To chat about Fresh, the new album from Tye Tribbett (in stores today), I wrote a guest review for the official website of gmc (formerly Gospel Music Channel).

You can check it out by clicking right HERE.

If you’ve read it, I’ll add the following:

Must-hear cuts on the album: aside from the title track, you’ve gotta listen to “Only Help,” “Take Over,” “Keep Me,” “Your Blood,” “Champion” and my absolute favorite song on the project, “Holding On.”

Do you have it already?  What are you loving on there so far?

Are you getting it?  When?

Are you NOT getting it?  Why not?

Talk to me!

Israel Houghton returns to the scene today with his newest album, Love God. Love People. The project has been highly publicized, primarily because it was created in London’s famed Abbey Road Studios, the birthplace of much of the Beatles’ historic music.

Produced by Houghton, with Aaron Lindsey and Tommy Sims, the magic and wonder of the recording space can definitely be heard in this musical body of work.  One might criticize it, though, as it likely showcases more musicality than the average consumer can appreciate or follow.  Still, while Abbey Road may not carry as much significance for the gospel community as it does for Israel personally, there’s something quite cool about knowing that this project is unlike others in our genre.

The album opens with the title track, full of funk and a banging beat, before transitioning to another stand-out, “Yahweh.”  This tune is energetic and full of vocal/instrumental nuances that make you wanna listen multiple times in a row, just to ensure that you’ve heard it all.  Up next, is “Love Rev,” with a fun 60′s Motown/British invasion chorus (with a bit of a doo-wop vibe) that you’d expect to have been created at Abbey Road.

Other standout tracks are “That’s Why I Love You,” a mellow, jazzy groove that makes you wanna snap your fingers and fall in love with God all over again, and “You Hold My World,” a heart-wrenchingly performed ode to God’s faithfulness (the song’s build is captivating).

Israel’s also got some solid, but understated guest performances from his industry peers–  the upbeat and dance-ready “Mercies,” features Kirk Franklin.  With its Earth Wind & Fire kind of vibe, it’s just screaming for a skate party. The collabo is so seamless and natural that the song could easily have fit on an album by Kirk, too.  Then there’s “Surprises,” with Fred Hammond giving a vocal that is higher and lighter than we’ve come to expect from him, along with a bass-heavy vamp that showcases Hammond’s musicianship in a way that we don’t always get to hear.

Perhaps one of the most powerful songs on the entire project is the one that ends it– ”Hosanna (Be Lifted Higher).”  In various sections of the song, the tune is as pure and innocent as the children’s choir singing behind it, before becoming as intricate as the background vocals supplied by a cappella wonder-group Take 6.  It’s the type of song that should/will be sung at an outdoor crusade by about 40,000 people at once.  At over 8 minutes in length, “Hosanna” is over-the-top grand. And rightly so– it’s a cry of praise to an over-the-top grand God.

In sum, Love God. Love People. is certainly more experimental than any other project he’s done. If Houghton’s Real album bothered fans of the praise & worship New Breed sound, this one is gonna drive them crazy.  There’s hardly anything that most churches will be adding to their Sunday morning repertoires, but Israel has never claimed to be a limited to what we define as “worship music.”  In my estimation, he’s always explored the more creative side of himself in a way that is uninhibited and undefined.

The masterful production and simply “good music” found on this project is reason enough for any true music lover to grab it.  The fact that we can have it, and know that it’s about an infinitely creative God (who expresses His creativity in innumerable ways)… that’s a bonus.  Worth a purchase.

Click here to listen and/or download it now!

Yesterday, I introduced two great new writers who have joined the GospelPundit.com team.  One of ‘em, EaZy, is a choir head through and through, so his review of the latest album from James Hall’s church choir, Voices of Citadel, can be trusted to the utmost.

Without delay, here’s EaZy to tell you what he thought of James Hall Presents Voices Of Citadel– Won’t It Be Wonderful.

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Some may argue that good choir music is a thing of the past.  However, those same Gospel music lovers who’ve been looking for churchy material will be excited about the release of James Hall presents the Voices of Citadel Won’t It Be Wonderful.  VOC is the church choir of Brooklyn’s Citadel of Praise & Worship, where Dr. Kevin Bond is Pastor.  This is their second release on James Hall’s Musicblend Records.

Although the album is “presented” by James Hall, it’s churchier than anything that Worship and Praise has done.  It still has the signature mysterious, gothic sound most of us have learned to expect and love from Hall without being dark or depressing.  What is most noteworthy about this project is that the sound is TREMENDOUSLY better than the last Voices of Citadel CD…as well as Worship and Praise’s Live at Foxwoods.

