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If I remember rightly, this is the first gangsta rap album that I've ever had to review. It's the type of thing that you'd expect from the likes of Coolio, and starts of well with the cry 'Bring the Praiz'. A-1 Swift are Chris & Alisha Tyler who rap out their message with only the most basic backing. This, however, does not make a thin sounding album. At it's best, there's a great song about spiritual warfare. Never mind just using the spirit's sword, when the horned guy starts messing, get down on your knees and 'Drop Da Bomb'. They take it in turns to sing/rap and Alisha's voice comes over well on the more melodic 'Don't Cry'. The strangest track is the one called 'Praiz God'. It sounds like Shaggy, and he keeps calling out for someone called Chris Barber, although the printed lyrics don't mention him! Are you ready for this? I'm not sure. 6/10. (January 1997)
I've got to be honest here, the first time I played this, I couldn't wait for it to end. I didn't like it. But, a couple of days later, I gave it another chance and one or two songs seemed quite catchy. Since then, I've come to really appreciate this father and son duo from America. Sounding, at times, like Hall & Oates or Michael Bolton, the songs are very big on production. The powerful vocals of both men carry each song to it's full potential, of which the ballads shine out. 'After the Rain' is one such number while 'Beyond' is a classy piece of music. If it's singalong time you want, then there's plenty of that too. What a good way to start your day. 9/10. (July 1996, Album of the Month)
I think that this is the first jazz album that I've ever had to review, and it was very difficult too! Only the title track contains lyrics, so it's ears tuned to Abraham's slappin' bass for inspiration. He has, apparently, played with all sorts of top artists' recordings but wanted his own album to sound live. Many of the tracks laid down were in one take and, at times, it sounds just like a bunch of musicians jamming together. 'Wassup' is quite a happy little number, and 'Exchange' follows up in similar vain. However, by track seven the sound was getting just a little monotonous and, towards the end, I was getting really fed up of each track. Abraham's son gets his own drum solo on 'Beebop Drive' while there is no denying that Justo Almario's sax break gives 'Another Day' something special. I guess, given my lack of jazz knowledge, that this may be quite an album but, for your average Joe it's nothing more than, average. 5/10 (June 1997)
With all due respect to Hillsongs Australia, I'm really pleased to be able to say that, finally, we've got a British release that to rival such great praise and worship music. From the church, that is, The Abundant Life Centre, comes this 12 track release with songs all written by worship pastor Lara Martin. The record begins in true Hillsongs tradition with the triumphant sounding "God Will Build This House". That's closely followed by another uplifting track, in the shape of Higher". Not sure who sings on the individual songs but the female on the slower "Your Grace Covers Me" has a voice like Olivia Newton John. "I Will Follow Jesus" gets a bit repetitive towards the end and tends to lose itself in it's own importance, but this is a minor blemish on a truly marvellous album. Great things have been happening at this church for three years of so, and this worship release is another great testimony to the ministry as a whole. Talented songwriting, excellent musicians, and well worth your time. 9/10. (February 2001)
For their third major release, The Abundant Life Centre in Bradford gathered, once more, to record an album that matches anything that Hillsongs Australia has put out before them. Not that I'm trying to say that there's a contest going on here, just that this album proves beyond any doubt that there are some great praise and worship movements here in the UK. With songs written primarily by Lara Martin, vocalists Betahn Stevens, Yolande McKenzie, Alex Crossley and Helen Kempster are joined by the Abundant Life Choir to raise the roof and lift up their hearts to God. From the powerful "I Live to Worship" to the gentle "More of You", there's a real sense of god's presence resonating through song. Loved the string sounds on "The Voice of Hope", which just gave a wonderful song that something extra. The female vocal on "How Amazing" is just that! It leads the whole congregation into full bloodied praise. With jonathan James andBethan Stevens chipping in with the song writing credits too, there's certainly some gifted people sharing the good news from Bradford. 9/10. (April 2003)
One of the biggest and most thriving churches in the north of England must be the Abundant life Centre in Bradford. The previous releases from their live gatherings have been of the finest quality and have shown that British praise and worship is alive and well. Lara Martin contributes quite a lot of her songs and she has become an accomplished singer over the last couple of years. However, it's Johnathan James's "Everybody" that starts things off here, with an exciting new song that sets the tone. On the other hand, Lara's "I Trust in You" is one of the poorest I've heard from her. The song sounds very laboured and runs out of gas too early. Songs such as "You Are There" and "As For Me/I Have Decided" show the togetherness of the congregation in full flight, yet "Delight in You" chugs along without any real conviction. "On Earth as in Heaven" is a good song that flows well, and "Peace" is a beautiful song that has a real punch. A little patchy in parts but nonetheless, well recommended. 7/10 (August 2004)
