Cities by Anberlin

Reviewed by Cory Clubb

 

"...their best and most talented work to date."

 

 

It’s time for round three with breakout rockers Anberlin. For their third and final studio recording with Tooth and Nail Records, they give us Cities. After such acclaim and positive reviews from their first two albums, Blue Prints for a Blackmarket and Never Take Friendship Personal, there’s a lot of anticipation surrounding Cities. Sometimes though, living up to the hype can be a hard thing to deliver on. Yet Anberlin does not fail us; they bring their best and most talented work to date.

Starting off with a static montage of whining guitar feedback and passing sirens in the first track “Debut”, the song provides a tingling transition straight into the explosive single “Godspeed”. From there each track moves into the next flawlessly. Prominent songs like “Adelaide” and “Reclusion” keep up Anberlin’s diverse style and sound. Frontman Stephen Christian’s voice is so versatile it impresses whether he is blending with a melody on “The Unwinding Cable Car” or yelling out his passion on “A Whisper and a Clamor”. The final two tracks, “Dismantle. Repair” and “*Fin” are arranged so well, they titer on epic. Although Anberlin’s lyrics are hard to decipher, they don’t offend or use distasteful anthems. Most songs are about relationships loved and lost. Other topics touch on loneliness and desperation as heard on the track “Hello, Alone”, and calling on us to rise and move on in “A Whisper and a Clamor”.

When released, the album Cities also offered a special edition cd/dvd option that added three bonus tracks. Although these tracks have been re-released on the band’s compilation album Lost Songs, they don’t seem to fit too well with this record. The DVD is a behind the scenes look at the making of Cities and a rare insight at the members of the band. It shows what kind of togetherness and hard work it is to put together an rock album.

Cities is a driving, hard hitting album that doesn’t disappoint. Anberlin does what few bands only dream of on this release. Having signed recently with Universal Republic Records for their next release in 2008, this reviewer hopes that Anberlin’s edgy style and musical passion don’t get deluded into the mainstream merge and ruin such a fantastic band. 

 

Addison Road by Addison Road

Reviewed by Adrian B. Martinez

 

"...an enjoyable listen with simple and direct lyrics."

 

This whole album is about that process [of being renewed and refined by God] of refining but also getting out of our comfort zones and taking that grace into the world”, says Jenny Simmons, the lone female member of the band Addison Road, when describing their self-titled INO Records debut (home to Sara Groves, Mercy Me, Skillet and Connersvine).

This five-piece band from Texas offers a major label debut with energetic pop rock compositions, upbeat anthems of encouragement, prayer and a call to action. Together for 6 six years, Addison Road has paid their dues, including constant touring and performances at festivals, conferences, and camps, and a bit of band discord. They have even released two indie albums and an EP before getting the INO Records deal.

In addition to Jenny Simmons, Addison Road is comprised of Ryan Simmons (Jenny’s husband) on guitars, keyboards and vocals; lead guitarist/vocalist Ryan Gregg; bass player Travis Lawrence and on drums Jeff Sutton. Lyrically this album explores the themes of Christian life such as finding your place in the world and in God’s grace. That theme is never more prominent than in the hit “All that Matters”.

With a voice not unlike that of Amy Lee [Evanescence], Jenny Simmons’ is at home on the single “Hope Now”. The song is the result of a turbulent period in the band’s history. They were told that for a band singing Christian music (which is supposed to inspire hope) they were too negative. “Hope Now” does have a somber beginning, but I challenge you to become a listener and let the song take you away as Jenny’s voice builds to a crescendo beautifully complemented by the harmonies of the male members of Addison Road as they all sing to God, “…your love sets me free.”

You do not reach this surprise until Track #4 of this 10- track compilation, and as a whole “Addison Road” is an enjoyable listen with simple and direct lyrics. Best served when she is not fighting against the shouting match of the instruments, the simplicity of Jenny’s delightful falsetto is also given due service on songs “Run” and “What Do I Know of Holy”. For those fans of Kelly Clarkson and Ashlee Simpson, Addison Road has created the “pump your fists in the air and repeat after me” anthem, “It Just Takes One”. This call to action, which urges listeners to live out their faith to impact the world, is sure to be a favorite this festival season.

Addison Road uses a theory of Plato to further explain their heart's desire: Necessity is, indeed, the mother of invention. People almost always get creative, not for the fun of it, but because they need it. The beautiful part of that scenario is that more often than not, when necessity produces invention, this result is amazing….or in the case of Addison Road, who put their heads and hearts together on this creative invention, it is a blessing.

  

Need by Todd Agnew

Reviewed by Dale Lewis

 

"...an inspirational and expressive blend of rock-solid music and profound lyrics."

I must confess I’ve heard of Todd Agnew but have never taken the time to listen to his music until now. With his newest offering, “Need,” four of the twelve tracks are original songs, while the remaining eight are his creative covers of those lyrically rich hymns of our past. Although there seems to be an abundance of artists rearranging hymns nowadays, Todd’s take is well planned out and filled with worship. With his theme of need, the message of “less of me, more of Him” was clearly presented.

