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Listening to this album reminded me of two other artists. The first is Destiny's Child - Rachael has a superb voice, and the way she uses it will be immediately familiar to those who know DC's recent work. The second, rather surprisingly, is Chris De Burgh. Just as I loved "Don't Pay The Ferryman" and other up tempo CDB songs, but was left cold by "Lady in Red" and his slower stuff, so it is with Kaleidoscope. The livelier songs, such as "Savior Song" (note the American spelling!) and "Sanctuary" are excellent, with some wonderful musical touches, rock-solid rhythms and powerful, spiritual lyrics. The slow stuff, on the other hand, is a bit bland. Although the lyrical power is still there, the arrangements are a bit too generic for my taste but, like CDB, probably excellent if you like that sort of thing. The glorious exception is "Beautiful", which combines a great "jazzy" feel with some wonderful piano and guitar work and the aforementioned voice. As a whole, it is well worth checking out 8/10 David Cooper (May 2002)
I have to say that dance music is not really my cup of tea at all. In Fact I tend to group most dance acts in the same category as MPs and Traffic Wardens, so it would be easy for me to give this CD a bad review and not feel unduly guilty about it. But then again, after listening to it a few times, It is clear that Rachel has a good voice, and is obviously a talented singer, but I wish that these people didn't feel that they have to keep messing up the vocals with sampled loops all the time. There's not really a lot I can say about this CD, if you like the music they play on stations like Galaxy FM then you will probably like this CD. I looked at Rachel's website to see if I could find anymore information about her, but it wasn't working properly so I can't tell you anything else. I'm not saying that this is a bad CD don't get me wrong, it's obviously had a lot of work put into it and all the music and production etc is very good, this kind of music doesn't do anything for me at all, having been dragged up on the likes of Eric Clapton, Led Zep etc. However since writing this review the album has disappeared into the murky depths of my daughter's bedroom, she thinks it's quite good. I won't be trying to retrieve it, but it should probably get a good score. 8/10 Andy Sayner. (January 2003)
I came across this lot on the Broken Records website, downloaded a few mp3s, and just had to have this album! Rad4Dad hail from LA, and in true West Coast speak this album blew me away. Like 'WOW' where do I start? Rad started recording this album in the eighties, and through an amazing string of events eventually finished it last year. Funky, bluesy, rocky and with tons of energy, you really feel as if you're at a live gig - and this album is a studio recording! Starting with the funky 'Peer Pressure', you immediately notice how tight the band is, fronted by the powerful voice of Gregg Lancer. Jimi Seville's keyboard sounds inevitably give things an eighties feel, but together with Eddy Estrada's gutsy guitar and Brad Taft's pulsating rhythms, it works - and it works well. Good music just doesn't date. Hardly out of my CD player, it's difficult to pick out significant tracks - they all are, but if I have to I'd go for 'When Will You Learn', 'Raging Storm', 'Nightclub Suicide', 'Standing On The Edge' and the excellent slow blues 'Don't Sing The Blues No Mo'. This has a great jazzy feel and reminds me a lot of the Allman Bros version of 'Stormy Monday'. Rad4Dad don't pull their punches. The lyrics are blatantly and unashamedly Christian and they leave you in no doubt about their faith. There aren't many contemporary albums around that get away with this. Quite often the lyrics don't fit with the music, or seem trite, but here all things come together in perfect harmony. It's hard to believe that this lot are still independents, but then again, I wouldn't want to see this kind of creativity suffer from corporate hype. Hearing is believing. 9/10 Julie Lord (December 2000)
Here's a guy who's been around the Christian music world for years. Yet, here in the UK, he remains relatively unknown. How many albums he's released previously I'm not sure but, on this occasion, he sounds very much like a cross between Bob Dylan and Skatman Meredith. His guitar work is carefully crafted throughout but is at it's best on songs like "All I Know" and "That's the Way It Goes". "Take Me Back" is a nice duet with Sara Groves, while on other songs guests include Phil Keaggy and Barry McGuire. Sometimes you come across someone in whom you've always had a feeling that there's something special inside of them - even if they don't know it themselves. "Hay, Pauline" tells of one such person, and it's a pretty inspiring song too. "Last Song For Michael" is, as the title suggests, a goodbye to a friend who's died. It's very sad but, then, it is a difficult thing to do. It's not an album that's going to make you feel happy, in my opinion. However, many of the songs made me reflect my own position in life and, perhaps, that's not a bad thing either. 6/10. (February 2003)
Ray Bady began his career as a drummer and eventually recorded solo work for Gospo Centric after years of industry work. Before his solo recordings, Bady either drummed or programmed the drums for such successful artists as Kirk Franklin, Yolanda Adams and R. Kelly, among others. So Ray Bady went to work on his solo album, co-writing most of the tracks, as well as co-producing the final product. First up, the title initials actually stand for "Keep on Believing", and the song itself is quite a sweet ballad, with lots of close harmonies. It opens with a mission statement and, then again, half way through in a sort of testimony type way. Ray Bady mixes 70's disco with 21st Century hip hop, and that mix doesn't always seem to work. "Livin This Kinda Life" is an MC Hammer throwback song, while "Mercy,Mercy Me" takes you back to the sound ofTavares. "He's Able" is an old fashioned gospel number while the intrerestingly titled "God Don't Want No Haters 'N the Church" gets the garage treatment. Not an album that I would listen to by choice but if it's your sort of thing, you should give it a whirl. 6/10. (August 2002)