Let me say, straight away, that this album got played over and over again for review purposes. Couldn't quite put my finger on it, but there was something very refreshing about this band from the moment "Remedy" opened proceeding. It's acoustic rock, in a sort of REM style, that reminds you of things like "Losing My Religion" and "Stand" John Waller's vocals aren't quite as distinctive as Michael Stipe, but his individual flair is just as infectious. The songs are well written and there's solid, bible messages throughout. "Blue Sedans" tell of the hope the band have as followers of Christ, and "Rock" affirms that they all put their trust in THE rock. Yes, they slow things down a bit with "Nothing Back" and "Everlasting", but it's the rockers that will really make you sit up and take note. 9/10. (April 1999)
I enjoyed listening to this CD, it's a straight forward no nonsense rock album. I'm told by my son that it sounds a bit like Busted, which is not a nice thing to say about any band, I know, but it is that kind of music, perhaps a bit more restrained, and also, of course, with something worthwhile to sing about. I thought that the singer sounded a bit like Justin Curry (Del Amitri) for some reason, which is odd because this band is American, not Scottish. The only really daft thing about this CD is that the promo version only contains half of the tracks from the final release version, which seems a bit bizarre. So this is only a review of half an album. If I assume that the rest of the CD is as good as the six tracks here then I can recommend it, but unfortunately I have no way of knowing for certain what the other six tracks are like. So far, then…9/10 Andy Sayner. (February 2004)
Regular reader's will, no doubt, remember Part one of this musical epic being reviewed just before Christmas. With this relase, Snell continues the story of the Jewish people's story. 'The Cry' is a haunting number which begins wit crashes of thunder before Adrian literally does cry out, rather than sing, the words. Despite having most of Iona providing the backing, this album fails to lift many of the offerings above mediocrity. On track 5, he recites a 12th century poem over some very bland music. My only thought here was "could it ge much worse?". Thankfully, there are a couple of highlights, such as 'City of Peace' - the song, but this CD is poor. 3/10. (May 1996)
This is a very difficult album to review in a short space. I mean, I could wax lyrical for days on how important it was when it was released in 1977 and how fabulous it sounded then against a very bland CCM landscape. It still sounds as good as it did then (except that my CD copy doesn't click, hiss & jump) - so, assuming you liked it then, you're going to like this now. Or maybe even more: the bonus tracks are very good (the demo of "Back to the Light" revealing some very Wakeman-esque synth work and "Dreamaway" being every bit as good as I remember it) and the transfer to CD is very well done. If it all sounds very dated then that's because it's a product of it's time: 1977 was the cusp of the transition from prog rock to new wave and it shows. But it's still a wonderful album - I can't wait for the re-releases of the others... If you were into it then, buy it again. If you missed it but were ever into Gabriel-era Genesis or Wakeman-era Yes, give it a go. Otherwise, buy a copy for your organist for Pete Banks' wonderful Hammond playing. 10/10 (1977) 9/10 (2004). Paul Ganney. (January 2005, February 2005)
Alathea are three East Tenenessee women determined to engage their faith in a fresh way through authentic Appalachian roots music. On listening, I instantly compared some of the music to that of the Dixie Chicks, but further plays has swayed those thoughts more towards Nickel Creek. Why? Well, it's that light country sound that has a little rock mixed in it, as well as some folky traits. "Indian Creek" falls straight into this mould, as does "O Love….", complete with it's great fiddle playing and harmonies. It's not often that I call a song "pretty", but that's all I could describe "Emmanuel" as it depicts the birth of Christ. Want a radio friendly hit? Look no further than the infectious "Runaway Heart" - foot tappin' chorus and all. The album's got an enjoyable, calming feel throughout and the girls' vocals compare favourablywith any mainstream equivalent. Thoughts are put carefully into lyrics, and never more so than "Always". "May joy come in the morning, may the sparrow sing of it all day, May peace float down like an autumn leaf, and gather in piles for children to play". Let's welcome Alathea to the UK. 10/10. (July 2003, Album of the Month)