The album opens up with the upbeat first single, Butch Heyward’s “Hallelujah to the Lamb” and “Count On Me,” then goes into the more traditional sounding “I’ve Learned To Trust” with Deborah Pritchard Stevenson on lead vocals, reminiscent of “God Wants A Yes.”

Dr. Bond and his vocabulary (does anyone else break into a wide-mouthed grin whenever he speaks?) introduce “Release Your Power” which is more of a praise and worship/reflective song that clocks in at an exhausting 8:33.  The album then goes into what I feel are the two highlights of the entire project– “Saved” a bouncy, throwback to the mid-late nineties era with a beat that may be more Friday Night musical than Sunday morning service (that’s a good thing).

“Living to Live Again” is probably my favorite song on the album.  It starts out somewhat laid-back but turns into something wonderful once the alto lead takes over.  Next, Professor Hall gives us an “avant garde” intro to “How Great Thou Art” the way that only he can.  You either love it or you hate it.

The title track “Won’t It Be Wonderful” is a fast-paced, hand-clapping number that starts off sounding a bit “showtune-ish” but ends with a repetitive, classic church vamp.  Once again, James Hall provides an interesting lead… energetic, but feels like a bit much by the end.  If you’ve been anywhere near YouTube recently, then you’ve already seen the equally energetic performances.

The album ends with what is unfortunately the low point – a remake of the Tommies’ “Jesus, I Won’t Forget.”  It’s labeled as a bonus track but feels more like an afterthought.  It’s over-synthesized, over-produced and just out of place.  I could have done without it.

As a Chicago native, I love warbling vibrato as much as anyone else.  While VOC’s (at times) excessive vibrato sounds good, it is often very difficult to understand the lyrics.  I also asked myself, does this album seem pretty long with an overwhelming fourteen tracks, or is it that we’ve become accustomed to having only nine to ten tracks on an album?

Simple lyrics and modulation should make these songs easily accessible for brave Sunday morning church choirs.  Won’t It Be Wonderful definitely has its strengths, along with a few weaknesses.  Considering the lack of available choir music recently, I believe it to be a good investment.

*     *     *

If THAT ain’t a thorough evaluation, I don’t know what is!

Folks, PLEASE thank EaZy for that write-up.

And, lemme know what you think of it– if you have the album, do you agree?  If you don’t have the album, are you thinking of picking it up now?

Talk to me!

It’s rare that I pass on doing a CD review, then fall so helplessly in love with a project that I change my mind.  The Anointed Pace Sisters’ latest project, Access Granted, was one such CD and this, the debut album of Smokie Norful’s Victory Cathedral Choir, is another.

The album, Smokie Norful Presents Victory Cathedral Choir (EMI Gospel), was released this Tuesday and, in a nutshell, I’m loving it.  BIG TIME.  Song after song, this project delivers classic choir music that will fit well into the 11am service at anybody’s church.  From choir vocals, to lead vocals, to songwriting and production, the project is a must-have that does not disappoint.

While Smokie Norful is responsible for “presenting” his church choir, I’m glad that it doesn’t feel at all like a Smokie Norful album.  In fact, you’ll only remember that he’s involved with it two times– on the two songs he leads.  Everything else screams “Chicago old school choir” like Milton Brunson & The Tommies or something.

The album opens with the invitational chant “Rejoice” before moving to the band-banging “Come Too Far,” led by Norful.  The vibe slows a bit with “Your Latter,” with a lead vocalist slightly reminiscent of Kim McFarland.

Up next is the shout-ready single, “The Greatest Name,” followed by “You’re All I Need,” a beautiful choral piece that almost sounds like it could have been recorded by Richard Smallwood & Vision.  The worship ballad “You Are Holy” comes next, set delicately to a beautiful piano with an equally beautiful lead vocal over it.  From there, the cohesive project continues to moves seamlessly, from Smokie Norful’s lead on the downright churchy “I’m Still Here,” to “Refuge” and “Just Knowing Jesus.”

The project ends with what might be my favorite track on the album (and which, in my humble opinion, might have been a better single), “I Made It.”  The precise syncopation of the band, choir and lead vocalist on this classic churchy, hand-clapping tune… it’s Sunday morning in all of the right ways.

I think what I like most about this project is that it’s an ode to the true church choir.  It reminds of the days when choir soloists were content to sing their song on Sunday and go back to their 9-to-5 during the week.  The fact that they could sing the walls down at church didn’t make them want to be national recording artists– they were content to serve in their local body.  And serve WELL.

