"Jesus Loves Me, this I know - for the Bible tells me so". At two and a half years of age, they were the first words that Sandi Patty ever sang. Five Grammy awards, three dozen Dove awards, and 11 million albums later, they are STILL the words that resonate in the depths of her soul. "These Days" is her first studio album release for three years and what a comeback it is. There are so many good songs but, for me, the pick has to be 'Solo El Amor' (Only Love). Dueting with Latin singing sensation Miguel Angel Guerra, it's a tremendous song that tells of the time when God impacts the life of a person and makes them perfectly whole. 'All This Time' was co-written by Sandi, and her friend Cindy Morgan, as a touching tribute to her daughter, with her vocals caressing each word as only a mother speaking to her child can. It's an album that will appeal to a wide age range because, although pop orientated, there's plenty of different styles contained within. 'Go Without Knowing' has a Celtic tinge to it, while 'One More Song For you' is very reminiscent of the Carpenters. A lovely album from a lovely lady. 9/10. (March 2001)
After hearing Sandi's excellent 2001 release "These Days", I was truly looking forward to hearing this recording of a live event. So, what a disappointment, then, this is. There's no sign of the catchy songs that I enjoyed previously but, instead, big orchestral productions that, sometimes, go right over the top, leaving the listener rather confused. I suppose that I should listen to more of her albums and see if this release is the sound of the real Sandi patty. If that's so then, perhaps, I'm doing her an injustice here as I really didn't like this album from start to finish. There's a rip-roaring praise medley to start things off and I hoped that it wasn't a sign of things to come. Unfortunately, it was. Her duet with Ron (Patty) is karaoke bad - the sort of thing you would cringe at during a family get-together. "Sam's Rainbow" is a little story that had me yawning throughout, while the vocals on "How Great Thou Art" would wake the dead. No kidding. The audience are obviously loving every minute, and there were over a thousand present. They say that there's one in every crowd. this time, I must be THE one. 1/10. (March 2002)
It's more than 20 years since Sandi Patty first captivated the church with her spirit of worship and inspiration. Since then, she's gone onto sell more than 11 million records worldwide and collect 39 Dove Awards. This album of new songs for the church sees her flex those vocal chords in typical fashion, as on the title track. This is a BIG production effort that I, personally, detest, yet I cannot deny I could never hope to duplicate her range. I like Sandi when she sings pure pop, or those timeless ballads, when her voice seems to caress every word. "Fields of Mercy" is one such song, "You Have Been So Good" another. In these, I believe, Sandi possesses great strength - shown again in the delightful "How Beautiful". No one can argue with what this lady has achieved over the years, so I guess it's another one of those occasions where it's a personal opinion. Nice album but could have been better. 7/10. (April 2003)
"All Right Here" is a collection of beautiful and tender songs. "Every Minute" is a hauntingly lovely song of friendship and love that gives me goosebumps when I hear it. "Less Like Scars" is a song of healing and God's power:- "And in your hands the pain and hurt look less like scars and more like character." From the beautifully simple love song "Fly" to the up-beat title track, Sara Groves pours out her heart into these lovingly crafted songs and the simple arrangements serve to enhance the compositions. From the busy-ness of the day expressed in "Just One More Thing" to the tale of forgiveness in the country-tinged "Tornado", this is one wonderful CD. Sara's clear voice and songwriting skills mean that "All Right Here" is far more than "All Right". It's brilliant. 10/10 Edward Booth (October 2002, Album of the Month)
Surfacing from what she describes a time where she felt "spiritually beat up", Sara Groves reckons that she has a more "sure footed faith despite life's uncertainties". The songs on this album reflect those feelings and the journey of the last year or so in this singer/songwriter's life. As well as personal changes, there's also been a change of direction in her sound too. Gone, on the whole, are the pop/country tinged songs, and in are more deep feelings and complicated productions. The latter may well come from the introduction of ace producer Charlie Peacock, but the result is a mish-mash of sounds and a hotch-potch of weak songs. "Compelled" is the most radio friendly song, while "Boxer" dives into 60's progressive rock and some very dark corners. "Roll to the Middle" is a nice song, with some sparse but effective backing but it's hard to pick out anything else that caught my imagination. After her previous release I think that this is a poor follow up. 3/10. (April 2004)
Sarah Sadler is only 19 year of age, but her debut album sounds as if she's making records for years! It's nothing complicated, it's just pop music that is really nice to listen to, and is full of , sometimes, quirky, little riffs that stick in your memory. "Beautiful" and "Best Thing" open proceedings and they are simple in content, yet brilliant in production. As the autumn sun shone through my window, I found myself drifting away in a vision of a long hot summer's day, as I listened to the great sounds of "Orbit" - a brilliant song. Then, the gentle, Latin feel of "Dreams" came along, closely followed by the Natalie Imbruglia tinged "Running into You". "Simply Complicated" reminded me of an early Kate Bush track in a mysterious sort of way, from the "Army Dreamers" era. Sarah lost me a little during the middle of the album with the dance orientated "Say You Do" but she's certainly a young lady with plenty of good things to offer. 9/10. (November 2002)
Right from the start, I could hear the influence of John Lennon ringing in Scott Faircloff's songs. Once, I had that thought in my head, I couldn't escape it. Don't get me wrong, it's not an album that just sounds like Lennon. Scott Faircloff is his own man and feeds us with personal songs, written from his own experiences. "Wrecking Ball Chain" is a jangly guitar song that is based on the Prodigal Son syndrome. "When God Whisper's" is a great track, mixing acoustic guitar and piano on a gentle ballad. This singer/songwriter has many albums to his credit but this is a first for me. Scott doesn't write songs that make you jump around , they tend to touch a bit deeper than that. Good album. 8/10. (November 1998)
Well, I'm willing to put my reviewer's reputation on the line here and predict a fine future for this new artist. Sounding like a cross between Mike & the Mechanics and Go West, Scott's certainly got off on the right foot with Charlie Peacock as producer. As for the songs themselves (he has 8 credits), the title track is a catchy little number and "Hope Has A Way" swings quickly into pop action. His rock ballads include the splendid "Sometimes He Calms the Storm", while the pick of the bunch is "Wish List". There's just a couple of tracks that don't quite measure up to the rest but this is a highly recommended debut. 8/10. (April 1996)
Subtitled, The Worship Songs of..., this album is just full of excellent worship songs, written by the man himself. In a similar vain to Geoff Bullock, Scott Wesley Brown presents a programme of tracks that will lead you to a closer relationship with your maker and soothe any lingering doubts that you may have about Him being Lord of all. "You Are Lord" and "We Will Worship You" are medium paced numbers that are so powerful you can almost feel God's love drifting from your hi-fi. Slower, more gentle, songs like "More Like You" are enthused with such precision that you're soon drifting in a loving peace that makes you feel like you're floating on air. "Fill my heart with your desire" Brown sings "to make me more like you". If that was his prayer for this album consider it a prayer answered. A truely wonderful album. 10/10. (October 1999, Album of the Month)
SCSI (pronounced Scuzzi) used to be called December Blue, and I remember seeing them at one or two events a few years ago. But, a change of name (and personnel?) has also seen a change of musical style that lends a little to the influences of Garbage and No Doubt. The pumping rhythms of "Crave" are quite infectious and the track is an early highlight. "Stunned" is a typical radio-friendly number that eases back on the aggressive attack of the previous songs, and is easily picked out a strong track. Either side, there's a slanted look at life from both sides of the Christian fence. "Right Here, Right Now" dissects lies in a relationship and the consequences of forgiveness, and is another song of inspiration. Sadly, I found most of the other tracks much of a muchness, in the way that each one souded too similar. However, the closing "Be the One" shows a wider degree of musical style as a simple song of worship. 6/10. (November 2000)