This album is a collection of classic hymns, sung in four-part harmony by quartets consisting of the some of the best Southern Gospel singers. Artists like Greater Vision, Gold City, Mike Bowling, and the Hoskins Family flex their vocal talents and show off some polished performances. Not that this is usually my sort of thing, but I found the songs all very relaxing and pleasant. "Holy Manna" is typical old fashioned gospel in sound, but "Surrender All" is a little more modern. Some of the songs reminded me of Radio 2's Sing Something Simple programme, with the male harmonies reminding me of Sunday nights in front of the fire as a kid. "Amazing Grace", "Precious Memories" and "Power in the Blood" are just three more of the tracks featured on this very acceptable compilation. 7/10. (June 2002)
If any of the US bands are good enough to make the secular music industry sit up and take note, then All Star United would rank closely after DC Talk. Following the huge success of their debut album, these 5 guys have produced a new release that doesn't just copy their previous formula, but adds so much more. First, there's the explosive "Welcome To Our Big Rock Show" and "Popular Americans", showing the bonus of adding a brass section to the sound. Then, it's the brilliant title track that has everything a hit song should have. Catchy chorus, guitar hooks, and an overall 'feel good' factor of 10. My favourite piece is track 5 called "If We Were Lovers", anopther classic with just a cutting edge that will appeal to British radio, given the chance. You could really say smoething good about all the tracks but if I could just point you to "Theme From Summer". Play it all year, never mind the summer, and listen out for those hidden tracks at the end of the album. 10/10. (March 1999, Album of the Month)
Just one week after I had been asked to talk on 'Praise & Worship beyond Kendrick' (no offence), this CD landed on my doormat. Divine retribution? I think not. I will still hold up my hand, admit to buying the "Let the Flame Burn Brighter" single and acknowledge Graham Kendrick for his contribution to CCM. It's almost with sadness then that I try and pick out the high points of this mediocre album. It's not that the orchestral sounds detract from the usual, simple but effective, backing but the spark just isn't there. The man himself features occasionally and is at his best on the opening "Teach Me To Dance". Other well known favourites include "Is Anyone Thirsty"? and "In the Tomb So Cold", but neither Joanna Hughes or Brindley Sherratt liven proceedings. "Inspired vocal performances, and moments of sheer enthusiasm and foot-tapping enjoyment", so reads the inlay card. It's there word against mine but then, isn't every review? 4/10. (March 1997)
One of the top US acts to make an impact in the UK over the last few years has been All Star United. They've played many festivals and have gained a hard core army of fans. "Kings And Queens" begins proceedings, and in a very attacking sort of way. "We Are the Future" is more like the Britpop sound we've come to know and love from the guys, while the acoustic led "Made In Heaven" is just great. "We can spend the rest of our lives in Heaven". That's part of the chorus and, this song really does make you believe it. The press release says that the mix was done in conjuction with Mark Freegard (of Manic Street Preachers and Del Amitri fame) but there's enough of the bands own skills to raise them above being labelled as just "another band". Two and a half years in the writing, "Revolution" brings new classics like "Sweet Jesus" and the energetic "Weirdo", as well as the swaying worship of "Making It Beautiful". 8/10 and growing with each play. (March 2002)
ATS say that as they come from diverse backgrounds, they've never felt the need to hone-in on one specific style. Hearing them for the first time, I can confirm that, that seems to run true. "I Won't Slow Down" is blues/funk, while "You're the One" is a dose of pure acoustic pop. "We Know" is a strong cut and is guitar led, while "Bring it On" sounded like Jamariqui. Then, there's a couple of heavier rock tracks that aren't so hot. Dex Alexander's vocals have much to admire, and the instrumental skills of the rest of the band are pretty competent. Their debut album gave them their first number one radio hit in 1999 and this follow up may well see a few more hits to their credit. If you want something new, this is worth a listen. 8/10. (October 2002)
World-wide ministry is nothing new to Alvin Slaughter. He's been there, done it, and got the t-shirt. He's a big man, with a big heart, and a huge love for God. Through his ministry, he has blessed countless thousands, and that's a credit to his own faith. For me, he can be the world's greatest smoothy, as on the opening "Love Is" and the powerful "I Believe". Here, he sounds like George Benson and gives great depth to each song. Then, on "Ain't No Rock", he slips into MC Hammer mode and doesn't really do himself justice. It basically just doesn't work, and this is duplicated on the hip-hop sound of "Power". Stick to the gospel ballads Alvin, is my advice. There again, which one of us has sold millions of records? 6/10. (August 2003)
