::ALBUM REVIEW::
by J Matthew Cobb
Posted: October 7, 2009

When beloved gospel duo and sensational crossover act BeBe & CeCe Winans announced on Fox’s American Idol in 2007 that they were planning a reunion album, after 15 years of adding awards to their personal collections from their best-selling solo projects, fans couldn’t believe it. Not like it was impossible, but it’s been so long since their departure in 1994. The long wait for a definite release date didn’t help the group’s prophecy either. Luckily, work was being done. The group has since left their old campgrounds of EMI-Capitol and things have changed dramatically since 1994's Relationships and the dreamy 80's beats that made them infamous on songs like “Heaven” and “Lost Without You” have long been replaced by Beyonce’s jolting club rhythms and Black Eyed Peas’ sonic hip-hop blasts. And as Whitney Houston recently embarked on one of the greatest returns in pop music history with music celebrating what we admired first about the songstress, expect BeBe & CeCe to endure the same kind of grind from their longtime fans. Houston, a solo artist, returned after seven years. BeBe & CeCe, even though they reigned during their solo stint, have a whole lotta homework to do.

Sorta on their own after starting their own music label B+C Records, while partnering with the relatively-small and independent Malaco Music Group, BeBe & CeCe Winans try their hardest to piece together a reasonable continuation and new chapter from their last album. On Still, the highly-anticipated reunion project, the pair join up with Mary Mary’s hit maker Warryn Campbell while also aligning with longtime stalwart Keith Thomas, P. Diddy’s mentee Mario Winans and Mervyn Warren. The two smooch a summery old-school-flavored jingle into “Close to You;” which ironically sounds more like Patti LaBelle’s “Love, Need and Want You.” The lead single works but serious fans deep down know it’s not as memorable as their legendary works. They do run across a few trendy, infectious grooves like the lyric-filled “Things;” sporting a brief cameo appearance from Marvin Winans. It sounds like an updated “Celebrate New Life” but with more urban spunk. And even with all the words to digest on the breathless verses, pay close attention and you can easily smell the potential for yet another crossover hit brewing (“Got a lot of stuff/When I add it all up/Tell me what does it mean/’Cause it don’t bring me love”). Fans of the feel-good melody will wish it was a little longer. Others like the MJ nod on “Reason to Dance” and the galactic synth-driven orbits of “Change My World” are pleasant on the duo’s solo exchanges and cool background duties.

Of the ballads, the two run into a moderately comfortable set of sweet melodies. “The Garden” is a CeCe Winans solo that aligns up with her type of smooth contemporary R&B, while BeBe's solo effort "I Found You (Cindy's Song)" boasts the stuff of a Luther Vandross mid-tempo ballad. “Grace” is an enrapturing symphonic CCM event that swells up with worshipful strings and a plodding finish encircling a big choir. But after awhile - a couple of songs into the twelve-track set - the beats and sounds thin out and interest begins to wane. Case of example: the reggae-filtered “He Can Handle It” is cute, but feels too generic for such a momentous occasion; this being a worthwhile return. Even the title track, which slyly takes quotes and titles from their biggest hits, sounds second-rate.

The duo become a foursome when Mary Mary joins with them on the club-banging Mario Winans-produced “Let It Be.” It’s a big leap into heavier, dense street craft for the vets, but should suffice for those looking to hear some kind of modern-and-beyond update from the classy legends. Probably the biggest gripe is the missing power ballad and more of that happy, feel-good music. With all the big beats and the edgy urban R&B, BeBe & CeCe sound a tad too serious. So serious; they miss out on having fun. That’s why “I’ll Take You There” with Mavis Staples shot to number one. That's what made contagiously inviting songs like “I Can Depend on You” and “Addictive Love” such irresistible staples in their earlier catalog. The fun.

But it’s hard to be crass while interpreting Still. Here you have a full-length album from a pair that made history together: pushing the envelope for gospel’s exposure to heights unknown and opening doors for artists like Kirk Franklin and Mary Mary. On their own, they did fine. But together, they were almost indestructible. This reunion, still a good record and far better than most of the stuff they did alone, just doesn’t capture all the magic and bliss from their earlier works.