Formed in 1996, the Lifeline Record Company raises funds for those charities involved in world disaster campaigns. Everyone involved in the project donates their time for free and the charity has no paid administrators or staff. Ex-rock singer, Ray Bevan is the man with the voice on this three-track CD, and his gavel laden vocals do well on "Sympathy". Very simple words that ask for 'sympathy', but a powerful song that would hold it's head above water in the charts even if it does sound a little dated. The second track is simply awful. "All Those Fearful Years" is weak from start to finish, and the idea of a child speaking over the music just raises the cringe factor off the scale. "Shoot To Kill" fairs a little better but, all in all, it sounds as if the people behind the project ran out of ideas. The CD is available at all major record shops, and the charity must be applauded for its efforts. 5/10. (June 1999)
Over in the States, Ray is a big American football hero. He plays for the Atlanta Falcons and helped them win the 1998 Super Bowl. That same focus is also helping him to reach out to people through his songs in a hip-hop style. Now, I've got to tell you that this style of music is everything I loathe in today's sounds, beit Christian or secular. Repetative beat, monotonous rhythms, and a vocal delivery that irritates beyond belief. So, I have to try really hard to look beyond those traits and concentrate on the lyrics. The content, therefore, is refreshing because they're just filled with truth and messages for everyone. "Rock With Me" says that on judgement day, only you can answer for all the things that you've done in your life. How will you answer? "Hold On" is a duet between good and evil, with the devil fighting for your soul, with promises of great rewards. I guess that my favourite track must be "Do For Me" and it's message that crime doesn't pay. It doesn't matter how big or small the crime, it's still a sin. The music itself leaves me cold, but I think that lovers of this style will enjoy it. 7/10. (September 2002)
A four track taster of things to come from this new American group, now under the wings of Zarc Porter. They say that 'Raw Energy' defines the essence of the group, who are committed to effectively communicating the message of God's everlasting love on all levels. What you get here is dance music that would not go amiss on national radio, kicking off with the catchy 'I Need Your Love' - which also surfaces as a re-mix. 'Thank You' is more Europop than anything but 'Brighter Day' steps back into the dance scene with typical energy. If this single IS a taster of things to come then Raze are going to be big! 8/10. (March 1997)
Pop, praise, funk and rap are all featured on this UK produced album by dance outfit, Raze. Close friends of the WWMT, Ja'Marc, JD, Mizzie and Donnie are touted as taking all of these styles, and their ministry, to a new level. The question is, does it? Well, in patches it does, but there's a whole lot that dives into the depths of despair. "All Around the World" opens things up well, mixing dance tempo and ballad really well. "Place In My Heart" is the type of song that usually takes the Backstreet Boys high in the singles charts and there's some great harmonies too. From then on, it's something of a let down until the final number "Always & Forever". What happens in between? Perhaps, too much. It sounds as if each member of the foursome prefers a different style (I may be wrong) and, consequently, both writing and individual songs suffer. Of course, there's no problem with the lyrical content but the whole thing does sound as if too many people wanted to do too many things on one release. 4/10. (October 1999)
Paul Oakley's rising prominence in p&w circles is confirmed by his leadership and song writing abilities contained on this new release. In similar style to Martin Smith, Phil begins in such a way that he almost sounds disinterested in what he's actually singing. "All Around the World" obviously goes down well with the crowd but his dull vocals are an instant turn off. "Here I Am" and "Jesus Christ" sound as if he's getting "into things" a bit more, with the former giving a joyful feel to the whole thing. "Jesus, Lover of My Soul" is another bouncy number that made my ears prick up but then it was back to the monotonous tones of that voice. The sleeve notes reads "introduces some of the best radical new worship songs around". New? Some. Radical? Not really. Fairly ordinary? Yes. 4/10. (December 1997)
Here's one of those artists who's songs are brand new to me. A lot of female singers are, rightly or wrongly, compared to Alanis Morrissette and Miss St.James does compare favourably. Off the wall lyrics that are, sometimes, straight in your face and, other times need closer inspection. The title track is one of the former types which unashamedly worships the Lord for His greatness. My favourite track is the instantly singable "Me Without You", which focuses on what one would be like without God. It is an excellent song. Track 8 "Carry Me High" back to the early 80's and music that has been 'nicked' from a band called The Skids and their single "Iona" - no credits given to the band but it's a bit of a rip-off. Apart from that, it's a good album. 8/10. (April 1997)