"What is that?" asked my 15 year old daughter. Is it all Indian music?" said my 14 year old son. "I don't quite know what to make of it", answered their 40 year old dad. Secret Archives consist of Vince Millett and Louis Counter, with some guest musicians helping out, here and there. This is their first major release, which is an ecletic and original combination of styles as diverse as acid techno, Arabic & Indian, and psychedelic trance. 16 tracks and 70 minutes of music that I've never, before, come across in any shape or form. Make your mind up after one play and you'll probably never play it again. But, I think that you will want to. With the use of such instruments as mandolas, bouzoukis, and more, the sounds slowly filter into your brain and, it's then that you start to ask questions. IS "Godheadz" really about the trilogy? Is there a hint of revelation in "Dark Night of the Soul"?. No lyrics, but plenty of unusual and remarkable sounds that is capturing media attention far and wide. You've certainly got something guys, and more power to you!. 8/10 (April 1999)
There's a lovely story behind this release of instrumental solo piano. The artist, Kris Baines, was diagnosed 6 years ago of having Repetitive Strain Injury in both of his hands, and that officially there was no hope of ever playing the piano again. Soon afterthat diagnosis, God intervened, healing and enablinig him to play to this day. The album is a collection of hymns plus one of his own compositions, "Nothing Shall Separate Us". All tracks are pretty similar, as you'd imagine, yet I can see the album being of great use by small house groups and for personal worship. "Just As I Am" is played in a lullaby sort of way and I found that to be the most pleasing track to my ears. Other well know tunes include "What A Friend We Have in Jesus", "Holy, Holy, Holy", and "I Surrender All". Not earth-shatteringly new, but a pleasant easy listening release. 7/10. (September 2002)
Texas born Shaun Groves has his music rooted into his life and in the church's youth ministry. His debut album, therefore, contain many songs that were specifically written to draw teens to Christ. Like many albums, the first song "Should I Tell them" is a very strong number. Shaun shows off his attacking vocal prowess and there's some nice jangly guitars for accompaniment. The song itself tells of Shaun's own imperfections in the light of wanting to share Jesus with others. "Welcome Home" drew one passing comment from a work colleague, "Is that Ronan Keating?". Whether that's a good or bad thing I'm not sure, but the song was quite nice. Groves then twists a little bit of folk into "Two Cents" while the guitars are forefront on "Move Me". There then comes a bit of a poor section, where I found the songs quite bland but, the infectious "After The Music Fades" had me thinking that we're going to hear a lot more from this guy. 6/10. (September 2001)
More often than not seen backing synth legend Howard Jones, Shaz Sparks is one half of progressive house duo dba, who released Bubble in 1996, Spectrum in 2001, and the remix album Twister in 2002. Her first solo collection sees her trading in those club chart-friendly whispers for in-your-face vocals that deserve to make needles jump all over the UK this summer. In the past songs like "3D", "Go with the Sun2 and "When the Light Has Gone" put across a Christian viewpoint without alienating the non-Christian listener, and to a large extent that approach is carried across - although the opening songs, "Love Me Love Me Love Me" and "Calling All Lovers", just simply capture common emotions, and of course give us something to dance to. The third track, "Heaven Give Me Words", is, by contrast, great for times of private worship: "Heaven give me words, heaven give me life, heaven let this message reach you." A stimulating version of Howard Jones' 1986 hit "All I Want" is followed by "The Language of Love", another dance epic that would do anyone from DJ Sammy to Dee Dee proud.This is quality music and suitable for anyone who likes to let their hair down in their own living room. (8/10) Howard Dobson (August 2004)
Is it a sign of old age? Has what street credibility I had left, flown out the window? Yes, it's true, Geoff Howlett gives a Traditional Hymn release his 'Album of the Month' award. Those taking part are drawn from 100 different congregations in and around Sheffield and have raised thousands of pounds for charity through sell-out concerts. Here, they treat us to a selection of well-known hymns dating back as far as Charles Wesley himself. The real bonus to this collection is that they don't sound just like any old choir, these songs are really alive. Take 'What Do We Hear?', with it's glorious trumpets and angle voices. The victorious marching of 'Down the Mountain' is soul lifting, while 'I Will Follow' is so gentle and relaxing. Some tracks are linked by Bible verses but the strength of this album lies truely in it's presentation and arrangement. 9/10. (February 1998, Album of the Month)
In my own early days as a Christian, Sheila Walsh's music was essential listening. Now, following a long silence, she's back with an album under the banner of 'Women of Faith' - a group dedicated to helping women experience life to it's fullest. This doesn't mean, however, that the songs only talk to the female species, but I do believe it is they who will find the most benefit from listening. It's another one of these albums where a well known artist has decided to use a lot of Celtic instruments to set the songs to an ambient feel. Sheila kicks off with three very quiet and meditational numbers that do take some getting used to. Gone are her previous throwaway pop songs and in come a more gentle collection. The title track sounds like Iona but her rendition of Chris Eaton's 'God Is Faithful' is simply wonderful. I wasn't too sure about 'See Amid the Winter' but it grows on you. If you're expecting Sheila to simply carry on where she left off 5 years ago, you'll be sadly disappointed. On the other hand, welcome back Sheila. 9/10 (January 1999, Album of the Month)
It's a long time since we heard from Sheila Walsh, and I wasn't sure what to expect. Was it the Sheila Walsh of the late 70's who sounded so exciting, or maybe the 90's version that sounded, at times, like a lost sheep, still searching for home? But no, say "hello" to the new Sheila Walsh, full of the spirit and just oozing with love. What a wonderful start we have with "Here I Am To Worship". That's followed by the pure pop sound of "More Than Life" which lends more than a nod in the direction of Michelle Tumes. And, just when you think it can't get much better, the violin's hauntingly play in Martin Smith's "I Could Sing of Your Love Forever". I thought that the last Delirious? version of this song was brilliant, but this takes that song to brand new heights - it brought a tear to my eye, it is so beautiful. From the way her voice caresses the ballads like "Adore" and "We Fall Down", to the way she turns "Fall Into the Arms", you sense that Sheila has found something extra special in the making of this album. She's had her own up's and down's over the last 10 years, but this is Sheila Walsh, back to her very best. 10/10 (May 2003, Album of the Month)
For some time, Sheila Walsh says that she had "wanted to blend the soothing sounds of the traditional Celtic instruments of her homeland with the message of the tenderness of the love of God". Recorded, in the main, for young children and their parents, this album certainly put me to sleep! What I mean to say is that it's peaceful and, listening to it, I definitely snoozed and drifted into sleep. Thankfully, I've managed to stay awake since and give the Cd a couple of listens. "Hymn of Blessing" is a gentle opening, and "Lullaby" is sung in quiet Enya style. "The Lord is My Shepherd" was the only track I recognized, but others like "I Will Carry You" and "Sail Away" all had the desired effect. From my own experiences, I think I'd also recommend this recording for relaxation and meditation - it has that sort of ambience about it. 8/10. (August 2003)
You can view "Best of.." albums in one of two ways. Either you feel they are just a money making machine for the record company or a genuine attempt to present the best of an artist, ideal for those who haven't purchased previous collections. I'm never sure where I stand, especially as genuine fans can and do usually burn their own compilations. For me though, this particular offering represents very much the latter, as I don't possess any of the albums these songs are drawn from. There were two things that struck me on first listen. Firstly, that there are strong celtic influences in much of what Sheila does, and there are several tracks, especially "Blessings Flow" that are very Enya-esque. Secondly, there are many contrasting styles, from full blown operatic style hymn arrangements ("A Mighty Fortress is Our God") to classic pop tunes ("Always"). Often, when you get such an eclectic mix as this, there is a lack of coherency but this is not evident here. The variety here allows Sheila's versatile vocal talents to really shine through and also provides for a wide variety of tastes. There are not many artists who can achieve this successfully but Sheila Walsh is obviously one of those who can. There's a super version of Paul Simon's "Bridge Over Troubled Water" which I immediatley skipped forward to on first listen and thankfully, I was not disappointed. It is bold song to try in the first place and an interesting choice for this compilation. My favourite of all the songs here though has to be the aforementioned and sublime "Always" which is just fantastic in composition and execution. This is a must have in your collection. 9/10 Robin Thompson (June 2004, Album of the Month)
