– and the labels to which they’re signed– is to make more of the viewers into consumers. It’s to make us fall so in love with the product– the artist, that is, not the show itself– that we still care even once a new season begins.

This is particularly important for Amber and/or Andrea, by the way, as I’m hearing rumblings that BET will start auditions for its next season sooner than ever, within the next month or two.

Which begs another question– does it even matter who wins? With the exception of Elder Goldwire McLendon last season, both the winner and runner-up have received album contracts. In fact, Crystal Aikin and runner-up Shari Addison released their albums on the same day in 2009.

So, maybe Sunday Best is more of just a fun weekly showcase of this nation’s homegrown gospel talent than a platform to become ‘the next big’ whatever. Maybe it’s just a resume builder, as opposed to the grand career launch pad that many think it is.

Don’t get me wrong– I enjoy the show and plan to tune in each season. Without question, Sunday Best is one of the most entertaining television programs to ever hit the gospel industry.

But what if that’s all it is?

In the penultimate episode of gospel music’s most popular TV competition, finalists Andrea Helms and Amber Bullock squared off for the title of Sunday Best.

Before they did, though, the show opened with James Fortune & FIYA singing their hit single “I Believe,” with Shawn McLemore and Zacardi Cortez. It was a rousing performance showcasing ranges, agility and skill, and the audience went straight to the cross on this one.

Kirk Franklin said the show would feature the finalists singing classic tunes from the incomparable Walter Hawkins. And so they began…

Andrea Helms – “Changed”
This is the best I’ve heard her all season– it was tasteful and controlled, backed by her signature passion. I agree with Donnie on this one– glad Andrea didn’t try to recreate a Tramaine Hawkins moment. I wanted a bit more vocal styling at the end (it got a bit wordy with ad libs that, while passionate, were a lot to follow at times), but it was a solid performance.

Amber Bullock – “Thank You”
At first, I heard the acoustic vibe and I thought “nooooo,” but when I heard the beat come in, I thought “yeaaaaah!” I do agree with the judges that she added a bit too much riffing and movement, and didn’t stay true to the simple complexity of the song, BUT the woman just flat out sang it.

It appears that the Walter Hawkins theme was just for a time, because they moved on to Richard Smallwood and Kurt Carr for round two… I’ll allow it.

Andrea Helms – “I Love The Lord”
I really wanted a fast song from her, but her voice seems to do better on ballads. I echo my season-long issue– passion and purity does not overshadow the need for precision on pitch, a controlled tone and the execution of the runs an artist attempts. Now, I DID enjoy her impromptu worship flow at the end– I think that’s what has sustained her in this competition– but from a technical standpoint, this wasn’t her best.

Amber Bullock – “For Every Mountain”
Kirk was right when he introduced her– “she’s gonna have to sing from the heart” if she wants to win. It began as pensive and trained as she’s been all season, but mid-way through it, the game was OVER. Amber lost herself in every note and word, and we saw a part of her that we haven’t seen all season– passion, conviction, connection with God, then us. I’ve never seen a finalist send the judges IN to wrap up your song.

Richard Smallwood followed with his latest single “Trust Me.” He consistently writes classic tunes– they just come out “classic.” It’s always great to see and hear from him.

Coulda sworn Kierra Sheard was gonna be on the show– they even did a teaser about it– but I guess not. *shrugs*

And that was it, folks!

Check my earlier post for all the details on how to vote for Amber or Andrea. You have until this Saturday at noon Eastern Time, and can vote up to 10 times per voting method.

I pick Amber. What about you???

This week’s episode of Sunday Best on BET was titled “Give Our Regards to Broadway,” and the finalists were expected to sing show tunes to prove, as host Kirk Franklin said, that “Broadway can be done God’s way.” A bit of a stretch, but I’m up for a creative show concept!

Up first, though, Mary Mary opened with “Sitting With Me” from their latest album, Something Big. The song was an instant favorite among gospel fans, so I think it was a good choice. Plus, they’ve performed “Walking,” “Something Big,” and “Never Wave My Flag” on various nationally televised spots up to this point, but we hadn’t seen them do this one. Vocally, there were a few issues– just hoarse, I think– but Mary Mary delivers a performance full of energy and passion, every time. Loved seein’ them.

Then, we were on to the contestants…

Amber Bullock – “Summertime”
This performance was straightforward and tasteful. It wasn’t overdone or out of control– she owned it and demonstrated skill and precision. I enjoy watching her, but I don’t know whether I feel engaged every time. She’s a really great vocalist, but I hope we get to see her just lose herself a bit before it’s all said and done.