Amy's career, to date, spans 18 years, 5 Grammy awards, and more than 20 million album sales. Not bad eh? This new release is a collection of the most vulnerable musical thoughts from a woman who taken an unflinching emotional inventory of herself, telling the truth about the most reflective season in her life. Amy co-writes a lot of the songs with her long time friend,, Wayne Kirkpatrick, and they are the strongest on offer. "Nobody Home" is a good, foot tappin' opener, and "Turn This World Around" is pure pop of the highest quality. Ballads come in the shape of "Cry A River" and "Missing You", were Amy lays her thoughts, on loss and longing, bare. In musical style, I don't think that this will shock her army of devoted fans. It's a continuation of her popular characteristic work but, as she says, the words thought provoking, and sometimes show pain, truth, and ultimately hope. 9/10. (October 1997)
I remember receiving Michael W Smith's Christmas album last year and thinking, "surely he wouldn't stoop so low as to release a typical American yuletide offering". Sadly, he did. Now, Amy Grant does the same with her brand new release that was recorded during the summer. Listening, itb makes me cringe as songs like "Christmas Can't Be Very Far Away" and "Mister Santa" conjur up sad pictures of 70's TV specials, complete with lots of snow and sweet little kiddies sat around the tree. Chris Eaton shares the writing credits on a couple of songs and the opening title track is quite good. I think it says something about the whole album when the best track is an instrumental. "Highland Cathedral" is real quality and shines like a diamond in this collection of everything that is bad about Christmas albums. 1/10. (December 1999)
For her 17th album, Amy Grant reflects on her heritage and unceasing heart of worship, to produce this collection of songs produced by Brown Bannister and, husband, Vince Gill. To date, she has sold more than 22million albums world wide - a true testament of her faith and popularity. Now, she takes classic hymns and 5 new songs on her first studio album for four years. "This is My Father's World" begins the track listing and although not a new or innovative sound, it's simplicity is, I believe, it's strength. There's a celtic feel about "My Jesus I Love Thee", and "What You Already Own" is Amy at her best. There's a nice harmonica and acoustic guitar break on "Do You Remember the Time" that, along with Amy's vocals, make for one of the best arrangements I've heard for some time. Not so sure about the bagpipes on "Marching to Zion", nor the gospel tinged "I Need Every Hour" but, this proves that Amy Grant is still a force to be reckoned with. 7/10. (August 2002)
The thing about Amy Grant is that she's a victim of her own success. After selling over 22million records world wide, how does she "follow that"? Three years in the making, this brand new studio album focuses on herself who, like us all, has struggled with life choices, and is amazed by newfound mercy and healing. That's all very well, but do the songs reflect this successfully? Well, in a word "No". I've even played the album more than I usually do for a review, in trying to squeeze some more credibility from it, but it just doesn't happen. The songs are nothing new, although I did think that "Eye to Eye" improved with play. Amy experiements with a few vocal effects over the course of the album and, perhaps, the title track is the only successful result. Of the others, "I Don't Know Why" is pleasant enough, but it's nothing more than average in the world of CCM. I've plenty of Amy Grant records in my collection, but I can't see this one getting re-played too often. 4/10. (December 2003)
After many long years of album silence, one of Christiandom's finest gospel musicians has returned to fore with a Christmas release. Sadly, it didn't reach NFN Towers in time for the December issue but, that's no reason to ignore it. Mind you, there were times during my listening, when I wished I could ignore it! The opening rendition of "Oh Come All Ye Faithful", with Yolanda Adams, is one of the most painful experiences I have come across. It gets worse on track 2 with a "Christmas Medley" that includes a children's choir who almost murder "Jingle Bells". Thankfully, however, there is light and Andrae redeems himself with a lovely new song entitled "Take Me To Jesus". Gospel, rap, calypso, it's all there and makes for a really good song. The incredible Chaka Khan appears on "This Christmas", and other notable mentions must go to the "Angels Medley" and "Away in a Manger". Hats off for not just making one of those 'ready made' Christmas albums, but please concentrate on your own songs - they work the best. 6/10. (January 2001)
Andrew is an accomplished composer, producer and keyboard player, and has worked with the likes of Joe king and Simon Goodall. "Messiah's Dawn" is a musical that was premiered in Leeds in 1999 - this album followed. It tells the story of Christmas through instrumentals, songs, and choral pieces, and it's this diversity which makes this limited budget recording so compelling. It's difficult to pick out tracks that rise above the others but the tone and standard is set from the opening "Prelude". Instrumentals like "The Journey" show competent arrangements, while "Shout for Joy" even has a litte Spanish feel about it. I think thatAndrew has captured the essence of the Christmas story very well and, while others may identify the likes of Roger Jones as a musical writer, Mr Cleaton certainly has a bright future. 7/10. (December 2003)