I never heard last year's debut EP but if this full album is anything to go by, it must have been good. Shine are four girls who's collective name reflects both God's glory and their commitment to the youth of Milton Keynes. However, this release will, no doubt, see them spread their wings and fly further afield. With the charts constantly filled with pop music by Britney Spears, TLC, Steps, and the like, ShineMK are Christiandom's 100% answer. Dance, jump, singalong, to brilliant tunes such as "Do It Right", "Do You Believe in Love" and the classic Stevie Winwood number "Higher Love". "Get A Life" is honestly as good - if not better - than anything in the charts at the moment and "Shine" is just as hot. It's not all uptempo stuff though, as the girls show that their just as at home with the lovely ballad "More Than Words Can Say". Play almost any track on commercial radio and no-one would know the difference between ShineMK and their secular counterparts. That is, until they listened carefully to the God inspired lyrics. ShineMK must be one of the UK's brightest lights for the future. 9/10. (May 2000)
One of the first albums I ever reviewed was by black gospel artist Ron Kenoly, and that has remained a favourite of mine. The female equivalent must be Shirley Caesar, and this live concert shows her in full flight, one rainy night in Georgia. Backed by her own singers, choir and band, there's lot's of pursed lips, mopping of brows, bulging eyes and not a white man in sight. Shirley whips the audience up into a mass frenzy with songs like "Looking For the Stone". There's an incredible ten minute song(?) where she tells the most bizarre story about the Christian and the atheist - I really thought she was going to explode! "If You Wanna Be Blessed" is quite a redeeming number, where the lady in red takes a back seat and lets the choir sing while she shakes hands with the audience. If you like this type of music, you'll be really moved by this lady. However, with my apologies to black gospel lovers everywhere, the only way I was moved was to reach for my VCR's eject button. 3/10. (September 1997)
With a career that spans four decades, Shirley Caesar is undoubtedly one of the most popular and successful gospel singers. In that time, she's won 11 Grammy Awards, 18 Doves and 13 Stellars, as well as appearing on nearly 40 albums. She's had three sold out runs on Broadway, and has also been involved with four motion picture soundtracks. "Hymns" is a superb collection of traditional gospel songs, delivered in a way that only Shirley Caesar can. The track listing includes "Amazing Grace", "Holy, Holy, Holy", and "There is Power in the Blood", as well as many others. "Steal Away to Jesus" is a powerful duet with Destiny's Child's Michelle Williams, and quite beautiful it is, too. Produced by long time friend Bubba Smith, the album continues the phenomena that is Shirley Caesar. 8/10. (March 2002, Album of the Month)
Let me say straight away that this release smacks of a hot summer with long, lazy, hazy evenings. Three girls from Tennessee who deal out a hand of superb pop songs, laced with fine harmonies and catchy hooks. The lead vocals are incredibly strong yet, at the same time, capture great emotion and style. Musically, there's the jingle-jangle guitars of Jerry Macpherson, which stand out from the norm. "Hold on to Love" starts things off in a pure pop sort of way, while the piano based "I Know You Know" is simply adorable. There's a dip in quality here and there but the album finishes with three excellent tracks. 8/10. (October 1996, Album of the Month)
Leeds based Simon Goodall has released this EP featuring most of the solo acoustic songs that he has played, at concerts, over the last year or so. Indeed, apart from his simple guitar work, backing music is sparse but well used. Out of the six songs featured, he only takes writing credits on two, with the catchy 'As Long As You Believe in Me' being the best. His voice is very similar to Sir Cliff, and I mean that as a compliment! 'All By Myself' leaves a little to be desired. In it's very simple format it never quite reaches the heights of either Eric Carmen's original nor of Celine Dion's most recent version. However, the sweet and gentle 'Carolyn' is of the highest order, written by Wes King. All in all, my only complaint was the shortness of the recording. A nice addition to anyone's collection. 8/10. (February 1998)
Whether he's performing at large events like Spring Harvest, or playing an acoustic solo set in a pub, Simon Goodall has the gift of God centred songwriting. His regular appearances on various religious tv programmes over the last few years are just proof that he is one of the most respected worship leaders in the UK, and this new album gives him chance to share 11 of his own songs. His voice has been likened to that of Sir Cliff (which I mentioned 4 years ago) and Gary Barlow, such is the quality. Songs like "All This World Has to Offer", "Always" , and "Can't Deny" are just three of the guitar led songs that result in pop praise at it's very best. "Keep Me" sees Simon accompanied by just a piano as the simple, true and majestic lyrics worship His Father God. "All For You" is a similar track, with the guitar replacing the piano, as Simon sings of wondrous love. Things dip a little in the middle of the running order, where I thought the songs weren't quite as strong but, there are some real quality songs here. 8/10. (November 2002)
Now, here's a refreshing change! It's not often that I'm asked to review an album in this style of music but, as for this one, I'm glad I was. Recorded at Chester Cathedral, it features the choir singing 13 well known hymns. You may think that this style of singing might become monotonous but I certainly didn't find this. Indeed, as soon as it finished I started the CD again. Tracks include "Be Thou My Vision", "Make Me A Channel of Your Peace", and "Give Thanks With a Grateful Heart". Add to this, the most beautiful version of "From Heaven You Came", and you've got an album to grace any CD collection. Not everyone's taste, I know, but one that would surprise many if they took the chance to listen. 9/10. (January 2001, Album of the Month)
One great song does not make a great album and, unfortunately, this is the case with Sixpence. All the hope I had of a brilliant release to push them further into the secular limelight has been dashed by, what is, a fairly ordinary collection of songs. That's not to say that it doesn't have it's moments. Apart from the delicious "Kiss Me", Leigh Nash's distinctive vocals literally hypnotise on the opening "We Have Forgotten" and "Anything". Mandolins, jangly guitars and violins are all featured on a sound that is, sometimes, reminiscent of Suzanne Vega."Puedo Escriber" rambles without getting anywhere, and "The Lines of My Earth" is a little ballad that owes more than a passing acknowledgement to Lou Reed's "Perfect Day". If you liked "Kiss Me" and are looking for more of the same then "East to Ignore" is the closest in style. Mind you, that's track 5 and from then on, it's mostly downhill. 5/10 (July 1999)
A real portrait of their best, or just a marketing ploy by their old record company, ready to cash in on the band's new found success? A lot of the newer fans will have heard things like "Kiss Me" and "There She Goes" and, quite possibly, assume that the band have always sounded the same. However, a listen to this album will soon destroy that theory. Songs like "Angelthread" and "Love Salvation, The Fear of Death" are harder hitting sounds than the recent chart hits. It's alternative rock with a touch of indie thrown in for good measure. What on earth possessed them to record their version of the classic "Love Letters In The Sand" is beyond me. If ever there was a case for a song being murdered, this is it. "Spotlight" proves just what great pop songs Sixpence can deliver and "The Fatherless & the Widow" gives you great hope. A portrait of their best? Well, if this is their best, I wouldn't like to hear the worst! 3/10. (November 1999)
Until now, I hadn't heard a good Sixpence album. Oh yes, their last big release included the monster hit "Kiss Me" but the rest of the songs weren't really upto the mark. So, thankfully, I'm pleased to report that this latest offering is just so much better. The lyrics, too, are an improvement, and back to a more direct link to a walk with God. "Breathe Your Name" and the delicious "Tonight" set their stall out, as the opening numbers. A surprise inclusion is the Crowded House smash "Don't Dream It's Over", but what a great version it is - well worth playing again and again. "Still Burning" is another classy tune from the pen of Matt Slocum, and Leigh Nash's vocals never falter. The latter half of the album becomes a little more aggressive in production but, all in all, this is by far the best from Sixpence. 9/10. (February 2003)
You always wonder if "best of" albums are, really, the best of an artist, or just a cheap way to garner some more cash from fans? I've got to admit that I've always had a soft spot for this band, although their albums have, sometimes, left me a tad short changed. I've always thought that Leigh Nash's vocals suited the jangly pop songs and it comes as no surprise that I was a big fan of "Kiss Me". But, this album has more to offerthan just one song. "Loser Like Me", "Us", and "Too Far Gone" are three previously un-released songs that are splendid offerings, and it makes me wonder if the band had really got to the end of their journey together? Cover songs include the quite brilliant "There She Goes", "Don't Dream It's Over" and the Abba classic "Dancing Queen". The most evangelistic song on show is "Brighten My Heart", where Leigh sings about opening her heart to Jesus. Couldn't get my head round "Angeltread" or "Within a Room Somewhere", but, for once, this really is a best of. 8/10. November 204)
