Immediately following the taping of the 25th Annual Stellar Awards, social networking sites were flooded with praises, lauding THIS show as the best Stellar Awards EVER.  And I agree.

I’ve attended numerous times and I’ve watched the show since I was kid growing up in Chicago– the performances on this show were innovative and you’ll be hard-pressed to find more memorable and captivating performances right now.

!!!SPOILER ALERT!!!

During the taping, I sent tweets via Twitter about who was on stage, but intentionally left off the songs that were being performed.  Here, I’m recapping the ENTIRE taping, so if you wanna leave anything to your imagination, don’t read any further.

If you wanna know the juicy details, do proceed…

As you probably know, the show was hosted by Donnie McClurkin, Vickie Winans and Kirk Franklin.  They did a great job, especially Vickie, who served as comic relief for much of the night.  There was no hype man between set changes this year, so we could’ve gotten really restless but for Vickie’s jokes about herself.

For the first time, the Stellar Awards featured a live house band, which was led by producer Percy Bady.  This made a WORLD of difference because the sound was tighter than ever, the performances came to life, and we weren’t bound by the restrictions of each artist’s performance track.  EXCELLENT decision.

If you follow my tweets, you know that I said that the theme for this year’s show would be COLLABORATIONS.  Almost all of the performances on the show are medleys between artists that have made significant contributions to gospel music over the past 25 years.  The others were performances from artists that left a great impression on the industry in the past year.

The show opened with a collabo between Ricky Dillard & New G and Hezekiah Walker & LFC.  If you love choirs, you’ll get a glimpse of Heaven within the first coupla minutes of the program!

Ricky Dillard & New G performed “Search Me” before transitioning into the classic vamp of “More Abundantly”… you know, the part where the sopranos, altos and tenors break down into parts, singing “JOYYYYY!”  During this time, the Love Fellowship Choir had joined them on stage, just in time for Bishop Hezekiah Walker to lead them in their hits “I Need You To Survive” and “Souled Out.”  It was electrifying.

The next performances came from the legendary Vanessa Bell Armstrong, performing her hit single “Good News.”  She looked incredible and sounded even better.

In a traditional female vocalist collaboration, we were super blessed to witness Lady Tramaine Hawkins sing “Changed” (it doesn’t matter how many years have passed– her voice DOES NOT CHANGE) before Dottie Peoples came on stage to sing “On Time God” like you wouldn’t believe.  As if that wasn’t enough, Pastor Shirley Caesar came to the stage to tell us about ol’ Shoutin’ John in “Hold My Mule”  Y’all remember that song?!  It was a classic performance.

The next collabo came from Richard Smallwood and Smokie Norful.  This was absolutely one of the best performances.  Fortunately, I had seen it during some rehearsals, because I could’ve missed the whole thing.  An usher at the Grand Ole Opry House used this time to SCREAM in my area, talkin’ about “are there any SEAT FILLERS over here?!”  Fortunately, my wife told her to “shhhhh!!!” and we still caught some of it.  Don’t mess with Janice Gaines, y’hear?

Picture it– Smallwood and Norful, both in tuxedos (with tails), each at a black grand piano, tickling the ivories like nobody’s business.  Richard Smallwood started by playing Smokie’s “I Need You Now,” then Smokie followed by playing Richard’s “Center Of My Joy.”  Smokie then played and sang “Dear God” (from his latest project) and Richard Smallwood capped the performance off with his classic anthem, “Total Praise.”

New Artist Of The Year Crystal Aikin came to the stage next with her hit single “I Desire More,” and left the entire room desiring more… I could’ve heard her on that vamp all day.  Her voice soars, effortlessly, and she’s got such control and sincerity… a true treasure.

Another stand-out performance came from our favorite bro & sis– BeBe & CeCe Winans, singing their latest single “Grace.”  They looked like a million bucks and they sounded like they never took a 15-year break.  They’re just pros who don’t miss a beat.

Up next was another classic performance– Kirk Franklin performed with his singers– new and old– a medley of his greatest hits, including “Silver & Gold,” “Why We Sing,” and a bunch of others I’m forgetting.  The best part of the performance was probably when Tamela Mann and Dalon Collins joined them to sing “Now Behold The Lamb.”  That auditorium went UP and IN.  CLASSIC!

