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It's quite some time since I heard some funky fusion music as good as this. In fact, I had to go back to look at my record collection and pick out the sadly missed outfits, Beehive and Capitaan, to come anywhere close. As you will read elsewhere in this issue of NFN, The Paddlers can appear in various guises, numbering from just 4 members, right up to 30! This three track offering was recorded last year at the Brill Building in Glasgow and includes writing credits for former Curam singer John Cassie. "Homeless in Christian City" is a sensitive ballad about being homeless in, what is supposed to be, a Christian city. There's a great warmth about the vocals and a nice fiddle solo in the middle. "Escape From Christian City" and "Love Machine" are both uptempo numbers with some great brass accompaniments to the excellent vocal array of talents. If The Paddlers can offer more like this, then they are a band to watch out for. 9/10. (February 2001)
Here's a 16 year old girl from the USA, who writes all her own songs and has a message to the teenagers of the world, "Jesus is Lord". The way she's trying to get the message across is by putting together an album of songs in a style that teenagers (and pre-teenagers) can relate to. As you might imagine, for one so young, there are a few moments when the more adult listener (like myself) will find a song that actually grates on you like fingernails on a chalk board. But, on the other hand, there's enough quality to fill you with hope for Paige's future songwriting. "Hide Myself in You" attacks from the start, while "Heart of Hearts" slows things down a little but, nevertheless, carries her thoughts of living God's word in her life. "Jonah", I found, is quite infectious, complete with a machine-gun like delivery of the chorus. I disliked the brass mixture on "So Not About Me" and the harmonica of "Here in the Light" but, all in all, not bad for a first outing. 7/10. (August 2001)
This trio are each offspring of church ministers and have been touring together since 1999. This first, full release sees writing credits go to the likes of Scott Krippayne and Mark Schultz, as well as themselves. What I found, listening to this album, was a mish-mash of styles covering some very mediocre songs. "The Closer I Get to the Cross" reminded me of a watered down version of pop band Avalon, while I'll swear there are some Stryper-type harmonies on "Famous"! But, again, for me there's just not enough quality in this release for me to get my teeth into. Disappointing, to say the least. 2/10. (August 2004)
This is Pam's third album and I was really hoping that it would show a big improvement on the previous two. A popular visitor to Britain over the last couple of years, this collection of songs are written about personal experiences in her life. Unfortunately, the first seven tracks are a mixture of very ordinary ballads and out of date funky dance songs. But, just when you're thoroughly bored by proceedings, Pam whacks you with a couple of classics, "In the Middle of It All" and "Goodbye...Hello". If this is her "move to adult pop", then she'd better think again. Pam Thumb desperately needs a good producer. 4/10. (April 1996)
New Zealand's biggest CCM export are The Parachute Band. Perhaps, not quite so well known as their Australian counterparts - Hillsongs - nevertheless, they certainly know how to praise and worship with style. I'll be honest and say that it's not really my style of thing at all. However, I'm also honest enough to acknowledge the use of their home country's young writers on an album that stands up well with others of similar genre. "Lord of The Heaven's" is written by Shaun & Mel Griffiths and wouldn't be out of place on any Delirious? Album. It's indie, it's poppy, it's infectious, and it's full of joy. "Deeper" (not the Delirious song) is a sweet, easy listening number while "Holy One" simply asks the Lord to "breathe new life into me". The 6 minute "Let Your Glory…" isn't too hot, and the diversity of the songwriting creates an album that stops and starts, rather than flowing well. Altogether, a good album and one worth investigating. 7/10. (November 1999)
With the international success of their previous albums, the Parachute Band is changing the face of worship music around the planet. Only four years after their debut release the band is already well known worldwide and songs from the albums are being used in churches all over the globe. A Parachute Band concert is described as somewhere between a stadium rock concert and a church worship meeting. The album itself starts with one of the strongest title tracks I've heard for some time. It builds into a wall of sound that is worship and praise in its finest form. Libby Huirua is a great vocalist and her gravely voice on "All My Life" is classic. You want that stadium rock thing? Then "Jesus" is the ticket. Love and adoration to our Lord just oozes out from this track, it's brilliant. Here's a band who are at home whether they're rocking it up or slowing things down. Great album. 9/10. (August 2002 & September 2002, Album of the Month)
The Parachute Band is part of the ministry of Parachute Music in New Zealand. Their mission is to take Christian music in New Zealand to unprecedented levels, and to use music both locally and globally to move people closer to Jesus Christ. This new album kicks off with a rousing opener. "Almighty" has a great rhythm and really gets "stuck in" to worship & praise. "Forgiven" full of praise and the moving worship of "Consume Me" is just awesome. The people behind the album are committed to resourcing churches with fresh new worship songs, and these are just some of those available. Even just listening to the album, brings you a fresh sense of hope and love that comes from that close relationship with Jesus. Parachute have a mission and with this album, they're certainly on the right road. 8/10. (March 2004)
Featuring Chris Tomlin, Charlie Hall, and The Dave Crowder Band,
this album showcases the highlights from the recent Passion Experience
tour in America. The Passion Experience is billed as more than
a concert, it's a journey to the heart of God. Tomlin features
on 6 of the tracks and his band show some neat guitar work on
"Enough" and the infectious "Our Love Is Loud".
Meanwhile, Hall's "Prepare the Way" sounds very Delirious?,
musically, and "Madly" motors along at some pace. As
for the Dave Crowder Band, a little like a recent review of his,
I found their music a bit frantic and a little irritating in it's
delivery. Mind you, I did find myself singing along with "Wonderful
King" so, perhaps, all is not lost for me. 7/10.