Here's one that fans of the likes of Paul Simon will enjoy. It's this singer songwriter's clever way of weaving his lyrics into very listenable songs. Born in Florida, but now residing in Nashville, Andrew Peterson plays around 150 concerts a year, and most of these songs were written whilst travelling. He's opened concerts for artists such as Fernando Ortega and Caedmon's Call and admits to learning a lot about the art of songwriting from his time with them. I first heard him around a year ago when I received a copy of his beautiful single "Rise And Shine" and, so, was ready to hear more. The first song to impress me was the bouncy "Isn't It Love", while the enigmatic "Mary Picked the Roses" (a Rich Mullins composition) needed a few listens before I was able to understand it clearly. There's some great Hammond organ sounds on "Steady As She Goes" and some hammered dulcimer on "Song And Dance". It's not an album that actually excites me but I do find it very enjoyable and fresh in sound. 8/10. (April 2002)
Andrew Peterson started writing the songs on this album 5 years ago. But, for one reason or another, they've only just appeared as a collection. He says that it's an album that "tells a story". Indeed, it tells of the coming of God into the world, and the opening track depicts the birth of Jesus. "Gather Round, Ye Children Come" is a great song and should be a Christmas classic in my humble opinion. "Deliver Us" is a duet with Derek Webb, while Andrew's other collaboration sees him team up with Jill Phillips for the wonderful song "Labour of Love". This song tells Mary's story of that wonderful night, when her child was born. Mid-album there's a cleverly written tune that lists the whole blood line of Joseph, called "Matthew Begats", and then there's an intelligent interpretation of the carol "While Shepherds Watched Their Flocks". Yes, this album does tell the story, and Peterson's knack for producing fine songs make this a fine Christmas release. 9/10. (December 2005, Album of the Month)
A new name to me, but hopefully one that will become familiar to many over the coming years if this release is anything to go by. Whether it's the simplicity of songs like the simple worship of "Such Beauty" or the more intricate lyrical waxing of "Beautiful in Majesty", Andy Bromley has the knack of making each song feel very personal to the individual listener. "Cast all your burdens upon the Lord" is a well known Bible truth, but the power of those words seem heightened during the song "Praise the Mighty Name of Jesus". It's sound builds throughout and ends in a crescendo of salute to the Lord. I found the album a real treat to listen to and only the closing "Glorious King" left me slightly disappointed. However, here's to a singer songwriter who seems to have a great gift for all to hear. 9/10. (September 2004, Album of the Month)
Over 12 month's in the making, and a complete surprise to all who have previously heard Andy's work. From the moment the title track began with a sort of Gregorian chant, my ears were alive with expectancy. A lovely piano piece was followed by 'Let Me Know', a song that instantly had me tapping my feet along to the rhythms. The whole concept was not written as a musical but I, personally, feel that this is were 'Atmosphere's' strength lies. With a little more work, a production in the class of Paul Field's 'Daybreak' is not beyond comprehension. The songs do seem to tell a story, and real social issues are not taboo. 'Quick & Easy' is one such number that tells of a man, with a wife at home, and the lure of another woman. The 'Nothing Song' actually has no words, but the music gives a feeling of hope and light after being encased in darkness. Instrumentally, there's some excellent keyboard & clarinet, and Andy's vocals are well used. Perhaps, 'Monica Says' and 'SOP1' need a little more work but 'The Road to Emmaus' ends the tape in lively style. Recorded on a 4-track, there are production flaws but, the musical content is extremely good. 7/10. (November 1997)
Andy Flannagan is British Youth For Christ's National Songwriter/Performer/Worship Leader. He has already written for bands such as Oxygen and TVB, as well as performing himself at events such as Spring Harvest and Summer Madness. This release sees him showcase 10 songs, mostly acoustic based, like the excellent "My Soul Praises the Lord". Occasionally, an accompanying keyboard sound fills out the backing and does so, never better, that on "When Was the Last Time?". It's catchy chorus asks when was the last time you put someone at number one in your life, rather than yourself? The old time folk feel of "Here I Stand" brings meditative worship to the fore, as does the piano led "You Came". I couldn't help thinking that Andy writes and performs his songs in the same very personal way that Martyn Joseph looks at life. There's an open honesty about how he feels just how the Lord should be praised and worshipped. There's no big productions on show here but the power of the songs speak for themselves. 9/10. (February 2002)