Up next was the popular single “I Trust You” from James Fortune & FIYA.  They gave a great performance and reminded everyone why he had such great success at radio– it’s a singable anthem that encourages souls… great stuff.

The next performance is one that you’d BETTER watch for on the broadcast.  Don’t take bathroom breaks even remotely close to this segment.  I’m talking about the all-male vocalist collaboration between Donnie McClurkin, Byron Cage and Marvin Sapp.  There are hardly words to describe it.  The song list was great–  ”Never Would Have Made It,” “The Presence Of The Lord Is Here,” “Faithful To Believe,” “Marvelous” (by Walter Hawkins), and “Stand.”

Each of the three guys took turns singing on “Never Would Have Made It” and “Stand.”  By the end of their set, the ENTIRE room was on its feet worshipping.  They came back in on “Stand” and the taping had to take a break.  I’ve NEVER heard Byron Cage sing the way he did, Donnie’s range was limitless and powerful (as always) and Marvin Sapp was simply incredible.

At this point, Kirk came out and shared some of what’s been on his heart.  One thing that stood out was a quick phrase he gave– “IN ADVANCE.”  He shared that, as we sleep, as we doubt, while we’re not knowing what is going to happen, GOD has thoughtfully already worked everything out for us, in advance.  Our response to THAT should be that we praise Him, in advance.  It was a very powerful moment– I know I’m not typing it well enough to convey that, but… you’re gonna have to trust me.

The fire was kept burning by the next performance, which came from Israel Houghton and Mary Mary.  Israel performed via satellite from London, while Erica & Tina Campbell looked and sounded great on stage as they sang the Grammy-nominated “Every Prayer.”  I loved the concept of it and the execution.  Great job.

The finale of the show came sooner than I had prepared for– I guess I wanted to go until midnight or something– but when it came, it was great.

Donald Lawrence & The Co. (and you guys KNOW I love me some Co.!) sang “Back II Eden” with the Atlanta West Pentecostal Church Choir, winners of How Sweet The Sound (HSTS), behind them.  It was a great concept to include the choir because HSTS was such a great and popular part of the gospel industry this year.  And when Floyd Wilkinson came up to do his vamp… I’m sayin’… I could listen to that vamp 10 times in a row and never got tired of it.

What I think you WON’T see on camera is Vickie Winans clownin’… she won Female Vocalist Of The Year and the award was presented by Shirley Caesar, Dorothy Norwood and Albertina Walker.  When she won, she was so overwhelmed and blown away that she went to the podium and said to Albertina (who sat with an oxygen tank next to her), “girl, gimme some of this [oxygen].”  I NEED them to not edit that out! LOL

Also, you probably won’t see Tina Campbell with her gorgeous new lil’ baby, TJ.  She walked to her seat with him at one point, and the whole audience awww’ed and oooo’ed cuz it was just priceless.

Even without those moments, you’re gonna get all the rest… and that’ll be one of the best set of televised gospel performances you’ve ever witnessed.

I commend Don Jackson, Central City Productions, Barbara Wilson, and the entire Stellar Awards production crew for an incredible show– definitely my favorite over the past decade, and probably EVER.  Elegant, professional, classic… it was more than just a celebration of 25 years of the Stellars… it was a celebration of gospel music.  Perfect!

Soooooooooooo… sound good to anyone else?  Anyone attend and wanna chime in?  Did I miss anything???

In the gospel music industry, collaborations are BIG.  You wanna create a crazy buzz about your project before it hits the stores?  Tell folks you’ve got an exciting collabo on it.  You wanna kick up your television performance a notch?  Perform a collabo.

This year was a great year for collaborative work.  But I’ve decided to narrow the list down to my 5 favorite collabos.  In order, they are:

5.  “You Bring Out The Best In Me” - Vanessa Bell Armstrong feat. Rance Allen (from Vanessa Bell Armstrong’s The Experience)

When Vanessa Bell Armstrong decided to remake her own 80’s hit on her latest album, she prolly could’ve just done it herself and knocked it out of the ballpark.  But she’s a kind and gracious woman, apparently, because she gave us the gift of some classic Rance Allen moaning and groaning that took this live performance to a whole… ‘notha… level.  Their two voices grooving over some Donald Lawrence-produced background vocals– you kinda don’t want the track to end.