That rant will be for another post, but in the meantime– click here to purchase this project!

I added the single, “The Greatest Name,” to the PunditPlayer several weeks ago (click here to listen again).

Anybody else have this incredible album yet?  Anybody gonna check it out???

Famed and legendary gospel vocalist Karen Clark Sheard returns to the marketplace with her newest solo project, All In One, tomorrow, April 6th.

I want to start out and by being verrrry clear– the album is NOT in the same style, musically, as her heralded solo debut, Finally Karen.  So, don’t expect that type of project.

Fortunately, you won’t  be disappointed– the project absolutely stands strongly on its own.  In fact, I may go so far as to say that it is one of my favorite solo albums from Karen Clark Sheard to date… it’s just a lil’ different.

With production from her son, J Drew Sheard II, and her cousin, J Moss, the album definitely offers a more contemporary/urban vibe, as a whole, than her previous projects.  But it works well, as Karen Clark Sheard, one of the greatest vocal influences across genres of the music biz, commands in-the-pocket performances on each of the album’s 11 tracks.

All In One opens with the single “Prayed Up,” which continues to gain airplay at radio across the nation.  I loved it from the moment I heard it, though I must admit that it is not the strongest track on the album.  The single is followed by the energetic “Hold On,” before landing at the quartet-reminiscent “Blessings.”  Karen soars on its vamp as the background vocals just repeat a heart-resounding “thank ya.”

The project then moves to what may be my favorite song on the album, “I Made A Choice.”  The track is urban in all of the right ways– a soulful melody laid over a great beat with straightforward instrumentation… and another killer vamp.  It’s got such a mellow vibe to it that you’d almost think it was her daughter, Kierra Sheard, laying the smooth vocals.  Up next is “Take Me,” a catchy song that does, in fact, feature her daughter, Kierra, along with niece Angel Chisholm, daughter of Jacky Clark Chisholm.

From there, the album continues– great tune after great tune– with solid performances on “Good,” “Because Of You,” “Crazy Praise,” and the musical ear candy offered on the PAJAM-produced “What He Did.”  The album slows again with Karen’s duet with sister Dorinda Clark Cole on “He Knows” before the album wraps up with “Have Your Way.”

I would be lying if I didn’t acknowledge that, in listening, I had a couple of moments where I hoped the next track would be a good ol’ churchy tune like “I Couldn’t Tell It If I Tried” or “Heaven.”  But, I’m rather glad there weren’t any to be found.  The project is a cohesive unit on its own… an awesome urban addition to her solo library, replete with great songs, great production and staggering vocal performances, “all in one.”

Again, the project drops tomorrow, but you can click here to click here to pre-order now.  And I STRONGLY advise you to do so.

Today, Myron Butler & Levi return to the scene with their third release, Revealed… Live In Dallas.  Like their other albums, it is full of great vocals, songwriting and production, offering listeners intricate melodies, catchy hooks, and all-around good music.

The 12-track project opens with the group’s first single (and title tune) “Revealed,” followed by the band-banging “I Just Can’t Live,” featuring Kirk Franklin.  It’s great to hear him again with the group, comprised mostly of God’s Property alumni, but Myron Butler has done such a great job leading them that the tune feels much more like a guest spot than a reunion of sorts.

The album slows a bit as it eases into “Speak Into The Atmosphere,” a simple chant that will likely be a successful second single for the group.  From there, the project takes listeners on a journey of musical styles, from the rock-infused “Holy God” to the smoother sound of “Moving Closer.”

My favorite song on the project may be “I Am God.”  With its fairy-tale melody set to a 5/4 time signature, the tune is almost as captivating as its declarative scriptural lyrics.  Another strong track is “Covered,” with great instrumentation and powerful vocal delivery from Levi’s seasoned vocalists.

Other stand-out tunes for me include the mellow “Greatest Love,” the well-done gospel cover of Cyndi Lauper’s “Time After Time,” and the beautiful musical plea of “Run To The Cross,” featuring guest vocals from Smokie Norful.

If Revealed is to face any commercial hurdle, it will be due to some of the album’s musical complexities.  While exciting for musically minded listeners, the concepts may be too intricate for some gospel consumers to grasp.  By that, I mean that you may not hear your church choir rendering many A and B selections from it.  And if they try it, the music will be simplified and the vocals void of the nuances that make Myron Butler & Levi so great.

That said, Myron Butler’s musical gift is undeniable.  Any lover of music– particularly in gospel– will appreciate (maybe love) the songwriting, production and musical delivery that Myron Butler & Levi offer on Revealed… Live In Dallas.  It’s an effort that you’ll want in your music collection.