Andy Flannagan returns to the fore with his own release following his collaborations on so many compilation albums over the last couple of years. Once more, it's an acoustic based record and one that provides an alternative take on your run of the mill worship release. Like Miles Cain's album, you really need to sit an listen to this album to appreciate the quality of the songs. Saying that, I don't think that this album quite matches his self titled release of 2002. "Talk All night" and "All I Am" open things up and go down quite well. Then there's a rather patchy period where I didn't find any of the songs too embracing. It picks up half way through again with the gentle song "See The Stars". On this track, as with some others, the string arrangements by Karen Bousfield and Jamie Hill are well done. "Flying into life" is, perhaps, the strongest cut as Andy tells that there are no heights you cannot reach when you know the true Son of man as your Saviour.As my old school report would read, good, but can do better. 7/10. (June 2004)
If you've already read this month's 'spotlight' feature, you'll know that Andy Thornton has a fine musical pedigree. Although the press release names Elvis Costello, Radiohead, and Van Morrison as influences, I was immediately struck by a comparison to David Bowie. The vocal delivery, at times, is uncannily similar to the mega star, and I found myself on numerous occasions actually visualising the man himself singing Andy's songs. "Home", the title track, and "Overtime Overground" are just three of the songs that would fall into this category and, as a result, shows the strength and depth of his writing. On the lighter side, "She Won't Talk To Me" would be an ideal throwaway, radio friendly hit, given the right push. My favourite song must be "Confessing", a full blown classic with marvelous keyboards and terrific vocals. "The Final Key" is a quieter rock number, while the acoustic "Hands of Time" is a thought provoking song for the 'hurt child'. Call me old fashioned, but I have a hunch that - given a bigger deal - Andy Thornton could be big!. 9/10. (August 2000)
You would think that Andy Thornton wouldn't have much spare time, being the organiser of Greenbelt, but thankfully he has enough to produce this excellent EP of four songs. Lyrically innovative and musically dynamic, this taster has got me wanting to seek out Andy's albums. The title track, from the album of the same name, combines very tight acoustic guitar with some great piano and gradually builds with the lyrical content. 'One Less Holy', from the same album, again uses the piano but is a more up tempo number using a lot of rhythmic pushes and brass stabs, giving it more of a funky feel. The mood switches to a more contemplative one with 'Shake The Moon Down', but here again we have a memorable tune with mature lyrics. The EP closes with the excellent 'She Won't Talk To Me'. Anything with the lyric 'I send her CDs with love songs, but she stays tuned to Radio 4' is definitely worth a listen. Well, don't worry Andy, this lady's talking to you! Overall, the production is polished and tight, with Andy's vocals reminding me of a slightly less nasal Elvis Costello. Andy's playing at Greenbelt I hear, so if you're down there check him out and get hold of a copy of this EP. 9/10. Julie Lord. (August 2000)
Nujoi fans will recognise the name of Angela Priester, as she goes it alone with this brand new solo project. Portraying a whole range of influences, Angela still manages to keep her sight firmly fixed on the Lord with a musical style that can only be
described (in my book) as that of TLC and The Honeyz. Thank goodness the awful title track is out
of the way so soon. It must be the worst cut on the whole album! "Do What's Right" sounds as if it's come straight out of the Top 20 singles chart, and "Holy UR" is just as good. Gospel rap, is that a style? Well, I find it hard to describe the second half of the album, in particular, any other way. Shuffling rhythms on "Do What's Right" sound very much like Destiny's Child and this albmu stands up well against her secular counterparts. Not my sort of thing but I can see it's good. 7/10. (July 2000)
Around 15 months ago, I reviewed Annointed's previous release 'The Call', and gave it a mark of six. From the moment I heard the opening track of this new offering, I knew that would beat that last score. This award winning US trio have superb vocal harmonies and tunes that groove along deliciously. The title track is featured as two slightly different versions and it is, probably, the pick of the album. Sweet vocals and catchy hook make it an ideal single. When the girls sing, it's like listening to Eternal - only better. 'Adore You' is one such example, 'Answer to My Prayer', another. Track 6 says "Tell me why I do the things I don't wanna do?", homing in the constant spiritual battle between spirit and mind - sound familiar? Only the jazz-funk 'Walking in the Light' stops this release from being my first ten of the year. 9/10. (February 1997)