Michael Pugh – “Climb Every Mountain”
THIS rocked. Michael completely stepped into the role and showed that he is a real balladeer. Like one of the judges noted, I really thought he was going to get too churchy and go left, but he was cool and poised on this one. He also really brought me into the moment. Great job.

Andrea Helms – “Memories”
This was Andrea’s week, huh? Her quick vibrato and sing-songy tone, for which some have criticized her, found the perfect home in this show tune series. I still didn’t really hear what the judges were hearing– they felt like she fumbled through it and recovered at the end. I didn’t so much hear the recovery, but it definitely got more passionate, which is Andrea’s strong suit.

Aaaaand, because there were only three finalists, we got to hear another round of songs– this time, finalists’ choice…

Amber Bullock - ”If It Had Not Been For The Lord On My Side”
It was okay for me, but it definitely made me miss Mama Sue a little. I agreed with Erica– I wanted to see a bit more “let loose” from her. Not vocally, spiritually. She was polished in a way that is all Amber, but again– I wonder how she ministers when she’s overcome with the emotion behind her words.

Michael Pugh - ”Endow Me”
Again, just so-so on this one. Not because of the vocals, but because it didn’t really go where I wanted it to. It may just have been a not-so-great song choice. He sounded great, though. I love the song, generally, but it wasn’t particularly memorable this time around.

Andrea Helms - ”Encourage Yourself”
Good song choice because of how well it progresses and builds– it gives any singer the chance to showcase the breadth of their ability. I also like that she switched up her ad libs from attempting to recreate what Sheri Jones-Moffett did on this tune, and she definitely brought the show back to “church.” Vocally, I’m still not “there”– I feel like earlier contestants were sent home for better performances– but again, her passion does stand out.

After the finalists had their say, it was time for another guest artist to take the stage.  How glad was I to see vocal mentor Kim Burrell perform “Open Up The Door” from her new project, The Love Album?! I enjoy the track on the album, so I was excited to see how she worked it live. It had a slightly different vibe– a bit less structured, so a bit harder to follow (especially if you’ve never heard it)– but by the end, she delivered with a range that still surprises me and an ear that doesn’t miss a note on any scale.

Afterwards, the judges’ decision was revealed and Michael Pugh was sent home. The title of this year’s Sunday Best will go to one of the two finalists– either Amber Bullock or Andrea Helms.

Do I think they made the right decision?  No, not really. I think that, for this competition, for this market and industry, Michael Pugh is ready and would have been voted the winner by the public (no slight against Amber). I will never deny Andrea’s passion and sincerity for this. And, generally, it means more to me than vocal tricks and stuff.

But in this competition, I still feel like a degree of polish and precision is necessary as a foundation. That can’t be overlooked because of the emotions we feel. For a recording artist, I need for the recorded work to draw me in, even when I’m distracted and cleaning my house. Or when I’m having a conversation in the other room, I need to say “wait… hold on” because I can’t help but have my attention snatched away by the music I stepped away from.

In this season, I have only felt THAT way about Amber Bullock, Michael Pugh, Sue Roseberry, Monica Smith and Isaiah Freeman.

Having said ALL of that, though, I still believe that this machine– Sunday Best– is built, in part, to give opportunities and platforms to people who might not have otherwise been heard in this arena, whether that’s an Elder Goldwire McClendon or an Andrea Helms. And in that regard, it’s up to the buying public to vote and be heard.

Looking forward to the final showdown!

Last night’s episode of Sunday Best, titled “Stairway to Heaven,” was said to feature songs about Heaven. By the end of the finalist’s performances, I realized that the only real “Heaven” connection is that, at some point, the song had to mention it in the lyrics. Not the strongest theme, in my opinion, but we got some nice tunes out of it.

We also got some much longer performances this week– virtually full songs– due to the fewer number of finalists. We were down to 5 and, by the end, we landed at 3.

Before the finalists gave it their best shot, the show opened with DeWayne Woods singing his hit single, “Let Go,” along with special guest Dave Hollister. I didn’t exactly get the connection to Heaven on this one, but it was good to see DeWayne on the show. Though “Let Go” is from DeWayne’s first major solo project (released in 2006… totally underrated… click here to listen and buy to it), it’s probably his best-known single to date, so I’m glad he got on-screen time to put a face to the song with which many are familiar.

After that performance, we heard from the finalists. It went a little something like this…

Andrea Helms – “The Heavens Are Telling”
I have no doubt that Andrea loves God– it is MORE than evident in her performance– but I’m just not as into her vocal performances yet. Her sincerity is what shines each week. She has been consistently serious about this thing as ministry, and I do believe that’s what the judges are feeling in that studio each week. I don’t know if that means she should win the competition, but it’s definitely admirable and refreshing.