(June 2002)
Well, I've got to admit that I have not seen the film, so maybe that accounts for the reason why this soundtrack means absolutely nothing to me. Written by John Debney, it's the most irritating and miserable collection of instrumental pieces that I've ever had the mis-fortune to listen to. They all sound like extended versions of links within a film, and by that I mean any film. I guess if you've seen the film you may remember the odd sequence, prompted by the track listing, otherwise forget it. 1/10 (June 2004)
Patti Boulaye has been around the music scene for years, or at least it seems like it. I can remember her appearing on various TV shows over the years but have never been that impressed by her performances. Sadly, the same can be said of this album. Most of the writing credits go to solely to Patti but that's not saying a lot. The highlights of the album come mid way through the tack listing, with "Sing to The Lord" and" Rejoice". The former has a happy sound to it, while the latter is a definite foot-tapper. The opening "Viva Africa" celebrates the country of her birth and, indeed, my wife said it sounded more like a holiday advert. Patti says that the songs reflect her "spiritual journey, thoughts, emotions and experiences", and cover her childhood to present day. I would have expected a more African flavoured album than the one produced, although songs like "Glorify Lord Jesus" and "Hallelujah Hosanna" do lean that way. Patti's vocals are very soft, too soft at times, and she often gets lost in the accompanying choir's overall sound. I needed a lift while listening to this album, but I'm still waiting. 4/10. (August 2004)
There's been a number of occasions over the last couple of years, when the highlights of certain praise & worship compilation albums have been the performance of Paul Baloche. So, I was really pleased when his album turned up for review, and looked forward to a recording full of powerful music. It starts of well enough with great excitement pouring from both "Arise" and "All the Earth Will Sing your Praises". Then, there's quite a dry spell, where some very ordinary songs pass quite quickly. "My Reward" drives, once more and gives quite a lift to proceedings but it's track 11, "You Are the One" before that feeling comes round again. Maybe the other compilations have been so bad that Paul's songs stood out? I'm not sure, I guess this live recording just lacks the conviction that I had assumed would be there. 5/10 (March 2004)
The Paul Colman Trio are the most successful independent artists in Australian history. Now re-located to the United States, the band have signed a major recording deal with Essential records and this is the result. I didn't find it easy trying to compare them to anyone but, after listening a few times, I thought, maybe Travis? Certainly on the track "Love Me More" that was the distinct impression I came away with. The vocals are strong and Colman's voice is quite hypnotic after a while. "Sun-Stars-Moon" is one of those songs that you instantly know you like but you can't quite put your finger on why. There's no great guitar solo, there's no catchy chorus, but you can't help thinking "that was good". Worship wise, "Fill My Cup" is a joyous sound and the prayer for "Africa" is full of tremendous lyrics. "Angels" and "Your Sweet Voice" are just two more great songs on an album that show the PC3 are going to be a force to be reckoned with. 9/10. (August 2002)
Depending where in the world you're reading this, I may, or may not be reviewing the album available to you. What? Well, it seems that the US release contains tracks that the Australian/NZ version doesn't, and vice-versa. So, consequently, the running order differs too - most frustrating! A lot was expected from this outfit after the runaway success of their "New Map of the World" album last year. Then, there was a fresh excitement about this band and their sound. Maybe it's because they've put another album out too quickly, but this sounds like a collection of tired, non-descript songs that border just above the ordinary. "I'll Be With You" is a very pleasant sounding number telling of God's promise but, like many of the songs, it sounds like the heart of the band is completely missing. "Love This Life" is my favourite track, which also is a song of thanks to God. Here, the mid-paced beat, slowly engages your listening ears and a warm sound resonates all around. There you have it, really, a disappointing release from a band that promise so much. 4/10 (December 2003)
Here's a chap whom I recently interviewed for Cross Rhythms. After years of plying his trade around Europe, he was offered a record deal with a secular German company. 'Free Some Day' gives you 12 tracks that have been so far described as Howard Jones or Hall & Oates pop. It's an album with a dancy feel throughout with, perhaps, 'I Believe in You' the most obvious single material. Loved the French accordion feel to 'We Are Together', as well as the rather tongue in cheek Christmas special 'Give Us Love', which lists the man made disasters of the world with a chorus of "Give us love, give us peace, give us perfect harmony..." If Bob Geldof was writing a Band Aid song this year, he'd write this one. Paul, we're really praying for you. 9/10. (January 1997, Album of the Month)
This guy's been around for such a long time that I feel he should be held in similar esteem to Larry Norman. He's written classic tracks over the years but mostly for other people. However, I've caught up wit a little more of his music over the last 18 months, including his musical of the early 80's, "Daybreak". This album sees him dispense with most of the usual backing as he tries to give a "real representation of the way I write songs and play them in concert". "Make of Me" is an early highlight, closely followed by "As Long As You Believe in Me". My only complaint is that too few instruments tend to make some songs sound the same as the previous one. But, perhaps, this IS the concert sound Paul wanted - intimate. The timeless classic "Thief in the Night" makes an appearance, and, this time, there is clever use of instrumentation. "Saviour" is co-written by Nia and tells of a prostitute and a homeless youth. The song gives the answer that they need a Saviour but then asks the question "Who's gonna tell " them? Empty Page improves as it plays. 8/10. (August 1997)
I have to admit that when I was asked to review this CD, I had never heard of Paul Field. His singing style seems to be very similar to that of Kevin Prosch and, after listening to the album several times, his music has grown on me. Paul has been involved in the writing of all the songs here, and also in the production and mixing of the album. He seems to be quite talented, has a nice voice, and is a very good musician, playing acoustic & electric guitars, keyboards, and piano. My favourite songs include: "God of the Moon and Stars", "Have You Ever Felt Like This?", and "Go Peaceful". They all have a profound Christian message in the lyrics and are put to some catchy melodies. This is an album well worth listening to and I, personally, hope to hear more of his music in the future. 7/10. Pam Robinson. (March 2001)
