::ALBUM REVIEW::

Can you imagine the looks on people's faces when they heard PAJAM produced Byron Cage's latest musical offering. The urban-contemporary forces of Paul Allen, J. Moss and Walter Kearney have impacted musical careers ranging from pop to R&B superstars including the likes of 702, N'SYNC, Kierra "KiKi" Sheard and Hezekiah Walker, but never a "praise and worship" artist in a live recording setting. Definitely a first, but the production on "An Invitation To Worship" is practically flawless and the musical marriage of PAJAM and Cage fits nicely; especially since the urban umbrella is slightly lifted off from this project and replaced with the sensitivity it deserves for Cage's sophomore project on GospoCentric Records. But this is where the good news tends to fade.

Unlike Cage's previous collection, "The Prince of Praise" (or his self-entitled album), which leaned on the success of "The Presence of The Lord" and "Thou Art A Shield For Me" as well as Kurt Carr being the commander-of-chief for the project, this adventure tends to reflect a very different course of direction. Kicking things off is Isaiah Thomas' "I Will Bless The Lord", an ambitious, praise friendly tune featuring flaring horns attached to a party-like groove fit for a Hezekiah Walker album. But things take a sour turn towards the middle of the song with a repetitive one-liner sung in unison. This goes on for three minutes as Cage spits out rhyme over the background part. It's one of those songs you wish had a little more creative involvement: it definitely rings with potential. And a follow-up reprise focused on the same lifeless part only hurts the credibility of this song. "Rain On Me", penned by Alex Williams, goes in several different directions - switching tempo signals unexpectedly and even giving us a taste of "The Presence Of The Lord" for a quick segment. Maybe this was intentional, but it's not surprising since most of Cage's audience will best attach him to the mega-hit. There are even a few songs offered here that offered signs of ear pleasure and delight but falls short of satisfaction. "He Reigns", one of five songs penned by Cage himself, features a mild reggae bump dipped in a simple, sing-a-long flow. Organ spice and a few drum highlights also help the swing of things as Cage showcases his worship leading mastery, but the song ends abruptly and almost disappoints - just not enough on the plate. Another good example can be found on "Holy Holy Holy" - the groove is just right and takes off with riveting energy worthy for any church service. It almost bears an Israel Houghton reflection, but when the lyrical direction shifts from declaring God's greatness and majesty and then focuses on personal indulgence with the popular cliche': "When the praises go up, blessings come down", you began to wonder if there was anything else that could have been done to help mold this song into a complete praise number. "Praise Him", which reminds us of Cage's old style of having traditional chu'ch, is a fast, uptempo arrangement of the devotional chorus. With a few add-ins, including verse, and infectious singing from Mark S. Hubbard's United Voices from Chicago, this song provides instant gratification to the ear, but after a few listens you will discover how easy this piece was put together. The band is on point and is true to church music, but the song isn't versatile enough to create lasting impressions.

Even though this album has its share of disappointments, Cage does give us intimate moments of worship that help establishes some profound remarks. "Broken But I'm Healed", written by the legendary songwriter V. Michael McKay, is lyrically balanced and is founded on a touching melody that toughens after each listen. Give the credit to well-done craftsmanship. Cage touches the words with vibrant emotion, the background vocals are creamed to the last drop and oozes with maturity, and the band hits the highs and lows on time and with dynamic punch. Definitely the best highlight offered here. Sad to say, this is not the album's first single, but make no mistake about it; radio will pick this one up eventually. "We Love You", the only song penned by J. Moss and Paul "P.D.A." Allen, finds J. Moss dueting with Cage, on a song spiced with Moss' familiar production style. It sounds like a studio affair with an airy pop flare, featuring a reminiscent piano lick reminding you of Rev. Milton Brunson's "It's Gonna Rain". The exquisite layers of drum programming and Moss' signature studio add-in, background vocals makes this song stick out with gratifying excitement. "Invitation", another slow track and also penned by Alex Williams, is flavored with a Quiet Storm zest and the rich dexterity of powerful string and choral arrangements. Another worthy mention is the three song medley, merging Carnell Murrell's "Majesty" with "Praise The Name of Jesus" and Thomas Whitfield's "In Case You've Forgotten". The flow of the songs are divinely orchestrated with gentle care. Cage never fails to remember his mentor and inspiration and gives Whitfield a respected but quick nod this time around.

Usually an album hosting over three quality cuts deserve a good share of attention. After reviewing this collection thoroughly, you will find a nice bundle of memorable favorites. Sadly, the predictability of the shocked faces from listeners will arise, especially when one expects Cage to return to his "gospel-praise-and-worship" days ("Transparent In Your Presence, "Dwell Among Us") or an equal sequel to Cage's previous project. And if you are not used to Cage talking so much through an album, this may not be as satisfying as the press makes it out to be. But with over three satisfying cuts featured, this adventure isn't so bad. We just wish a little more time, a little more patience, a little more preparation and a little more originality went into this musical offering.