It must have been the biggest reunion for R&B and gospel lovers in 2009. They landed on Oprah, even made their big announcement on American Idol and made headlines when Still, their newest album in over ten years, debuted at number 1 on the gospel charts and independent charts (since they released the album on Malaco Records and their new imprint B+C). It even landed at number two on R&B charts and number 12 on Billboard’s Hot 200. Impressive. Usually with long hiatuses like this one, the chemistry is severed and most of the hype focuses more on the event and not necessarily on the material present. While the chemistry between the sister-brother duo works like a fitted glove, the material lacked some edge especially when compared with Heaven and Different Lifestyles. But a lot has changed in ten years and BeBe & CeCe are very much aware of those changes (highly showcased on the modern club sounds on “Changed My World”). But the pair work their best on the appealing R&B-flavored “Things” and their lead single “Close to You.” Factor in the ‘70s Motown-ish “Never Thought” and the intimate Luther-esque love ballad of “I Found Love” and you’ve got a good enough return for one of contemporary gospel’s greatest duos.

Far from perfect and inches away from matching the swagger of her gospel debut, The Winner in Me still left gospel listeners in a place of ease and tranquility. The heavy burden of the sophomore jinx was lifted (maybe because she’s been there before while singing with SWV). Although there were some surprising changes in production, relying mostly on hubby Mike Clemons and emerging songwriters David Caton and Tony Homer, it proved to be a blessing for Coko anyhow. “Rescue Me,” the title track and “Wait” were well seasoned gospel ballads. Her duet with Israel Houghton on “Joy of the Lord” and “Let Me Go” innocently put her back in familiar SWV territory. The latter end of the second half may have been a bit drowsy at times, but the album does a good job in maintaining Coko’s momentum as a gospel singer. Gospel fans, don’t count it all joy so early. Word has leaked that Coko will be uniting with SWV for a returning R&B record. In the meantime, enjoy this record and get your praise on.

10
PHILLIP CARTER & SOV
Songs from the Storm
Label: SOV Ministries, LLC
Release Date: 07/09
ALBUM REVIEW

A taste of everything-without straying away from gospel’s essentials and sounding like a musical sponge. Songs from the Storm reveal a well-trained songwriter and humble leader steeped in the traditions of John P. Kee and James Cleveland. The album also possesses some of the most convincing worship moments since Donnie McClurkin’s Live in London and More. The Chris Cross remake on ‘Praising,” the churchy drives of “Eternal Life” and the Donnie McClurkin-ish worship of “Lord We Worship” and the charming gospel radio single “I Love the Lord” are some of the year’s best productions. Amazing to hear it’s coming from an emerging talent. Be careful though: the digital version and subsequent new versions of the album will not include the brillant ballad "Praising." We don't have to explain why.

09MELINDA WATTS
People Get Ready
Label: Razor & Tie
Release Date: 07/28/09
ALBUM REVIEW

The grand prize for most reality TV shows winners usually feel like a parting gift. Just find the closest and cheapest album producers in town and make an album in a week. Melinda Watts, fortunately, didn’t get the same treatment. Her debut People Get Ready swayed with the confidence of a maturing pop singer and done with the grace of a Yolanda Adams ‘90s effort. She was able to secure some heavyweight producers (Aaron Lindsey, PAJAM, Bernie Herms) and landed on some very good material including “Happy,” “Say Yes” and the mellow ballad “Come Boldly.”She even landed a duet with J Moss on a friendly rendition of “Available to You.” The arrangement felt mediocre, but the energies of the duet felt like one of the year’s best. Certainly the gospel industry may have had too many benzodiazepines when it came down to this project, but maybe the fear of buying into the brand of a reality TV show overwhelmed them greatly.

If the Kings of classic rock ‘n roll resurrected to assemble a gospel record, Shout! Live would probably be the end result. Farris, a former leader of the Screamin’ Cheetah Wheelies, revists the Delta blues and Memphis soul catalog on a fiery selection of gospel classics and brilliantly-composed originals from Farris’s writing corner. Sure this is just an extension of Farris’s critically-acclaimed Salvation in Lights, but the live element captured in its most gut-wrenching form at Nashville’s Station Inn, showcases his passion for the old time religion. The McCrary Sisters and brilliant horn echoes of the Roseland Rhythm Revue are just the icing on the cake.

His last two albums eased past gospel listeners and even his strong parade of supporters without much traction. Blame it on a bad case of writer’s block and not enough inspiration. One or two hits may have been present but it just wasn’t enough to be called a Fred party. Well, Fred Hammond returned to his senses after surrounding himself around new acquaintances - only to find out that the new crew was only taking him back to his glorious past. That’s right. Love Unstoppable feels like the perfect sequel to Purpose By Design. Hearing the ‘80s synths on his exuberant debut with John P. Kee (“They That Wait”) and the romantic balladry of “Best Thing That Ever Happened to Me” gave gospel listeners a sigh of relief. And the party went to a whole different stratosphere when “Awesome God” and “Nobody Like You Lord” kicked in. It’s good to have the old Fred back, isn’t it.