Veteran British songwriter Paul Field re-surfaces here, with a musical based on the Sermon on the Mount. As you'd expect from this accomplished musician, as well as writing credits, Paul provides much of the vocals and instruments. However, he's assisted by other leading UK lights such as Bryn Haworth, Mike Haughton, and Esther Alexander. Each song depicts one specific part of the Sermon on the Mount. "Time Will Tell", then, is based on the verse "You are like light for the whole world". "Forgiveness" talks of just that but the production is just so old it's beyond belief. It's a mid-80's dance tune that has overtones of Sir Cliff's "Wired For Sound" - not good at all. Remember "Ernie - the fastest milkman in the west"? Well, here we have "The Ballad of Gold Tooth Joe and Black Eye Pete". Based on "Love your enemies" it tells the story of two cowboys in a saloon bar, playing cards. One accuses the other of cheating, they go for their guns, and they kill each other. Paul then asks, what if they'd just "turned the other cheek"? If "Here & Now" is a musical, perhaps I should see the stage show itself. As far as hearing the songs blind, it's difficult to really follow proceedings. 5/10. (January 2003)
Subtitled "New Carols for a New Generation" this album has a mixed standard of songs, with Paul field at the helm. Thankfully, it's of much better quality than his "Here & Now" album of a year ago. I thought Gary Glitter was going to sing as the first song began. "Christmas, It's Christmas" opens with the same riff as "Another Rock n' Roll Christmas" but it does settle down into its own right, as a typical, jolly singalong. "I Love the Lights on the Christmas Trees" lends a little to "Rudolph the Red Nosed Reindeer" and, indeed, some of my work colleagues showed early festive delight in demonstrating this. Christmas must be one of the most difficult subjects to write a song about these days because, "hasn't it all been said"? There again, Garth Hewitt's "Shine On", shines because of it's simplicity. Sadly, "Give Your Granny A Kiss For Christmas" should never have seen the light of day. However, Paul does redeem himself with the prayer for the lonely called "Katy's Christmas". Just above average, I think. 6/10. (December 2003)
Here's a cd that looks like it means business. Subtitled, "Psalms for a New Generation" suitable for "children and all age worship", its packaged in a nice, appealing, contemporary style. There's some nice artistic photowork, a clean, simple design and a real sense that this will really encourage and empower the youngsters in your church. Sadly, it is let down by the most important constituent - the songs. Some aren't bad, with "You are the Lord" being the best of the bunch, but on the whole, they sound rather dated. The arrangements don't sound as professional as I expected, and feel more like they were recorded in Paul's front room rather than a professional recording studio. I know that these will just not work in our church, lacking the punch and vitality that childrens worship really needs in this generation. I would suggest that the Vineyard "Great Big God" collection would be a better purchase, or anything from Capt Alan Price, both of which tap into, very successfully, what childrens and all age worship should be about. This is a disappointment, especially as it from an artist of the calibre of Paul Field. In spite of the fact that it comes with all the music score and lyric files on the cd, which is a great help, I cannot recommend this as a useful tool. 3/10 Robin Thompson. (April 2004)
Without meaning to sound disrespectful, for every Matt Redman, there are 7 or 8 Paul Oakley's. Working just as hard as their illustrious counterpart, and writing some brilliant songs, they just don't get the same kind of recognition. Here, Paul releases an album of songs that range from the very good, down to the rather mediocre. Early on, there's some very catchy praise numbers, while towards the end, 6 minute epics tend to wander aimlessly and fizzle out. Paul's influences are many, with touches of The Verve surfacing in 'Happy On My Way' and Neil Young rising on the excellent 'House of Gold'. 'Here I Am' is a number that I'm sure congregations will soon be singing up and down the country, simply oozing in class and worship. His back catalogue must be considerable and I feel that there must be some more gems tucked away inside. He just needs to sort out the 24 carat from the glass. 7/10. (October 1998)
Here's a guy who usually appears on worship compilations and live festival releases. Paul Oakley brings a collection of his own songs that, as the press release says, includes the "definitive version of "Jesus, Friend of Mine". Unfortunately, it's probably the worst version I've ever heard, as Paul tries to rock it into Delirious? Proportions, and fails. To be perfectly honest, I've never heard Paul in quite such an aggressive mood. "I Have Come to Love You" has some fine lyrics but the delivery is forced and not easy to listen to. "High Wire" is very U2 from the "Joshua Tree" days and has a lot to admire. In similar vein, "Cover Me" is full of driving guitars and is, possibly, the best track. For me, the trouble with this album is it's consistency. Some tracks are just too rough in feel, whereas others have full production and are, consequently, of great quality. Like the closing "In the Stillness", everything's together and you can really believe in just what Paul is saying. Good on the whole but could be so much better.7/10. (December 2000)
Well, here's a turn up for the book. The man from Whitby who, a few years ago, hired the London Palladium to put on his own show, and bussed all his friends there to watch him! Indeed, the same man who, after a 9 minute interview on Radio 2, received over 7,000 orders for his album! Since then, Paul Wheater has become a Christian, and here is his first audio offering. Those of us who are old enough to remember the late Jim Reeves will instantly draw comparisons and, if I may be so bold, there's nothing wrong with that. Classics such as 'Lead ME Home Gently', 'What A Friend We Have in Jesus', and 'Old Time Religion' are given the Wheater treatment with the greatest respect. If you're wondering what to buy your older relations for Christmas...wonder, no more. Highly recommended. 8/10. (December 1996)
Originally formed some 9 years ago, Los Angeles based Pax217 follow up their successful debut "Twoseventeen" with "Engage". And, despite it's gritty hip hop, reggae, and rock overtones, it's an album that promotes positive attitudes to change, rather than a hail of grievances. "Tonight" is all about making the commitment to God, right now, never mind just thinking about it. Do it, tonight. "I'll See you" is a dedicated prayer of thanksgiving to the Lord for all the great things that He bestows on us. It may not be the same style of praise and worship that most of us know and love, but it's every bit as sincere and from within. That reggae feel comes out on "Move on This" and it works quite well. "Countin' Down the Days" also shows that the band can change things around, with a melodic song that has a tinge of PFR about it. Definitely an album that you can listen to, even a 40 something like me. 7/10. (September 2002)
