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While America has the likes of George Beverly Shea recording classic hymns of praise, the UK has it's very own Harry Secombe. While never been a very big musical fan of his, I've always had time for this guy who's brought so much joy to countless millions over the years. This recording carries 20 well known tracks featuring the man himself as only he can sing. A surprising inclusion is Bernstein & Sondheim's "Somewhere" alongside the traditional "How Great Thou Art" and "Faith Can Move Mountains". Harry's vocals are at their best on stronger tracks such as "The Old Rugged Cross" and "When I Survey" but there's hardly a dip in quality throughout. I found myself sitting back with eyes closed, visualising him singing each song, with such vigour, truth, and personal faith. It may not be original but this release IS a timeless classic. 10/10. (April 1999, Album of the Month)
Well, I'm not quite sure where to start with this review. It's got to be one of the quirkiest things I've ever come across in my years of CCM. Havalina come from Long Beach, California and have stayed away from current pop fads to stay true to what they want to play. Their influences include The Pixies and Neil Young, and the result is early 60's British pop with latin rhythm overtones. Singer, Matt Wignall, has one of those voices that isn't always quite in tune, yet draws the listener into staying with each song until conclusion. The songs themselves are way out, and I had difficulty in relating any Christian message from any. "Bullfighter" may have had some reflection on the story of Jesus, but I couldn't be more than 50% certain. "Losing You" is a Spanish lullaby, while "If You Like" has some great organ sounds within. Fun, seems to be the order of the day with Havalina and that does come through in the songs like "Pluto" and "Rocket Ship". It's different, it's weird, it's definitely in a class of it's own, and I like it. 8/10. (September 2002)
Survivor have started this series, 'Emerge', specifically to introduce new worship bands to a greater audience. Heat are kicking things off here in great style. Hailing from Manchester, they are also Christian workers in that city by day and maybe it's that experience which produces the depth to their music and lyrics. It seems to me that the barrier between 'performance' style CCM, and worship music is continually being broken down - and here is a case in point. Guitar based, but with some nifty keyboard background fills, the band is tight and the lyrics shine through. There were points when I thought a guitar solo would have enhanced matters, but that's just me. The title track, 'Arms of Love' and 'Arise and Shine' are worth a special mention, but the acoustic track, 'To Love You More' I found really beautiful and uplifting. All of the songs are written and sung by guitarist James Gregory, a man of real talent - note the name, you'll be hearing more of it. It's a shame his otherwise excellent singing voice sounds like Martin Smith/Matt Redman. It seems to be a trend - if you sing this kind of worship material, you have to sound the same. But that's only me being niggly. At £6.99 for 7 tracks, this album represents excellent value. Go on, turn up the Heat! 8/10. Julie Lord. (January 2001)
When someone sends you kids tapes to review, you have to forget about your aversion to them and hear through the ears of a child. Aimed, I presume, at the 4-9 year age group, these tapes present a collection of easy to learn songs for use in the home, the car, or at Sunday School. The lyrics are, on the whole, very repetative but catchy enough to appeal to youngsters. The music is quite robotic but, again, I'm sure that kids won't mind. New songs like 'Three in One' are quite good in their own way , but a disco version of the traditional 'Tis So Sweet To Trust In Jesus' plummeted this listener to the depths of despair. How can I describe the sounds overall? Well, tune into Sesame Street and you'll get a good idea. Both tapes have split track facility which means that you take out the vocals for your own performances or just lower them down for a guide. For Sunday schools...... 7/10. (January 1999)
You could never claim that this album was just another CCM release, as it marries a fusion of so many influences and styles. There's jazz, rock, folk…they're all there, and it's an interesting experiment by Helen Rowe, a newcomer to the Christian scene. Instrumentally, too, there's a whole range of electric, wind, and stringed instruments, as well as the percussion sounds. The album is supposed to tell of Helen's journey from darkness (before knowing Christ) to having a full loving relationship with Him. Therefore, there are, musically, some very dark moments, such as "Dungeons", "Lift the Shroud" and the all consuming "Not Ready". Her voice doesn't quite work with the rockier numbers but, in parts, her style is that of an early Heart, or even Pentangle. "Two-minded" finds her in reflective mood, looking at the past, present and future, while "The Reason" even adds a touch of Jethro Tull - whistles and all. Despite the description of her journey, it's not an album that I'd like to listen to if I was feeling down. I found more despair lurking within the music and only brief shafts of Jesus' light shining here and there. Not your run of the mill album, as I said, but well worth investigating if you're looking for something "out of the ordinary". 6/10. (March 2004)