A tuneful Bob Dylan or a jig-less Eden Burning? That's about the closest I can come to describing the music of Skatman Meredith and his latest release. All acoustically driven, the songs tell of different times in your relationship with God. Admitting your sins and your pride is told by the enjoyable opener, 'Forgive Me', while 'The Garden' is were you are welcomed into His family. There's a folk tinge to the whole of the album but in a contemporary vain, rather than a 60's feel. On 'Hope For Us', Skatman and his friends put a little rock into proceedings and the result is extremely pleasing. There's an obligatory catchy hook, and a real dance feel to it. 'Sweet Dreams' contains a touch of REM, while I really love 'Big Idea'. This one sees someone trying to come to terms with a loved one who has given their life to Christ. Very thoughtful, very good, and so's the album. A great sound and much better than a host of big name produced U.S. albums. 9/10. (August 1998, Album of the Month)
From the first notes of the first song, I knew I would like this. "Strangest Places" is an inspiring song that builds to an anthemic conclusion. "Your Home", notwithstanding the American accent, reminded me of Peter Gabriel and Lindisfarne. With "Convenant Child", just when you think you know where the melody is going, it dips like Mike Nesmith's "Rio". "Blood on My Hands" starts with a haunting acoustic guitar riff - it's a song of redemption, of a God who "took away the chains and the burden of blood on my hands". The first half of the CD is the stronger, although it does finish with the fine "Bitter End". These are well crafted songs that don't stray far from the world of 60's style singer-songwriter folk harmony. Some might find the songs a little samey. It's unfashionable, solid, stirring in parts. Few surprises, but it's good stuff. 8/10 Geoff Allen. (August 1998)
Although promoted as a three track single, this CD actually contains six songs. The extra three are provided by the inclusion of material previously only available on the band's demo tape. Of these, "Come Back Hungry" is the strongest, with it's definate REM influences. The new tracks, however, see the duo move on musically and experiment with a harder sound that results in an intriging cross between DC Talk and Tubeway Army. The mystic sounding "Man of Blood" stands out high above the other tracks in both lyrical and musical content. The orchestral arrangement alone is superb but the track itself is a classic. Not that either "Waiting…" or "Hey Man…" are weak, they are, in their own right, good songs and, at this price, the CD is well worth investigating if you like something out of the ordinary. 8/10. (March 1999)
Since their previous release, the two brothers who make up Skinflowers have ditched their electronic wizardry for a sound much akin to what I used to call industrial. Lot's of incessant rhythms, thrashing guitars and lyrics that don't, on first hearing, seem to make much sense. As the guys say "we make music that is kind of twisted out of shape, the kind of music your car stereo might be playing after a particularly unfortunate car accident that leaves your car absolutely mangled but yourself relatively unharmed. Nonetheless, the car stereo keeps playing". It's then that you have to dig deeper into the words of each song and actually dissect what is going on in the world of Skinflowers. "I Don't Need More Money…" takes the old 'busy life - too busy for Jesus' syndrome' and reincarnates it beyond anything I've ever heard before. The opening "Transatlantic Love Song" reminded me of Placeabo and could well be hart material, if that's what they are aiming for. "I Suppose" is a more personal, reflective look at life and it's mellow sound is a welcome change from all the crashing tracks that have gone before. It's an album that you're really going to have to sit and listen to, to get the most from. Hats off to Skinflowers for creating something that no-one else in CCM appears to be doing, it's a brave release. 7/10. (September 2000)
Let me say, straight away, I didn't expect this to be my album of the month. The cover photograph of Skip is enough to put you off country music for life! But hey, what about the music? The lyrics are typically country. You know, plain old love songs, and no Garth Brookes type rock in sight. Not only does the album open well, with the bouncy "All That Matters To Me", I guarantee that you'll be singing along to most of these within a play or two. "Mary Go Round" is a play on words that has Skip telling the story of two sweethearts who met at the fair and stayed true to each other throughout their lives, with God at the centre. The title track is a simple song of praise that is just so full of love , and "Answer To My Prayer" follows the same sentiment. There's some great slide guitar featured and even a line-dance special called "Make Time". Don't let that put you off, this is the best country album I've heard for a few years. Give it a whirl. 9/10. (September 1997, Album of the Month)
If you're into a very tight, heavy rock sound with an indie touch, you'll like this one from the States. It's a serious album, but with all the minor dischords combined with a lot of distorted guitar, I came away feeling battered and depressed. The lyrics are deep, man, tackling everyday problems such as honesty, infatuation, self-worth, being real, sex etc., and included is a booklet expanding these ideas with helpful Bible references. While on the subject of lyrics, they are jargon free. Yes, really! Most albums start well and then end with a few throwaway tracks. This one does the opposite, with the exception of 'My Mirror' and 'Nondescript'. Skypark start to get a little funkier on 'Here Come the Bugs' which, for me, is the best track. Shame it's so short. So, if you're into late night philosophical discussions with lots of distorted guitar, this one's for you.
7/10 Julie Lord. (September 1998)
The live praise & worship album is from the Smithton Community Church, a church in a small town (pop. 532) which has experienced an outpouring of God. This isn't a "Toronto blessing" type of thing, but a great sense of revival and the difference the presence of God can make in our lives. The songs very much reflect this. I've tried to assess the album on two fronts: 1) is it worth listening to; 2) is there anything useful for church worship? On the whole, the album passes test 1) quite well: the songs are well-recorded, well-played, well-presented with only one spoken introduction. The enthusiasm & the life in the recording would give many a black gospel choir a run for their tithe but for sheer power of performance the choir would win. That said, most of our churches don't sing like a choir, so how useful is this album as a resource for a P&W leader? 8 of the 13 songs are usable, although the "revival is happening" theme of many may not be where many churches are ("revival is what we need" is more common in the UK at present, I feel). The album follows that well-trod path of lively opening, slow/quiet section, final upbeat number (an anthemic "candles in the air" album-closer). Why an album of "live praise & worship" contains so many songs I'd regard as "performance pieces" is beyond me: but maybe that's not representative of the services, and is an attempt to answer my first criterion. Anyway, if you're into P&W, especially of a revivalist theme, this is a good album. If not, there's plenty of others out there to chose from. 6/10 Paul Ganney. (December 1999)
I really haven't heard a demo like this for some time. Plain and simple lyrics, married to unfussy music which really lets the raw feeling filter from the tape. With all due respect to other bands, it is really nice to hear a band who don't instantly fall into the current Britpop or dance sound. Saying that, on the closing 'In the Garden', the vocal quality is very Beautiful South! Good song, and well performed. Bassist Dave Beere is the man behind most of the lyrics, and he uses clear biblical truths to form the backbone of ewach song. The opening 'Armour of the Lord' lacks a little in conviction but there is some rather nice guitar work contained within. Seven songs in total and a good effort for a first time out. Songs like 'Sixty Three' and 'The Lord is Marching' are bound to be popular wherever Son of Nun play, and they can be well satisfied with their offering. 7/10. (January 1999)
To celebrate the wonderful music ministry of Dave Bilbrough, a host of top British artists have got together to re-record some of his best known songs, giving them new life. Mind you, that's not my opinion. My opinion is that most of these beloved numbers have been literally murdered, albeit by some well meaning folk. The gospel groove of "Let There Be Love" had me cringing - tacky just doesn't enter into it. Sue Rinaldi is guilty of poisoning "So Freely", while Lou Fellingham and Alan Rose strangle "Be Free in the Love of God". "cleverly interpreted with a contemporary vibe" write Graham Kendrick on the sleeve notes. Clever? Not really. Contemporary vibe? Does that mean dreadful? Stuart Townend offers brief respite with "O Joy of your Forgiveness"and Sheila Walsh's "As We Seek Your Face" is just sheer beauty. What a pity such great songs have been treated this way. 2/10.