A rock band singing praise songs? Well, with one such successful album behind them, why not release another? For most of the track listings, Petra keep to the solid music formula that has endeared them to countless thousands over the years. Guitar based songs like "Lord, I Lift Your Name" and "Be of Good Cheer" motor along in style. John Schlitt's vocals are as powerful as ever and there's an excellent keyboard sound to the inspirational "The Holiest Name". One or two sickly sweet numbers do appear, such as "Let Our Voices...", are instantly forgetable but that's just my opinion. One good point here for musicians is that both the words AND music to all the songs are included! Nice touch. 7/10. (May 1997)
I picked up my first Petra album in a second hand shop for £2. Since then, I've bought each release but none of them have matched the quality of the first. Petra are the best selling CCM rock outfit in Europe and, last year, notched up 25 years on the scene. Although three new members are debuting on this release, the sound is the same as ever. Crunching guitars and Jesus centred lyrics, all being the platform for John Schlitt's expressive vocals. "If I Had to Die For Someone" puts you in Jesus' place and asks "Could you do for someone, what He did for you?". It's light rock with simple hooks in the tried and tested Petra style. The same formula is used on "A Matter of Time" and "Falling Up", instantly recognisable sound. The album does deteriorate in the middle with the plodding "Over the Horizon" and the uninspiring title track. Neither of these, or "The Invitation" , have the drive of the previous tracks, leaving the result as a stuttering offering. Petra fans will lap it up but, for me, the band are stuck in a rut. 6/10. (June 1998)
Petra are back with their 13th studio album, albeit with a stripped down to acoustic sound. Produced by the Elefante brothers, the album revisits many of the band's well known hits, including my favourite "Beyond Belief". If you didn't know that Petra were a rock band, you'd never guess from the excellent delivery of this 'un-plugged' offering. The orchestral sounds add a touch of class to proceedings and each track falls neatly into place.. John Schlitt's vocals are as good as ever but, what will old fans think of this release? Well, for me, I feel rather let down. I used to love the tight, American rock that made Petra stand up against the secular likes of Bon Jovi. Here, although competent, there's something missing. "He Came, He Saw" motors well, while "Beat the System" works well, too. Petra have survived many changes over the year, as have their fans, so I guess they'll survive this as well. 8/10. (May 2000)
The legend, that is, Petra are back to their best with their third contemporary worship album. Their first, two have sold half a million copies each and this looks certain to do likewise. Mind you, when I heard the opening track, "Send Revival", I wasn't so sure. To me, it seemed rather wimpish, and not like the Petra I've come to love over the years. But, I shouldn't have worried. "The Noise We Make" is a storming number, with John Schlitt's expressive vocals and Bob Hartman's guitar playing going great. "Oasis" is a slower number but, nevertheless, one amazing song. The laid back style of "The Prodigal's Song" is pure class, while the acoustic "Satisfy" is just superb. It's an album that's filled with worship for a Great God and I found, practically, all the songs so refreshing. "Meet With Me" - what a song. all I can say is "Isn't this brilliant?". This album is for more than just for old Petra fans, there's a whole host of new ones just waiting to hear it. 10/10. (February 2002, Album of the Month)
It was only as I played this album that I realised just how much I'd missed PFR. After a 4 year break, the three guys from Minneapolis are back with a power packed release of guitar led songs. The instantly recognisable guitar traits soar from the opening two songs "Amsterdam" and "Gone". Then, it's the acoustic sound of "All Ready" and the belief that the singer IS in a living relationship with God. Mark Nash, Joel Hanson and Patrick Andrew, together, write some really powerful stuff and their overall sound is such a relief from the grunge guitar playing of such acts as Linkin Park and Alien Ant Farm. For me, it's back to a good old fashioned, solid, guitar band, with a great gift for making good records. If I had to pick a favourite track then, it would be, "Even A Whisper" but, this album has lots of good tracks. 9/10. (November 2001)
In a review zone dominated by British releases, here's another. Phatfish open in a funky style with a 7 minute 20 funky number called 'Extravagant Praise'. Sadly, it's quite weak and an unpolished affair, despite the excellent sax' work of Ben Castle. To be honest, the album goes through a few songs before it really warms up. 'Guessing Game' sounds like Sade, but 'Wake Up O Sleeper' has everything. Superb instruments, Louise Hunt's vocals at their best, and a true feeling of belief running through. What the first half of the album lacks, the second makes up for. More accessible music and stronger lyrics pull Phatfish out of a sinking feeling. 'Here Is the Risen God' sounds good, and the choral interlude stands up really well. Pink Floyd, Abba, Madonna, were just three more of the styles I picked out whilst listening to this "could try harder" release. 5/10. (November 1997)
Over the last couple of years, Phatfish have moved on from their 'just another praise and worship band' tag, to 'indie popsters'. With an American record deal behind them, the band release their alternative sound with sounds reminiscent of Garbage and The Cardigans. Mind you, there's some very serious 80's Bon Jovi guitar in "Kingdom Coming", so the influences vary somewhat! "Help You" asks what sort of things you put your trust in, and the song itself drives along with Louise Fellingham's vocals thrusting through. "What Would I do?" reminds me of Jacko's "Earth Song" and comes complete with symphonic background and choral sounds. Not a favourite of mine but extremely powerful, nonetheless. Phatfish are a different kettle of fish to Delirious? And I believe that one or two of their numbers would have the same, if not bigger, impact in the charts. There again, I also think that the band are still finding their feet and, with that in mind, who knows where they might be in another 12 months. 7/10. (April 2000)
It's only when you get an album of songs like this together, that you realised just what effect the songwriting talents of Phatfish have had on your life. There's plenty on show here, that I hadn't realised had been written by them, and there's some real good ones. Pick of the bunch has to be, "You Are the Lord". It just flows effortlessly from start to finish, covering you with it's warm embrace. There's a laid back version of "Holy Holy Holy", and then a more upbeat one to "Here is the Risen Son". As I was listening, I couldn't get over the feeling that this version of "There is a Day" sounded a lot like current chart favourites Snow Patrol. There again, maybe it's Snow Patrol sounding a lot like Phatfish. I thought that "Come Let Us Worship" was very uplifting, but couldn't say the same for the funk of "O God of Love". For me, this is the best Phatfish album there's been. 8/10 (February 2005)