Sue Roseberry – “Heaven”
It is not easy to remake a Karen Clark Sheard tune, especially introducing your own ad libs. Mama Sue did a good job, but the song got away from her in a few places. I think the judges didn’t want to really knock her for it, but this week’s performance was definitely not where she has been before. Still, I appreciate her gift and her style– it’s always nice to see someone who can confidently step onto stage and give you their all.

Michael Pugh - “Special Gift”
This was, hands down, my favorite performance from Michael Pugh all season. His tone was killer, his range dynamic, and his approach (and execution) was virtually without flaw. This tune was right in his wheelhouse– allowed him to start by shining with a polished tone, then finish with his signature growls and exhortations (which I feel were a bit more well-controlled last night than usual). Great great great job.

Monica Smith – “Heaven Help Us All”
Great song selection on this one. Monica’s greatest struggle to date has been her own confidence. She hasn’t owned the stage yet, though she definitely could have! The result was an enjoyable performance (despite a bit of an odd ending), but no “wow” factor. If only she knew how great her tone and style was… she might have moved across the stage differently, looked up at the audience a bit more, engaged us and declared that she was ready. I hope we get to hear more from her.

Amber Bullock – “A City Called Heaven”
Amber’s performance was CLEARLY the performance that stole the show.  This was a great jazzy arrangement fit for her jazzy voice and styling. It was impeccable– not a note out of place or trick that she didn’t pull off well. This was on another level. I agree with Pastor Donnie– she “styled” the tune. Great work.

After the finalists, six-man a cappella group Committed performed “Soon I Will Be Done.” These guys are gifted and, despite the natural inclination to compare them to Take 6, I feel like there’s a different audience in the wings for them. Though they won NBC’s The Sing-Off, I enjoy seeing them on sacred stages as well as secular ones. The sound mix was a bit uneven to me, which can be disastrous for an a capella group, but I loved the arrangement.  Their debut album hits stores on August 30th.

In the end, Mama Sue and Monica Smith were sent home, leaving the top three finalists– Amber Bullock, Michael Pugh and Andrea Helms. If I had to call it, I’d say that Amber and Michael should be in the final two, and that Amber’s gonna take the title, though I wouldn’t count out the heart-thumping reach of Andrea’s performances.

By now, you should be able to tell me who you WANT to win this thing– who’s your pick???

This week on BET’s Sunday Best, we were able to listen to the remaining 7 finalists, with 2 heading home.

Before that, though, Yolanda Adams and Donnie McClurkin opened the show with their hit duo, “The Prayer,” from Donnie’s 2003 album, Again. I don’t fully get the performance decision– they’ve each had two albums since then. It seemed like a shot at a TV moment, though, which I can’t be mad at. They still have incredible voices and they pulled off a solid performance.

I’m so glad that we finally got to see Kim Burrell actually BE the vocal mentor this episode. And it was a good show for it– the theme revolved around LOVE SONGS, and Kim really helped these artists operate outside their comfort zone, which I think was the point of the whole exercise.

Here’s how the finalists’ performances played out for me:

Michael Pugh – “You and I”
This is the type of song I’ve been waiting to hear from him– a perfect way to showcase his ability to do more than a churchy squall that slays. He has a nice tone for crooning.  Though he definitely didn’t seem as comfortable with this style of music, I was glad to hear him in this vein!

Timesha Sampson – “I Believe In You And Me”
Aww, man.  This kind of got away from Timesha, which I think might have been avoided if she stuck to the melody a bit more. Sucks to say it, and it may be unfair, but this was clearly too “gospel” for this week’s gospel show.

Monica Smith – “At Last”
She REALLY impressed me! Despite everyone comparing her to Shirley Caesar for the past several weeks, Monica seemed completely comfortable doing this jazzy, lounge-like song.  She gave a tasteful and authentic performance. This was spot on!

Andrea Helms – “Wind Beneath My Wings”
Again, I’m always left wondering if the judges’ and crowd’s reactions have more to do with her race than her gift. There wasn’t anything particular astounding about this vocal performance. It was a bit amateur this time around for me.

Amber Bullock- “Ribbon In The Sky”
Great tone, lady! Plus, pretty good choices on the “doo doo doo” scat-like ad libs. It was way too gospel for me by the time the vamp came along, though– I agree with Tina’s wish that Amber had taken a more “tender approach.” Still, she’s a frontrunner for a reason– she’s polished and professional.