With tracks drawn from the Songs of Fellowship Songbook, there's something for everybody on this new album. However, for me, there was nothing until Matt Redman's "Friend of Sinners", which appears as track 7. What goes before is a collection of tepid, non-descript songs that raised the cringe factor to 10. Mind, you, after that, everything improves dramatically, including stirring versions of those great hymns "Great is Thy Faithfulness" and "And Can It Be?". For lovers of more recent music, there's a great version of "The Day of the Streams" and "Welcome, King of Kings". 20 songs and 70+ minutes of music. Something for everyone, maybe, you might not be as picky as me. 6/10. (May 2000)
Hailed as something "out of the ordinary" I put this CD into my player, expecting something a little bit special. Live alternative worship from a band who, themselves, are praised from afar. "Open the Eyes of My Heart" explodes with superb guitars, reminiscent of U2 at their best. "I Want to Know You" carries things on well but the vocals are rather weak. I couldn't help thinking that someone like Martin Smith would do it much better. Things, to coin a phrase, "get a bit messy" before the ceilings lifted with "You Are Worthy of My Praise". Now, what is spontaneous worship? I've never really been sure, but track 7 is called just that. What you get is some mind numbing guitar music and pounding drums that just gave me a headache - I suppose that was pretty spontaneous! I guess that the live event was much better than just listening to the CD, although "Before the Throne of God Above" did have me worshiping along. Special in an OK sort of way. 7/10. (June 2001)
I've not really heard anything by this band before, although I know that they've been around for a while. It's a rock worship CD, and a good one at that too. I'm not really a fan of worship CD's in general, too many of them are full of overused cliches, and sound as though their creators are just going through the motions. However I liked this right from the start. Especially "Here I am to worship" which is a song that I've found myself playing in church a lot myself lately so I guess most people will be familiar with it. The style of music goes from a sound that in some places is not unlike the Stereophonics. While there is a hint of Delerious in there too at times. All the songs are played well and arranged well, and you get the impression that the band are enjoying what they are doing. No sense of going through the motions here. All in all then a good CD, In fact I'd even pay money for it myself! 10/10 Andy Sayner. (August 2003)
Here's a collection of 22 songs with instrumental interludes, to help you rest and relax in the spiritual equivalent of a good soak in the bath! Indeed, I tried listening to some of the album whilst in the bath, and it was quite a pleasant experience. But, perhaps, where I was most appreciative was in the workplace on a typical stressful day. With this double Cd playing in the background, there was a desired effect. First song to make a difference was "In Christ Alone", which has a celtic feel to it, due to the use of several pipes and wistles. I also enjoyed the peaceful sound of "Dear Lord & Father of Mankind, and "I Come to Bow Down", where the latter gave me visions of a sun-drenched beach, with the sea gently lapping around my feet. Praises are raised somewhat on songs such as "If This Life's Just These Few Days" and "In Your Presence", but I think that this collection does achieve what it sets out to do quite well. 7/10. (June 2004)
"Before there was jazz, therewas gospel. Before there was rhythm and blues, there was gospel. Before there was soul or funk, there was gospel. It is impossible to consider the history of American popular music without acknowledging the fundamental role played by the sounds of the black church". So, says the sleeve notes, and who am I to disagree. This 2 CD collection includes typical gospel flavours from the likes of the Colorado Mass Choir, The Motor City Mass Choir, Vickie Winans, and Israel Houghton. There's the usual whooping and hollering, but above all there's some time honoured, good old gospel music, as only the black church can provide. "We Lift Up Your Name" by Radical for Christ, and Alvin Slaughter's "Speak Lord" are two brilliant numbers, but it was hard, for me, to pick out anything else special. As popular as Anointed are, I just couldn't help but dislike "Adore You" and similarly, Dottie Peoples' "I Exalt Thee" just made no impression on me at all. I think that I can honestly say that I've heard better gospel than on this collection, but time will tell if I'm right or wrong. 4/10. (January 2004)
Some 9 years since I first met them, the group now known as Soul Ascendant, release their first CD. Naming James Brown, Aretha Franklin, and The Commitments as their main influences, you can get an idea of the sort of music contained on this 3 track EP. It kicks off rather slowly with Ruth Stoodley telling the story about finding Jesus in her life. Not a bad song but I would have, personally, preferred a livelier start. The pace does pickup for the second song, "Passin Thru", with the brass section leading the way. This is more like it and the James Brown feel makes it a sure fire dance hit."Can't Do Right" sees Pete Stoodley share the lead vocals on what he calls a "humourous cliché". Robb Sutherland plays some neat lead guitar and, all in all, if you like soul music, you'll like this CD. It may only be 3 tracks, so perhaps you should see them live. 7/10. (December 2001)
Featuring the talents of Matt Redman, Kevin Prosch and Tim Hughes, this is an album exhibiting a fair bit of what I would term "performance praise". That doesn't mean it's P&W to watch, but rather a collection of songs that are strong enough to be listened to as well as joined in with. The opener, "Believer" is a case in point, having a vocal line that felt like it came from a dance anthem (more M People than "Lager Lager Lager"). The backing, though, is fairly standard P&W. Well executed, but nothing unusual nonetheless. But then, this is a P&W album. So how does it stand up in that light? Not being (or having been) at the event, I didn't really feel drawn into the worship that the large-sounding crowd were obviously experiencing. As the album settled down into a more worshipful style, I even felt rather left out. Overall, a well-recorded album of new P&W songs, the more up-tempo of which I actually quite enjoyed (there's even a version of Delirious' "History Maker" - the original is far better). How many of these songs would be of use in the local church is debatable (although I have sung "What a friend I've found" locally). If you're after an introduction to this sort of album, then the 14-day exchange offered by Survivor Records makes it worth trying. If you already have many P&W albums, then this will probably blend in with the rest quite comfortably, so it'll be a case of how many of these songs you wish to add to your collection. 7/10. Paul Ganney. (December 1997)
Following on from last years successful release showcasing brand new song writers, Soul Survivor gathers the likes of Martin Smith and Matt & Beth Redman to present the music. However, the first track is a Matt Redman number called "Thannk You For the Blood". It's a strange song who's arrangement doesn't really know whether it's a 19th century hymn or a pop song for the millenium. Great vision in the song, and words that just pull you into praise and worship. Unfortunately, this song is so good that it put the rest in the shade. It would be easy to say that it's all downhill from there on, but Laura Baker's "Father God" does lift spirits- albeit briefly - with a nice chart sound song. All too often I played this album and got to the end without remembering much more. Lyrically, the rest of the songs fail to offer anything new. Too many times you could actually guess what the singer was going to sing next, so predictable is some of the writing. Not a patch on Volume 1. 2/10. (October 1999)
During the three Soul Survivor summer festivals of 1999, over 800 young people in the UK became Christians, and it was all in the context of worship. The album, as the sleeve notes say, "reflects the passion and the intimacy, the praise and the intercession" of those events. With the likes of Matt Redman, Tim Hughes and Martin Layzell as worship leaders, it really is hard to pick out one vocalist from the other. For instance, the Tim Hughes sings on the stirring "Jesus, You Alone", but until I read the inlay, I thought it was Matt Redman. For me, the album contains lots of new worship songs, including the acoustic led "A Life of Love" and superb "Joy". Coupled with those are favourites like "Thank You for the Blood" and one of the best renditions of "Undignified" that I've ever heard - it's easy to see how the Lord moved during this time. If you weren't there, you probably should have been and this album will give you just a taste of what you missed. 9/10. (January 2000)