Backed by a full band, Phil & John find themselves with an album of songs that continue their fine tradition of neat harmonies and simple melodies. I've usually found their albums to be a bit of a let down after seeing them live but, following their recent appearance in Hull, Providence renewed my faith in them. IT opens well , with a foot-tapping song called "New People of Love" and is closely followed by the catchy "Hello Sister Moonshine". Dave Clifton's mandolin sounds make "Stillwaters" into a slow Eden Burning type of affair, but it is quite appealing. The single of a couple of years back "Valentine" is featured and, if "Cotton Eyed Joe" got to No.1 in the charts, this certainly deserved to be up there too - complete with it's manic hoe-down ending. It's a formula that's repeated on "Happy Land" but, in this case, the song becomes tedious. Nevertheless, it's quite a good album. 7/10. (August 1997)
Phil Hart originally released his debut album, "Love's Vast Ocean", locally in Northern Ireland, in 2001. Since then, he has received feedback and interest from far beyond these shores. Not least of these was an invitation to re-release the album in a different format, on a larger scale. So, Phil has gathered the talents of singers like Joanne Hogg and Brent Miller to re-shape the finish product. It's Robbie Groves who thoughtfully sings "The Love of Christ", while a favourite song of mine "Pierced" is sung by Hogg. "Draw Me Close" is sung by Kim McEvitt and it's piano backing makes it sound like an old Irish lullaby. Things are broken up a little midway by the reading of extracts from the book of Job, and the acoustic version of "Amazing Grace", I found to be a little weary too. But, things soon swing for the better again and I especially liked the "chill-out" version of "Come & Worship" as well as the title track. "New Irish Hymns" it is not but, if you're a fan of that series, this would be an ideal companion. 8/10. (August 2004)
I know what you're going to say, "how can you have reviewed CCM albums for all these years, without ever hearing one by Phil Keaggy"? Don't ask me, our paths have just never crossed. I do, however, remember an old friend of mine once remarking that his sound was very much in the mould of The Beatles and this outing certainly holds that thought firm. Indeed, as I listened to "Motor of Love", a colleague asked "Is that Paul McCartney"? Incredibly enough, I looked at the sleeve notes a little more closely, only to discover that the song had been penned by Sir Paul himself! The style doesn't end there either, as the title track is very much in the mould of the Liverpool lads' "Sergeant Pepper" album. Hey, but hang on a minute, there are other styles too. "Chalice" tells that God offers us His chalice of peace and love. Sometimes, we accept it with every good intention of holding on to it, and then we fall again. Great song, and some excellent guitar work by Phil. To show off his expertise on the guitar, he also throws in a couple of instrumental tracks, of which "Headlines" is the best. Although, musically, it's a compact, tidy sounding album, it does sound a little dated. Fans of Mr Keaggy will probably love it but I can't see it winning him any new ones unless it's lovers of the fab four. 6/10. (March 2001)
On listening to the opening track "Sketchings", I realized that Phil Keaggy is a very gifted and talented musician. I hare to confess that this was the first time I had heard his music. I would compare the opening track with Fleetwood Mac's "Albatross" - and as good! Phil is a veteran guitarist of some 39 years and has a huge following and, to his credit, many of his previous albums have been nominated for various awards. If you're a fan of people like Hank Marvin, Eric Clapton, and Mark Knopfler, then you will like this album. He uses a range of guitars, complimented by sounds of keyboard, wind and percussion instruments. To really appreciate this album you do need to take time out and just sit and listen to it. IT is very well put together and, all in all, an excellent album. It has not been easy to pick out a favourite track but I very much like "Old Man" which has a waltz style to it. "Lighthouse" is haunting, with impressive sound effects, and "Acadania" is more of a beat sound, with a great trumpet accompaniment. For those who are already fans of Keaggy, "Cinemascopes" is a mixture of both old and new tracks. for me, a good album. 9/10. Pam Robinson. (February 2002)
No, this isn't the same review as last month. This instrumental release is completely different to "Cinemascopes". Saying that, it's still Phil Keaggy and his guitar but, this time, there's no words. The idea is to depict a theme that provides solace amidst the chaotic happenings of daily life, and I think that is achieved. Playing the album as background music, I found it relaxing. Keaggy's guitar skills are, without doubt, unquestionable and the acoustic style of this album shows those skills off well. On the title track, he provides backing to the saxophone lead, whilst on "Vermillion Strands" his playing is at the fore on a gentle sound. There's not a lot else to say really. Each tune is different from the last but I couldn't say that any one of them really stood out. Perhaps "Spencer's Dream" came close but, then again, maybe not. 6/10. (March 2002)
Phil's been around much longer than I can remember, and he's a darn fine guitarist. Many of his previous albums show a distinct and comprehensive ability to liven up the most ordinary of songs. However, why he felt called to make an instrumental recording of hymns is, probably, best known only to himself. "In the Bleak Midwinter" gives a seasonal opening to proceedings and it's quite pleasant to listen to. Whenever I hear "Jerusalam", my mind goes back almost 30 years to the time when Emerson, Lake And Palmer included it on their "Brain Salad Surgery" album. Keaggy's version is a gentler play, with a mix of both acoustic and electric guitar. But, with each play, I found the album a little too tedious and pigeon-holed under the word "muzak". Yes, it's the sort of stuff you hear as background music in shopping malls, hotel lifts, and - sometimes - public toilets. Sadly, one great artist deosn't automatically make one great album. 3/10. (December 2002)
Phil's been a worship leader and writer since 1972 , and is best known for writing "We Will Magnify" and "Jesus is the Name We Honour". This is his fourth solo album and , supposedly, breaks new ground, musically. Personally, the only track that I hear doing this is "Lament For Wasted Lives", which is so different from anything else on the album. It certainly wouldn't be out of place on most indie/rock albums, and stands out on it's own merit. This isn't to say that the rest of the album isn't good, it is, in the tried and trusted method that
Phil has used successfully over the years. Using scripture based lyrics, he guides you through inspiring songs like "High King of Heaven" and "Well Watered Garden". "Win My Heart" is a
quiet, yet powerful, number which asks God to "melt the steel" in your heart. An extra point for the album is due to the guitar chords being included as w ell as the lyrics. You'll enjoy this one. 8/10. (August 1998)