The question I was asking myself when I received this album was "could she keep up the standard of her debut"? Well, the answer is most definitely "yes". From the moment it's title track began, I was instantly grabbed by it's hooks and eagerly anticipated the rest of the collection. 11 songs jam-packed with lyrics, telling of God's promises to his children. "Hold Me Jesus", "I'll Carry You", and "Peace" are just three of the immediate highlights of a really good album. Rebecca has kept a lot of the Alanis Morrissette style of her first release but now there's also the catchy pop feel of Belinda Carlisle in there. "Give Myself Away" is a medium paced rocker that deserves a few plays to really appreciate and "Love To Love You" just made me want to play the whole thing again. Not quite perfection, but seriously close. 9/10. (February 1999)
So, Rebecca has got the 'power pop' bug, has she? She sure has, judging by this brand new album that sees influences of dance mixed with an edgy, new sound. Track 3, "Reborn" is just so full of life that it's almost impossible to listen to without moving some part of your body to the rhythm! "Merciful", complete with it's full orchestrated backing, is a fine piece of 'off the wall' music Paul field sharing some of the writing credits. There's a bit of Madonna creeps in on "One", while "Wait For Me" has that Lena Marlin feel, complete with acoustic guitar. The album just goes from strength to strength and before it comes to the end, there's the anthemic "Stand", written by Rebecca and Reggie Hamm. Based on Joshua 1:9 it tells us to "Be Strong, rise up, and let the world know we belong" (to Him). Brilliant. 10/10. (December 20000)
Subtitled "Live Worship", Rebecca snarls into action with this punchy 8 track album. Overall, she relies on her rocky sound to perform and judging by the applause, and screams of delight from the audience, everyone's having a great time. I've got to admit, it's not quite what I expected and the opening songs really grab you by the throat. "Lamb of God" wouldn't be out of place on any rock compilation while "Blessed Be Your Name" also gets similar treatment. "Quiet You with My love" is anything but quiet but the acoustic "Above All" finally does see some quieter moments. To close, there's a energy filled version of "The Power of Your Love", complete with a reprise if you leave the CD running a while after it's initial finish. Summing up, I wish there had been more! 8/10. (April 2004, Album of the Month)
Receiver is the worship band at the heart of the youth ministry at Christian City Church, Oxford Falls, Sydney, Australia. "O2" is the second album from this six-piece outfit who surprised me immediately by the aggressiveness of the opening "Find It". Can't really put my finger on it but I felt ill at ease listening to it. At their best, Receiver prove that Indie rock is not dead, with the NSC sounding "Peace". At their worst, "I'm In Awe" and "Heaven" are not very tuneful, nor inspiring - the latter being over 6 minutes of pure torture. "Cover Me" is an acoustic number where the vocals sound like a drunken crowd leaving the pub on a Friday night. "What is that noise?" a colleague asked. I'll await the letters from down under to tell me different but, this isn't very good at all. 2/10. (March 2002)
If you're one of those people who think that they are too busy to listen to this type of album then, perhaps, you are the very person it's aimed at. The inner sleeve notes state that "As you contemplate life, this blend of gentle piano melodies and ethereal sounds will, we hope, transport you to a place of peace and serenity". The tracks are all written and performed by one man called Eric Nordhoff - although Louie Shelton plays guitar. And, it's that guitar that sits nicely alongside the piano of many a track. "Love Never Fails" for instance, where both instruments compliment each other perfectly. "Sacrifice" sees my favourite track, and it's a piano only number. This one's so good, in fact, that I had visions of it coming straight off a movie soundtrack. "Angels With Us" is an uplifting number, where some synth' based string sounds are added, but there's plenty of plain, nice tunes around here. This is the truth; in today's busy lifestyle, more and more people could do a lot worse that to listen to this album, relax and de-stress. 7/10. (September 2004)
If you like the sound of modern r n' b and hip hop, then Remix could be for you. Brothers, Drew and T-Jay Gibson combine their writing skills to produce 11 songs that convey their relationship with God in their everyday lives. "7 Times A Lady" tells how their mother raised them single-handed, and how many sacrifices she made. The harmonies on all songs are good but, perhaps, never betterthan on "I Won't Run From You". Here, the brother's lay their hearts wide open and give their all to the Lord of their lives. They've already opened for acts such as Kirk Franklin and Mary Mary, so there's a lot of people who think that they're quite talented. What does turn an old fashioned guy like me away from their music, is that many songs run into one another, and I'm never too sure when one has finished and another has started. That apart, let's here it for Remix. 7/10. (February 2002)
Primarily aimed as a promotional release, this is the debut from three guys with a lot to offer. Four songs here, all penned by lead singer Paddy Kirkman who has a blues guitar background that comes to the fore on the closing 'Jesus is King'. If that isn't enough for one guy, then his remarkable Martin Smith voice is almost too good to be true. 'Jesus Christ is Lord' is a simple, 3 minute contemporary praise song in the style of Mr Smith's band. That, I'm afraid, does tend to lead you into the Delirious way of thinking but, there is more to this band. The lyrics are thoughtful and the tunes well written. The musicianship is tight and, if you forgive the tiny budget recording, this is a good first outing. 'Lord I'm Aching' is a slow worship number, while 'Have You Ever' returns to the poppy style whilst shouting how much we should love those who have no-one. If the RR's can build on this, they should have a healthy ministry ahead of them. 7/10. (November 1997)