Isaiah Freeman IV – “So Amazing”
This performance hurt my heart. I don’t even CONDONE many people remaking Luther Vandross, but from Isaiah’s first note, I was put at ease. His tone and approach was INCREDIBLE to me. Then, in a moment, he lost the words, his total confidence was shaken, and the rest of the performance fell apart. Isaiah is much better than that performance displayed and he knew it. Hurt me! Lol

Sue Roseberry – “Jesus Is Love”
UMM… kinda unfair, on the whole secular “love songs” show, that Mama Sue gets to do “Jesus Is Love,” but she sang it like she wrote it. Lol! I MEAN! Flawless finessing of a good ol’ groove. I loved it.

Before any finalist got sent packing, the one and only Jill Scott performed “Hear My Call.” She crafted her song– she didn’t just sing it. It was an absolutely captivating performance of a beautiful song.

In the end, Timesha Sampson and Isaiah Freeman IV were sent home. I was particularly disappointed about Isaiah– definitely my fave from this season so far. That’s alright my dude! I’m buying your album!

Anyway, just my two cents. What did YOU think of the show?

I can count on one hand the number of video tributes I’ve written at GospelPundit.com after an artist has passed.  In fact, only Bishop Walter Hawkins and Rev. Timothy Wright come to mind.

But when I heard that gospel pioneer Delois Barrett Campbell, of the Barrett Sisters, passed to Heaven at the age of 85 yesterday, I knew that I would need to do some kind of special feature.

Having grown up in Chicago, I’d always known of the Barrett Sisters and was familiar with their music. I enjoyed Rodessa Barrett Porter’s energy, was put at ease by Billie Barrett Greenbey’s smile and smooth tone and, of course, was blown away by the sheer power of Delois Barrett Campbell’s voice and presence.

Over the years, I came to appreciate Delois’ kind and genuine demeanor off-stage as well.  I can recall seeing in Chicago several times.  On one occasion, when I was a teenager, I saw her backstage at a gospel event after she had performed. She was heading home, clearly exhausted. As fans passed her in the hallway and waved, however, her eyes lit up and and her smile beamed, as if to say “I’ve still got enough energy for YOU.”

I’ve always been proud of Delois Barrett Campbell, which is funny considering that I’m much younger and wasn’t even alive for much of her battle to be all that she became in gospel music. But I’ve admired her presence, her tenacity, her ministry.

My favorite glimpse into her life came through a scene in the incredible documentary, Say Amen Somebody (if you enjoy gospel music, you MUST see this film… own it, even!). Delois is in the kitchen, preparing breakfast for her husband, who is the pastor of their local church. While talking about her upcoming European tour, he makes a comment that would had to have stung a bit, urging her to come off the road with her sisters and handle music for their local assembly. Full of grace and humility, but certain of her calling, she reminds him that traveling the world to minister the gospel through music has always been her dream– and that it’s happening.  It’s a compelling moment!

She will be missed on Earth, but I’ll be glad to see her in Heaven. Let’s pray for her family during this time, as we thank God for her.

Below are some of my favorite performances by Delois Barrett Campbell with the Barrett Sisters.

Check them out and enjoy the incredible gift that God gave us in the incomparable Delois Barrett Campbell…

Barrett Sisters – “No Ways Tired” from Say Amen Somebody documentary

Barrett Sisters – “He Brought Us” from Say Amen Somebody documentary

Barrett Sisters – “I’ll Fly Away” from Going Home To Gospel w/ Patti LaBelle on PBS

God bless!

EJ recaps last night’s episode of Sunday Best on BET…

Last night, Sunday Best viewers were treated to a bevy of vocal tricks and acrobatics that had the makings of an incredible talent competition. Problem was, the mounting anxiety and nerves of several contestants made for some poorly-executed riffs and rather vacant stage presences.

If you recall from last week, 9 finalists were selected, with the 10th slot to be filled by the winner of a 3-contestant a cappella sing-off. Before the sing-off, however, William McDowell opened the show with his radio hit, “I Give Myself Away.”

His performance can be better classified as a worship experience, as was evident by the studio’s atmosphere– even the judges sang along with uplifted hands and tear-filled eyes. Throughout the beginning of the song, William struggled to even sing the lyrics, stepping away several times as he was overcome with emotion. For the at-home viewer, though, it was a bit difficult to join in. I just kind of decided it was a “had-to-be-there” moment, which is not really what you aim for on a national TV performance. Still, I’m glad he got the spot and on-air time– William McDowell’s been working that song for years now and he’s reaping the harvest. [Click here to check out William McDowell's album, As We Worship: Live, on Light Records.]