One of the most popular US harmony groups of the last decade has been Anointed. With albums like "Under the Influence" and "The Call" all selling well, amongst others, it's no surprise that a "best of" compilation has been marketed. Listening, I guess that it does pull some of the best tracks from the back catalogue and favourites like "Revive Us" and "Under the Influence" are listed. I think that you've got t be either a real big fan of an artist to buy a collection of tracks you've probably already got, or maybe a new one catching up on what's gone before. There's a mixture of funky numbers like "Anything is Possible" and the pretty pop of "One Fine Day", both showing just what Anointed are all about. Never a huge fan of the group, I didn't find this album too exciting either but it's still a good starter for new fans. 6/10. (February 2004)
This is an album instigated by Jason Carson of the OC Supertones. He was inspired to do it following the response to the worship times the band have towards the end of their set. Consequently it consists of a collection of songs by different authors, some well known others new (certainly to me - they may be well known across the pond). In style, the album is very up-tempo, and has a consistent style which was very reminiscent of Deacon Blue (vocals) and Hothouse Flowers (piano), albeit somewhat Americanised. Certainly "Spirit of the Living God" wouldn't sound out of place on an album by either band. An album like this will stand or fall on the strength of its arrangements. Certainly it is more "listenable" than many live recordings (how many reviews don't say "you had to be there"?) but adds little to the repertoire of the local worship leader, unless your worship band have the style described earlier. Try to hear a track: if you like it, you'll like the rest. 7/10 Paul Ganney (April 2000)
If you've been to a youth event in the last few years, you've probably heard something like this. It's a collection of passages of scripture (plus the apostle's creed) read over a dance backing (fast & slow). They're read very well, too. And the backing's pretty hot. There's also a lot of sung bits - the hook lines of the passages, if you like: the version of U2's "40" being particularly good. The whole CD runs together without track breaks (well buttressed, rather than break mixed). The tempos move about a bit and there's a lot of Indian rhythms, so I'm not too sure how easy it is to dance to, but it's certainly easy to listen to (if you're into the style of music, that is). Only down point: the reader of "Meditate" (a collection of psalms) sounds horribly like Rolf Harris. The rest are really up points. More projects should be this well executed. 8/10 Paul Ganney (September 2001)
The name of this band had been reaching my ears for some time but this is the first time I've had the pleasure of hearing them. "This is excellent", I thought as the powerful introduction to 'Psample' blasted into being. Keyboards, guitar s, programming and vocals are all down to one man, Phil Goss but this is more than just a one man band. Bass-man Steve Rothwell ploughs an enthralling line while Phil Heard's drums provide the ideal beats. The style wanders through various guises but all given the AS IF treatment. 'Flame' warns about the evils of drugs, while 'So Sorry' says just that. The lyrics are nothing out of the ordinary but the presentation is radical. I think that As If are still in the experimental stage but that can only be a good thing. tired of Bon Jovi rock? Give AS IF a try. 8/10. (March 1997)
These guys do have a reputation for being a bit different from the norm when it comes to CCM. Categorised as a techno band, As If's last release had a very raw industrial feel about it, which won vast numbers of fans. Now, the band have moved on, developing a much more dance/club image but without disregarding their roots. The opening 'Lost or Found' is hit material and I can see plenty of radio stations up and down the country adding it their playlists. There must be more to your walk with God than just what others see of your exterior. It's what's inside that counts, and 'Outside In' gets that message across in quite a style. At times there seemed to be hints of dba - like in 'Heaven' - but there's also some U2 moments to enjoy in things like 'Game On' which would be my choice of a single. Phil Goss and friends have really grown into their music and look certain to raise their ever increasing fan base with this release. 8/10. (December 1998)
In the world of grass roots UK CCM, in my mind, AS IF are up there with the likes of Kato (pre - ICC). Phil Goss, Phil Heard and Steve Rothwell have been around long enough for you to know that their electro based dance music matures with each recording. This latest offering is a little more commercial than 1998's "Strange Blue Thing" and, therefore, should win the band even more new fans. The opening "Love Is…" has a great dance beat to it, and some clever Spanish guitar between verses. "All Fall Down" becomes quite funky and benefits from an excellent brass section. "Take Me to Your Leader" is sung to people who worship idols - be they material or other - and asks if they can offer what God gives freely to all. Each track has a website linked to it, such as the title track that goes to the Royal Horticultural Society site, while "Aberfoyle" is actually an enchanted village located in Scotland. As If continue to stretch their own skills and ideas with this recording, which makes for a progressively interesting listen to really appreciate it properly. 9/10. (April 2002)