This is the third tape from Phil that I've had the pleasure of reviewing this year, although the first with a full backing band. The opening 'Fantasy Reality' has some interesting lyrics and a guitar sound that sounds like my old 'deathwish' distortion pedal! Influences are plentyfold here with a little bit of Pink Floyd and Oasis rolling into the psychodelia number 'Stream of Consciousness'. Previously, Phil's slower numbers have always worked the best but this time round, the roles are reversed - 'Fade Away' being the weak link. I did cringe a little when I saw the title of the last track because it had already appeared in three different guises on his other tapes. However, 'Set Your Sights' - I believe - has reached new heights. Apart from the rather strangled guitar sound, it's a good six track tape. It's not going to break new ground in the music business but it does prove that Phil can, on the whole, continually write strong material. 7/10. (November 1996)
This 'best of....' release opens with the track which Cross Rhythms culled for their tape. "Fantasy Reality", like all the tracks, has been re-mixed and has added an impressive violin sound to the backing. I can't get away from the thought that Phil is a secret 60's freak with some of the sounds he produces. "Tumbling Down" is one such song and works well. "Stream of Consciousness" is another which could almost be The Beatles in their Magical Mystery Tour phase. By combining these sounds with today's indie rock music, Phil Lewis produces some very accessible songs that really stand up with his secular counterparts. "Man Behind the Mask" is a slight change of style with it's piano base but the vocals, throughout, remain tight and endearing. "Set Your Sights" (Version 5) is my pick this time round and it should only be time before a record company produces the impressive Mr Lewis. 8/10. (March 1997)
This is the 5th offering from Wales' finest unsigned writer, that I've reviewed in the last couple of years. Once again, Phil doesn't just stick to his previous successful formula, and the depth of his work continues to evolve. The early U2 influences are there in "Coming to You" and his 60's jangly guitars are highlighted with "Your Tune" and "Dark Days". Just as Martin Smith's vocals are instantly recognisable, Phil's voice has the same quality that gives him individuality rather than being just another singer. "In Heaven" is a poignant song, sung to a dying loved one, the words being those we have often been unable to say previously. "Child", I feel, is the one weak spot of the 6 tracks but "Come Running" is a simple song, with the obligatory 'throw away' chorus that buzzes around your head for days. Just how long can the industry ignore this man? 9/10 (October 1997)
It would be wrong of me to compare this mini album with his previous two releases because of the nature of it's style. Swirling 60's guitars and keyboards have been replaced by, mainly, acoustic instruments for what Phil calls " a more personal" collection of songs. This means that the lyrical content, and songs as a whole, need to be really strong to stop them being too samey. The opening 'Damaged' is good, without being brilliant, but 'New Star' sets the ball rolling with it's singalong phrases and a superb backing vocal that compliments Phil's individual vocals very well. 'Over You' is well structured, while 'Little Boy lost' - a song about life's disappointments versus God's promises - grows stronger as it unwinds. The bear minimum backing is used on 'Perfect Moment' and, perhaps, it's no wonder that this seemed to be the weakest track on offer. 'Feel the Fire' is more in the rockier tone of his previous releases, if a little short in length. Personally, I'm a Phil Lewis fan. His music always seems to offer something different for the listener in both musical and lyrical content. Despite some media interest, that elusive big time call is yet to come. Maybe, God has other ideas. 8/10. (September 1998, Album of the Month)
In the latter half of the 90's, I reviewed several CD's from this Welsh based singer songwriter. His raw talent gave rise to some pretty good pop songs but despite this Phil disappeared from view. 5 years later, he's back, complete with a more polished sound, and a few of those rough edges finely honed. Previously, Phil did, sometimes, try and fit too many words into a song but with songs like "Hey Sha La La" and "Fragile", he's learnt to simplify things well. The former, especially, is really catchy. On "Eyes of God", he gives it a Latin feel with some mellow guitar work, and this song, I'm sure, would make a decent radio hit if given the right production. I've always felt that Phil's vocals were more suited to the uptempo beats, and "Come Running" does nothing to change my mind. Certainly on the laid back songs like the title track and "Back to Life", I felt that there was a little conviction lacking. When you get a title like "Life Feels Good", you need a good delivery, as well as a good song. In Phil's case, he does the job and succeeds admirably with a nice foot tapping number. I think that Phil is still experimenting with some of his songs and style, but the world of grassroots CCM is richer for his return. 7/10. (January 2005, February 2005)
As opposed to Steve Green's collection of festive songs, Phillips, Craig & Dean give the likes of 'Go Tell It On the Mountain' and Angels We Have Heard' a terrific, if somewhat over the top, treatment. Such new arrangements are a credit to these guys, but I'm not sure what purists wills think. Big productions, gospel choirs, and superb harmonies are all gathered for this 12 track album. 'Call His Name Jesus' is the one I picked out here as something rather special. PCD however do go from one extreme to another and the thin 'O Sactissimo' is so bland compared to the others here. I'm sure that they had fun doing this and it's also to their credit that they finish the album, not in a blaze of glory but, with the 'The Chipmunk Song', which sounds like Donald Duck. Interesting, this one. 7/10. (December 1996)
The winners of the Dove Awards 2001 Hard Music Album of the Year and the 2002 Hard Music Recorded Song of the Year continue their mission with their 2nd album "Fireproof". This could well be a chart contender with similarities to mainstream acts such as Linkin Park and Papa Roach. It was recently thought that the likes of Creed or POD were the biggest mainstream Christian acts, but Pillar could definitely take their crown with this release. The versatile lead vocals of Rob Beckley show off all his talents, from the fast-rap and screamed lyrics of "Hindsight" to the smooth Incubus style of "Light At My Feet". Accompanied by fast-paced drumbeats and catchy hooks this is a fantastic album suitable for a wide audience. 8/10 Richard Howlett. (July 2002)
Suffering, forgiveness, healing, and depression, are just some of the subjects covered by Plumb on this release that has grabbed a lot of media attention over the last few months. Led by the vocals of Tiffany Arbuckle, the bands sound is instantly recognisable akin to No Doubt. On 'Who Am I?', she controls her vocals within the boundaries of the song but on 'Sobering' she's let loose, and the results are almost over powering. There's lots of chunky guitar sounds over most songs, with 'Crazy' being one of the most instantly likeable tunes. The obligatory quiet number comes in the shape of 'Pennyless', which tells of a young girl on the streets. Plumb are good and I'd like to say that it's a peach of an album, but it isn't. It's okay. 6/10. (July 1998)