Sing-off time arrived and Kirk Franklin introduced the 3 contestants vying for the 10th spot. Each had to perform “Yes, Jesus Loves Me” a cappella. The problem with a sing-off among new artists or amateurs is that they realize they have to bring their ‘A’ game and they often translate that to “gotta riff and run.” That’s not ‘A’ game unless you’re a riffin’ and runnin’ wonder, and even then, less is always more.

Shanandolan Reynolds, who I was really rooting for, is better than what we saw and heard. I think her nerves got the best of her and the song was all over the place. Latrice Smith came with some jazzy riffs across practically every part of the chromatic scale, but things fell apart when they runs didn’t seem to just… end. For me, Timesha Sampson had it in the bag from her first note– not because of her tone or notes, but because of the lyric… she is the only one who didn’t start at the chorus. Her approach was most tasteful and she immediately distinguished her performance from the other two ladies.

And she got the 10th finalist slot. Immediately, Timesha was on the spot to perform her tune for the week. Here’s how each contestant fared…

Timesha Sampson – “This Is The Day”
I think this was a cool arrangement, but I agreed with Erica Campbell– the performance would have benefited from a slowed-down and controlled presentation, as some of Timesha’s riffs get away from her. She’s definitely got great potential, though, and I love that she’s unassuming with a bit of a powerhouse voice inside.

Amber Bullock – “How Great Is Our God”
If I never hear another gospel version of this CCM classic, it will be too soon.  I don’t like this song in any format aside from the original Chris Tomlin version. That said, Amber has got an undeniable and consistent gift, with great control and tone.  This performance was not her best, but she’s clearly a frontrunner in the competition.

Michael Pugh – “You Are God Alone”
I like him. I loved the song choice, as I haven’t heard anyone do it on Sunday Best before. Michael is definitely “a good gospel singer,” like Tina Campbell said in her critique– just solid church. I’ll be interested in seeing a more reserved performance in the coming weeks, though. I know he can drive a song with a good growl and exhortation, but I’d also love to see him perform something without the goal of slaying people in the Spirit.

Andrea Helms – “Yesterday”
It’s always risky to sing a Mary Mary song– despite their urban style and contemporary approach, Tina and Erica have some very churchy, powerhouse vocal ability. And this song ain’t an easy one to sing. This week felt a little “Showtime at the Apollo” to me– a person you wouldn’t expect to even be on the show gives a decent vocal, and the sheer diversity of the moment makes everyone do backflips. I’m not saying Andrea isn’t gifted– I’m just saying that it wasn’t “perfect,” as Pastor Donnie commented.

Isaiah Freeman IV – “All I Need”
I personally don’t want to hear anyone but Brian Courtney Wilson sing this song– it’s HIS! Lol My bias aside, though, I didn’t think the vocal was strong enough. Whereas the original demonstrates great crooning and tone, especially on the vamp, this cover didn’t really shine in those areas. I just think it wasn’t a great song choice this time.  Still, he’s one of my favorite contestants.

Sue Roseberry – “Jesus Can Work It Out”
Mama Sue brought it once again. She does EXACTLY what we want. I love that she changed up the ad libs to this classic tune. The judges’ response to her reminds me of last season’s Elder Goldwire McClendon– everyone loved his traditional, old-rugged-cross, ol’ landmark nature, but people didn’t select him as their winner.  It makes me wonder if the masses would want a Mama Sue album.

Monica Smith – “Pass Me Not”
While I definitely love the raw talent she exhibits, I’m always fearful that she’s going to blow out her voice! Be caaareful! Lol Kirk Franklin is right to liken her to Shirley Caesar– it’s that guttural, growling, traditional style and approach. Her zero-to-sixty approach is vaguely reminiscent of LeAndria Johnson, but she doesn’t have the same confidence level. I’d love to see her grow in that regard.

Michael Washington – “Falling In Love With Jesus”
This dude is smooth, with clear tone and precise agility. On this Jonathan Butler cover, I heard a bit of Jonathan, mixed with a few Howard Hewitt scats. I agree with the judges that the song kinda got away from him, but I think it was definitely his nerves. He’s a great singer, but it’s hard to figure out what his lane would be.

Felicia Russell – “Precious Jesus”
I don’t know when this song became such a sermonic solo, but I still love it as an ensemble tune like Thomas Whitfield wrote it. That said, I don’t think Felicia is really comfortable just letting it all go, and I want her to. Too poised, too reserved, even in the climax of the song. I agree with the judges– better than last week, but her audition ROCKED. I wanted to see it like that, again.

Carlington Roberts – “Oh How I Love Jesus”
Carlington is a nice guy, but this performance was a bit pitchy and behind the tempo the whole way through. I’m sure I’m not alone– after the modulation, things just got tense. His range, tone and confidence were shaky and it just didn’t quite land safely. I don’t know that he could compete with some of the other vocalists this season.