4.  “The Joy Of The Lord” - Coko feat. Israel Houghton (from Coko’s The Winner In Me)

Coko is a masterful collaborator in gospel.  It’s like she reads our minds and gives the mic to the VERY folks we’re aching to hear.  On her debut album, she featured everyone from Faith Evans to her mama (Lady Tibba).  This time around, she kept her mama, plus grabbed Kelly Price and Canton Jones.  My fave collabo on the album, though (and, thus, one of my faves of the entire year), was with Israel.  It’s a feel-good track with great vocal performances from both of ‘em… a true treat.

3.  “Available To You” - Melinda Watts feat. J Moss (from Melinda Watts’ People Get Ready)

After a much buzzed-about debut album, Melinda Watts entered the gospel scene with a project that had a little something for everyone.  Perhaps one of her strongest tracks was this duet with J Moss.  Kudos for taking a song that is performed too much at midnight musicals and making it fresh for us again, and double kudos for enlisting the vocal assistance (not that Melinda was at all in need) of one of the best male vocalists in the game.

2.  ”Every Prayer” - Israel Houghton feat. Mary Mary (from Israel Houghton’s The Power Of One)

When I saw that the Marys did a song with Israel, the last thing I thought I’d hear was a jazzy contemporary gospel track.  But they mastered the performance like the pros that they are and it quickly became one of my favorite songs on his album, if not of the entire year.  And there’s a GRAMMY nod to show for it.

1.  “Wait On The Lord” Donnie McClurkin feat. Karen Clark Sheard (from Donnie McClurkin’s We All Are One)

I hear that Karen Clark Sheard wasn’t actually the original choice for this song– it was gonna be Tramaine Hawkins.  That, too, would’ve been an incredible performance, but God does all things well and He knew that this duet was gonna dominate the charts and our iPods.  On this song, Donnie stays true to his strengths– his a classic vocalist who can render a soaring ballad like few others– while Karen gives, arguably, one of her greatest performances in years.

Which collabos were among YOUR faves this year???

The list of artists who will perform at the 25th Annual Stellar Awards has been released:

Mary Mary
Byron Cage
Dottie Peoples
Hezekiah Walker
Shirley Caesar
Ricky Dillard & New G
Tramaine Hawkins
Richard Smallwood
Crystal Aikin
Smokie Norful
Vanessa Bell Armstrong
Edwin Hawkins
BeBe & CeCe Winans
Jonathan Slocumb
Israel Houghton
James Fortune
Walter Hawkins

For some reason, the list doesn’t mention Donald Lawrence, but it was announced elsewhere that he will be performing with the Atlanta West Pentecostal Church Choir (winner of this year’s How Sweet The Sound competition).

Should be interesting performances– glad to see some new folks on the show, like James Fortune and Crystal Aikin, as well as some faves that don’t always perform, like Tramaine Hawkins and Hezekiah Walker.

At the fear of sounding redundant, I would love to see Kierra Sheard SOMEWHERE on SOMEBODY’S show… she’s nominated for several awards, including ARTIST OF THE YEAR, for cryin’ out loud.  She can’t get a performance slot?!

As an aside– it’s interesting that, despite the fact that so many indie artists proudly let us know that they “took the ballot by storm” this year, not one of them was given a performance opportunity…

What do you guys think of the line-up?

Gospel pioneer and legend Albertina Walker is celebrating her 80th birthday with two days full of events.

The Albertina Walker Scholarship Foundation is hosting an event in her honor tomorrow, August 29th at Chicago’s Hyatt Regency hotel.  Special guests will include Yolanda Adams, Tramaine Hawkins, The Caravans and more.

Then, on Monday, August 31st, a second celebration concert is scheduled in her honor, featuring Shirley Caesar, Donnie McClurkin, the Clark Sisters, Ricky Dillard & New G and MORE.

WHAT?!  *goin’ to Travelocity to find a last minute fare to Chicago*

That’s an awesome celebration.  Happy BDay to the Queen of Gospel!

For more info, go to http://www.AlbertinaWalker.com!

OH MY WORD.  I was a KID when Tramaine Hawkins’ Live album was released in 1990.  But when it came out, I immediately memorized every lick, every riff, every line of it and have been a fan ever since.  In fact, I was introduced to Walter Hawkins’ music by way of THIS album (backwards, I know, but it’s the truth).  It may be one of my favorite live albums in the market.