From the sweet Memphis blues in "Joy Unspeakable," to the gritty rock in "Breakable," to the piano driven “The Love of God,” Todd has breathed new life into many of the hymns we’ve grown to cherish over the years. I felt I was in the middle of a gospel sing-off with his rendition of “Deep Love of Jesus,” even though we lost the guitar solo during the bridge.

He finishes up this CD with an original worship song entitled “Jesus, Hope of Glory.” Although I’m not a fan of repeating lines over and over again in a worship song, this title is heartfelt praise to the only audience who deserves it. The abrupt ending to the song was somewhat disconcerting. In a reaffirmation of the need to be silent before the Almighty, “Written on the Wall,” is a heartfelt yearning to hear and discern God’s will amidst the world’s deafening noises. Todd's raspy colored vocals evoke the passion of his heart.

The powerful worship led first with driving guitars in "Higher Ground," fades to a conclusion free of any instrumentation and a background of spontaneous solo expressions from the choir centered on these words of the chorus:
“Lord, Lift me up and let me stand, By faith, of Heaven’s table land. A higher place than I have found, Lord, plant my feet on higher ground.”

"Need” is an inspirational and expressive blend of rock-solid music and profound lyrics. I was pleasantly surprised by Todd’s delivery of these time-tested hymns as well as his own original works. He reminds me vocally of a younger Bob Dylan or Mark Heard, a CCM artist from the early ’80s. I will definitely listen to his other recordings in order to hear more of his own songs. 

  

                                                               My Paper Heart Deluxe
                                                                 by Francesca Battistelli 

 

Reviewed by Dale Lewis

 

"The themes of trust, dependence and taking risks are clearly evident throughout these tracks. A hope-filled, positive vibe permeates the entire collection."

Inspired by legendary jazz greats and contemporaries like John Mayer, Sara Bareilles and Nicole Nordeman, singer/songwriter Francesca Battistelli pens common sense, non theology-heavy lyrics and then weaves them into pop, soul-infused music appealing to listeners of any age. Her music genre includes jazz, rock, gospel and lots of R & B. Francesca’s music has also been featured on several television shows and movies.

Nominated for 10 Dove awards and a Grammy, her 2008 release, My Paper Heart, is now packaged in a Deluxe edition. This new release includes two additional tracks as well as four dented fender sessions of her favorite titles. These four songs are more like enjoying her music in a relaxed, acoustic setting, a coffee house per se rather than a major concert . . . an experience versus a performance.

Having grown up in the 70s and 80s, Francesca reminds me of a young Kathy Troccoli. Francesca matches Kathy in soulful passion, upbeat energy and transparent authencity. I was hoping for a few more ballads from Francesca. With the added dented fender sessions, we get a tiny glimpse of Francesca singing a ballad and how the lyrics can soak deep within the soul.

On the title track, “My Paper Heart,” Francesca tackles the fragility of the human heart with the underlying theme being, ‘I am forever safe in His hands.’ I believe “Time in Between”
would be an excellent addition to a Good Friday or Easter service for the simple reminder Jesus’ life was so much more than just Bethlehem and Calvary.

The themes of trust, dependence and taking risks are clearly evident throughout these tracks. A hope-filled, positive vibe permeates the entire collection.

A message of truth and purpose is more important to this young artist than awards or an ever increasing collection of top radio hits. As she notes, “Ultimately, I want to be an encouragement as an artist and a fellow believer.”
Reviewer favorites include “Free to Be Me,” “My Paper Heart,” “Beautiful, Beautiful” and “Time in Between.”

I don’t think you have to be a Francesca fan to enjoy her music, just a fellow Christ-follower wanting to join her in celebration and worship of the Almighty!

 

 

Counting Stars by Andrew Peterson

Reviewed by Bert Gang

 

 

"...offering newcomers and dyed-in-the-wool devotees alike an impressive array of intriguing, sturdily-crafted pieces from one of Christian pop’s most talented practitioners."

 

James Lipton, host of the Bravo cable television series, Inside the Actors Studio, once quipped during an interview with John Cusack that, “When you go to see a John Cusack movie, you know exactly what you’re going to get.” Far from intimating that Cusack was one-dimensional or less than thoroughly engaging, Lipton’s remark was actually meant as an acknowledgement of the consistency and distinctiveness of Cusack’s imposing body of work. Those most familiar with Andrew Peterson’s career trajectory up to this point might well be tempted to apply that same sort of remark to the critically-heralded performer’s back catalog. Indeed, from the time of his 1996 debut indie debut, Walk, all the way up to 2008’s Resurrection Letters, Volume II, the man who many have dubbed the heir apparent to Rich Mullins has been faithfully surveying the intersection where the folk and pop roads meet, with equally winning results.