At the end of the show, the judges cut Felicia Russell, Carlington Roberts and Michael Washington from among the finalists… and we’re down to 7.  I agree with the judges on this decision.

I can’t deny that I’m longing for a bit of the skill and delivery of past seasons. If I recall, in those seasons, several contestants really stood out as virtually “ready-to-sign” artists. This season, not so much…

So far, Sunday Best isn’t a tough competition because there are so many great voices from which to choose; it’s tough because there aren’t enough.

Associate Editor Troy Lilly recaps the latest episode of Sunday Best…

It’s only been three weeks, but season 4 of Sunday Best is flying by. Blink and you might miss it! This past Sunday, the second half of the Top 20 performed, and we got a good glimpse at who’ll make the Top 10 after the judges revealed their cuts in the first round of eliminations.

But notice I said “glimpse of the Top 10.” There still a bit of shaking up before it’s finalized. More on that later, though.

This week’s episode was themed “The New Standard,” and appropriately, pastor and singer Smokie Norful opened the show with his recently medley of congregational favorites, “In The Army of the Lord,” and “God is a Good God,” among others. There’s not a whole bunch you can do with that song, but Smokie’s trademark is blending the contemporary and traditional, and that’s what he did.

Then it was on to the singing. After several underwhelming performances last week, I was hoping this episode would hit me with at least a few surprises. I got a couple – as in two.

Here’s how it played out:

Isaiah Freeman IV – “My Life is in Your Hands”
Isaiah is a crooner and not a growler. He’s more Marvin Gaye than James Brown, if I can make that analogy. And while his rendition of this Kirk Franklin song wasn’t perfect, he demonstrated that he could command the stage and remain composed even after hitting a rough spot or two in his performance. Out of all the new arrangements of old songs I’ve heard on the show so far, this is probably the first I wished would have gone on longer. Glad to have a guy like this the competition. Apparently, the judges agree; they said he reminded them of Fred Hammond.

Annalisha Robbins – “The Battle”
Annalisha sang before Mary Mary at a concert date when she 11 years old. Ironically, her voice as an adult still sounds a bit immature. She began the song almost in a whisper, but even when she opened up in the middle, her voice still lacked depth. At the very end, she finally delivered a balanced sound, but only after a series of uneven runs. Sometimes timid body language can undermine a good voice. Annalisha certainly can sing, but she barely opened her eyes. She seemed terrified. The judges noticed.

Roosevelt Griffin – “Total Praise”
A good singer is more than a good voice; they know when to do what. Roosevelt started the song at awkward place in the bridge, with an even more awkward high note. Ok, that note was just bad. Then he decided to redeem himself by showing off his incredible range, except he didn’t redeem so much as he crucified himself. There were more shaky notes and pitch problems. While far from boring, Roosevelt just seemed a bit jarred – and jarring. After three auditions in three cities, I can’t blame him for coming out with a bang.

Sue Roseberry – “The Lord Will Make a Way Somehow”
Mama Sue, as she was christened after her performance, has none of the issues other singers have struggled with this season. She’s got perfect pitch, tone, dynamics, a beautiful lower register AND the oil – also known as the anointing. And even after 15 grandchildren, Mama Sue still knows how to rock with the groove on stage. She’s aware of her gift, she mastered it, and she conveys it. I don’t what more I could ask for. What’s notable after mentioning all of that, however, is that she still seems humble. She was my first surprise of the evening, and a pleasant one at that.

Eric Drew – “The Presence of the Lord is Here”
Eric performed midway through the show, and that’s pretty much where his overall delivery fell: in the middle. His voice wasn’t shaky or signature, his energy wasn’t lacking or commanding. He moved around the stage some, made eye contact, and the audience seemed to be with him. But for some reason it just felt a bit safe for this kind of competition. Usually a singer channels what they feel to an audience; Eric conveyed composure, but he was singing about the presence of God, so more excitement would have been appropriate. He’s still a good singer, though, which is what the judges remarked. And there were far worse performances.

Felicia Russell – “Encourage Yourself”
This was my second big surprise of the night. Felicia absolutely killed in her audition. Her pitch-perfect voice was laced with a fiery, soulful tone akin to Aretha Franklin. I expected her to show more of what landed her in the competition. But when Felicia emerged on stage, I thought I was watching a different singer. Her first note was almost inaudible, and what I could hear didn’t sound good. She then moved through the song mimicking the flourishes that Sheri Moffett-Jones added in the original version. This made Felicia’s version completely unoriginal. Fortunately, she still has a passable voice, so the performance wasn’t a total train wreck. I was, however, highly disappointed. So were the judges.