Yes, this is the same lady who, more than 30 years ago, was 'Walking Back to Happiness' in the pop charts. Brought up in the Jewish faith, this is Helen's 4th album that expresses her beliefs. To be honest, the traditional Jewish feel of most tracks can be quite trying to the average listener. The title track is rather good, complete with it's 'Hava Nagila' type chorus but, on two out of three CD players, my copy curiously stopped and had to be started again on track 2. Backing vocals are provided by the talents of Paul Field and David & Carrie Grant while Terl Bryant and Mike Haughton produce a lot of the music. Most of the songs have been gleaned from Messianic Jewish songwriters but the strongest track is the beautiful version of the Wesley classic 'And Can It Be'. 'Enter Into His Gates' is a solid album without been anything special, but many may find it does have warm moments of intimate worship. 5/10. (January 1998)
Despite it being around 40 years ago, Helen Shapiro is still regarded by many of the girl who sang "Walking Back To Happiness". For the uninitiated, Helen has since had a career in tv and on stage, as well as touring regularly with her gospel evenings. This singly priced double CD takes 35 of her best songs to date and captures them on one collection. As soon as the music begins, it's her unmistakable vice that powers through on "The Pearl" and "I Go to the Rock". The praise medley halfway through the first cd is quite nice, but the closing duet with Cliff Richard proves to be the highlight. For the second disc, "Oh Lord, Our Lord" is full of greatness, while the gentler "Oh Deep, Deep Love of Yeshua" is caressed with light piano and a hint of strings. I can't say that many of the songs moved me, but Helen's Mesianic praise has brought great joy to countless thousands over the years. As a taster to her music, you could ask for nothing better. 6/10. (September 2002)
I must declare from them outset my allegiance to Helen's musical cause, and a certain amount of bias. We have been friends for 8 years, and have collaborated together on various musical projects, although I had nothing to do with this album - so some element of objectivity does still remain! Helen was previously the singer for York based quartet The Rumours Are True, an Iona tinged band that favoured high drama and excellent musicianship. However, as good as Rumours were, "Permission" is a huge step forward, due primarily to the fact that the songwriting is warm, distinguished and frequently beyond what many bands ever achieve. Anybody who enjoys singer-songwriters, or generally honest and sincere music, will find something to enjoy here. Helen puts her heart utterly into her music, and songs such as "Grass Is Greener", "Lye-di-Dy" and "Helium" showcase not only her ability as a writer, but also some stunning vocal, where she manages to come close to the intimate grandeur of Sarah MacLachlan. Best of all is "Raynbird Street", a very moving and poignant song that's enough to soothe a raging Oasis fan at 100 yards. "Permission" heralds the arrival of a tremendous talent. Recommended. 9/10. Miles Cain. (June 2000)
A live worship album with a difference! Instead of the usual fare of Redman, Smith and Kendrick songs served up in an acoustic rock style, here we have a full gospel band and choir - and a very impressive one at that. I have a well developed softspot for this kind of music, the light jazz/blues style and close harmony singing has an indefinable quality that is extremely uplifting, and the LFC do it very well indeed. There is a good mixture of uptempo and more laidback songs, with "The Lord Will Make A Way Somehow" and "What A Mighty God We Serve", respectively, standing out. Towards the end some modern style dance music creeps in and, amazingly, it works really well. My only criticism (common with live worship albums) would be that 7 to 10 minute songs with a myriad of repeats might work live but don't translate well to CD. That apart, if you like gospel you should definitely check this out. 8/10 David Cooper (November 2002)