Click here to buy it digitally for just $8.

Anybody have it?  Anybody gettin’ it?  Talk to me.

The industry calls Marvin Sapp’s upcoming album, Here I Am (in stores tomorrow, March 16th), the “follow-up” to his record-breaking release, Thirsty.  And, chronologically, I suppose that’s accurate.

Musically, however, I’m glad that Marvin Sapp doesn’t simply pick up where he left off.  Instead, he delivers a great body of work that both solidifies his standing as a top vocalist in gospel and demonstrates what I perceive to be a better understanding of his own musical calling.

With Aaron Lindsey at the helm of production, Here I Am offers 12 cohesive tracks with great vocal performances and musicianship.  Almost as invigorating as Sapp’s lead vocals on the project are the background vocals, produced by Myron Butler, which are so well-arranged that I initially found myself listening to most songs once for the lead, and once to hear the nuances of the vocalists.

The album opens with the catchy “I Came,” which does a great job of setting the tone for the entire project– “I don’t know what you came here for, but I came to praise, so help me praise Him.”  Next, the project moves seamlessly to “Keep Holding On,” one of those melodically complex tunes that some might not “get,” but that will be a bona fide JAM for others.  It’s followed by the downright churchy “Fresh Wind,” with musicianship and a vamp that screams “Sunday morning service.”

Other stand-out tracks include “Comfort Zone,” with its challenging message of moving beyond what we’re used to, and “Wait,” on which Sapp’s range apparently knows no upper limit.  The incredibly catchy ”Praise You Forever,” features hints of a tastefully auto-tuned Sapp set to a CCM-styled rock anthem.

At a point, the theme (and tempo) of the project shifts a bit.  From “He Has His Hands On You,” to “Don’t Count Me Out,” followed by the already-unstoppable single “The Best In Me,” Marvin Sapp taps into some of our deepest fears and insecurities, exposes them, and counters them with God’s healing truth.

A cynic might call the theme formulaic, harkening to the heartstring tugs we felt on the last album’s record-breaking “Never Would Have Made It.”  I simply see it as an indication that Sapp is stepping deeper into his purpose in music.  For it is here, in the encouraging songs that remind God’s children of His love for us, that Sapp shines and the world takes notice.  There’s something endearing– perhaps even more believable– about these proclamations when he’s making them.

In any case, it’s clear that Marvin Sapp is effective in this lane and that his gift is broadly blessing a generation of God’s people.  The fact that I enjoy mostly every track of his newest offering, Here I Am, is simply a big bonus.

Click here to pre-order the album.  You’ll be incredibly blessed.

The latest project from The Anointed Pace Sisters, titled Access Granted, is a collection of music that has utterly snatched my attention from among the other recent releases in my collection.  And I’d be remiss in my duties here if I didn’t urge you to check it out.

With more than masterful production from Alex Asaph Ward, the sisters provide tight and intricate vocal harmonies with powerful lead vocals on every track.  Recorded live recently in Atlanta, Access Granted captures an energy-packed experience well worth a purchase.

After opening with a brief musical overture of some of The Anointed Pace Sisters’ hits over the years (i.e., “Jesus Be A Fence” and “Safety Zone”), the album launches into the melodic “A Friend,” before settling at the beautiful worship ballad “Daily.”

The project moves seamlessly into “Finally,” a jazzy groove with a driving churchy vamp that transitions well into the next track, “Praise And Worship” (one of my personal favorites because of the complex harmonies and intense band hits).

Proving that the ladies can dominate in any genre, they lay their vocals to “Jesus Will (Do It Again),” a track prepped and primed for a traditional Sunday morning worship service, before sweetly finessing the inspiring “It’s My Time To Blessed.”  The album continues to impress through the end, with tracks like “Get In His Presence” and the hit single “If I Be Lifted Up.”

The greatest hurdle that I see the sisters having is one that has less to do with their music and more to do with their artistry– it’s one of branding.  With eight sisters in the group, consumers may have a difficult time connecting with any one of them and, as a result, with the sum of them.  It would be nice to know more about them as individuals, rather than simply as one group.  But as far as the music is concerned (and that’s what I’m actually reviewing here), you won’t want for much more than The Anointed Pace Sisters have given.