On the album, she performs “Changed” as part of a medley among other classic Hawkins cuts.  This performance is SOOOO incredible to me.  We have RARELY seen someone clobber a song like this.  I wish I coulda BEEN there… sometimes makes me wonder if I was born in the right generation.

Watch and lemme know what you think:

Walter Hawkins’ “Thank You” is my favorite gospel song ever, and I think I’ve made that abundantly clear by now.

Several artists have re-made it, either on albums or at midnight musicals and what not, but there is nothing like the original recording, led by Yvette Flunder.  NOTHING like it.

These clips are split in two parts– featuring Yvette on lead, followed by a reprise with Walter Hawkins, then the late James Moore, then Tramaine Hawkins, followed by the late Frank Williams, and finally, the late Thomas Whitfield. MAAAN! We’re not DOING gospel like this anymore!

Okay, people.  Here’s the culmination of my chat with our vocalist extraordinaire, Melonie Daniels.  If you missed Parts ONE and TWO, click here to catch up on what she’s had to say so far!

In this segment, Melonie shares a bunch of info about her vocal routine, what it takes to be a great background vocalist, her work at NYC’s Village Undergound, her transition from background to foreground as a solo artist, and what’s next for her.  You don’t wanna miss it!

Ladies and gents, enjoy PART THREE:

*     *     *

EJ:  How do you prepare for a studio session?  Like, how much rest do you get, what foods do you avoid, and all that?

MD:  Well, that’s a biological thing and it’s an individual situation.  There are those of us that are lactose intolerant, or allergic to citric acid, or whatever.  You have to know what your body is capable of handling, what your allergies are…

EJ:  And you don’t mean “allergies” like if you eat it, you have to go to the hospital, right?  You just mean “allergies” in the sense that your body responds negatively in some way?

MD:  Right.  It’s not a blanket thing.  I love the teachings of Lady Tramaine Hawkins, but her routine may not work across the board for everybody.

EJ:  What does she do?

MD:  She’s very protective of her voice.  Wherever she ministers, she has to shut down the air in the entire place, she stays wrapped up.  She can’t handle air conditioning.  And there are several singers that do that.  For me, I’m like “turn down the heat, turn up the COLD.”

EJ:  Really?!

MD:  I chew ice.  I don’t have a problem with dairy products, but I can’t do orange juice because I’m allergic.  So it really is dependent on the individual and knowing what your body can handle.

EJ:  Know your instrument, people!

MD:  Yeah, you have to really study yourself.

EJ:  That’s funny cuz some people take themselves so seriously based on what they’ve heard… like “no, no… I can’t do dairy right now because we’re singing later,” when that may not even affect them in the same way.

MD:  Right.  When I’m ministering and they ask me if I want water, I’m like “yes, ICE COLD.”

EJ:  Are you for real?

MD:  *laughing*  Yeah!  I’m like “you got some ICE?  Crack me up some ice!”  But that’s just me.

EJ:  *laughing* What does it take to be a great background vocalist?

MD:  Be teachable.  Be very studious.  And be quick about it.  Have good intonation, memorization, good pitch… Ear training has a lot to do with it because you have to pick up stuff so quickly sometimes.  And you don’t get a second chance a lot of times.  Rehearsal is the only place where you can fool up and get away with it, but when it comes to performance, you’ve gotta nail it.

And that’s why a lot of background singers are losing jobs– because a lot of people now are keeping Pro Tools nearby and aren’t using background singers.  You’ll never sound like what they have on the record because artists will either hire session singers that don’t travel, or they’ll do the vocals themselves.  So, there’s no way to sound just like that.

Most of my life, I’ve done live stuff.  I don’t sound exactly like the record, but I try to come as close to it as possible– to do the same inflection, the same words, and the same tone quality, if possible.  I have the advantage of being like a mimic, especially from growing up and watching cartoons, because I could mimic the characters’ voices.

EJ:  So, watch your cartoons, folks! *laughing*

MD:  That was my thing.  And even people’s speaking voices.  You have to study those things in order to be effective as a background singer.  And that’s why people keep getting called– they can give the singer certain nuances, they can give the artist something familiar.  You may have a great voice, but if you’re not able to conform VOCALLY to what someone requires of you for that moment…

That’s the hardest part of background singing for a lot of people– conforming vocally.  You have to, though.  They called me at the last minute to do something with Ricky Martin 8 or 9 years ago.  That next morning, I was on a flight and I had to learn five or six songs, three of which were in Spanish.  I took French.