The Label of Love ministry has taken God's word into countless schools, churches, pubs, and numerous other venues over the years. Nowadays, they concentrate, mainly, on the their young people's work and from it has grown the band Resonate. Michelle Hornsby, John Flavell, and Stephanie Trebilcock, make up the outfit and perform songs in today's popular dance style. "Creation" sees a strong start go well in a Mis-teeq sort of way. "Where Are You" adds some distorted guitar, while "One Night Stand" takes the orchestral sound of Fleetwood Mac's "Everywhere" and sees John and the girls rap and sing over the top. There's nothing wrong with the lyrics as they all have messages that today's youth can relate to. At times, some of the female vocals sound a little off key, you know, the way Cyndi Lauper often did? There's also an intro and outro that explains what the band is all about, and how listeners can find out more about Jesus. In all, it's nothing earth shatteringly special, but will make it's mark in the school environment, I've no doubt about that. 6/10. (December 2003)
Blending worship leaders from the UK and the USA, this album of progressive praise and worship depicts a revival generation, arising around the world. Delirious? start things off with "Did You Feel the Mountains Tremble?", a rip roaring 'in your face' stomper. Matt Redman follows with "I Dream of Tongues of Fire" and then it's time for another Martin Smith clone, in the shape of Alan Rose and "Oh Our Lord and King". Paul Oakley's prime contribution is the infectious "Here I Am", but the great "We Fall Down" by Passion must take great credit for wholesome worship. My favourite number is Delirous?' "I Could Sing of Your Love Forever", an epic 6 minutes that COULD go on forever. Revival? Judging by this, there certainly is! 8/10. (January 2001)
Revive is a contemporary church for people in their 20s-30s based in Leeds. Their desire is to take the church to the people who inhabit the club and pub scene in the city. Many different members of the church feature on the album, their label debut. So, I tried to listen to the songs, imagining that I was actually at one of the meetings. I tried to meditate with the slower numbers like the acoustic led "Be With You" and "Freedom" but found the lazy singing approach rather off-putting. There was a bit of Cardigans meet Garbage about "Everything", which then turned into a Tribe-like rap. That vocal sounded familiar and, when I looked, I realised that it was none other than Justin Thomas leading the praise. But, after the two bright opening numbers, the album seemd to get bogged down in an epherial meets Bjork sort of mix. "I Give My Life Back To You" is quite well done but, try as I may, I just couldn't get to grips with the rest of the tracks. to produce an album like this, there must be something really good happening in Leeds but, listening to this, I just can't see it. 4/10. (May 2002)
Hmmn.....not really sure how to review this one. Here are nine tracks of music which "attempts to capture the eesence of man's encounter with his Creator." There are chants, texts, nature sounds, and more, that are mixed into rhythmic beat and melody. The concept is designed to "inspire an atmosphere of quiet peace", and it does this quite well. Every now and again you can hear the faint strains of a well known hymn in the background, such as 'Amazing Grace' on the piece called 'Grace'. Another begins with the sound of heavy rainfall, which initially fooled yours truely into checking the weather outside! It's a meditational album that does it's job well as one track slips naturally into the next. "Play it softly as you go about the tasks of your day" says the sleeve notes. Mind you, play it in your car at your peril - it's music to close your eyes too! If this is your sort of thing, then it's well worth purchasing. 7/10. (April 1996)
I'm sure you know the stroy by now but, Rich Mullins sat in an old, abandoned church and played 9 songs that were to be part of a record he had affectionately called 'Ten Songs About Jesus'. Nine days later, Mullins died in a car crash. The cassette containing the songs was salvaged, cleaned and has been released in this double CD package. What you get is pretty awful, it's a sad way to remember Rich. Take an acoustic guitar into your bedroom, turn on your cassette recorder, and strum a few tunes. That's what you get. Thankfully, Rich's band and a few friends continued to work on the songs and have produced an accompanying CD containing the finished products. Althouugh, not a great album, it does bring out the best from the basic tunes. 'You Did Not Have A Home' is a catchy number with a c&w feel, while 'Man Of No Reputation' is the pick of the rest. Mullins is, already, sadly missed but his music lives on. 6/10. (November 1998)
In his native South Africa, Richard once spent 9 weeks at the top of the charts with a version of "Michael Row the Boat Ashore". After years of going his own way, he was "born again" in 1995 following the similar experience of his wife. This album, then, seems to be the resulting happiness and joy that he has found since returning to the Lord's house. "Warriors" became an instant favourite of mine, as did "If We Didn't Know Jesus". Happy and spiritually uplifting, were words that constantly came into my mind whenever I played these calypso style songs. The rock sound of "He Gave Life" comes a s a bit of a surprise, but its another strong song, complete with distorted guitars. The ballad "Wanna Be There" has a lovely melody, and the BIG production of "He'll Be There" really does get the message over that God will be with you, He never lets you down. Gospel and R n' B styles are also included on an album that deserves your attention. 8/10. (September 1999)
