::ALBUM REVIEW::

Gospel college choirs go through more transitions in a year's time period than any other musical organization in gospel music. Faults are usually giving towards the shifting of tiers of leadership, switcharoos of musicians and the roster fluctuations as seniors graduate and freshman enter into the picture. But get a good and dependable leader that can stir a group in a lively stew of professionalism and innovative creativity and you are bound to see lasting results. Michael G. Marshall, chief coordinator of the A&M Gospel Choir (of Alabama A&M University), exercises those qualities on their debut project; "Transforming Music Into Ministry". Even though the bold title may be a bit too advanced for a group of Gospel industry freshman and even more hasty for a college gospel choir - but the convincing excellence from the album cover art and photography to the inner beauty on the bulk of the musical production agree to the album's title. Very befitting after careful review.

The group executes choir-rocking traditional sounds and East Coast-bump-and-thump contemporary gospel in the mix. And with the choir in good form performing live at The Rock Family Worship Center in Huntsville, AL and a clean production handled by Courtney Franklin and music director Marquee Walker (known for backing Kevin Davidson & the Voices), the listening ear is graced with a convincing joy that will surely marvel for long periods of replay. Listen to the choir-opener of David Gillard's "Psalm 98"; which uses certain portions of the short passage to make a fun and infectious tune worthy of youth choirs' attention. It has a definite Kevin Davidson flow - purely a Memphis recreation - but it's vamp proves to be a sheer delight with its incredible series of modulations and David Gillard's keyboard horn synths pepping up the choir's zealous singing. The excitement continues on "What's His Name"; a tune penned by Kevin Thomas that completely feels like a tune Hezekiah Walker forgot to include on his better projects. Maybe it's the convincing vocals of Blanche McAllister that gives this track that rich East Coast/New York flow, but credit must be given to the contemporary catchy rhythms and the witty phrasing of the lyrics. As soon as the choir bursts out with "What's his name", you can clearly feel the energy and the skillful uniformity of the harmonies of this aggregation of college students. Another uptempo highlight that should forge lasting impressions upon the wisest of music critics is "It's Yes". Penned by another Huntsville hidden gem, Vetrea Slack-Ruffin (whom has penned songs for Jamel Strong and the Alabama State Mass Choir), this song packs in a spirited melody and dramatic choral abilities from the A&M Gospel Choir. Lillian Melvin does a splendid job on the solo work while opening an ingenious opportunity to go forth into a much-needed reprise. And with the musical direction being in the hands of Michael Marshall, the choir delivers churchy exaltations of "Yes" certain to convince.

While the album's funky numbers are the album's strong points, there are memorable ballads featured here. Eric Hutton's "Thank You" tops the bill with its inventive progressions and comforting vocals going from unison into harmony, while the musical background definitely works up a creamy lather. "Change Me" is also delicate in certain spots, but at times proves to be quite overwhelming. The lyrics and the song itself is nicely put together, but Courtney Franklin's preachy exhortations tends to water down the beauty of the song. While he goes off about "not coming for mere entertainment" and being tired of individuals coming out to concerts for all the wrong reasons (fashion basics, dating, etc.), maybe this could have been edited out since this was a moment that probably worked well for a live setting, but missed the mark for being a wise choice for the final mastering for the project's duplication. But if you overlook the conclusion of the song, you have a powerful ballad on your hands. Becky White also contributes a smooth rendition of "I'm Going Home", while Prince Yelder shifts his normal protocol of delivering traditional frenzies to doing a calm traditional ballad on "Breathe On Me". The song ultimately reveals Yelder's sensitive side and his colorful vocals while Matt Kelly (John P. Kee) guests on piano. The vibrato of the sopranos on the opening is a tad rough for a college choir, but things are later overshadowed as the song unfolds into a nice track for the group.

Marshall even reveals moments of his songwriting abilities. Songs like "Holy, Holy, Holy" and "The Weapons Of Our Warfare" fit well into the mix of things. The latter, co-written with Franklin, is a churchy uptempo number bearing a resemblance to traditional Southern rockers with a zealous drive found on albums from Chicago's best.

With a serious lack of gospel choirs successfully attempting to record projects, this project should be welcomed with loving arms by the Gospel community. It promotes a heart towards academic achievements, community empowerment and spiritual vitality. But the A&M Gospel Choir proves their value and their skilled expertise on this collection, with the help of wise leaders, gifted songwriters and powerful direction from Marshall. But as the question arises on if the choir can maintain that quality of commitment, we can only pray the best for the years that lie ahead. If this is not an obtainable task, we can further conclude that this choir sung with the passion and maturity as some of Gospel's highly-celebrated choirs and they will greatly value this keepsake of riveting gospel tunes.