This summer over 11,000 young people from many nations invaded the city of Manchester for a 10 day mission. In the evenings, the Gospel was preached and thousands responded, all in the context of worship. Here, then, is the album recorded at that event. Featuring Matt Redman. Tim Hughes, and Martyn Layzell, we're immediately carried into power praise with Matt Redman singing "Salvation". Next comes Redman's "Holy Moment" but, in this instance, sung by Tim Hughes. Mind you, he sounds so much like the songwriter, you can hardly tell the difference. "King Jesus, I Believe" is another driving song, written and led by Layzell and, of course, Paul Oakley's "Jesus, Friend of Sinners" is also included. Maybe it's me, but I always find it difficult to capture the worship feeling on CD when things go quiet. Somehow, it just doesn't seem to cross over from the real thing to a recording. Perhaps that's just a personal thing, otherwise it's an "ok" album. 7/10. (November 2000)
Bringing a message of hope, empowerment and salvation to the world is a pretty tough job, but that's just what the Washington children hope to do with their first major release. They use the hip hop sound of today and blend it with r&b and rock. The result is an album of songs that I instantly disliked on first play, was instrigued on the second, and really began to enjoy on the third. "Let Go" is the first song on the album, and it's strong message of releasing all those things that tie you from a full loving relationship with God, works well. As regular readers will know, I'm not a hip hop fan, so maybe that's why this release took a few plays to get through to me. I found the middle section of the album to be it's purple patch with "Reflection" and "Beneath the Surface" being true high spots. "Souljahz Don't Stop" probably rates as one of my favourite hip hop tracks of all time, and that's saying something. If I give this album a high mark, you know it's worth a listen. 8/10. (November 2002)
This is one that I somehow overlooked last month but it's been well worth the wait. I can't tell you anything about the four girls, but they do have an incredible vocal range. The style is very much based around their tight harmonies but includes forays into rap, gospel/soul and accapella. At times they even turn their hand to some 1940's swing as in 'Someday', and the stunning 'Happiness Is'. It's here that Special Gift excel and they produce much to be admired. Once or twice the ideas seemed to be just a little too complicated for the girls but overall, this is an album with a difference. 8/10. (February 1997)
Jason McKinney and Alan Moore are the two guys who, together, make up the outfit known as Spinaround. Their youth aimed album consists of 10 tracks, mostly written by the boys themselves. It begins with a happy, go-lucky, number called "Girl She Used To Be", and it tells the story of just how someone can change for the better - or worse for that matter! It's got nice guitar rhythms and keyboard sounds, and it's a recipe that's repeated well later on with the song "Say Anything". These are by far the best two tracks on the album and it's a pity there weren't more of similar standard. A mix of rap and indie appears on "Face the Crowd", which I didn't like and then there's a few MOR songs that are nothing special. Towards the end of the listing, the guys get back track with a nice ballad called "Sweet Lullaby" but, for me, there's far too many 'fillers' for it to be anything better than….5/10. (September 2001)
After a lengthy absence, Split Level are back on the scene with a brand new album. Guitars blaze into action with the opening 'Everything', which builds to an explosive chorus and sound. 'Twister' is a song that will have been heard before but it's the band at their rocky best. A change of direction for the band means that the pace decreases until the final live track 'Got My Number' - the old Undertones hit. In between, the guys serve up a feast of songs like 'Healed' and the reflective 'Things I Do', an REM clone. I really liked the way that the lyrics of the songs described life through the eyes of your average believer. You know that perfection is out of reach and, sometimes, even your best is pretty awful, but God will never leave you. Glo.bal is not just another music album, it could be your life story. Thank God there's hope. 9/10. (June 1997, Album of the Month)
Recorded at both Minehead and Skegness, this recording features some great tracks . Instant highlights are Robin Mark's 'Lion of Judah' and 'Revival', so full of worship that you can almost feel the power generated. It's not all the 'up and at them' approach though, there's some good old fashioned worship with 'Be Thou My Vision' and 'Here Is the Risen Son'. They, along with 'No Scenes of Stately Majesty' blend effortlessly alongside other contributions from Dave Bilbrough and Chris Bowater. It takes all sorts to please the average Spring Harvest worshipper and, basically, that's what we have here. Something for everyone. Of course, there's even time for a hoe-down with a version of Matt Redman's 'Undignified'. This album is more than just a memory for those present. 8/10. (October 1998)
New songs for 2000 are exactly what you get on this new release from Spring Harvest. Gathering the songwriting and musical talents of many of today's top British artists, the resulting 12 tracks are quite varied in their production. David Lyle morris sings, and co-wrote, the opening "Jesus, King of the Ages", which owes more than a passing acknowledgement to Chris Eaton's "Saviour's Day". However, always a sign of a good song, I soon found myself singing along and enjoying it too. Y-Friday's Ken Riley provides "I Thank You For the Cross" with Morris, once again, taking hold of the lead vocals. Another good song, and well written. Julie Costello appears on so many of these albums that I wonder why she doesn't actually produce her own album. Again, on this recording, she sings Sue Rinaldi's "Restless Pilgrim", with such great feeling. Two tracks later, she's there again with Nathan Fellingham's "Awake, Awake O Zion". These are the real high spots of the album, although I'm willing to admit that others are beginning to grow on me. 8/10. (June 2000)
The live sounds of Spring Harvest are really something that most people take away with them as memories. To the sounds of the Message Tribe, and others, sweaty bodies jump up and down, and just enjoy dancing with the Lord and praising His name. This album, however, fails miserably in capturing any that live feel and results in a pretty forgetable CD. It does have it's moments, not least the Trbe's "Frantik" and David Gates' "Praises" - sung by one of the most under- rated voices in the UK at the moment, Kate Simmonds. But, there are some real monstrosities too. Ken Riley's "All Over The World" has been totally mutated, while the same writer's "I Thank You for the Cross" has lost all the beautiful feeling that the original version portrayed. "Thank You For the Blood" raises hopes again with some twangy guitar sounds but it's all too little, too late from saving this album from a watery grave. 4/10. (July 2000)
For 12 years "Kid's Praise" has showcased songs written by the likes of Doug Horley, Ishmael, Sammy Horner, and Jim Bailey. Now, the "best of" collection has been put together on this 2CD package. Actually, for someone who's 40 something, I found quite a few of the tracks well worth a listen. Of course, the age groups we're looking at really are 4-7 & 8-12 year old, so I'm way passed it. However, I can see what the tracks are trying to achieve and, on the whole, they stand a great chance of attracting the kids they're aiming for. "As For Me & My House" is one of those songs that I repeatedly play on the radio, so I never get tired of that. "Prayer Phone" is a simple message that says that children can use prayer like a telephone to talk to God - a point some grown ups need to remember! For the younger ones,, simple repetitive choruses like "Father I Praise You" and "Wobble Your Knees" (honestly) should be easily learned and used in Sunday schools. For the harassed young people's leader, this album is a boon. 8/10. (November 2000)
No need for any introduction to this fine series of worship songs, the quality is always good. What is nice to see on this album is that as well as the likes of Matt Redman and Stuart Townend, lesser known writers like Kathryn Scott and Ken Riley get in on the act. Mind you, when I say "lesser known", I know that Ken is fast becoming an accomplished writer and performer. On his "I Can Feel Your Arms" the vocals are taken by Esther Alexander & David Lyle Morris, and the delivery is first class. Meanwhile, Scott's opening "Devotion" is far from outstanding but has a distinct quality that improves with each listen. Since hearing the album "Higher" from the Abundant Life Centre in Bradford, I've become more aware of Lara Martin's music, and her performance of "Your Grace Covers Me" is a touching and thoughtful rendition. Marc James' "Surrender" gives power to some acoustic worship with Lyle Morris doing the honours on vocals once more. Mostly, a positive outlook for this album and, therefore…8/10. (June 2001)