With a title of "Nothing But the Hits", you might quite rightfully expect a few familiar ditties in there, but oh no! I didn't recognise a single one! Does this make me a bad Christian? I have to admit I had many pre-conceptions of what to expect from this CD, but I was trying my best not to be judgemental before a fair hearing. In this case though, it gives you what you expect, an album of very stereotypical American black Gospel tracks. A little over produced with lots of cheesy warbling "Hammond organ" sounds, plenty of clapping and group vocal harmonies...not my cup of tea I'm afraid to say. There were some very funky bass-lines which were catchy & I thought these may have been the redeeming features I was looking for, but alas, the accompanying rhythms & vocals didn't inspire me to listen to the remainder of the respective tracks! Neither did any of the lyrics grab my attention. This may appeal to a small market in the UK, but I would think that this album is likely to do more in its home US market. You would have to have a serious heavy duty liking for Gospel music to invest your hard-earned cash in this one, but it would have me running for the hills rather than to my nearest church or musical emporium! I am certain the musicians & vocalists are highly accomplished, but Mr Walker & his choir don't float my boat in the musical sense. Worth 3/10 for the bass-lines. Simon Redfern (April 2004)
Wow! At last, worship with guts! We've come to expect a highly professional, polished performance from Darlene and Co. but they just keep getting better. This is definitely performance worship but why not? Along with brilliant arrangements, superb instrumentalists and singers, they still manage to keep that personal touch, especially in the slower numbers such as 'Holy Spirit Rain Down', 'Jesus You're All I Need' and 'The Potter's Hand'. It's the dynamics that create the drama in these songs and pull us into the worship experience. The fast songs seem to emit power and enthusiasm, and the full brass stabs and fills remind me of the raw energy of early soul and motown. The sentiments expressed in songs such as the opener 'That's What We Came Here For' and the title track, immediately make us feel part of the event. This is unusual for a 'live' worship album. Darlene's great voice and expression, with her inspired ad libs, are crucial and I'm sure she'd maybe up there with Madonna and Celine Dion if she ever got tempted to cross the great divide. Let's hope she doesn't! A really great album. 10/10. Julie Lord. (October 1998, Album of the Month)
If my church's weekly praise began like this album, it would really shake the older members who grimace as they sing any sort of chorus. Happy, joyful, full of life and energy, were just a few of the phrases that sprang to mind during the first couple of songs. "Your People Sing Praises" and "People Just Like Us" just set the place on fire. By the time "I Can't Wait" begins, we're in the realms of rock and roll and the response of those gathered almost drown the backing. Hillsongs have become increasingly more popular over here during the last 18 months and this album is sure to continue the trend. "My Heart Sings Praises" slows things down a little but it's back to normal with the well known "God is in the House". Listening to this release is either going to really charge your spiritual batteries or leave you physically drained. I need a lie down! 8/10. (April 1998)
Worship leader Darlene Zschech is joined by Alvin slaughter and Ron Kenoly on this live recording from the '98 Hillsong Conference, in Sydney. A brilliant compilation of old and new songs, with the guest singers only adding to the enjoyment, as I listened to this album. It's an album to really lift your spirits. All of the tracks are very good and "Shout to the Lord" itself is excellent - I just had to play it again. Other favourites of mine were "Breathe On Me" and "My Heart Will Trust". Very listenable and very enjoyable. 10/10 Pam Robinson. (March 1999)
The great thing about Hillsong albums, for me, is the fact that they come up with some wonderful new praise and worship songs, and breath new life into older ones. The formula hardly ever changes and, usually, that means there's a great album in store for the listener. And, while that rings true with most on this release, there are some songs that have just been sung to death. "Hark the Herald Angels Sing" and "Away in A Manger" are just too bland and are rather irritating at times. However, there is a particularly nice version of "The First Noel" that is different enough from all previous recordings, to stand out from the crowd. The best songs, however, are those written by members of Hillsongs. Katia Bowley's "Saviour of the World" is the first of these, and what a good song it is, too. Then, there's Darlene Zschech and Russell Fragar's "Perfect Love", a song supposedly sung by Mary to the baby Jesus, and quite brilliant. Each Christmas, I wait for one new song to rise from the host of festive releases and with the closing "Glory to God", I think I've found this year's pick. Great drum sequences that give the song a real taste of the Australian outback, with simple lyrics and full of the love of God. 7/10. (November 2001)