Plumb's self titled debut announced noisily to the world that they had arrived. A mix of American indie rock and punk, it was aggressive and straight to the point. This follow up sees the band mellow somewhat, as singer Tiffany Arbuckle turns into a Natalie Imbruglia soundalike. Mind you, on the opening track there's no sign of the change to come. "Late Great Planet Earth" sounds like the track that they didn't quite have room for on the debut and it's powerful delivery is tremendous. So we come to "Stranded" a whole lot lighter and more radio friendly. "Here With Me" builds with great orchestrations wile the infectious "Lie Low" would me my pick for a single. "God Shaped Hole" tells the listener that everyone has a piece missing in their life, a piece that is God-shaped and can only be filled by Him. The style may have changed, but Plumb have ripened into a fruitful outfit. 9/10. (October 1999)
There's no change to Dave's instantly recognisable Van Morrison type vocals but what has happened is that the band, as a whole, have clearly defined their individual strengths. This, along with fine production, has brought out a sharper, cutting edge to the fore. Songs such as 'Banged Up' and 'Twenty Twenty Vision' are just two of the collection that tell of the prisoner's plight. Sharon Winfield's vocals have improved no end and her powerful, haunting rendition on 'This Time' would give Iona's Joanne Hogg a run for her money. Influences are many, 60's, 70's 80's music are all there, but it's the lyrics that are so out of the ordinary and make the album special. The best is kept until last, where the least number of words make the most powerful song. The music is slowly and cleverly built up as both vocalists ask for 'Your Peace'. 9/10. (September 1996, Album of the Month)
Their previous two albums have produced 11 number one CCM singles in the States, which just gives some indication on how popular these four girls are. Sweet vocals and, almost, perfect harmonies sweep you along the road of heaven. Strong lyrics are shown throughout the album including help from Scott Krippayne on the track 'Jesus Doesn't Care'. Simple message here, no matter what you've done - Jesus is waiting for you. Other highs are the title track and 'Any Road, Any Cost' - another song about following the Lord. Indeed, the messages are simple so why complicate things? These girls are pure pop and well worth your time. 9/10. (March 1997, Album of the Month)
These girls have really been setting America alight over the last two or three years with their superb songs and wholehearted commitment to their ministry. Following on from their highly successful debut, "Steady On" is packed with songs containing down to earth, plain and simple lyrics, filled with in your face facts. For me, the title track is the worst cut on show and I wondered just what the rest were going to be like. I needn't have worried though because the girl soon launch into those delicious harmonies that make Point of Grace so special. "My God" and "Amazing" set your pulse racing but "Jesus Is" moves things into a different gear, with a clear declaration that Jesus IS Lord. Listening to it, you're just taken by the whole production of the album, it's that good. "Drawing Me Closer" starts of with those brilliant harmonies again before launching into a spectacular, Belinda Carlisle type song. Yes, there's a couple of hot ballads for good measure. Pity about the title track. 9/10. (December 1998, Album of the Month)
It's 10 years since the Christian music world first heard of the band Point of Grace and in that time, their career has seen them gain multi million album sales, as well as 5 Gold and Platinum albums. Shelley Breen, Denise Jones, Heather Payne and Terry Jones have now released a new album entitled "Free To Fly". It's always a good sign when an album starts with a strong song and this one is no exception. "By Heart" is very much in the mould of Steps and should prove a winner with Christian radio. "He Sends His Love" is a medium paced number but the quality really hits you, with exceptional vocals and instrumentation. Picking out a low point of the album would be hard but, perhaps, "Praise Forevermore" fails to reach the heights of the other tracks. "Blue Skies", "Begin With Me", and "Something So Good" are just three of the many potential radio hit singles from a band who never fail to deliver the goods. 9/10. (July 2001)
Doug Pinnick's (Kings X) solo project depends, I would say, in what you expect. Musicianship…meaty, uplifting lyrics…expressive vocals? For the first and last I would sat - yes! Lyrics - maybe Doug has some things to express or work out in his life. I'm not saying that he's self-centred or anything - and I'm sure there's gotta be some stories behind most of his songs to justify the - but to me, some seem to have words because they needed something. Am I wanting too much from an artist of his caliber? Lyrics aside, I like the album. Yes, the Kings X sound is there. Any of these songs could havew come from a Kings album. If you're into Kings X, you'll like it and if you're curious……..8/10. Dennis Preston, courtesy of The Cutting Edge Magazine, http://www.geocities.com/sunsetstrip/venue/1006/118pound.html (March 1999)
Urban praise is something I've struggled with, as a listener over the last few years. Gospel singers like Donnie McClurkin and Yolanda Adams seem more accessible with their music. But, forever open to all types of music, I gave this one a listen in the knowledge that Fred Hammond and Steven Ford were the producers. Sadly, this album took a lot of perseverance because I didn't enjoy it at all. I would have loved to have written this review after one listen, but that's not being fair to the artist, or the record company. "Jesus is Alive" can only be described as a lot of "whooping and hollering", to a beat that I found just plain annoying. "Ancient of Days" and "Worthy You Are Worthy" were passable MOR gospel, but I found very little solice in either. Mid way through the album, the well known hymns "Jesus We Enthrone You" and "Give Thanks" are sung, but I found the interpretation rather clumsy and dis-jointed. In fact, the word "tacky" came to mind, they were that bad. Not one that I'll be personally playing much more. 2/10. (June 2003)