Thousands of worshippers at Spring Harvest 2001 experienced spectacular moments of high praise and interludes of intimate worship. And, in all honesty, ICC manage to capture a lot of that on their annual "live Worship" releases. This year's no different as 13 tracks from leaders such as Dave Bilbrough, Malc Garda, and Graham Kendrick lead the way. "Holy mountain" starts things rolling with a happy, clappy start. This is closely followed by Bilbrough's "Yours is the Kingdom" and, Sue Rinaldi singing "Creation Praise". Robin Mark performs "Outrageous Grace" in the way that only he can. Taking Godfrey Birtill's classic song, Mark is at his anthemic best, leading the worshippers in powerful praise. Personally, I found Kendrick's "What Grace" not a patch on his album version, and "Keep Me" also falls rather flat. There again, all is redeemed by Paul Oakley's finishing "I Kneel Down", and all is well. 8/10. (September 2001)
Praise Mix has built a strong following with it's edgy guitar vibe, and this year's release brings us new songs performed especially for this year's album by some of the UK's most popular Christian bands. Straight off, can I say that Quench's Jamie Hill stands out by the quality of his vocals on the tracks that he sings. "As We Come" is very Toploader in style while "Every Day" is more of a mosher sort of thing, leaning towards Wheatus. And, for the second time this month, a great worship song is murdered. Graham Kendrick's "To You O Lord" gets the guitar treatment of UK hopeful's Kindle, complete with an unbearable chorus of giant proportion. Then, Andy Flannagan sings his own composition "You Are the One", to which a passing colleague asked "Is that Robbie Williams?" - a compliment, I think. I keep asking myself if I'm getting too old for some of these albums but, in hindsight, I guess, after all, this is just one man's opinion. Excellent in parts, not so good in others. 5/10. (June 2002)
I put this album into my CD player with a degree of trepidation - calling anything "Something Mix" always conjures up images in my mind of those ridiculous "let's string all the songs together with one bland drumbeat" albums that we used to see far too many of. Fortunately this is nothing like that, and is actually an odd mixture of Spring Harvest Praise meets Delirious meets Linkin Park. Lots of swirly organs, driving bass and distorted guitar. At times it works brilliantly, such as on Heat's "One Sacrifice" and Andy Flannagan's "You Are The One", which for me are the real stand out tracks. At others it borders on disastrous - one case in point being Kindle's version of Graham Kendrick's "To You, O Lord". I have not been a fan of Graham Kendrick's recent songs, but I do like this one, however Kindle's hard rock version sails way too far into the waters of self-indulgence for my liking. Yfriday are also here, but their contribution "Joy" is also a disappointment. If you can get past the obvious flaws this is not a bad listen, but if this type of music is your thing you would be better served by dusting off that copy of "Glo". 6/10 David Cooper (August 2002)
I know what you're thinking. "How can Spring Harvest turnout album after album, year after year, of good quality worship?" Simply, I believe, because they know the right formula for the initial live event, and both the writing and worship leader qualities are of the highest standard. I think it's true to say that if you were at the live event, the album will mean a lot more to you. But, then, isn't that the same if you go to a gig? This year's release follows tradition and brings us some great songs like "God Is Great", led by Steve & Velveta Thompsn, as well as some typical Graham Kendrick led worship. My pick of the bunch would be the sole contribution by Robin Mark "Everything Cries Holy". I would just ask, "why wasn't there more of him?" No, you didn't have to be there to enjoy this release, it stands up for itself. 8/10. (October 2002)
I used to hate worship albums, not because I didn't like contemporary worship music (just the opposite in fact) but because the congregation were always audible above the worship leader and sometimes even the band. Thankfully, things have changed; most now have the emphasis firmly fixed on the Worship Leaders, and the quality of the songs and the musicianship is allowed to shine through. Unfortunately, this cd suffers from a case of the former, with children playing the congregation role here and I'm afraid it spoils it for me. It also makes some of the songs difficult to learn, as the children, a school choir in fact, struggle with some of the more difficult rhythms and have a tendency to make the melody line sound "mushy". Some of the songs on the album are quite good, but a lot are a little second rate and even twee which means it's a bit of a patchy affair. A few songs do stand out, notably the Doug Horley number "I'm Gonna Jump up and Down", the imaginative "Splodge Me a Colour" and the rocky "Lift You High", a song which would work well in an all age setting. However, I got the feeling that most of the songwriters on this album are capable of better and the kids have been given second best. Having said that I'm sure that most 5-7 year olds will probably enjoy this collection, especially if they've been to Spring Harvest, but I reckon you can do better for your money. 6/10 Robin Thompson. (July 2003)
Will adults enjoy this album? I don't think so. Ah, but will adults who are children's leaders enjoy it? Now, you're talking! Tried and tested for this year's Spring Harvest, this collection of songs for "Little Kids" mixes all the right elements. There's simple, repetitive songs, some fast ones, and some slow ones. We're not talking 10 and 11 year olds here, more like 4 to 7 years. With writers like John Hardwick and Ishmael leading the way, there's enough quality and quantity to keep the kids amused, whilst learning about God. "Don't Delay" tells them not to put off loving Jesus, while "God Cares" explains that whoever you are - rich, poor, big or small - God loves you. It's simple, it's catchy, it's fine. You can't ask for more than that. 7/10. (August 2003)
I'm sure I say this every year but, I'm always astonished at the quality of songs featured in this series. Let's not beat about the bush, Esther Alexander's rendition of "Pierced" is just wonderful. I've heard her sing songs like this before and she sounds like an angel. Written by Phil Hart & Joanne Hogg, it's a tender song of intimate worship. Vocals elsewhere are shared by Mal Pope and Eoghan Heaslip and they shine on numbers like "Holy holy" and the closing lament, "How long". In between, Alexander, again, soothes your ears with the Judy Bailey penned "Jesus First " - a choppy sound with a catchy chorus - and "Lost in Wonder". Sorry to say that no-one has captured my spirit with "Above All" more than Michael W Smith, so no matter how well it's done here, it just doesn't compare. There again, don't let that put you off. 9/10. (August 2003)
For everyone who says "not another live worship album!", I have to point out that, if they weren't successful, the record company's wouldn't keep making them. This one sees Spring Harvest and ICC promote 17 live worship songs, old and new. Mark Tedder is a name I'm not familiar with, but I enjoyed his voice leading songs like "Forever" and "Beautiful one". Graham Kendrick is there, and "Do Something Beautiful" really seems to catch the gathered audience alight with praise. I thought that his version of "Thine Be the Glory" was pretty good as well. Trish Morgan gives a more than ample performance with "Above All" and Geraldine Latty's "You're King and You Reign" is really good. Whether you were there or simply want to listen to what you missed, the album carries the live feeling throughout. 8/10. (October 2003)
Year after year, Spring Harvest produces some great songs and, so, here's this year's collection. I've got to say that the first half of the album is stronger than the second although, saying that, it's not bad. Early on the Eoghan Heaslip song "King of The Ages" stands out, as does Martin Smith & Stuart Garrard's epic, "Majesty". The former I especially enjoyed and found myself playing it over and over again. "Ashes to Beauty" is sung in similar style to Dido and that works well. The pop sound of Graham Kendrick's "Psalm 148" chugs along nicely, before the slower "To the One God" finishes things off. Other songwriters featured include Reuben Morgan, Dean Salyn and Steve Hindalong on a release that is well up to previous standards. 8/10. (June 2004)
