Gospel hip-hopper Swoope has debuted at #6 on Billboard’s Gospel Albums chart this week, with the release of his latest album, Wake Up. Congrats!

Stephen Hurd’s O, That Men Would Worship has debuted at #8 . The project highlights the power behind men of God in the Kingdom, and it calls them to be active in praise and worship. It’s a GREAT project. Listen to snippets and buy it right here.

The top 10 in Gospel…

1 | WOW Gospel 2012
2 | Fred Hammond – God, Love & Romance
3 | William McDowell – Arise
4 | James Fortune & FIYA – Identity
5 | Maranatha! Gospel – 2012 Top Gospel Songs
6 | Swoope – Wake Up
7 | Le’Andria Johnson – The Awakening of Le’Andria Johnson…
8 | Stephen Hurd – O, That Men Would Worship
9 | Le’Andria Johnson – The Evolution of Le’Andria Johnson
10 | Isaac Carree – Uncommon Me

Next week, I expect to see big numbers from Take 6 and JJ Hairston & Youthful Praise, whose newest project, After This, hit stores this week.

I’ve already been rocking to my advance copy of Take 6′s upcoming album, One. Their music simply never disappoints me. I think you guys are really gonna like the new tunes.

In the meantime, they have just premiered their new music video– it’s for the title track and lead single, “One.”

It’s just a feel-good family-friendly deal– not many bells or whistles, but tons of love and fun… good deal. Check it out–

You’ve gotta love Take 6– they’re just always on it and always giving us GREAT music.

I’m excited about their new project, One, which hits stores on March 27th (Shanachie). Their lead single is the title track (it’s already streaming on the Pundit Player), but they’ve also just finish taping their music video for it!

I’ll post the video once it premieres. In the meantime, here’s some behind-the-scenes footage of the video shoot– features Brian McKnight, Lalah Hathaway and more!

Take 6 is, hands-down, one of my favorite groups ever– tight blend, tight harmonies, tight tones, tight songs. Open and shut case.

They’re back with a new single, titled “One.” Its lyrics are playful but intentional, and the vibe is classic “Take 6.” The single is the title track from their upcoming album, One, in stores on March 27, 2012.

I also hear that they just wrapped a video shoot for the single, featuring Stevie Wonder, Brian McKnight and Lalah Hathaway.

I just posted it to the Pundit Player, so click here to take a listen!.

The major motion picture Joyful Noise, starring Queen Latifah, Dolly Parton and

KeKe Palmer (and featuring Kirk Franklin), hits theaters THIS FRIDAY, January 13th.

Music from the film was produced by the incomparable Mervyn Warren (Take 6, Handel’s Messiah Soulful Celebration) and is in stores today!

Here’s a tracklisting:

1. Not Enough – Dolly Parton and Queen Latifah
2. Man In The Mirror – Keke Palmer
3. Maybe I’m Amazed – Jeremy Jordan and Keke Palmer
4. In Love – Kirk Franklin
5. Fix Me, Jesus – Queen Latifah
6. From Here To The Moon And Back – Dolly Parton, Kris Kristofferson and Jeremy Jordan
7. I’m Yours – Keke Palmer and DeQuina Moore
8. Mighty High – Karen Peck
9. That’s The Way God Planned It – Ivan Kelley feat. Our Lady of Perpetual Tears Choir
10. Higher Medley – Queen Latifah, Dolly Parton, Keke Palmer, Jeremy Jordan, Andy Karl, Angela Grovey, DeQuina Moore
11. He’s Everything – Queen Latifah, Dolly Parton, Keke Palmer, Jeremy Jordan, Andy Karl and DeQuina Moore
12. Joyful Noise Suite – Mervyn Warren

You can listen to snippets and buy it right here!

The Journey is the newest project from the legend himself, Andraé Crouch, and it hits stores on Tuesday, September 27, 2011. The 15-track album is produced and co-written by Luther “Mano” Hanes, who also worked on Crouch’s last album, Mighty Wind (2006).

The songwriting, familiar but fresh, is second to none. Listeners will enjoy the fact that, though Crouch explores and experiments with new sounds and instrumentation, he never veers too far from his wheelhouse– captivating melodies and refrains so beautiful that one is compelled to sing along.

This is clearly seen in the album opener, “Somebody Told Me About Jesus,” a classic Crouch-styled upbeat gospel tune, full of movement and led by the powerhouse vocals of none other than Táta Vega. It’s also apparent on “When I Think About You,” which is a personal favorite. Led by Markita Knight (you may have heard of her from West Angeles COGIC or through her work in the COGIC Music Department), this tune has a funk element laced over a very classic sound. But no matter how “current” these songs sound, they are as classic as ever because of the pen that wrote them.

The Journey also shines because of the perfectly paired guest vocalists throughout it. Whether Linda McCrary-Fisher on “Where Jesus Is,” or Kim Burrell and Take 6 on the dramatic and melodically winding “Faith,” Andraé Crouch has selected some of the music industry’s finest and featured them on musical masterpieces.