Quinten Bethea – “Blessed Assurance”
I must admit I liked the very beginning of Quinten’s performance. He smiled and sounded good. But here’s another case of the remix gone awry. When the music and tempo changed in this contemporary arrangement, Quinten at first flowed with it, but it was long before he tiptoed off pitch, and later even off key. At one point, as judge Erica Campbell mentioned, Quinten was a full step below the key of the music. Sad thing is he never realized it. In the arena of professional singers, pitch and key are, well, key. While I didn’t a big problem with his presentation, Donnie McClurkin said Quinten never blended the spirit with his talent.

Timesha Sampson – “There is No Way”
Of all the contestants on the show this season, Timesha probably has the greatest potential for growth. Her stage presence is spot-on, and she’s visually convincing. Her voice – in its rawest form – is beautiful and captivating. What she lacks, very noticeably, is control of her instrument. And singers without control tend not only to sound bad, but also to abuse their voice. Timesha worked herself into a frenzy skating across a scale of notes, but she didn’t execute them as strongly as she felt them. In my opinion, she may need more growth than she can afford in this competition.

Brian Ezra Bates – “When We All Get to Heaven”
Honestly, I would have preferred to hear Brian sing something else. I imagine he felt his song was likely to be underwhelming, so he added an extra jolt of liveliness to his performance. Instead of injecting life into his voice, though, Brian translated the energy in his face and in his body. He sang in an extremely hurried manner, often moving through the lyrics without finishing his notes. The factor behind his excitable disposition was almost certainly his nerves. But, in the scheme of the competition, that’s the only thing that made him memorable.

Monica Smith – “Silver and Gold”
As the last performer of the night, Monica didn’t have much standing in her way. Almost everyone before her had managed to be forgettable. From the moment she opened her mouth to sing it was clear she wouldn’t have that problem. Monica’s throaty, Southern-churned voice is one of the most recognizable this season. At times she certainly sounded hoarse, and I was worried when Kirk asked her to reprise the song that her voice is suffering from abnormal wear. But as long as her chops are strong enough to endure the weight of her singing style, I’d be very excited to see her progress.

***

Outside of the individual singers on this week’s show, another thing that caught my attention was the exceptionally poor sound quality. At first, I thought it was just my ears, but watching with a few friends, we kept adjusting the volume on the television up and down, and so forth between performances. And after playing video back numerous times, I noticed a difference in the mixing of Kirk’s voice and several singers. The sound at times seemed to come directly from in-studio monitors. Whatever the case, bad sound on a singing competition is like cake without icing; it’s just not good.

Maybe if the singing were up to par it would be less of an issue, but at this point it’s working against the overall experience.

But most of you probably aren’t bothered much by that. There were also (supposed to be) ten eliminations on Sunday, sort of. Nine of the 20 singers moved on to the Top 10, but three singers have to compete for the tenth and final spot. Yeah, I know. This just makes it more interesting.

Your Top 9 consists of the following:
Amber Bullock
Michael Washington
Andrea Harris
Isaiah Freeman IV
Sue Roseberry
Monica Smith
Michael Pugh
Felicia Russell
Carlington Roberts

The following three will compete for the 10th spot:
Latrice Smith
Shanandolan Reynolds
Timesha Sampson

Needless to say, what did you think of the show AND the sound? Let me hear it!

Troy Lilly recaps this Sunday’s episode of Sunday Best…

There were plenty of smiling faces on this week’s episode of Sunday Best. During the first night of performances, ten eager singers from season four’s Top 20 graced the stage aiming to prove they deserved to be in the competition. But early on, there were more anxious smiles from the contestants than smiles of satisfaction from the judges.

That’s not to say there weren’t any laughs or lighthearted moments. There were several, thanks to Sunday Best host, Kirk Franklin, who opened the show with a performance of “Smile,” the popular single from his latest album.

For a man who’s barely taller than Justin Bieber is, Kirk sure knows how to work a stage and, as I mention on a regular basis, we never know what he’s going to do – or say! So it was no surprise that during his performance, he ended up passing the microphone at the judges table between Donnie McClurkin, Erica Campbell and her sister Tina Campbell.

Throughout the evening, though, it was often clear that even he wasn’t sure what to say to contestants following some of the performances.

Here’s how they went down:

Toneisha Jones- Harris – “Here I Am To Worship”
Starting the show is never easy, but imagine starting off the whole season! Toneisha’s jazzed-up version of this praise-and-worship staple was pleasant as she held her tone and had clean riffs. She explored the stage a little, but there wasn’t much feeling beyond the surface of the words she was singing. The judges noted that she abandoned the simplicity of the melody.