Sleeping on good talent usually comes back to bite you in the end. Not only did the Trinidad native record a brilliant cross of gospel and urban R&B on Culture of Love, but he did it in the same style of Musiq Soulchild and probably better than India.Aire. But of course, you know music is subjectional, as they say. There’s no disappointment on the John Legend-ish “Stand Up,” no gibberish about the reggae swag of “I Am” or the bouncy, neo-soul vibes of “Why I Love You (Got to Tell Ya)” and even his intimate lounge-like performances on “Grateful” and the acoustic renderings of “Unchanging” are defining moments for the emerging star. So will we get a chance to see a sequel, a worthy follow-up for the gospel markets - or will Léonce realize that he’s probably way to big to be embraced by just gospel audiences alone? Guess we just have to wait and see.

Yes, J Moss has been restored, by the grace of God. On Just James, he opens up about the process of restoration. Even though he’s kinda quiet on the actual events in his life, there’s no secret that the man has been through a good bit. And it all worked out for his good. The music on Just James is relaxing for the most part and lacks the braggadocios, hip-hop swagger of his previous albums. “Sweet Jesus” and the jazzy “Anointing” provides a great deal of sweet worship and “Holy One” packs a hefty Detroit gospel punch worth turning up on Sunday mornings. But don’t let that piece of news waver you away from such a project. Moss is far from being a blah on Just James. The Ne-Yo-styled title track and the futuristic pop of “No More” provides excellent adventures into Moss’s ever-transparent journey. Even for his obvious shortness, Just James is just right for the just and the unjust.

Not many classic vintage soul albums like What Have You Done... sound as invigorating in today’s hustle-and-bustle world. But Shelton and her harmonizing soul singers have surrounded themselves around a powerful set of bluesy Stax-inspired soul, anchored by a powerful songlist that revives the rich traditions of quartet music. After hearing “What More Can I Do," "What Is This," the infectious title cut and “Am I Asking Too Much,” you would think this would the kind of gospel music Motown would have cut in their hey-day. But in today’s standards, quartet king Lee Williams would have jumped at any opportunity to record these tracks for himself.

Ten years ago choirs dominated the gospel music charts. The extinction of choir music is slowly becoming a reality but In Your Glory offers some hope and promise to the silent gospel standard. Sticking true to Chicago gospel roots, Malcolm Williams and his choral aggregation delivers one of the year’s brilliant performances perched in the rich ‘90s contemporary gospel style. There are a few traditional buzzers (“God Will Supply,” “The Blood Still Works”) but the album’s true beauty surrounds its beautiful list of worshipful and power gospel ballads like “In Your Glory,” “Blood Donor” and the moving “I Repent.” No doubt Williams, a notable songwriter for acts like Dottie Peoples and Beverly Crawford, is one of the unsung independent artists in the game. But In Your Glory will definitely give him the edge he needs to get him the attention he deserves as a proficent choirmaster and songwriter.

Merely thirty years since “Oh, Happy Day” rocketed up the pop charts at number two, the masterminds behind EMI Gospel and Vector Recordings decided to pull together an all-star tribute to the popular contemporary hymn. This historic collection of homages, all original performances and not just a desperate attempt of archiving previously-viewed tracks, brings together the voices of Jonny Lang, Jon Bon Jovi, Al Green, 3 Doors Down, Joss Stone, Queen Latifah, Mavis Staples, Michael McDonald, the Clark Sisters and a list of others; all giving gospel music its just due respects for being a cultural influence on pop music. “Oh Happy Day” influenced the champions in pop, rock, soul and folk sectors with its new breed of gospel. With marvelous interpretations of Curtis Mayfield’s “People Get Ready,” Eric Clapton’s “Presence of the Lord,” Stevie Wonder’s “Higher Ground” and John P. Kee’s churchy “I Believe,” gospel music will continue to influence and impact pop culture and gospel’s rich legacy for years to come.

Even a studio recording experience without the New Breed banner couldn’t block the super brilliance and creative spark of this concept project. Houghton’s previous solo projects, while still laced with good tunes, felt a bit unorganized and the song never quite gelled like most pop workouts. And while the album boasts an incredible line-up of styles and genres - from classic reggae on “Surely Goodness” to sweaty funk on “Saved By Grace” - the party has never been this fun and easy to follow. And even “I Receive,” echoing the aura of Phil Collins’ “In the Air Tonight,” and the other soft pop/rock offerings are proudly welcomed into our sound systems. But for gospel lovers, they had no other choice but to marvel at Houghton’s work here; boasting a spectacular creation that even shines beyond his live New Breed showcases. Maybe in a few years we will look back at The Power of One and call it the gospel equivalent to landmark concept LPs like Stevie Wonder’s Innervisions or Marvin Gaye’s What’s Going On.