It's always a pleasure to receive something from a new artist, t aking their first steps in the CCM scene, and this is no exception. Richard hails from the Watford area and, after a few efforts, this his his first major demo release. Thirteen tracks of self penned songs that vary in both quality and delivery. The opening two tracks, for instance, carry thin, unconvincing, vocals that really do detract from the tunes - especially the catchy "The Things You Said". Move on to the title track, however, and it's a completely different kettle of fish. The slow electro ballad moves along nicely, and Richard's vocals fit perfectly, with feeling. The musical sound of the whole album reminds me of early Depeche Mode, although the "Instrumental" is undeniably Kraftwerk. "Thomas" is another catchy tune but, by the time we've reached "Sons Return", we're back to the vocal problem. Here, he tries to fit in far too many words and fails in it's delivery. There's no doubt that Richard has a lot of talent and gifts to share and this is a reaonable first outing . 6/10. (November 1998)
For his second release, Richard Knight has kept to the same musical formula of his debut and produced 16 songs that looks at everything from singing in the bath to Christmas with awful relations. The overall style is that of bubblegum pop and, once again, sounds like an early Depeche Mode. His trait of fitting in as many words as possible to each line of a song remains, and is does tend to dilute the final impact. The title track has a catchy tune and Richard sings in the same way that Neil Tennant talks through every Pet Shop Boys record, but without the same effect. Vocally, he has the ability but has yet to harness it into a consistantly good result. "Hear My Prayer" shows just what Richard is capable of, but "Singing in the Bath" shows him in poor light. Is it supposed to be like that? His tongue in cheek writing should be applauded as he says things that many of us would like to, but daren't. "A Snickers Bar Really Satisfies" is just one example of how people take things for a quick fix, rather than a long term investment. "Because of You" stands up fairly well but, at the end of the day, the album is about 8 songs too long. 5/10. (October 1999)
This is Richard's 3rd album in almost as many years and, finally, does show the true potential of his songwriting ability. In the past, I - along with others - have questioned both his vocal prowess and basic song structure. However, with this release, there is certainly a marked improvement resulting in some really good songs. "Why Are You Here?" is the first track, a medium paced, mellow number that I found increasing appealing the more I played it. Richard's voice is not a strong instrument but he is starting to make the most of his limitations, and not trying to reach those - for him - impossible notes. "Just As I Am" is one prime example of his new found confidence, where he produces a sound not too unlike Neil Tennant (Pet Shop Boys). As If's Phil Goss lends a hand on guitar, otherwise, all the musicianship is Richard's own work. How unfortunate, then, that some excellent keyboard work of "Running On Empty" comes in, possibly, his weakest vocal attempt! Nothing wrong with the lyrics though, as he cries to the Lord for help when his faith is so low . A passing listener said that Richard's songs reminded her, at times, of Elvis Costello. He's still some way to go on his own musical journey but he's finally, on his way. 7/10. (February 2001)
There are some good songs here. On several occasions, what appears to be a simple and ordinary song moves into an unexpected melody for the chorus. Richard writes heartfelt and sincere lyrics, a little down-beat sometimes but unpretentious. The title track is particularly good as is "So Low" "I Don't Have What it Takes" is a sad song that turns out joyful. Similarly "Darkest Night" has a Psalm-like quality about the lyrics, almost a cry for help. "Most Important Thing" is a worshipful song that fairly chugs along. The album romps to a close with "Angel at Your Grave". 11 songs and the only one I didn't like was the mercifully short "The Kid's the King." The area of weakness in this album is in the vocals, although I do like the 'Englishness' of Richard's voice - no fake American drawl here. The album benefits from a variety of arrangements and is particularly lifted by some great guitar work by Phil Goss. Because of those weak vocals, this was heading for 6/10 but after a few more plays, the strength of the songwriting and the production shines through, so it gets... 7/10 Geoff Allen (January 2003)
For those of you unfamiliar with his work, worship leader Richard Smallwood has been recording for over 20 years and his gospel music repertoire includes songs performed and recorded by Whitney Houston and Destiny's Child. This album is a compilation of 14 of his most popular P&W songs, performed by The Richard Smallwood Singers and the 30-voice "Vision" choir. Listening to it as an album was an odd experience. All the pieces are there - solid, and occasionally inspired, musicality, great singing, worshipful lyrics and that feeling of being both uplifted and intimate with God all at the same time - but something about it just doesn't work and the over-riding impression is blandness, for want of a better term. For me the problem lies in the lack of variety in the tempo, style and feel of the songs, with most of them falling into that strange No Man's Land between 'slow and worshipful' and 'lively and energetic' and blending too neatly from one to another. It sounds good, and I am sure I will dip in and out of this CD in small doses, but as a retrospective of the long career of a passionate, gifted worship leader I was ultimately left disappointed. 6/10 David Cooper
(* The release version apparently includes a long form video to accompany the CD.) (April 2004)