With a choir of some 500 people, and thousands in the congregation, this is Hillsongs' annual live recording. What an event it must have been, by the sound of things. Disc one starts with electrifying praise in the form of the title track, "One Way" and "Evermore". All three songs have great power, and boy do these Aussies know how to whip up a praise frenzy! "With All I Am" brings an element of quiet to proceedings for some beautiful worship and the 9 minute "Hallelujah" follows this closely. Disc 2 is more of a worship album and doesn't quite reach the heights of its' predecessor, but there's still some lovely moments. One disappointment is the abrupt starts to some of the tracks which sounds quite amateurish but you still can't take away the power of Aussie praise. 8/10. (November 2004)
Oh how I cringed when I heard the opening songs of this album. The Happy Clappies are here in a reincarnation of, what sounds like, the late lamented 'Rock Gospel Show'. However, after a couple of listens I decided that it wasn't so bad after all. "I Give You My Heart" is a bouncy number about submitting to God, while "My Heart Sings Praises", does exactly that. The pace falls towards the end of the album, inlcuding the 7 minute epic "I Will Run to You" - an excellent song of pure worship. This album still rings of quirkiness but it's worth a listen. 6/10. (May 1997)
Lee Jackson and Justin Thomas are the Leeds based Hip-hop kings, with style and humour to keep their audience happy. Matching this EP against similar chart sounds, it compares favourably, even with the West Yorkshire accents. The title track opens things off in rap
mood, with Justin supplying the vocals and Lee providing the mixing techniques that have made him such 'hot property' on the DJ circuit. All 5 songs proclaim the gospel in HOG's own inimitable style, of which the slower 'Catch My Drift' is my favourite. HOG are playing at many of this summer's festivals. Go and look in their house! 7/10. (July 1996)
Acoustic worship doesn't come much more unimaginative than this. Honestly, it was a great joy for me not to have to listen to it again, it was that boring. Holland begins with an edgy sounding number called "Wait For You" which, I guess, isn't too bad. However, by the time he uses a well used worship cliché in "I Will Stand", the writing was on the wall. Just how many more songs can include the tired and drained line "I was lost, but now I'm found". Words are predictable in many of the songs and the tedious 8 minute (it seemed longer) "Healing Word" consisted mainly of the title being repeated over and over again. I suppose it was meant to be prayerful and meditative, but "painful"was the word that sprung to my mind. Based at the Calvary Chapel in California, Holland is a worship leader - I trust his ministry there is more useful than this. 2/10 (January 2004)
This collection of songs have previously topped the CCM radio charts in the US. Basically, it's a best of album, recorded - on the whole - live and brought back original lead singer Steven Patrick. 5 tracks come from their 1990 self titled album which was, arguably, their best. Unfortunately, 'See No Evil' lacks any real punch and 'When the Rain Comes Down' is quite soggy. 'Lies' brings a reprieve to the tedium, aligning stadium rock and heavy metal to one point of glory. "Have You Got A Ticket For the Last Train", asks track 8. Nice idea about judgement day, pity about the song. 'Eyes of Innocence' gets the acoustic treatment, and comes up quite well but I was pretty disappointed with this. 3/10. (November 1997)
This is the forth self financed CD from this Scottish band, and
is an excellent EP of four songs - well, five really as they've
tagged a 'hidden' one on at the end. Difficult to define the style,
as I thought I was in for some blues from the first track 'Blinded'.
Great lyrics based on the road to Emmaus story, and Peter Semple's
vocals are moody and atmospheric. He reminded me a little of David
Gray. But with the addition of mandolin, and acoustic guitar based,
the next three tracks were more of a soft rock, almost country
rock style. 'A Pleasant Passing' was very memorable, and had a
good hook, but I wasn't so sure about the falsetto vocals on 'Morning
Sun'. However, why or why did they include 'God Bless America'
as a hidden track?? Apparently it's an avant guard, experimental
arrangement of a guitar-attack version they play live. I liked
it a lot. Very poignant lyrics, especially in the light of September
11, and an ambient background to what can only be described as
electronic reggae. I can see this on MTV and charting in the secular
charts, given slightly better production. It's different, and
things that are different catch the ear. I really hope this lot
travel the hundred miles south to Tyneside - I'd love to catch
them live.
