::ALBUM REVIEW::
by J Matthew Cobb
Posted: April 19, 2009

As a pioneer in the Philadelphia soul movement, Walter “Bunny” Sigler gained ground as an emerging songwriter for the Gamble & Huff PIR empire and later turned out records as a solo artist. His songs for the O’Jays (“Sunshine,” “Let Me Make Love to You”) , Jackie Moore (“Sweet Charlie Babe”), the Whispers (“Bingo”), the Manhattans (“Don’t Take Your Love”) and Patti LaBelle (“Somebody Loves You Baby”) have become staples in the world of R&B. And his presence in disco remains extremely influential for his role in breaking out hit records for Instant Funk, Loleatta Holloway, Double Exposure, First Choice and South Shore Commission while working with MFSB guitarist Norman Harris at Gold Mine Records. His rounds as a solo artist, lured into steamy dance tracks and bedroom ballads, never allowed him to explore his gospel roots, but Sigler most recently stepped out on his own to rediscover his spiritual upbringing and his love for gospel music on The Lord’s Prayer; his last solo project in over six years. While released independently and even uniting him once again with soul veterans like MFSB drummer Raymond Earl, The Lord’s Prayer is a peaceful retrospective of traditional hymn arrangements and appropriate blends of old-school soul and R&B showcasing Sigler’s unique writing style.

While the album sings low in offering high-octane performances and even the occasional superstar duets found on most mainstream-goes-gospel projects, it’s not as shabby as it appears. “Swing Low, Sweet Chariot,” featuring organic keyboard thrills from longtime Richard Smallwood music director Bryant Pugh and harp accolades from Jeff Majors, is suspended in mid-air by a sunny midtempo bounce that is perfect on Sigler’s soulful crooning. While serious on the calm hymn ballads, Sigler, in his most playful form, gives The blues-driven “Lordie Lordie,” detailing letdowns, worldly tribulations and economic woes, is so cool and at times serious while offering up new meaning to the classic ol’ folks slang term (“Lordie, Lordie, Lordie/Lord have mercy on me”). The churchy gospel party vibes found on “Jesus Got Your Back” is far removed from the Philly soul sound but is a definite album pleaser. Helping out the effort is Sigler’s jubilant quartet-styled inflections and a sassy New Orleans-styled horn arrangement. Other stand-outs include the heartfelt update of “Near the Cross,” the jaunty Isley Brother-styled “He Walked On Water” and the down-home gospel-blues “Honey Tonk Music.”

But faulty production and peculiar decisions gets the best of The Lord’s Prayer as it parades through strange, underdeveloped B-side cuts. Even on the emotionless and too-serene title track, Sigler sounds like he’s glued to a MIDI-track rather than the symphonic accompaniment it was intending to duplicate. “Thank You Lord” fails to build on a memorable melody and songs like “What Did Moses Do” and “He’s Comin’ Back” quibbles too much with campy sounds and lyrics.

While Sigler remains unfamiliar to gospel audiences, The Lord’s Prayer still moves in a positive direction for his career. There’s playful moments, some seriousness and even some heartfelt moments where he connects well with the spirituality of the lyrics. Along with his refined, seasoned vocals, The Lord's Prayer also reveals he’s still got some undiscovered musical juices running through his veins. He does a good job in pulling off gospel, but a careful listen to this - his first musical tribute to gospel - proves he’s probably at his best singing to the ladies and gents.