Fresh from his success of producing the soundtrack to the Tom Hanks movie, That Thing You Do, plus the latest Split Level album, Rick Elias 'goes it alone'. "A collection of songs and recordings created over the last three years", say the sleeve notes. "They are all 'demos' of varying quality." Indeed, that sums up the album quite well. From the brilliantly catchy "God Inc" to the instantly forgettable "The Prayers of the Saints", there's a mixture of songs. At times, Rick's vocals are reminiscent of Alex Legge, while "If You Believed" is very much in the style of Chris Rea. At times the songs are guitar driven but he mellows out on "Man of No Reputation" and the worshipful "The More Things Change". Blink is an album that promises much but leaves you feeling that the promise has, largely, been unfulfilled. 5/10. (October 1997)
Produced by Andy Piercy this CD promises to introduce a whole new audience to this popular worship leader from America. Through her music Rita wants to "evoke intimacy first between He and I and then model it for others. That's all. It's pretty simple." With some sounds that are stylishly like Sheryl Crow, Rita delivers an album of songs that rise to the indie formed "On How You loved Me", right down to the most delicate "Like You Jesus". Written by Reuban Morgan, "You Said" is a song containing that simple promise of God that He said "Ask and you will receive". Inspirational just doesn't describe what a wonderful feeling of closeness to the Lord I felt whilst listening to it. Rita also covers Matt Redman's "Lord Let Your Glory Fall" and it's easy to see why she's held in such high esteem by her fellow worship leaders. She may be a new name to many Brits but I think that is about to change. 9/10. (February 2001)
This is a live worship CD from a fellowship in Australia. As far
as I can tell it has been produced completely in house by the
church themselves. Personally I found that this CD a bit strange,
there were a lot of promising
starts to the songs, and then after the introduction the songs
were a bit bland somehow, as though the band wanted to play with
a lot more energy than the choir did. All of the songs are ok
in themselves but overall it just
sounds a little lifeless, which is a pity as a lot of work has
obviously gone into it from all the people concerned. There doesn't
seem to be a song that stands out from the rest at all, so I found
it worked better for me if
I put on in the background whilst doing something else rather
than sitting down and listening to it directly. It does however
seem to have more sincerity than most of the stuff from the US
these days. i.e it's not just another compilation of the same
old songs from every other CD in the back catalogue, like so many
worship CD's nowadays seem to be. So, although it certainly isn't
anything like the worst CD that I've ever heard, it didn't quite
seem to hit the spot somehow. 5/10 Andy Sayner. (January 2005)
Classical guitarists, Rob & Gilly Bennett have enthralled audiences and listeners for years with their classical style. So much so, in fact, that these two albums have been digitally re-mastered and released as a double album. The finished product is over 80 minutes of reflective, meditational, and soothing music, featuring the duo's interpretation of many well known hymns and choruses. The track listing alone includes "We Worship & Adore you", "I Just Want to Praise You", "Open Your Eyes", I Stand in Awe2 and, my favourite "As the Deer Pants For Water". Backing music is carefully produced to bring out the wonderful sound of the classical guitar and this album will enhance any lover of light music's collection. 9/10. (June 2000)
NFN turns to rhythm and blues meets country, as this new name from America turns her hand to 12 sacred hymns. Robbin Casey's voice, at times, sounds as if she's had just one bourbon too many and I would not have been surprised if she'd started one song with those immortal words; "well, I woke up this morning". One of the many tunes that have that feel is 'Rock of Ages', which you will have never heard like this before. 'How Great Thou Art' is totally ruined, while 'I Have Decided..." is one of the most appalling sounds I've heard for some time. Cross Rhythms gave this album a massive 10 out of 10, so I was expecting something quite special. There is some nice slide guitar here and there but it's the piano based 'Great is Thy Faithfulness' that is the best on offer. 3/10. (July 1996)
Irish p&w leader Robin Mark has been making waves in his native country for some little time now, and he looks set to have the same effect in Britain too. This live recording captures the pure essence of a praise and worship event that I've never encountered before. His roguish, Irish brogue leads you into each song, whether it be to quietly worship or to shout in praises. "Being in Love" swaps between a look at marriage and the love of God. "All For Jesus" sees the purposeful guitar playing subsiding into gentle times where you can bathe in the Lord's presence and feel His goodness washing over you. My favourite track has to be "Lion Of Judah". It just made me feel so good to be alive, with God as my Father. If there is a down side to this album it's the penultimate accappella song "Power in the Blood", that just doesn't match the standards set earlier. Robin Mark may be another new name to many, but he won't be for long. 9/10. (April 1997)
Following the release of his live album last year, I was really looking forward to this follow up. Robin Mark has been slowly building up quite a following, as a p&w leader, and will be touring the UK later this year. So, how does this studio album compare with the excitement created by his live recording? Well, basically, the excitement just isn't there. "Oh no, not another album full of Iona pipes?", I thought as "Revival" began? no, this is just the introduction to a smashing song that has you instantly singing along. All too often, however, Robin digs deep into his folk roots and produces mellow numbers that don't have the impact of his previous release. "How I Love You" is one that works but "A Million Other Men" just doesn't rise above poor. When I review an album I try to feel for both the content of the lyrics as well as how they are delivered. With Robin, the lyrics are unquestionable but the delivery really does lack that live feel. "Psalm 2" picks things up again with driving guitar, while the piano led "Fathers & Sons" quietly shows the quality that he can produce with his songs. I can't wait to see him live, he has a special gift that, unfortunately, fails to shine here. 5/10. (June 1998)