With names like David Lyle Morris lending their vocals to this Cd, and Paul Field providing instrumentation and production skills, you know that the overall quality is going to be good. Song wise, the older I get, the more difficult it's becoming to relate to these albums especially for kids. But, there again, I've got to say that as much as I disliked the condescending approach of Ishmael's "Grace", I did like the happy, exciting start brought by John Hardwick's "Let's Sing Praises". Other writing credits go to the likes of Doug Horley ("May God the Hope"), Dave Godfrey (You're Wonderful"), and Trevor Ranger ("Anyway"), and these songs are quite passable, even to this old man's ears. Working in a school, as I do, I understand just what hard work goes into teaching young people, so my hat goes off to Spring Harvest for consistently providing new material like this. 6/10. (August 2004)
Evolution is Spring Harvest's response to the needs and hearts of young adults and students. Aimed at all who are exploring the church's evolving place in post-modern culture. The album is part of this exploration, and features songs at the heart of the Evolution programme. Right, that's enough of the sales pitch! What I will say straight away is that fans of current bands like Keane and Snow Patrol will find 3 of the last 4 tracks on the listing, right to their taste. Melancholy at it's best, I think is the way best to describe them. Mid way through the album, I felt thoroughly miserable as I listened to "This is You" and the monotonous "You Are Holy". Both songs can only be described as boring. I also wonder just why so many younger worship leaders think that they have to sound like Martin smith? "Consuming Fire" is just one of several instances where the singer drones in such a way that it's like listening to the TV show Stars in Their Eyes - a tribute to Delirous?. It's a patchy, rather than a polished affair and, therefore deserves no better than…..5/10. (August 2004)
There appears to be a growing trend for ever larger compilations at the moment. It used to be double cd collections but now many labels are opting for triple sets. This falls into the latter category and, unless you are under 10 years old, it is quite a marathon of a task to listen to. This album features many well known children's worship songs from the last 15 years, featured originally on the SH series of collections. Such respected children's composers such as Doug Horley, Dave Godfrey, Ishmael etc all have works featured, so you really are getting the best of what has been happening in this area of Christian music over the last decade and a half (the inclusion of children's vocals aside). Given its voluminous nature, it's better considered a resource for dipping into rather than something you listen to from start to finish (unless you're 5 years old!) and to that end, if you possess most or all of the Spring Harvest Kids Praise cd's, you will probably be wasting your money with this one. If, on the other hand, you have a young family and have not needed to purchase childrens worship before, this is a good an introduction as any . Ultimate kid's praise? Not quite, but a good place to start. 7/10 Robin Thompson. (December 2004)
Got to admit that this one caught me by surprise. Why? Well, I thought it was going to be just one of those standard compilations, but I was wrong. Keeping the rich heritage of hymns, alongside encouraging new worship songs, Spring Harvest has never failed to meet everyone's need/taste in music. This studio album gives a fresh feeling to hymns that worshippers old and, not so old, will recognise and embrace with open arms. New life is breathed into 12 songs, including "Be Thou My Vision" and "What A Friend We Have in Jesus". The album begins with "Thine Be the Glory", a compelling version that lifted this reviewer's spirit in moments. There's a fine rendition of "The King of Love My Shepherd Is" and a triumphant call on "Send the Fire". Not so sure about "How Great Thou Art" but splendid versions of "In Christ Alone" and "Great is Thy Faithfullness", soon brings things back on track. Yes, I'm sure that even traditionalists will enjoy this captivating album. 9/10. (May 2003)
As well as the smashing contemporary songs that Spring Harvest collects each year, they never forget the more traditional hymns. Maybe, they've got a more modern arrangement than they used to have, but the main sound remains the same. This year's collection is no different and there's some rousing tunes, as well as one or two more mellow moments. One of my favourite hymns opens things up, "O For A Thousand Tongues". As soon as it started, I couldn't help but join in, and that was the same for "Crown Him with Many Crowns". BY the time I got to "And Can It Be", I was really enjoying myself and realised just how powerful and true some of the older hymns really are. Others featured include "Holy Holy Holy", "The Lord is My Shepherd" and "To God Be the Glory", but in total, there are 12 smashing renditions. Fancy a good old sing? Try this release for size. 9/10. (January 2005)
This has to be the most innovative release for some time. Taking in the current sounds of David Devante and mixing it with Talking Heads type style, Allan Aguirre gives us something that is alternative and loud. Distorted and dis-tuned guitars are married to samples and midi generated music that can only be pigeon-holed as a throwback to the punk era. Experimental and bold, are two words that come to mind to describe the overall feel of the album. The songs themselves are also a strange mixture of tunes. "Thin & Leaner" starts with that well known phrase "to be, or not is the question - to live and die is not a muse". I kid you not, some people will find the 'in your face' attitude of this album a little disconcerting. "Stygian" is a rip off of an punk classic called "Is Vic There?" by one hit wonders Department S, but the twist is it's ending. Suddenly, the pace changes and your transported into another world and I'm reminded of the Munsters theme tune. I've got to admit, I don't understand many of the titles and Come Patmos" is another that doesn't seem to fit the actual lyrics of the song. Strange sounds, strange album, and very out of the ordinary. 6/10. (March 1998)
The worry about reviewing something produced by old friends is that your honest opinion may hurt the feelings of those involved. But, as they say, honesty is the best policy, so here goes. A collection of well known praise and worship songs, recorded live, and with all profits going towards the church's building project. "Praise Him on the Trumpet" starts proceedings in a style that can only be described as a war-time pub singalong! "Beautiful Saviour" shows the vocals in better light, as does "Blessing & Honour", both with uncomplicated musical backing. Getting the sound levels right must have been quite difficult for the engineer in this live situation but he copes quite admirably. The downside comes from slightly off-key male vocal on many of the songs, and the tacky music that appears on "Our God Reigns". The title track, on the other hand, features a smashing lead vocal of distinct quality, abley supported by the rest of the group. "Lion of Judah" gets an outing, as does "We Sing your Mercies" and the delicate "It's All About You". It should certainly raise money around the church as a momento of live performances, it's just a shame that New Wine's efforts fall a little short in what they were trying to achieve. 6/10.
One thing is quite certain, you either love or loathe this type of chorale music. Hands wave frantically in the air and thoughts of the late Kenny Everitt waving those gigantic sponge hands come to mind. All new tracks, as far as I'm aware, and presented in time honoured fashion. The weirdest thing is the way that the odd Stevie Wonder tune keeps appearing to link some of the songs together. If this is your bag, then it's a classy produced album. If not, leave well alone. 6/10. (January 1997)
16 songs and over 75 minutes of music, on this album from - I believe - two sets of musicians. With original material, the people from St. Thomas' give their all in offering a brand new collection of worship songs for use within the church. Starting well enough with the Kendrick tinged "The Lord is Riding Out", it soon degenerates with track two, "Higher". This, along with two other tracks, are written by the same people, has a bluesy funk feel, and left me cringing at the thought of trying to sing them in my church! However, all is not lost. In Joannh Oyeniran's singinig and songwriting they have a real gem. The most beautiful vocals imaginable appear on "Who Is like You" - reminiscent of dkf's Debs Mohabir. The formula is successfully repeated on "Desperate For the Truth", which tells of the need for God in your life. Other highlights include the piano led "Love and Compassion", "Carry Me" (complete with string quartet), and the closing "Deep Peace". If you're looking for a change from the usual worship writers,, give this a try. 6/10. (November 1998)