Fortunately for those in the fan base, Peterson’s latest work serves up yet another welcome slice of that which his truest devotees are hankering for. The winning album opener, “Many Roads,” marries an absolutely engrossing melody line to a consummately-woven instrumental texture that is, at once, both lilting and haunting. Likewise, the buoyant cadence of “Dancing in the Minefields” ought to be at absolute odds with its distinctly sober-minded thesis on the inherent challenges of married life – and yet, somehow, its disparate halves fit together flawlessly. The sparseness of the beautiful piano-based “Isle of Skye” works perfectly to heighten its inspiring sense of majesty. And the country-inflected minor-keyed tones of “In The Night My Hope Lives On” run in reverse time through essential ‘80s-era Mellencamp releases like Scarecrow and The Lonesome Jubilee all the way back to the enthralling traditional folk well from which Peterson seems to draw from so effortlessly.

His sparkling musical acumen notwithstanding, it is Peterson’s lyrical skills that truly set him apart from the majority of his peers. Like each of the projects that have come before it, Stars shows him to be a songwriter of near-unparalleled literacy and insight. “The Magic Hour” (“Come walk the cedar stand/ Over the broken dam/ Sit on the bench at the bend in the trail again”) paints a picture of razor-sharp clarity and heart-warming poignancy. “Many Roads” highlights his uncanny ability to bounce between self-effacing humor (“If you traveled all this way/ Then I will do my best to play/ My biggest hits/ That don't exist”) and gut-level honesty (“I cast out all these lines/ So afraid that I will find/ That I am all alone”) in virtually the same breath. And “In the Night My Hope Lives On” manages the seemingly impossible feat of recounting the old, familiar, stories of the Red Sea, Elisha’s battle and the prodigal son in such a way that most listeners will feel as if they’re hearing them for the very first time.

On the rarest of occasions, Peterson’s lyrics teeter on the verge of becoming overly precious or self-referential. And just as a fair portion of efforts like The Far Country and Behold The Lamb Of God tended to be somewhat musically undistinguished, cuts such as “Fool with a Fancy Guitar” and “Planting Trees” from Stars lack the near-instant memorability that informs his most well-constructed compositions. In Peterson’s defense, the tracks on the new record are never less than impeccably performed. And his aforementioned way with words goes a great distance toward compensating for the occasional musical misstep. Those who’ve heard Peterson’s previous releases and found that they could take them or leave them aren’t likely to be brought into the fold by what they hear on the latest outing. And his 2000 major-label debut, Carried Along, still remains the most ideal jumping-in point for the uninitiated. Taken on its own merit, however, Counting Stars fares quite nicely, indeed – offering newcomers and dyed-in-the-wool devotees alike an impressive array of intriguing, sturdily-crafted pieces from one of Christian pop’s most talented practitioners.

l

Rock What You Got by Superchick

Reviewed by Dale Lewis

 

 

"It's pure fun leaning towards the 80's sound ... the guys of Superchick [are] getting a chance to rock what they got ... Big Time!"

 

If you need a CD to crank up in the car or in your iPod as you sweat and get healthy, then Rock What You Got is one to get!

Superchic(k)’s newest CD begins with an anthem encouraging the listener not to compare themselves to others--to just be who they are in the title cut, “Rock What You Got!” And the vocal work on one of the ballads, "Breathe," is outstanding, with an estimated sixteen harmonies layered in the song!

Melodically and rhythmically the rocker anthem-type songs exhort, encourage and challenge the status quo. The brief introduction of scientific laboratory dialogue to set up “Alive”
was brilliantly creative and makes it one of my favorite songs.

The overall message of Superchic(k) continues to be overtly positive. There are only a few disappointments. At times, the songs seem to be cut from the same template. Also, “God” and “Jesus” fail to appear in any of the lyrics, (though the lyrics of “Hold” implies God or Jesus in “I need your hand to hold, To hold me from the edge, The edge I’m sliding over slow.”) The word pictures in their lyrics are vivid and imaginative yet seem to lack substantial depth. The repetition, at times, hurts the impact of the lyrics ("Rock what you Got” or "I'm alive” or "Hey, Hey, Hey" or . . . you get the point.)

The band's musicianship shines throughout this album. The combination of the synthesizer work, as well as the electronic production energizes most of the tracks. It’s pure fun leaning towards the '80s sound, which seems to be making a comeback
of sorts.

Dave Ghazarian's exploding guitar on the last track is superb.
It helps bring the album full circle with the guys of Superchic(k) getting a chance to rock what they got . . . Big-Time!

I became an interested fan of Superchic(k) after hearing their song “We Live” on WOW Hits 2007. Even though their targeted audience is teens and young adults, this fan of the ‘80s will continue to listen and rock with them.

 

 

Article One by Article One

 Reviewed by Tracy Darlington

 

"...an ambitious effort by three talented musicians."
  