EJ:  *laughing*

MD:  *laughing*  So, I had to take a crash-course in learning how to phonetically pronounce the Spanish lyrics.  And then, you know how some Spanish artists have the mariachi-type, nasal sound?  I had to adapt to that as well.  So, you have to be a chameleon of sorts as a background singer.

You know, the Bible says don’t conform to the world, but be transformed by the renewing of your mind… that’s the only place I conform! *laughs*

EJ:  *laughing*  Right!  I ask most of the background vocalists this when I interview them– can you assemble a dream team of background vocalists for me?

MD:  Ummm… Jerard and Jovaun Woods.  Blanche McAllister-Dykes… ummm… well, that’s a soprano, alto and tenor right there!

EJ:  Aaaaaand you’re DONE! *laughing*

MD:  See, that would be a great session.  Working with people like Donald Lawrence and Richard Smallwood, even with Mariah… I’ve had the opportunity to sing, coast-to-coast, with some great voices.  There’s a girl named Sharlotte Gibson, she’s on American Idol now singing background.  She used to sing with Mariah and she’s incredible, one of the L.A. crew.  Umm… the late Olivia McClurkin was a wonderful person to sing with.

EJ:  I know.

MD:  Oh my God.  Incredible voice.

EJ:  For real!  I miss her.  You know, in these interviews, I like to ask about how lucrative session work can be.  Do background vocalists need a day job or can they be alright?

MD:  They can be alright if they have a certain work ethic.  There’s no job too small, no job too big.  Pride goes out the window.  It can range from doing a demo session for somebody and getting $250 to do it, all the way to doing a performance and getting paid $5,000 to do background with Madonna.

EJ:  For one show?!

MD:  For one show.  It can be very lucrative.

EJ:  Am I on the wrong side of this business?! *laughs*

MD:  *laughing* That’s why I’m sayin’… If Sting, Elton John, Madonna and Cher… if any one of them wanna call me to put me on the road and I get $5,000 a show, guess who’s goin’?

EJ:  *laughing hard*

MD:  Me and my Bible!  *laughing*  But, like I said, there are certain criteria that have to be met before I can do that.

EJ:  Right.  No matter how much.

MD:  Yeah, no matter how much.  I’ve been offered hundreds of thousands of dollars and said “no,” because it didn’t feel right.  It didn’t sound right to my spirit to accept it.

EJ:  I understand that.  I wanna get to your solo artistry in a sec, but talk to me for a minute about the Village Underground in NYC on Sunday nights.  For those who’ve never heard about it, how would you describe what it is?

MD:  Basically, it’s an open mic– anyone that wants to come up and sing can sign the list and sing, accompanied by the band LIVE… no performance tracks.  And it’s just somewhere to let your hair down and enjoy music without being threatened by what you believe or don’t believe.

There was a time that we did, one Sunday a month, a gospel night.  But because we were in what people call a “secular” place (a bar), the owners complained because they were losing money. *laughs*

But there’s a responsibility involved in invoking the presence of God.  We were literally changing the atmosphere.  And they said they were losing money at the bar because we were singing gospel music.  We were forced to discontinue the gospel night, but that doesn’t mean we’ve stopped singing gospel music.  At any time, in that venue, someone may come up and sing a gospel song.  If it’s true to that individual, spirit recognizes spirit, and whoever’s in there will hook into it and we will have a worship moment in there that’s better than what you can find at some churches.

EJ:  Why do you think it’s become so popular?  It’s even been featured on Bobby Jones Next Generation as the place to be in New York.

MD:  It is an outlet for people, especially in this new generation, to be “in the world, but not of the world.”  Because you can be in a place, and not be a part of what’s going on in the place.  But that comes with a level of maturity in your walk with Christ.

I’ve heard people emphatically say “I will NOT” or ”I cannot be caught in a place like that.”  Those were the words that were used.

EJ:  Really?

MD:  Yes.  But on the flip side, Martha Munizzi comes down, Israel comes down, Lisa McClendon has called me to get information, Shari Addison and Crystal Aikin were there a month or so ago.