Michael Washington – “Great is Your Mercy”
Maybe the judges were watching a different version of this performance. They absolutely loved it, and while I didn’t hate it, my impression was that if Sunday Best were a stage play or a theatrical production, Michael’s voice would be perfect. As with Toneisha before him, I didn’t feel much from Michael. However, it is nice to see a clean, calculated singer whose ability is unquestionable. I just like to feel my gospel music.

Andrea Helms – “Because of Who You Are”
First Lady Andrea Helms gave what I thought was the first great performance of the night. She started strong and only improved as she journeyed through the chorus and into the vamp. Most importantly, her face conveyed the emotion of the lyrics. Andrea’s voice is sweeter than most, but it’s still a powerful instrument and her presentation is flawless. Donnie, Erica and Tina agreed.

Chase Stancle – “Running Back to You”
A shaky vocal tone tripped Chase up from the very beginning of his performance, and unfortunately, it didn’t improve. He did reach for a range of notes in the middle of the song, but I think most people (including Chase) were distracted by his uneven tone. He was probably a bit nervous which is why he ended the song on a rather low note. Kirk attempted to relieve the tension by joking a bit, but the judges clearly noticed he was affected.

Amber Bullock – “We Must Praise”
Amber is the kind of girl we all know… the one who started singing before she could talk. Amber delivered a performance that was perfectly imperfect. Her voice is just raspy enough to growl but still balanced with a pure tone. She also has precise enunciation, which only contributes to the clarity of her delivery. I’m sure she won’t have any trouble advancing to the final rounds.

Carlington Roberts – “Lord I Life Your Name on High”
If you remember my recap from last week, I mentioned that we might get a little reggae on this season. I was talking about Carlington, a native Jamaican, who represents a totally new sound in mainstream gospel. His performance revealed that he’s skilled in leading a congregation in worship. He moved about the stage quite a bit, which may have compensated for his forgettable vocal delivery. His voice, ironically, reminds me of Donnie’s. Since the judges appreciate his unique sound, it will be interesting to see how far he progresses.

Shanandolan Reynolds – “Joyful, Joyful”
During her audition, Shanandolan seemed full of silent confidence. On Sunday, her voice was heard before she emerged on the stage, and again, her voice sounded sure and tender. But once on stage, her rendition of this song (famously recorded by Lauryn Hill) fell into the karaoke-esque vocal choices that you’ve heard every singer duplicate on this song. It was evident from her demeanor that she let herself down. The judges acknowledged her inconsistent delivery, but seemed committed to developing her underlying talent.

Michael Pugh – “I Won’t Complain”
Michael’s performance wasn’t really a performance at all. He walked onto the stage with a different look in his eyes. Although it took the audience a second to get with him, he kept pushing the song out until there was a connection. The last third of the song, and especially the moments after he was done singing and he continued to exhort the audience, proved that Michael not only believes what he’s singing but he’s skilled at conveying it. As voices go, his is as traditional as they come, but the judges and obviously, the audience enjoyed it.

Latrice Smith – “Walk With Me”
Oh, Latrice. I know she knows she can really sing. But she got really lost between sticking to the melody and coloring the song with her adlibs. And once her upper range didn’t work, she would’ve been best served to leave it be. In the middle of the song, it appeared that even she was ready for it to be over. Again, although I’m sure she has major vocal chops, this performance may have sealed her fate.

Ricky Valentino Lafontaine – “I Need Thee”
To his credit, Ricky had to sing a one-part hymn and only had an organ to back him up. The song was also very short, so those factors could explain why his performance felt a bit incomplete. After proclaiming that he has sung with Yolanda Adams, and even Mary Mary, expectations for his voice were already too high. He tried to live up to the hype by singing in a particularly high key, but that prevented him from being able to elevate the song any further. It may not be his time to take the stage alone just yet, and his colleagues, Erica and Tina, echoed those sentiments.

***

So now that we’ve had a chance to see and hear half of the Top 20 on center stage, what do you think is in store for the remaining 10? Personally, I’m hoping we get a few more singers who capitalize on their moment a little better than some of the contestants did tonight.

Next week, the remaining ten contestants in the Top 20 will perform and ultimately, only ten singers will advance to the next round. That’s the part I get excited about because mentor Kim Burrell returns to guide these budding singers through the ropes of the singing competition.

Were you impressed with any of this week’s performances?

How strong are the guys in the competition?

Are you wondering what Kirk Franklin will do next?