 

Award-winning musicians Nathan and Matt Piche grew up in a musical household, playing piano and violin respectively around the age of 5. It was a no-brainer decision for them to leave school and make music full-time. They bring to the Christian music scene their classical instrumental skills and pop leanings, creating a unique blend of FFH-meets-Billy-Joel-meets-Bono style.
On this self-titled debut album, I really enjoyed the strings underpinning the other instruments. The rich cello in the beginning of “In No Time At All” tells you this isn’t just another garage band. These guys have talent, and all the songs on the album were written by Nathan himself. Dave De Smit adds to their signature sound with his drums and vocals. A little more experience will bring even more depth to their catchy tunes, but this is still a solid first offering by a band you’re sure to hear more from in the coming years.
“So Many Ways to Say Good-by” and “Run (Shattered and Twisted)” are the two stand-out tracks—the type of songs you want to listen over and over. Truly a Billy Joel-esque ballad, “So Many” is the only cut to really showcase Nathan’s piano playing. It started out being a song about Nathan’s girlfriend and ended up being about a friend passing away. “Run” excels with the most interesting guitar work and vocal harmonies on the album. Written about people whose dreams are shattered, the lyrics are particularly poignant: It’s not a matter of opinion and it matters that the plane went down when your dreams took flight.
Newsboys’ Peter Furler, Wes Campbell, and Dale Bray founded Inpop Records to discover new artists with meaningful music. The name Inpop is derived from INternational POP artists, and Canadians Article One are a welcome addition to a label that has already signed the likes of Superchic[k], Mat Kearney, and Foolish Things. Dale Bray says, “Article One’s prominent use of violin in every song makes their sound strictly their own. If you like the pop sensibilities of groups like The Fray, you will love Article One.”
Article One is an ambitious effort by three talented musicians. Though they’re not reinventing the wheel here, the wheels they’re spinning on are sure to take them far.

 

Even Now by Foolish Things

Reviewed by Cory Clubb

 

"Lyrically, these guys don’t hold back. The originality and heart-on-their-sleeve style shows their astounding enthusiasm for Christ and their music."

 

I have always had an affinity for underdog bands out there. The bands that maybe not everybody has heard of, the ones who have that raw hardworking talent that goes overlooked. This is something that I believe indie rockers Foolish Things have as a group. Their latest album release Even Now provides proficient evidence of that fact. Like most, I had never heard of the band until I visited their Myspace page and listened to a few clips of their music and did some research on their history as a band. Foolish Things has been playing and ministering for ten years as a band, starting off as worship leaders for their youth group. Now, they travel the nation spreading the word of Jesus using the diverse musical gifts God has given them.

Their first album, Let’s Not Forget the Story, was released with critical acclaim. Even Now is their sophomore effort. The first cut on Even Now, “Shooting in the Dark” paves the road with heavy hitting guitars and boom’n beats. The next track, ”Who’d You Put in Charge”, doesn’t slow down the momentum and becomes a catchy stand out anthem about the choices we make in life and how we are effected by them. The title track, “Even Now” reaches a spiritual status that gets your heart beating and tingles your soul as if it is speaking directly to you.

Foolish Things bring a variety of sounds to Even Now that displays the band’s diversity as heard on tracks “Fight” and “Love Atmosphere” which give the band a different sound. Yet a certain downfall they seem to have in this release is their will to keep the listen focused and fresh. Their sound seems to be a bit jostled and unsure. Tracks like “Love Chained Me Here” and “Keep Us Together” aren’t bad songs--they just seem to slip through the cracks and don’t hold up well on this album. Other tunes such as “Hold On To What Is Easy” do pick up the pace of interest, but lose their footing and place within the album.

Lyrically, these guys don’t hold back. The originality and heart-on-their-sleeve-style shows their astounding enthusiasm for Christ and their music.

The first thing I recognized on this record is the band’s straight-forward message and openness. They are not worried what others may think. They don’t skirt around with mysterious lyrics. They just put it out there; it’s what gives Foolish Things their “raw” element.

I am new to the tunes of Foolish Things and am pleasantly surprised at their abounding talent. They sound like a cross between fellow artists Rush of Fools and Downhere with a dash of U2 thrown in, a sound that has been heard before. Even Now is a good release, but Foolish Things seems to still be growing and looking for their place as far as a band and a unique sound.

 

Air by Margaret Becker

Reviewed by Michael Ehret

 

 

"...an amazing return to form for Becker. A 'must have' for fans and as good of an introduction to her as any for those unfamiliar."
 

Nine years. That’s how long it’s been since Margaret Becker’s last full length, all new, studio album. In that time, she left Sparrow Records, the only label she’s ever recorded for and went independent. Over the years she has come to understand an essential truth about Christianity: We humans complicate it far more than is necessary.

Of course, during those nine years Becker wasn’t silent – far from it. She spoke at Christian women’s conferences, recorded numerous group praise and worship albums, released Just Come In an album of five new songs and six re-recorded songs from previous albums, produced and championed other artists, particularly indie artists, and wrote books.

Now she returns with Air, a companion piece to her latest book, Coming Up For Air. Becker, CCMs true Renaissance woman, has smashed expectations with Air, turning out certainly one of the best projects in her impressive career, if not the best.

The disc opens with “Coming Up For Air,” and Becker gets right into her overall subject of rebirth and rejuvenation with these lines: “Been a really long time coming/You think I would have known/When you lay down on waves of worry/You wake with vertigo/Out of breath and short on everything it takes to go/I’m coming up for air.”