You can always tell a Robin Mark live worship album by the way those gathered seem to be loving every minute of praising and worshiping an awesome God. Not quite sure what it is but, if they could bottle it, we'd have a great business venture. Right from the opening "Garments of Praise", Robin leads the congregation in his own inimitable style. The Irish brogue cajouls even the stubbornist of hearts to join in the singing. "Shout to the North" was a new song to my ears but it will certainly be making it's way onto my Radio playlist over the next week or so. Two of his 'greatest hits' come next, "Revival" and "The Lion of Judah". Tremendous versions of both songs, of which the latter never fails to make me feel so filled wit the spirit. Gentler sounds are there too, but it's all neatly bundled into one, smashing album. 9/10. (April 2000)
Irish worship leader Robin Mark returns to his roots, following several successful live albums, with a collection of studio based songs old and new. It's a very intimate album that completely strips away the warmth I've felt with his previous work, and has the listener wholly concentrating on the words alone. The title track is a look at life and the dreams of yesterday, and poses the question "what ever happened?". The sound, too, has been stripped, to leave the odd guitar, keyboard and percussion, with Robin's vocals gently lapping over them. "This is the Day" is a favourite track of mine, and the slower "Secret Place", too, has my approval. There's some very nice harmonies on "This is a Mystery" but, by this time, I had begun to get a little tired of the album. Why? Well, even though there are some great songs, too many sounded alike. There's no doubt in my mind that Robin's live ministry is a wonderful thing but this recording leaves a little to be desired. 5/10. (January 2001)
The Mandate Conference saw more than 2000 people travel from around the world, to take part in this year's event. Led by the evergreen Robin Mark, you know that you're in for a great time of praise and worship. I simply loved the opening song "Give Thanks to the Lord (Forever), complete with it's introductory fiddle playing. The songs are a mix of old and new, including the ageless "Guide Me O Thou Great Redeemer" and the peaceful "We Bow Down". The second half of the Cd is almost totally given over to worship, full of God's greatness. "All I Once Held Dear", "Praise My Soul the King of Heaven" and the gentle "I Have Heard So Many Songs", all filled me with the spirit. Difficult, as always, to get drawn into the "live event" feeling, but this one goes a long way to doing just that. 8/10. (June 2003)
Here is another interesting combination - this double album is made up of Robin Marks' live album "Room for Grace" and studio album "This City These Streets". All the songs on both albums are written by him, and included here are possibly his three most famous/popular songs of the moment: "Revival", "All for Jesus" and "Days of Elijah" Room for Grace: Whilst there is no disputing the power of his biblical lyrics, nor of the intimate, worshipful atmosphere apparent in the live material, there is nothing here to bring me back to it again and again. His lead vocal is very "folky" and wavers around the notes at times which, combined with the thin and weedy production of his band, leaves it all feeling rather lightweight and half cooked. This City These Streets: Opening with "Revival" was probably a mistake, as it goes downhill from there. There is nothing strictly wrong with this album, it is just all a bit too bland and (again) lightweight for my taste. The studio sound is a little more powerful, but the whole thing just seems to lack that indefinable something that makes me want to really listen. Apart from "Revival", "How Beautiful" is a good track and, if you can get over the fact that it sounds exactly like "American Pie" in places, "Fathers & Sons" is well worth a listen too. Overall, good value for Robin Mark fans, with 24 of his songs gathered into one (very pink) package. Otherwise nothing to write home about. 6/10 David Cooper (June 2003)
For the first time since The Maccabees' "21st Century spin", the opening track of this album gave so much guitar power and energy, that I thought I was dreaming - it was so good. What follows, though, was more than a little disappointing as tedious song after song fail to ignite that initial fire. Take, for instance, "Scary Drifter" which just coasts along aimlessly and suddenly ends. "Morning Glory" lends more than just a passing nod to The Monkees "Last Train to Clarkesville" and "All I Can Do" sounds just like a million songs I've heard before. The band say that the album has the "intensity of rcok n' roll and the atmosphere of praise, but rarely do the two meet - it's either one of the other. The title track is aprayer to God asking him to "open us up so that the light of Christ can be seen in us". It's one of those songs that has a spoken verse (in typical Lou Reed vein) and a crashing chorus that hits hard. Nothing really special about this album and therefore the rating reflects that. 5/10. (February 2004 & March 2004)
Boring, dull, uninspiring and one of the most bland recordings that I've come across in a long time. Despite all the hype about this outfit, I'm just unable to get excited about this EP which layers guitars on top of one another and sounds, at times, like Oasis on a bad day. Vocally, the singer could do with a few lessons in projecting his voice, or maybe the production is too ineffective. It's very 60's progressive rock, and it's very out-dated. 1/10. (January 2005)