EJ:  Yeah, I haven’t been in years, but it’s great.  My wife and I are coming soon!

Listen, I wanna chat about your transition from background vocalist to artist.  First, is it hard to do and, if so, why?

MD:  Ummm… a lot of times, it’s an insecurity issue… not feeling adequate to deliver.  Comfort zones– you feel safe in a group, in the back.  I’m speaking all from personal experience.  Not feeling like you have anything to convey to the general audience…

But mostly, it boils down to insecurity.  Everyone has a purpose because God put us here with purpose.  It’s up to the individual, in their walk, to recognize the purpose that God has placed in them and to walk in that purpose.  And that can be difficult.

EJ:  Amen.  But you went for it… a coupla years ago you released your long-awaited solo project.  Talk to me about your album, Live In Concert.

MD:  It started as a conversation with my pastors.  And the church invested in me.  And September of 2006 was the result of that investment– we recorded a CD.  They just sowed into my life.

EJ:  That’s great.

MD:  Yeah, so that’s how the record got done.

EJ:  Who wrote and produced it?

MD:  Stanley Brown produced the music with Nathaniel Townsend III, the drummer.  I got to handpick everyone.

EJ:  How do you describe your style of gospel music?

MD:  The CD’s style is as eclectic as I am.  You can hear “Glory After This,” which is straight churchy, or “My King,” with intricate harmonies and chord structure, kinda gospel-jazz.  I’ve got a song on there called “Kingdom I,” which has a neo-soul kind of vibe.

EJ:  You workin’ on another album?

MD:  Umm… still planning stuff out.  Not actively working on it yet, but just thinking.  There are so many different directions I could go in, because of my musical influences.  I would love to do a “big band” gospel CD… I would love to do a neo-soul set, unplugged… I would love to do alternative-sounding stuff, because I’m a student of music, not just gospel music.  To me, all music is God’s music, honestly.

So, I have so many ideas that I have to narrow them down to get at least the NEXT project out.

EJ:  I was gonna say “we will take all of the above, thank you!”

MD:  *laughing*  That’s enough material for three more projects.  I would even love to do a CD of love songs for gospel folks who are uncomfortable buying Luther [Vandross], or Joe or Anita Baker… or Jill Scott.

But, then again, you have to contend with the critics who say that it doesn’t glorify God…

EJ:  Ewww… well, please contend!  I think that would be great.  Either way, I’m looking forward to it.

MD:  We’ll see.

EJ:  Well, that’s it for me.  I have REALLY enjoyed chatting with you and I appreciate you for taking the time to do this interview.

MD:  Thank you!

EJ:  No doubt.  I’ll talk to you soon.

MD:  Okay, bye.

*     *     *

And, that’s THAT!  You can learn more about Melonie (and buy her bangin’ album) at her website, http://www.meloniedaniels.com/.

Sooooo… what did you guys think of the interview series???

Oh, and as a parting gift, here’s the Melonie clip for this segment.  It’s an audio clip of a KILLER track from her solo album, entitled “Glory After This”:

If you’ve never heard this song (and even if you have, maybe), you’re gonna wanna stop EVERYTHING and pay special attention to it.

Ever since Handel’s Messiah:  A Soulful Celebration came out in 1992, this Mervyn Warryn arrangement of “And He Shall Purify,” led by Tramaine Hawkins, catapulted itself to one of my favorite performances. Like, EVER.  Pay attention to her vocal and, also, to some of the most incredible background vocals you’ll find on record.

This track is just kinda… perfect to me.

Thoughts???

Who watched it?  I LOVED it… like, practically every single moment of it.

Mary Mary opened the show performing their lastest single, “God In Me.”  They looked great and the audience was bouncin’ like they had come STRAIGHT from the club.  Then, Kierra Sheard came out and blaaaazed on the bridge.  She, also, looked amazing.  Good job, ladies!  I did NOT care for the “contestant remix” of the song, but it’s whateva.  They’re the reason for the show, so I don’t mind the inclusion.

10 of the 20 contestants performed last night and here’s my review of each, in order, along with the songs they sang.

1.  Tammy Turner - “Look At Me”:  I think Erica Campbell said it best– it’s a classic and you’ve gotta be careful to stick close to the melody on classics.  First of all, the original was done perfectly by Tramaine Hawkins.  Then, Coko brought her own flair and demolished it on her debut album a coupla years ago.  Both are soooooaaaaaaring sopranos and Tammy Turner appears to be an alto, so the key was… way different.  But she went first (which is hard), and she still sounded great, so good job!