There are no accidents on this disc. Becker writes, sings, and plays as if these songs, like air, are essential to her being, to her existence, and that emotional investment pays off repeatedly as each song sounds like a personal communication from her heart to the listeners’.

Musically, this is pop/folk + soul. Similar in sound to 1999’s What Kind of Love, but modernized to fit comfortably in today’s musical landscape. Becker and her collaborators hue to the classic Maggie B sound, though less heavy on the rock and roll and more focused on the pop/soul elements, following the same maturation process as her audience.

Each song, with one possible exception, is a highlight.

“Surrender” encourages those who have tried everything else to “try something old and new like surrender. Let it all fall where it must and just, trust, trust, trust.”

The beauty of Becker’s songwriting is that it is infused with her Christian worldview. So much so that there’s no need to take pains to indicate that she’s writing about God. But on the other hand, there’s also no doubt about her intent.

But she can still write an obvious praise song, as well. One such song is the gorgeous “You’re Still God,” which exalts God for his constancy despite all of the distractions and discouragements we face. Becker writes: “Mountains tremble when you least expect/I am shaking, I’m a mess, but/You’re still God, You’re still God/I pray for comfort, I pray for rest/I lay down worried and I wake up blessed because/You’re still God, You’re still God.”

The song rides effortlessly over a bongo-styled beat, with Becker adding instrumentation as the song builds and builds and then backs off again in celebration and awe of the presence of God.

The one song that is questionable? That would be the closer, “To Be An Indian.” Musically it is beautiful, but lyrically it doesn’t connect with me. It seems to be based on the idea that Indians are more closely connected to nature than others – and that seems a bit of a stereotype to me.

Overall, Air is an amazing return to form for Becker. A “must have” for fans and as good of an introduction to her talents as any for those unfamiliar.

Colors and Sounds by Article One

Reviewed by Adrian B. Martinez

 

"This fresh sounding album and personable songwriting is a must for fans who are missing Creed or who cannot wait for the new Dave Matthews Band album."

 

What an appropriate title Article One selected for its sophomore release from InPop Records. From start to finish, Article One has crafted an amazing collection of Colors and Sounds on this release.

Showing influences that range from The Fray, Vegas Rockers the Killers, to French Alternative Rock Band Phoenix, this 14-track project boasts an impressive 1-2 punch in founding members and brothers, Nathan and Mattew Piche. The brothers Piche, in addition to writing a majority of the tracks, supplying vocals, guitars, piano and violin have also taken to producing on this set. Rounding out this quartet is Dave DeSmit (drums and vocals) and Mark Laidman (bass).

Taking their name from the Universal Declaration of Human Rights (featured on U2’s Vertigo Tour), which states that we're all born equal and should therefore treat each other equally, it's the Canadian trio’s way of reminding themselves of Jesus' command to love others, while also reflecting their desire to reach Christian and secular audiences alike.

With Colors and Sounds they have managed to create an enjoyable Christian album, combing three-part harmonies, piano-based pop/rock, colored by Matt’s violin throughout. Just listen to “Love you tomorrow”. Lyrically we understand that it is the Lord who is saying, “… Whatever comes, if it be joy or sorrow … I promise you that I will love you tomorrow...” it is just so beautifully done. As the song comes to what the listener would assume is its natural end, we are treated to a relaxing instrumental send-off cradled by the violin.

This song and many others on this album offer subtleties in their lyrics that make it accessible to secular audiences. Make no doubt about it though, there’s Christian inspiration behind almost every track, and I am not referring to the obvious “Angels” or “Looking for Angels”. Article One tackles the uncertainty of life (“Without you” (I’m Not Alright), friendship (“Never too Late to Call”), and the realization of the Lord in your life (“Above all Else”).

This fresh sounding album and personable songwriting is a must for fans who are missing Creed or who cannot wait for the new Dave Matthews Band album. They even conclude their album with an instrumental track worthy of inclusion on a Mannheim Steamroller album. Who does that? Article One, that’s who. 

 

Come to the Well by Casting Crowns

Reviewed by Bert Gangl

 

Mark Hall and his companions return for their sixth studio album, which features more than a few welcome surprises.

 

During Casting Crowns’ Until the Whole World Hears tour in early 2010 lead singer Mark Hall related a humorous story about befuddled fans who would ask him why his group didn’t play their most famous hit, “I Can Only Imagine,” at their concerts. The aforementioned humor, of course, lies in the fact that the hugely successful single was a hit for fellow CCM artists MercyMe and not for Hall and his band mates. Whimsical though the account may be, it nonetheless hints at what has become an all-too-frequent critique of the lion’s share of the artists who inhabit the Christian Hit Radio Top 40: the fact that a good many of them are virtually indistinguishable from one another.