I was set a real challenge with this one - a Black Gospel/Soul cd. I can't claim to be an expert in this style of music, nor do I have any in my collection (which I thought was pretty eclectic!) nor is it a style which I particularly like. I think this is a difficult style of music to make work in a worship context. I think it suffers from a lack of a strong melody which is imperative in corporate worship, and is probably one of the reasons why I struggle to get on with soul music. I do find most songs sound the same and there is an element of that here. The first two songs "More of Your Glory" and "You Alone are My Rock" are done as a medley but you wouldn't know that they were two separate songs without glancing at the album sleeve. Not a good start! It is also not clear from the sleeve what this album is actually about. The cover is laid out in such a way as to indicate that this is a duo called "Harmony". What you actually get is a selection of "the finest vocalists and choirs" delivering "urban praise at an affordable price". Maybe I just don't get it, but I'm sure it's more to do with poor packaging. Having said all that, the content is well delivered with good, strong vocal and instrumental performances and I'm sure that if this is your thing, you will enjoy it. The production too is of commercial quality and coupled with some good tunes in the middle of the album I found I actually warmed to it to a certain extent. I do work with a church that has members that would absolutely love this cd and it does demonstrate the diversity of Christian Worship Music available. So overall, this album gets a muted thumbs up even though it is not to my taste. If you want soul for the soul, I'm sure you could do worse. 5/10 (for poor packaging) Robin Thompson (February 2004)
Here's a mid-price album that promotes urban praise, produced by Fred Hammond and Steven ford. With some great choirs and vocalists featured, you're sure to enjoy this album. Right? Well, not really enjoy. It has it's moments but they are few and far between. Lyrically, superb, with the theme of "healing" running throughout. However, too many songs failed to deliver and I found most of them quite bland. Okay, so there's some lively praise going on, but do they really have to OTT? "Healing Grace" and "Come Let Us Return" stop this from becoming a totally dire release, while the likes of "Bu His Wounds" held that certain cringe factor for me. Enjoy it? No. Endured it? Yes. 3/10. (February 2004)
There do seem to be rather a lot of these "live worship" CD's around, so I tend to ask myself why this should be. Do they A) provide a quick way of distributing new songs; B) capture the spirit of worship that was present at the recording, thus enabling the listener to use the CD in their own worship; C) assist the local worship leader by providing hints on arrangement that no score ever seems to; D) provide a definite market (those who were there) in which to sell the CD? Leaving aside the (somewhat cynical) option D, how does this CD measure up in terms of A, B and C? This CD is very strong on A, having only one song I'd heard before ("I Will Worship") and are all quite good without really hitting true magnificence - ("Wide Wide World" is probably the best track). However, B&C are not really that strong; the atmosphere definitely lacking and the arrangements & styles I was hoping for (having enjoyed many Irish/Celtic arrangements of songs) was not really present - although "St. Patrick's Breastplate" is rather good. A great shame, really, as I've been quite impressed with co-leader David Ruis in the past. A CD for those constantly seeking new songs or those who were there (record execs have to eat too, you know). 4/10. Paul Ganney. (September 2000)
One of two new Celtic Christian albums released by the Prairie Bible College of Alberta, Canada, is "God Above, God Below". 20 tracks featuring some whose words are more than 400 years old. Irish singer Fiona O'Leary is at the forefront of much of the singing, but she's abley assisted by the musicians and singers of the college's Fine Arts Department. In sound, it's all very traditional and if you're expecting something like Iona, forget it, this album is back to basics and that's no bad thing. As the bagpipes and whistles of "Hail the King" unfurled, I knew that I was beginning a listening journey of distinct quality and depth. "O For A Thousand Tongues" is one of my all time favourite hymns and, therefore, it was quite strange to hear it sang to the tune of "Star of County Down", a gentle Irish melody. Nevertheless, I still found it a pleasurable listen, and it was at this point I started to take more note of the intricate re-workings of many well know songs. "Be Thou My Vision" is another track that gets a similar treatment, as does "Ancient of Days". There's also a couple of instrumental jigs to highlight the excellent musicianship, using instruments such as harp, bodhran, accordion, dulcimer, and many more. For those who love Celtic music, this is a must. 9/10. (September 2001)
At last, something from the States to compare with the constant stream of stuff we get from Hillsongs Australia! Not that I'm against Hillsongs, I just feel that a new Australian praise album every month (well, that's what it feels like) is rather too much to digest. The Praise Band are very similar in content, but the opening "You Are the One" stands out because of it's difference to the rest of the album. Here, it's US guitar rock, and a stomping chorus that is, actually, worthy of being a chart hit. What happens next is a mystery, as the rest of the album becomes a little 'run of the mill'. "I Will Rise Up" sounds like a Matt Redman number and "You're Worthy of My Praise" is quite good, too. Hard to pick out any others as outstanding but, there again, there's nothing horrific either. 6/10. (May 2000)
The news that ex-Bizzare Inc. frontman Cameron Dante had become a Christian was big music media news. From a life of sex, drugs and rock n'roll, he was saved and began his new life with the support of the World Wide Message Tribe. This solo album is a musical journey of his change, beginning with 'Tormential Pain' and ending with 'We Lift Our Voices'. It's dance club music through and through, and I found it very hard to listen to. Perhaps I'm too old? I gave it to my teenage daughter and 12 year old son. "It's awful", said one. "One bit's alright, but I didn't like the singing", said the other. I tried playing it loud, I tried playing it quietly. I tried playing it in the car, I had to turn it off. The only track I felt I would like to listen to again was 'Reachin', perhaps because it only lasts for three minutes. I love the sleeve notes by Cameron himself, and I love what has happened to him. I just pray that this will go down well in the clubs. For me, it didn't. 4/10. (February 1997)
Not knowing much about the dance/club scene I asked a few people
"in the know" for their opinion of this release from
this British outfit. "It sound's American in a sort of Beastie
Boys way" said one. "They wouldn't play anything like
this on the radio or in the clubs around here", said another.
Further opinions weren't too helpful or encouraging so I decided
to go it alone, after all. Track 4 "Hectic", that ,must
be the one like the Beatie Boys! Quite hectic, lots of 90's rap/hip-hop
and loud "pump up the volume" beat. From there, we move
to "Didgereborn" which actually seems to feature a didgeredoo
throughout. The two 'tunes' I did pick up on though both featured
the vocals of Helen, "Frontline2" and the slower "Jesus
Armchair". To me, they seemed to be in a different league
to most of the other tracks and the former gave me visions of
a motion picture theme. Remember the band Therapy, complete with
100 miles an hour attacking thrash but still having a catchy hook?
Fans of that sort of music will love "Paul Daniels",
- I can see the moshpit going wild right now. I don't think that
Psalmistry would ever convert me but then, would Psalmistry fans
enjoy Stryper? 7/10. (May 1999)
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