Releasing a three track single just before a new album is, I think, a little risky for a band who, although going places, are still, at present, relatively unknown in the British Isles. How sales of both will be affected I don't know, but I'm praying that the single will inspire it's buyers too investigate the album, too. With acoustic guitars at the forefront of the songs, it's a sound that could be put in the style of folk rock. There's a feeling of classic Simon & Garfunkle about the title track, and that's no bad thing. It's a great song, clean and uncluttered sound, excellent harmonies, and an endearing lead vocal. "Word on the Street" is more of the same, but uses some synth brass to good effect. The final number is a slow praise and worship piece that, although good, is nowhere near as strong as the others. However, more neat guitar work reminded me of Dire Straits, and I'm already waiting for the aforementioned album. 8/10. (April 2000)
Following on from their successful EP release of three months ago, comes the long awaited album from this Irish folk rock combo. "Everything in Nature Cries" is still as hard hitting as it was then and, in my books, that appeal is a sign of a strong song. "Coffee Bars & Christian Bands" could be written about any number of artists who have played these types of venues. The song itself asks, however, is being a Christian more than just playing a few songs? Do you (the artist) live those words in your own life? On the whole, most of the songs are bouncy things that have a little something that made the likes of Eden Burning so popular live. "Word on the Street" has been remixed since it's original conception and the result is just mind blowing. "Goats" gets almost into funky mode, but tracks like "Not Perfect" show that the guys can slow things down yet still keep those tight harmonies in one piece. Thought provoking lyrics, good tunes, and God inspired. All Ascension need now, is the backing to give them that final push in the world of CCM. 9/10. (September 2000)
70's rock meets 90's punk. Yeah, after some thought, that just about sums up the new sound of Audio Adrenaline's latest release. Saying that, the best track 'People Like Me' is a Geoff Moore clone! Sparkling guitar and chugging rhythms tell of how we all fall so short in our work for God. I've got to say, on the whole, it takes two or three listens to appreciate the sounds but numbers like 'Chevette' and the title track do grow on you. 'Lighthouse' is a song that uses the old cliché of our lives been like a ship, floundering from dangers and being guided by Jesus. It works well with the contrast in style between the quieter verse and grungey chorus. Produced by Dan Brock and Eddie Degarmo, it's another band looking to move on from their previous musical style. It may take older fans a while to appreciate 'Zombie' but, eventually, I think that they will. 7/10. (February 1998)
Suddenly, at least here in the UK, it's cool to like old fashioned pop songs. You know, the sort of things that Abba were churning out around 20 years ago. Well, joining that pop bandwagon are Avalon with an album here is just full of great tunes. The promise to God to "Take You (Him) at Your (His) Word" sets the tone from the outset with dance beat and great guitars. "In Not Of" reminds me a lot of British singer Helen Jayne (where is she now?) and the overall quality of the music barely dips from start to finish. Contributors to the writing and performance of the album inlcude Chris Eaton, Sheila Walsh, & Scott Dente, and the result is a truly superb pop album. If you ARE a fan of Abba, as well as current chart toppers Steps, you will simply love tracks like "Always Have, Always Will" and "I'm Speechless". There again, just when I thought it couldn't get better "Let Your Love" burst through my speakers and I was smiling from ear to ear. Don't just sit there, buy it and enjoy! 10/10. (May 1999, Album of the Month)
Last year's holders of the 1999 NFN 'CCM Album of the Year' return
with what turns out to be a rather disappointing new release.
What made "In A Different Light" so special was the
catchy choruses, great tunes, and overall feel of love that oozed
from it. "Oxygen" sees that successful formula only
repeated here and there, the title track being a prime example
of just what a good pop song should be. Overall, the ballads are
very ordinary, and the over the top production on "The Glory"
led me to despair. The power pop sound of "Make It Last Forever"
isn't too bad and "Come & Fill My Heart" shows promise.
"I Don't Want to Go" IS one ballad that does make the
grade, and shows that Avalon can still make great music, so why
the change? Well, I can only suggest that they didn't want to
just rest on their laurels and produce "In A Different Light
II" but, like me, fans who buy this new release expecting
more of the same are in for something of a shock. 5/10. (November 2001)
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