In their defense, Hall & Co. were among the progenitors of their now-familiar brand of radio-ready pop/worship music and the performers who sound like them could arguably be classified as followers rather than contemporaries. Be that as it may, many a newcomer to the inspirational pop genre would have a hard time distinguishing the bulk of their work from that of, say, MercyMe, Sanctus Real or Tenth Avenue North. The good news, for those who don’t mind the comparison, is that Come to the Well is chock full of slowly-swelling, prototypical mid-tempo pop/rock/worship anthems like “Jesus, Friend of Sinners,” “Wedding Day” and the now-ubiquitous leadoff single, “Courageous” – all of which sound as if they could have been pulled from any of the septet’s previous five albums. In fact, the bulk of the new effort finds the Crown cooperative sticking, for the most part, to the tried-and-true formula that helped make them one of the top-selling artists in Contemporary Christian Music history.

Perhaps sensing that, after a decade together, now is the time for a change, Hall and his cohorts shake things up a bit this time out. The slightly haunting, piano-driven “Already There,” which sounds a good bit like early Coldplay, is a decided, and welcome, side excursion away from the band’s signature lite pop/rock inclinations. The droning melody line of the bluegrass/folk/country hybrid, “Spirit Wind,” helps lend the nearly five minute track a likewise distinctive quality when compared to the bulk of the group’s back catalog. And the poignant storytelling of “Just Another Birthday,” which was co-written with country songwriter Tom Douglas, will undoubtedly strike a resonant chord with fans of Miranda Lambert’s exceptional country ballad, “The House That Built Me,” which Douglas also helped write.

Elsewhere, though, the seven piece makes an ill-advised foray into modern rock with “My Own Worst Enemy;” a clear case of form at the expense of substance. Similarly, the otherwise engaging Gospel flourishes that grace “The Well” are all but overwhelmed by the cut’s overly generic construction and lack of a memorable melody – traits shared by several other tracks on the project as well. And the lyrics to “Well” and “Angel,” which visits the all but threadbare theme of romantic love as salvation, score precious few points in the arena of insight or originality. That said, violinist Melodee DeVevo instills the tender ballad, “Face Down,” with the sort of sincere poignancy that can only come from having walked through the trials she sings about. The likewise unforced “So Far to Find You” perches Hall’s moving account of the adoption of his daughter, Meeka Hope, atop an absolutely beautiful melody for what turns out to be, far and away, the record’s most memorable moment.

In the final analysis, Come to the Well sounds, for the most part, fairly similar to just about every other Casting Crowns album. This news will, of course, be welcomed (or not) in direct proportion the listener’s love of the group’s previous material. That said, the band deserves at least a degree of credit for their willingness to toy with what has thus far been such a winning formula. There aren’t any instant classics on the order of “Who Am I” or “Praise You in This Storm,” but songs like “Face Down” and “So Far” are easily as good as anything the band has ever written. And, taken as a whole, the new record, in spite of its intermittent musical tangents – or perhaps because of them – winds up being one of Hall and his cohorts’ most cohesive, and impressive, releases to date.

  

 

Michelle Tumes by Michelle Tumes

  Reviewed by Michael Ehret

 

"Tumes shows great courage with this release. Courage to follow her passion, her creativity."

 

Remember when Michelle Tumes first came on the scene in 1998? Remember how fresh her sound was and how cool it was to hear her debut single “Please Come Back To Me,” the story of the prodigal set to music? Her breathy, ethereal vocals surrounded by layers and layers of orchestration all laid over a pulsing bed of percussion ushered the prodigal, and all listeners, right into the embrace of God.

Then remember how Sparrow Records tried to get her to “update” her sound over the next several years to become more of a pop princess? This attempt reached its nadir with the songs “Do Ya” from her 2000 disc, Center of My Universe, and the title song from her Dream album in 2001. Neither song was bad, but they were not the Michelle Tumes we loved from Listen.

That artist returns, finally, with her fourth album rightly titled Michelle Tumes and self-produced by Tumes and her husband, Doug Higgins, independently. Everything that made Listen such an out of the box success is back. The whole Enya via Tchaikovsky via Bjork vibe is intact, along with Tumes’ always stellar songwriting.

In-between 2001 and now, Tumes wrote beautiful songs for others (including Sheila Walsh) and recorded a trio worship album with Christine Dente (Out of the Grey) and Susan Ashton called Lost in Wonder: Voices in Worship.

But when the new disc opens with “Introit,” a celebratory anthem proclaiming that God is with us in the midst of everything, and continues with the first single “Domine,” which implores Domine (Lord God) to “make my path run straight” away from “the lies of calamity,” the extended period between albums evaporates along with every bit of apprehension about which Michelle would show up on disc.

Tumes shows great courage with this release. Courage to follow her passion, her creativity, regardless of the outcome. She said the hiatus was necessary to allow her to reconnect with God – and with her vision.

“I really needed some time to regroup, to get back to where I started in every way,” she said. “I knew I needed to get back to just writing what I love, and leave the rest to God.”