As a final note, I want to point out an obvious, but oft-undiscussed trend in our industry.  Gospel consumers don’t always seem willing to make room in the industry for multiple types of similar artists.  Such is the case as it relates to the concept of a group of sisters, with similar tones, who sing in unison, then split into harmony.  The average consumer might say “like the Clark Sisters do?”  But the reality is that we can’t allow any artist to have the corner market on a certain style of artistry, especially when God doesn’t dole out grace in limited portions.  As evidenced by the Clark Sisters, the Pace Sisters, the Nevels Sisters, and others, excellence abounds in our industry, in this particular style.  Let’s support all of ‘em.

*steps off of soapbox*

Buy the album.  You will adore it.  Click here to check it out.

In the current music industry climate, it’s refreshing to see artists who have taken the time to actually develop, rather than simply throwing an album into the marketplace.  And, in the gospel industry, I tend to expect that level of commitment to one’s ministry.

With his debut project, Balance, Ted Winn enters the gospel marketplace as a solo artist with grace, purpose, and a sound that is certain– a reflection of his experience in this industry and a decided commitment to God’s timing.

The 11-track musical offering tends to present Winn as more of an ensemble leader than a solo artist (perhaps a la Hawkins or Crouch), but it’s clear that he is, at all times, the captain at the helm of this album’s sound.  Writing on all but one of the tracks (a remake of “Moving Forward” by Israel Houghton & Ricardo Sanchez), Winn demonstrates that he shines as brightly behind the scenes as on stage.

Standout tracks for me include the album opener, “Connected To The Kingdom” and “His Favor,” featuring Vanessa Bell Armstrong, both of which are high-energy tunes with a bit of a throwback vibe to them.  “Reap” and “Trust His Name” are both more mellow grooves that display the vocal agility for which Winn is well-known.

Other gems on the project include the worship track “Oh My Soul,” which is reminiscent of a beautifully penned Richard Smallwood ballad (the song is, in fact, inspired by Smallwood, Winn’s mentor) and “Great Is Our God.”  The latter tune is both catchy (it’s an instant Sunday-morning praise team or choir hit) and cleverly done, in that it features Winn in right company with three of the industry’s other new, premier male vocalists– DeWayne Woods, Jonathan Nelson and Myron Butler.

In short, Ted Winn’s Balance provides just that– a collection of great music able to both nourish and encourage the Body of Christ.  It’s an impressive debut project worth purchasing.

You can click here to check it out.

Whether you’ve been waiting 15 years or 15 days, the wait is finally over… BeBe & CeCe Winans have reunited for a new project, Still, in stores TODAY.  If you haven’t already purchased it, don’t worry– you’re only a little late.

From beginning to end, the 12-track project has a little something for everyone, especially the longtime fans.  The album opener and title track, ”Still,” has an almost sing-song melody to it, as if we’re all preparing for a musical story of sorts.  It’s fitting, too, because by the chorus, we’re brilliantly reminded of some of the classic BeBe & CeCe songs: “I’m still addicted, still lost without you, I still celebrate, Heaven still I live for, still in the meantime, still for always, I’ll still take you there and still I owe you…”

The project then moves into the duo’s first single, “Close To You,” and keeps the momentum going with the catchy “Things,” featuring vocals from their brother, Pastor Marvin Winans.  The album slows a bit as BeBe & CeCe sing their second single, “Grace,” replete with grand background vocals and string arrangements.

As the album continues, listeners can expect a variety of styles and musical influences.  The reggae-infused “He Can Handle It” will have you singing it’s infectious hook hours after the record stops, and it features some of the vocal trade-offs that we have come to love from the sibling duo.  The track “You Changed My World” has a classically “BeBe & CeCe” melody with an electronica vibe to it.  The duo even links up with another famous duo, Mary Mary, on “Let It Be,” which has a more pop slant to it.

Perhaps one of the strongest songs on the album is one that CeCe handles on her own, entitled “Garden.”  CeCe’s voice is as clear and beautiful as ever as she sings from the place of our loving Father, yearning for us to return to the simplicity of His love.  BeBe also has his own great track, “I Found Love,” which is sure to be an instant favorite for weddings.  It features beautiful writing, both musically and lyrically.

One caveat: if you’re expecting this album to be a throwback to their earlier music, you may be slightly disappointed.  BeBe & CeCe pick up with timely and relevant music for 2009– they don’t backtrack to 1994 and play musical catch-up for us.

That shouldn’t deter consumers, though– taken at face value, Still is an album of great songs sung by even greater vocalists.  The production is great and the risks they’ve taken have returned solid rewards.  It’s an album worth buying, whether you’re doing so for nostalgia’s sake or because you simply enjoy good music.

Again, it’s in stores NOW… click here to listen to snippets and to make a purchase.