And he is, indeed, a master of musical styles. With The Journey, Crouch experiments with the ragtime-inspired “He Has A Plan For Me,” and the almost club-danceable “All Around the World,” featuring a soulful and in-her-lane Chaka Khan on lead vocals and Sheila E. dominating the percussion.

Other notable tracks include the smooth and jazzy ”Jesus Came Into My Life,” with Daniel Johnson (perhaps best known as a part of Israel Houghton’s New Breed) on lead vocals, the hymn-like ballad ”I Can,” with Andraé Crouch passionately delivering his lead, and the project’s current single, “Let the Church Say Amen,” featuring Marvin Winans.

I’m also a huge fan of ”There’s Nobody Like Jesus,” a jazzy groove looping a standard refrain, featuring LeAnne Palmore on lead vocals. It’s actually a segment of a larger live moment, but I’m thrilled to get the snippet that we get– it’s absolutely one of my favorite three minutes on the album.

The album ends with two versions of the captivating “The Promise,” an assurance that God will never leave us. Crouch leads one version and, as a special treat for listeners, he repeats the track again, swapping out his lead vocal for that of Marvin Winans.

I cannot quite express how much consumers will enjoy this album. I can admit that, as I sat and listened for the first time, tears welled up in my eyes. I thought to myself, “this is the man who God has used to shape the sound of gospel music as we know it today… and every tune he writes, even to this day, is laced with that same power and anointing.”

I’m happy to have The Journey in my collection because it takes me back to being the young kid who simply fell in love with great music, even before I could understand the beauty of its Gospel message. But I’m happier– perhaps even ecstatic– that Andraé Crouch can deliver for me, as an adult, music that will truly encourage and bless me on this journey with Christ. It’s really “the soundtrack of life” type of music. It is Andraé Crouch at his best.

Click here to listen to snippets and pre-order it now.

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???

I sooooooo remember this special arrangement of “Lift Every Voice and Sing” being released about 20 years ago.  I remember hearing all of the different vocalists, trying to pick out who was singing on each part, and thinking “THIS SONG ROCKS!”

We’re talking Melba Moore, Dionne Warwick, Stevie Wonder, Stephanie Mills, Karen Clark Sheard, Howard Hewitt, Jeffrey Osborne, BeBe & CeCe Winans, Anita Baker, Take 6, Bobby Brown, Gerald Albright… the vocals and music are well-produced.  Just great great great.

Anyway, I started humming it this week, randomly, and I thought “I wonder if people remember this?”

Do you???

I’ve been on a Take 6 kick this week– I’ve found myself revisiting a lot of their music, humming along and foolishly thinking that I’ve added that 7th harmony that should’ve been in there, as if they hadn’t already performed it PERFECTLY.

My mind got to thinking and I wondered why the gospel community has never really blasted them for venturing beyond the four walls of the church.  Then, I thought “maybe we don’t consider them to be a gospel group in the first place.”

Disclaimer: I don’t want Take 6 to be blasted, nor do I think they ought to be. I am of the belief that they are very much gospel artists, very much Christian, very much doing what God has called them to do… and they do it with excellence. I’m an avid supporter (actually, a drooling fan) of Take 6.

But I think it’s interesting– I have not seen us, the gospel industry, treat Take 6 the way we’ve treated other artists who express themselves in similar ways.

Picture it– a group releases its first album, a gospel one, in 1988.  Four gospel albums and two Christmas projects later, they slowly begin to dabble in some inspirational music before landing at a full jazz album in 2008.  You won’t ever really catch the group singing at churches; they play nightclubs and lounges (like the Blue Note in NYC or various clubs in Japan).

If this were ANYONE but Take 6, they’d be crucified in the gospel industry.

Singing in clubs?!  Mary Mary performed gospel music on a tour that used nightclubs for venues and the gospel community was completely up in arms.

Moving from gospel albums to jazz albums?!  Poor Kim Burrell, one of the naturally jazziest singers this industry has ever seen, mentions that she’s going to do a secular inspirational record and folks nearly broke this website’s comment section with “how could she turn her back on Jesus” and worse.

But, fortunately, I’ve not heard such criticism about Take 6, which leads me to wonder ”does the gospel community consider Take 6 to be a gospel group?”  Maybe folks aren’t mad because they don’t consider them gospel artists.

But why would THAT be?!

Is it because they’ve never been signed to a “gospel” label?  Is it because, for as gospel-themed as their lyrics are, their sound (a capella and jazzy) somehow places them in a separate genre altogether?  Is it because we consider them “cultured” gospel artists, who are merely venturing out into areas that the gospel wouldn’t otherwise be, so they get a pass?  Is it because no one else in gospel does what they do, so we’ve silently decided that the “rules” we’ve applied to other artists don’t apply to them?

Again, let me repeat– I do not think Take 6 should be crucified for where they go or what albums they put out.  But I’m also seriously curious to know (maybe, challenge) the gospel community’s reasoning on some of this stuff.

So, what do you think?

Do we consider Take 6 to be a “gospel” group?

If not, why not?  If so, why do some of our gospel artist rules not seem to apply to them?

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!