8/10 Julie Lord. (March 2002)
To praise and worship God is one of the most important things that we do on earth. This album has been produced to encourage just that, and contains songs old and new from a whole host of writers. It's a smashing start, as Eoghan Heaslip (very underrated in my opinion) belts out "Arise King of Kings" in typical uptempo style. Equally as stirring is Brian Doerksen's "Hope of the Nations" which captures the very essence of power praise. Another writer I've come to admire over the last few years is Paul Baloche, as his songs always seem to have that extra little something about them. Here, both "The Way" and "You Are the One" (the latter co-written with Lincoln Brewster) shine really bright. On the down side, I found Darrell Evans' closing "Lay My Life Down" rather OTT with full musical backing and would much prefer it done with quieter feeling. But, again, that's my opinion and that's why I'm here. 8/10. (October 2003)
Not having actually seen the musical itself, I've found it very hard to link one piece of music to the next. An ordinary album usually flows quite well but this is not the case with Hopes & Dreams. Paul Field is the driving force behind most of the writing and it's not a whole lot different to a project he wrote more than 10 years ago. There's a couple of short pieces to open things up befire we're led into a jazz/funk affair called "Step By Step". Then, it's MOR pop with a dash of gospel until we reach "Breaking Point". Here's a powerful song that is closely followed by the title track that has a wonderful choir in full voice - possibly the best cut. Sir Cliff's contribution on "The Lord's Prayer" is nothing special and the country tinged "Glorious Sight" sounds pretty dated. An overview of the story in the sleeve notes might have helped the listener but this one wasn't too impressed. 5/10 (April 1999)
The Hoppers have enjoyed tremendous success through three decades in the US. Although the have enjoyed many popular hit releases, their first Number One release came in 1990 with the song entitled "Here I Am", which stayed at the top of the charts for 4 months and was awarded song of the year. In fact, no Southern Gospel recording artist has enjoyed more Number One hits or more Top Five single releases than The Hoppers. So, with that build up behind me, I played the new release. Now, over the past couple of years, I've come to enjoy quite a few Southern gospel artists, such as Legacy 5, for instance, but I'm afraid The Hoppers didn't manage to catch my imagination. It's a very tired and old fashioned sort of album that had me, at one stage, thinking back to second rate seaside variety shows. "I Sing The Mighty power…" reminded me of Christmas, while "See How She Loves Him" is a cross between a negro spiritual song, and one of those awful half-spoken country numbers about someone dying. "We Are America" holds up the stars and stripes as America the Great, and is the most terrible trans-atlantic rubbish I've heard for some time. The only line the song doesn't actually say is "We're American and we're the best people in the world".. Saving the album from complete oblivion comes the ballad "Child of God", and the tastefully produced hymn "Come See Me". Otherwise, in the words of Jukebox Jury, I'd give it a miss. 3/10. (March 2004, also April 2004)
"AS you listen to these songs, you will find yourself drawing closer to God as He strengthens and encourages you with His Word". Well, that's what the sleeve notes say, and that's exactly what happens. Ten tracks of highly listenable p&w music in an array of styles. From the Caribbean feel of "Lord Be Magnified" we're led into a rock ballad called "Enter Into His Gates". There's a reggae style about "Trust in the Lord" and lovely harmonies to the light, "No Condemnation". All the songs are linked to scripture verses and display a happy and joyful feeling throughout. Serious musicians may find the songs nothing out of the ordinary, but their simplicity is the real strength here. "Wings Like Eagles" is a powerful ballad, and only "I Will Sing Praise" dips in quality. Pity there's less than 40 minutes. 8/10. (March 1998)
Integrity have a habit of bringing lesser known US praise &
worship albums to the notice of the UK, and this is just one.
11 all new songs, written and performed by emerging worship leaders
from the New Life Church in Colorado Springs, with sounds that
border on soft rock. Glenn Packiam's "We Lift You Up"
springs no surprises lyrically, but it's a good song, with a good
feeling about it. Ross Parsley asks for "More of You"
in his life, as he praises the Lord in a nice production, while
Matthew Fallentine's "Essence" is slightly lighter in
feel. Although there's many different songs featured, there is
still a feel of continuity about the finished product, thanks
to the use of the same musicians throughout. Darren Morehouse's
slower number "My Soul Cries Out" is a song of great
strength, and I can see great potential with this one with congregations
all over the world. One of the many good things about this album
is that the music does travel well. By that, I mean that if I'd
been played the songs only, and had no press release, it could
have been Spring Harvest. 9/10. (May 2003)
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