The second single of the project, “Fair Weather,” is dramatic, epic even, and proclaims God’s steadfastness. “Oh my love you greet me now//In this tempest night I’ve run aground//And the day has rolled on into never//But you won’t wane in winter’s cold//And in my dark your lights go on//Feel my heart held to your tether.// … You’re the windfall in the rainstorm//Stay with me//Never fair weather//You are never fair weather.”

When listening to this song it is impossible not to picture a storm raging on an open sea with sharp rocks round about between your ship and the shore – but God’s hand is on the tiller guiding you to a safe landing.

Other songs worthy of note: “Break Through,” a song that speaks of God storming “the tower of my heart;” “Caelum Infinitum,” a song about how the beautiful circumstances of this life mirror heaven; and “Let It Rain,” which explores the refreshing presence of God.

Now that Tumes has found her voice again, let’s hope it’s not another five years before she records again.

 

Let's Not Forget the Story by Foolish Things

Reviewed by Tracy Darlington

 

"Fresh group with a modern 80's sound."

 

 

“Foolish Things sort of stumbled into being a group,” Isaac Jorgenson (vocals/guitar) says. Nate Phillips (bass) agrees. “It’s actually a really good name for us. We have absolutely nothing to boast about. We’re just a group of friends who wanted to serve our youth group.” But things mushroomed far beyond the youth group’s walls. It wasn’t long before Foolish Things was playing in coffeehouses and area youth events. In 2000 the band won the acclaimed “Seminar in the Rockies” music competition in Estes Park, Colorado. Soon after, they recorded a four-song demo with the help of Ronny Cates, former Petra bassist.

Released on Peter Furler’s Inpop label, Let’s Not Forget The Story marks a new season for Foolish Things—their chance to speak to the masses. And speak they do. Right off the bat this album resonates. Kicking things off with the worshipful “Who Can Compare”, they’re off and running strong. The first five tracks are fast-paced, pop/rock numbers that manage to avoid the repetition so often found in young bands, while still maintaining a consistent, recognizable sound. Think Delirious meets Downhere. Throw in some early U2, a dash of Edison Glass, and a slight melancholy feel, and you have their winning recipe. They’ve pulled out some unique instruments and novel electronic effects in several cuts, such as in “Fight” which opens with harmonic tinkling bells. “Spirit Come”, the band’s first single, is definitely radio friendly with worshipful lyrics and tenor vocals eerily similar to Martin Smith of Delirious. In fact, many of the tracks remind me of Delirious’s crisp, 80's rock sound.

Lyrically, the band is straight forward. “First Lie” talks about killing off the sinful nature, and “Hey You” encourages the light of Christ to shine in our lives. “Capital P” challenges believers to stay pure in their relationships and has some unexpected skillful, stoccato guitar crawls. One thing is certain---Foolish Things is unashamed of their faith. Says Nate Phillips, “From the beginning, we’ve used music as a tool to strengthen and challenge the body of Christ, as well as to reach out to the lost.”

Sometimes it’s hard to believe Let’s Not Forget the Story is this band’s first album. Their mature instrumentation and thoughtful lyrics shout quality. Foolish Things is one band you’ll want to keep watching. And listening to. There’s enough top-ten material on this album to keep their songs rotating for years to come.

 

Beautiful History by Plumb

Reviewed by C.J. Darlington

 

 

"...a great choice for new listeners as much as it is a reminder to longtime fans why we love Plumb so much."

 

When Tiffany Arbuckle Lee (aka Plumb) released her last album Blink, some fans wondered if the ballad heavy record with rich themes of motherhood marked a change for the artist. Because it did indeed mark a change in Plumb’s personal life. She’d just birthed her second son Oliver and had been entertaining the idea of putting her music on the back burner for the sake of her children. Thankfully, she’s set those notions aside. Says Plumb, “...now I realize that my children’s mom is Plumb. She’s not just Tiffany, although that’s part of her.”

These are calming words to hear from an artist releasing a Greatest Hits collection. Often a “collection” release either signifies a well run dry or an attempt to keep a dying career afloat. But rest assured, this is not another The Best of Plumb, which was produced to fulfill a contractual obligation with Essential Records back in 2000 and contained no new songs.

A Beautiful History does of course include hits like “Cut”, “I Can’t Do This”, “In My Arms”, and “Real”. But what sets this one apart from your standard hits fare is the inclusion of complete remakes. “Stranded”, “Here With Me” and “God-Shaped Hole” were all originally released on her sophomore effort candycoatedwaterdrops (1999).

These versions still bring the flavor of the originals, but there’s an added layer of richness which transforms their old nineties vibe into hit worthy songs of today. It’s like hearing a song on an album and then hearing an artist play it live. The original core is all there, but when a musician plays live they might add a few extra bars during the chorus, or the singer might belt the bridge in a different key. In the case of “Stranded” (Plumb’s most requested song to date) the arrangement is fuller and less acoustic.

1999's “Here with Me” clearly utilized electronic drums and percussion, but the 2010 version definitely feels like it’s being performed in concert with driving guitars and real drums. And whereas the original electronically alters Plumb’s voice, now her vocals have matured into a stronger and slightly deeper tone in no need of manipulation. You can hear the intense passion as Tiffany sings, like she’s finally performing the song the way she’s always wanted to perform it.