The Christian word is being spread in many more ways, more than ever, and this includes the music world. Rod Laver are a new and innovative band from Los Angeles, preaching their own hard-hitting version of the Christian message to whoever is willing to listen. Their style of lyricism has its similarities with the likes of P.O.D. and their strong musical sounds also have comparisons to Pillar, but this does not mean that they are more of the same; they still have their own very distinctive blend of Rock, Rap and Hip-Hop. Although this is definitely not a band that everyone will enjoy, it should still appeal to the youth masses and fans of the alternative music scene. 8/10. Richard Howlett. (May 2002)
Ron Kenoly has sold over 2.5million records worldwide and is a much respected and loved worship leader in the world of gospel music. In fact, he was the first gospel singer I ever remember playing on BBC Radio Humberside around 1996. This collection of three of his biggest selling albums has been released as a celebration of the man's music, and features lots of highlights. The albums featured are "Jesus is Alive"; "Lift Him Up", and "God is Able" - totaling 43 tracks in all. Backed by some great singers, Ron performs hits like "Let There Be Joy", "We Are Possessing", and "Put Your Hands Together". I found listening to all three albums one after the other, a little much, but enjoyed them once I spread them out a bit more! If you've got the albums already, there's no point in buying them again but, if your vinyl copies are a bit worn out, or you're completely new to the name Ron Kenoly, this is a good collection. 7/10. (July 2003)
"Ronnie Freeman reminds me of me a decade ago," says Grammy & Dove Awards winning artist Michael W.Smith. "He's passionate, devoted to his family and has a real gift when it comes to the piano and songwriting". Funnily enough, one of the first notes I made when listening to this album for the first time was how much the presentation of the songs reminded me of Michael W Smith. And "No", I hadn't read the press release beforehand. He may be new to listeners in the UK but Ronnie has already spent several years performing for church groups and camps all over the US. He's got writing credits for all the songs featured and a vocal range that has quality and is still maturing. The album contains good songs, one stinker, and three exceptional ones. First of those is "The Only Thing" - one I had to immediately play on local radio. Great chorus "The only thing good in me is Jesus", and a great hook. "Satisfied" has that Smithy feel about it, while "Divine Revelation" also had a little Clay Crosse about it. A really good debut from a guy whom I'm sure we're going to hear a lot more. 8/10. (August 2002)
This album has taken me a long time to review. Not because I'm lazy (honest), but because it's so hard to know how to describe it. Recorded live at "Downpour" youth conference in Winipeg, Canada, it features some very well recorded performances by some very accomplished musicians. And that's where the problems start: far too good to be merely a "record of the event", the between-song patter suggests a worship event. Yet the songs themselves are unlikely to be sung in any congregation I've ever been part of. From the first song "Yay God!" (a title that wouldn't be out of place on a kid's album) featuring some excellent celtic rhythms, to the Led Zep-esque opening of "Come to the Light", through the title track's 60's harmonica plus late 80's grunge guitar and 90's drum patterns to the quieter "Wash Over Me" the album reeks atmosphere and class: buy it, enjoy it and file alphabetically. 9/10. Paul Ganney. (November 1998)
After just one listen, what hits you about this EP is that it's a very professional piece of work. Musically, very tight and sharp sounding, and an inlay card giving an olde worlde theme with it's R.A.T. copyright type face! 'Mystery' opens proceedings, and a strong song it is, with it's various whistles to the fore. Helen Turner's vocals are improving all the time making her voice sound much more rounded and purposeful. Moving away from the Iona sound, the band seem to be heading towards the mid-70's area that Jethro Tull once trod. 'Refugee' is the best track and shows the essence of the band with their inspirational jazzy celtic rock. It's a very good release, and I am very impressed. 8/10 Paul Luxton. (April 1996)
This is Russ' first Christian album in almost 8 years, and it
really doesn't seem that long. He's been at the forefront of CCM
for quite a while now and shows absolutely no signs of flagging.
Although he has experimented in the past with different genres
of music, this album is Russ at his best - highly polished rock/pop.
And the voice shows no signs of flagging either, as the first
track 'Somebody's Coming' most definitely shows. There are some
really poignant tracks on here, notably 'Back Into Grace' and
'Things Will Be Different'. This one almost had me in tears as
it tells the story of a tired wife with children waiting all night
for her husband to return. We can guess where he's been. 'Lazarus'
shows Russ at his most powerful, with a great guitar intro sounding
like the maestro Hendrix himself. Every track has something different,
and the only criticism I have is with the last track, the three
movement 'Shadow Of The Cross'. I felt we could have done without
the first two movements and just kept to the third, the song itself.
The first two being narration of the creed, and orchestration.
But - a very minor criticism of an otherwise superb album. I'll
leave you with what Russ himself has to say: 'If you took everything
I've ever recorded, mixed it together in a big melting pot, then
poured it into the mould of who I am today, this album is what
you'd come out with. It's as honest and complete a picture as
I can paint.' 9/10 Julie Lord. (NOvember 1999)
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