2.  Clifton Ross III - “Now Behold The Lamb”: What?! YES!!!  An instant favorite.  He chose a great song, TORE IT TO PIECES like a pro, was gracious and humble throughout.  We like you, Clifton.  You’re among my faves, no question.

3.  Camille Betton - “Just A Closer Walk With Thee”:  She looked like a GAZILLION bucks, but I was not a fan of the song or the arrangement.  It didn’t go where I wanted it to, so she never really broke out and GAVE it to us.  But, she’s a good singer and I like her.

4.  Jeff Spain - ”Seasons”:  The judges loved him, but I keep thinking that he borders on forgettable.  It’s not that he doesn’t have a nice voice, he certainly DOES… it’s just that he’s kinda reserved and laidback, so the “artist” element isn’t really there for me.  I think he mentioned that he recently came to Christ, which implies that he may not know what a typical “gospel audience” expects… perhaps he’ll learn as the show goes, though.  Or perhaps we should change our expectations…

5.  Jessica Reedy - “Just A Prayer Away”:  Another ABSOLUTE fave of mine– I have LOVED her voice and her passion since the auditions.  Tina Campbell said it well: “Powerful but light.”  She reminds me A LOT of Jazmine Sullivan (maybe it’s the look, maybe it’s the voice)… I want her album NOW.

6.  Jonathan Johnson - “God Will Make A Way”:  It was a bit disconcerting for me, and I dunno why.  I just didn’t know what to look at, listen to, or think.  He’s a nice guy and I think he wants this.  He’s got a nice voice, albeit very mature considering his age, and he’s kinda got the look… I just dunno.

7.  Latice Crawford - “Peace Be Still”:  When she came out, I said “you’re not gonna try THAT…”  But she did more than try.  She DID the doggone thing!  The song was a great choice cuz her timbre is reminiscent of Vanessa Bell Armstrong.  She doesn’t execute her riffs as well as Vanessa, but FEW do, so that can’t be a dealbreaker for her… I think she was great.

8.  Kalind Haynes - “Center Of My Joy”:  He’s got a smooth and passionate voice and a lovable personality to boot.  He’s an all-around “nice” contestant to me– nice voice, nice guy, nice look… I kinda want someone more edgy, but he’s undeniably a great vocalist and someone who brings his heart for Christ to the forefront when he performs.  Sidenote: Kirk Franklin is stooooopid for bringing out a box to stand on because Kalind is so much taller than him.

9.  Audrey Lewis - “He Looked Beyond My Faults”: I just think the world of this woman!  Another fave of mine.  She’s ministers on stage like a seasoned pro and I feel like she’s already a part of the fabric of the industry.  We’re gon’ put her right next to Dottie and ‘em.  Go’n and take your place, mother!  (And how much do we love the nickname, Mama Lew?!)

10.  Zebulon Ellis - “God Is Standing By”:  He’s a nice guy, with a nice voice and tons of energy, but I wasn’t as excited as the judges were.  I thought the song choice was kinda weird, and I just kinda couldn’t get with it.  I wanna hear him sing somethin’ else, though, cuz I think he’s got a good voice.

My predictions for the 5 that would proceed to the next round were: Clifton, Jessica, Latice, Kalind and Audrey.  HOW-SO-EVUH… the show pulled a fast one on us and decided that NO ONE was going home, EVERYONE was stickin’ around.

How sweet. 

Note to BET:  We’re not so fond of talent competitions that don’t really have… the COMPETITION part in there.  I felt like I watched one big concert, which you KNOW I don’t mind anyhow, but don’t prolong the inevitable… And the whole “everyone was just toooooo good for the judges to make a decision” thing…

I don’t wanna crush anyone’s dreams and, at the end of the day, it’s not a big deal at all– it just means more episodes for us.  But I’ll tell you WHAT… I’ma need 5 folks on a plane come next Sunday.

Having said all of that, MAJOR KUDOS to BET and the Sunday Best producers– y’all are doing a DYNAMITE job.  I’m really loving it!

Is it just me, or does Tramaine Hawkins’ voice NEVER age?