Several years ago you could sense Plumb’s struggle with whether to identify herself as a Christian artist. She’s clearly a devoted Christian, but sometimes her lyrics would leave the listener wondering if their meaning was meant to be spiritual or not. In these remakes, subtle additions of a line or phrase erase all questions. The I can’t do anything without You / You give me strength to do anything / I can’t be everything I try to / You saved me from the everything I couldn’t be is sung with such passion on “Here with Me” and reinforced with Plumb’s added line “You save me”, it’s clear where her beliefs lie.

The re-make of “Damaged” (originally appearing on Chaotic Resolve) is another glimpse into Plumb’s heart. Dealing with the topic of sexual abuse and sung from the perspective of a girl who feels she can’t move forward and be loved again, the redemption extended version was, as Plumb says, created when she and her band experienced God’s anointing on stage one night. “It literally wrote itself. With a sea of eyes full of tears in the audience, it became clear that it wasn’t just that those who feel this way [about sexual abuse] could be loved . . . they needed to know the they already were.”

The inclusion of “God Shaped Hole” also shows the value Plumb places on her message. In 1998 she didn’t want to record the song. But now she says, “In the last decade it has come to mean something very different to me . . . and today, much like my pink wig from my debut photo shoot . . . I’m very glad I did it.” Originally beginning with acoustic guitars and maintaining that feel throughout, the new version begins softly with the plucking of an electric guitar, but quickly crescendoes at the inclusion of powerful drums, piano and additional guitars.

Listening to these Plumb remakes makes the old versions sound tired in comparison. However, there are two new songs on the record as well. “Hang On” and “Beautiful History” are more ballads than rock anthems and could possibly be called the weaker cuts of the album, but it’s great to hear new material from a much-loved artist, and these two songs are close to Tiffany’s heart. She calls “Hang On” her own personal anthem for life with its message of hope and tenacity.

Even if you own the entire Plumb library and aren’t interested in remakes, Beautiful History is worth adding to your collection just to get your hands on Disc 2. Casual listeners might not realize that many of Plumb’s recent songs have been remixed into dance club hits. “In My Arms” and “Hang On” both hit number one on the Billboard Dance Charts. Before now they were only available as digital releases. Eight remixes are included on this disc of Beautiful History, including two each by Bimbo Jones, Bronleewe & Bose, and Digital Dog as well as singles remixed by Dave Aude and jRyann. “Hang On” the remix is even better than the original.

With 20 songs in all, Beautiful History is a great choice for new listeners as much as it is a reminder to longtime fans why we love Plumb so much.

 

Gospel by Joanne Cash

Reviewed by Carol Kurtz

 

"...truly a spiritual and musical experience you won't want to miss."

 

Part of being a Johnny Cash fan is loving his family, as he is inexorably intertwined with it. But Joanne Cash deserves fans of her own. In this, her twenty-eighth recording project, Joanne tells her story of faith, family, triumphs, and tribulations. But faith in her Savior is the sustaining note throughout. “I don’t think we have much time left before Christ comes again, and I want to be everything I can be for Jesus,” Joanne says. “I’ve seen so many people try and build their kingdom in music, but I don’t worry about any of that earthly gain. When you let God do it, that’s when the real effectiveness happens.”

A true Gospel record, as its name implies, Joanne has the perfect voice (like a younger Dottie Rambo) for old favorites like “It is Well with My Soul” and “I’ve God Jesus” (featuring Bill Nash). She also treats us to home spun songs that tell us stories of the Cash family’s history and heritage. In “Glory, Glory” she sings about her childhood and her brother Jack, and we can feel that it’s a happy memory. The song is cheerful, crisp and clear, the way country used to be. The picking, the slides, and the upbeat rhythm in many of the songs will have you tapping your feet and smiling. You get that Joanne is the product of a family rich in faith and love, making her what she is today.

Johnny Cash may have gone on to heaven, but he makes a few appearances in Gospel. “Meet Me in Heaven” (a poignant title, considering the fact that Johnny is already there) begins with an older Johnny Cash telling the story of the joyful passing of their father. He talks casually in “When He Comes” about his experience visiting Jerusalem. When the two siblings sing together, we almost feel like God has let Johnny come back for a brief visit. Their voices mingle and blend like two similar instruments.

But the crowning jewel of the cd is the bluegrass favorite “Will the Circle Be Unbroken”. No matter how many versions of this you’ve heard, this one shines. Every bit as good as the Nitty Gritty Dirt Band’s collaboration from the 70's (sung by Johnny Cash’s mother-in-law, Mother Maybelle Carter), this Cash has the tone of voice this classic needs. As if they were made for each other.

There’s a worshipful feel to a few of the cuts, rounding out the album with reverence. It’s unfortunate the band behind her isn’t given credit, because they are as talented as she. Joanne Cash Gospel is truly a spiritual and musical experience you won’t want to miss.