::ALBUM REVIEW::

Seems like the public these days have some kind of crazed infatuation over a make-over. There’s make-over contests, reality-TV shows about home and body makeovers. Even American Idol has made a big buzz with turning country-living contestants into overnight pop sensations. So let it be known and said that make-overs are the newest fad to break into the fabric of modern American culture. So great is this phenomenon that Deitrick Haddon takes a big leap into the hands of another producer to give him the needed make-over for crossover appeal. You gotta admit: crossover success is nothing new to gospel music. Even though it usually cost more than expected to get that kind of success, it usually capitalize the artist name. In this case, Deitrick Haddon throws aside his production skills for a more choicer soulful-urban approach to contemporary gospel with renowned producers Tim & Bob on his latest disc, “7 Days”. Tim & Bob may be new to gospel, but they are definitely legends in their craft. They have worked with a number of big name R&B and pop sensations including Bobby Valentino, Will Smith, Jennifer Lopez (J. Lo), TLC, Dave Hollister and hip-hop rapper Nas. But this is still an experiment for the heavyweight producers - this is not R&B we are producing here, this is still gospel. But Haddon’s track record gives permission for this “new” sound since Haddon has created a reputation lately for putting out “cutting-edge” gospel with a thick R&B edge (see “Crossroads”, “Lost And Found”). Most of the songs presented on "7 Days" find Haddon co-writing with the illustrious production duo; whom possibly altered Haddon’s material to give it the “kool skool” feel of modern hip-hop. The finished product is a matured, developed sound compared to Haddon’s previous works and definitely has crossover potential. You almost forget this is a gospel record. Slick evangelism sneaks through the cracks of the heavy beats and thumping bass. A good example: the “Taxi Interlude” contains a dialogue with two guys talking about a gospel record with a R&B foundation while cruising the boulevard; that record ends up being this one.

The album may have opened up with “7 Days”, but things get into full swing when “Count Your Blessings” bursts through the speakers - using an old school soul sample from Willie Hutch’s 1973 hit “I Choose You”. It successfully merges drum machine-based percussion with the speeded tempo of the sample; giving it that cool vibe of nostalgic character. The lyrics might, at times, feel too elementary for a song with this kind of groove, but it pushes the right buttons for a neat lead single. Actually, there’s a lot of songs here that are radio-friendly - on both R&B and urban gospel radio. “Heavenly Father” bears a charming, innocent glow; using deep background harmonies, soft piano entrances and light beats - almost like a smooth version of Usher’s “U Don’t Have To Call” merged with Boyz II Men’s “Can You Stand The Rain”. Only problem here: the song’s chorus is just too repetitive towards the end. “I’m The One” is fulled with seductive Quiet Storm beauty and may be too deep for the average gospel listeners, but musically it’s just right and actually is the most fitting of all the slow cuts presented for Haddon’s youthful crooning. And to be truthful here, Haddon is more confident and agrees with the love ballads better. The six-minute ballad “Through It All” blossoms with richness and quality instrumentation while Haddon reminds listeners of God’s compassionate love for him. Add the sweet background vocals and Haddon has found a comfortable place to sing in. But the uptempo grooves for the teeny bobbers are also here. Songs like the club-influenced “Clap Your Hands”, the pop-friendly “Inspiration” and the cool vibes of “Don’t Go” (which leans on a heavy sample from DeBarge’s 80's hit “Stay With Me”) are sure to grab the attention of the young.

Haddon also steps on a few controversial issues (politics, the war in Iraq, racism, fake preachers) in his modern ode to Marvin Gaye’s “What’s Going On?” on the bluesy “Heaven Knows”.

With the temporary new direction of production, Haddon delivers a project filled with great promise for his career. It is make-overs like this that help revive the early impressions most gospel listeners had when first hearing Haddon’s contemporary style with the Voices of Unity back in 1997. Only thing - the time and the sound of music has changed since then. We all know this rich urban direction is almost considered lucky. Tim & Bob are top-bill producers now and opportunities like this are very hard to find for the average gospel artist. Haddon might not be lucky next time. And even though the album demonstrates a great musical glory throughout the foundation of most of the cuts, there are still a few concerns presented after a careful listen. Heavy is the music, but the lyrical work on most of the songs aren’t strong enough to withstand the big production. And then there’s too much repetitiveness in the lyrics. Even though the grooves are hot and far from being a bore, Haddon fears of hitting the fade button when it’s clearly necessary. But let it be said that “7 Days” is easy-listening for modern R&B/hip-hop music lovers. With inspirational and crossover lyrics and a few glimpses of Haddon’s old self, the album is still refreshing and rewarding; easily triumphing over “Lost and Found” and “Crossroads”.