::ALBUM REVIEW::

Typically, groups and artists try to flow in the modern current in order to stay adrift with the musical changes. Changes can be a rewarding transition, if they are met with sound reasoning and possess the right zeal to conquer the mistakes along the way. Blessed Word, better known as B.W.R.D., are flowing in that direction. Their debut project, "Command", is a ten track appetizer containing familiar sounds from traditional gospel's past. Definitely potential is here, with Donald Siler, bursting most of the lead vocals with his Lee Williams-styled vocals. But there is a very low budget production that exists here - causing the project to feel very local and, in most place, outdated. Some of the songs are salvageable, but poor production (poor fade-outs, bad fidelity, unbalance of instrumentation, no mixing and mastering) invades and takes over the overall image of the project.

Songs of good interest to seek for include Mary Love Comer's "I Thank You Mother" (which is a six minute episode reflecting soulful expressions to mothers set to a contemporary midtempo groove) and their tasteful remake of the O'Neal Twins' classic "I'd Trade A Lifetime". "Few More Days" depends on James Brown 60's funk licks for its foundation mixed with traditional quartet energy. The song feels very outdated in certain spots, even lyrically ("I can make more money singing rock 'n' roll, but I stop to tell you that rock 'n roll sholl' ain't gonna save my soul"). But the song has enough punch to gratify deep Southern gospel quartet lovers; especially those that have an ear for groups like the Jackson Southernaires and/or the Pilgrim Jubilees. The song would have had much more energy if performed live, for sure. "Gonna Wait On The Lord" and their remake of the classic hymn "He'll Understand" are also styled after "Few More Days". Knowing all three songs follow one another in sequence kind of feels strange - since it feels like one never-ending song.

There's plenty cuts to dodge all together. The title cut feels safe in the beginning, but most of the song lyrically is handicapped with elementary nuances. The worst of the song falls on Siler's announcements to command almost every part of his body to "praise the Lord". Sounds like a nice gesture and idea, but after naming eyebrows, scalp, elbows, nose, ribs and thighs and so on, the song feels like an extreme bore and the creative spark has dissipated. There are even glances of urban aspirations gathered; cuts primarily composed by Billy McByrd. Yet there are several musical problems that dwell within these cuts. "Running Away From You", sounds like an Isley Brothers-influenced track and has a ring that resembles Shalamar's "For The Lover In You", especially with McByrd's light falsetto. But there's no serious catch in the melody and it just sounds like a meshy number. And "Long Way From Home", another urban-tinged tune, has chunks of irritable vocal moments even though the foundation and flow of the song has some hit potential.

It's weird when one finalizes a poignant truth about an artist having potential especially when sometimes its early to state that. For B.W.R.D., it is probably best that there should be a turn of producers. One should also not neglect important production processes like mastering, mixing and overdubs. These things ultimately affects the complete makeup of a project - and has done so for this project. Plus, with the demands of the gospel industry advancing into higher realms of creativity and quality production, it should be an artist intention to do whatever it takes to create solid, impressive presentations that are compatible with mainstream products.