::ALBUM REVIEW::

After making impressive strides toward the front in the underground gospel world, Greg Roberts and his choral ensemble, Soulful Celebration has proven to be a people of great patience and consistent laborers. They made considerable buzz years ago on GospelFlava.com during a Pre-Easter concert celebration back in 2004 which allowed the curious direct access to their impressive independent project containing cuts penned by Tye Tribbett and some of the prominent young East Coast songwriters. The group also released an insider EP to a number of industry pros featuring hot tracks such as "Prelude To Worship" and "Just Say Thank 'Ya" from their forthcoming project. It was this remarkable creation that opened the door of sudden exposure for the talented Virgina-based group and anticipation grew for their sophomore collection. So strong was the weight of class from the short EP that it earned Roberts a number of nods in multiple e-zines for his astounding efforts. All of these things were mere revelations of the soon and coming arrival from their new and improved second disc.

Prepared is the way for "Soulful Worship"; a colorful fifteen-track project that births reincarnations from some of the shiniest moments found on their debut project, adds the aforementioned cuts from the EP and a few more originals. Guided by Roberts' direction, "Soulful Worship" showcases colorful choral material, both in intimate and hyperactive settings, upon Soulful Celebration's majestic harmonies. Their poise and versatility from their first project transitions successfully into their new collection and remains a focal point for the disc.

It isn't peculiar to understand why James West' "Prelude To Worship" opens the disc. It is, by far, an ode to the rich tradition of the popular friendly worship choruses from back in the day. Roberts' calming narrative skills and occasional ad-libs sets the tone for passionate worship while Soulful Celebration skillfully performs their strongest vocals to date. The song ends with excellent precision; storming through a number of dominant modulations and then gracefully calms with composed, tranquil repeats of the vamp's closing portion.

"Just Say Thank Ya", featuring Asmar Mason on lead, is juicy gospel at its finest: loaded with the right R&B trimmings, pop-like seasoning and a melody that sticks. The concluding modulations and zesty instrumentation, charged by Lynn Hobbs, II's synth toppings and fancy drum work from Chris House, leads the path toward orgasmic brilliance.

Infectious churchy celebrations make a number of rounds here including the infectious "Faith" and a nice revisit to Tye Tribbett's "In Jesus' Name". The latter, a seven-minute session of Holy Ghost dynamics, is lit up with bigger synth work and improved, animated enunciation. Roberts romps through lively ad-libs ("I got the good stuff"...) atop all of the hand-clapping and foot-stomping, while shifting ad-lib duties to Pamela Rawlins towards the end. She does make a few vocal stumbles and screams beyond compare. While the song may not be a strong choice for radio play, gospel lovers hooked to the styles of Dr. Charles G. Hayes and New York's Institutional Radio Choir will gleam over the Sunday morning outbursts.

"Magnify Him" and "Lift Your Hands" are also revived here. The latter, another Tye Tribbett composition, receives a bonus nod with the inclusion of the ultra-melisma action from Nikki Ross. The song is beautifully penned and captures the grand elegance of a Thomas Whitfield and Walter Hawkins ballad. Attached directly after that performance, the song flows into a justly delivered reprise.

Roberts also explores more songwriting on "Soulful Worship" and satisfies listeners with "Hold On"; another uptempo jam that borrows the spunk and grit of Hezekiah Walker's urban funk masterpieces. When the song finally fades out, you only wish the jam was extended a bit longer. "Without Cha'" leans into neo-soul territory with a laidback tempo and juicy Rhodes layouts.

Also included are moving slow numbers that help strengthen the album's fluidity. "We Worship You", also penned by Roberts, uses Richard Smallwood-esque composition structures and is treated with moody sound effects of thunder and Michael Jordan's engaging piano performance. Afterwards, the song ascends into a wisely inserted instrumental reprise that is certain to quicken the heartbeat of a worshipper. Chris House's "Come To Christ", a moving ballad possessing a lucrative contemporary jazz backbone, is received well and appropriately placed towards the tail end of the disc. What a way to end a musical journey like this then with a brilliant invitation to discipleship.

There are a few moments that may get in the way of any sign of potential swagger. The failure to remove the track breaks (those irritating pauses in between specific tracks usually meant to glide into the next without any interuption) are a constant distraction on most the cut's openings and conclusions. Another hurdle to tackle falls upon guest vocalist Nikki Ross - whom excessively uses her melisma abilities as if she is being challenged by competition on an episode of "America's Got Talent". "Give It Up!", one of the album's irritations, is far from being bashful - it comes off hard strong and is unruly with its over-the-top synth and guitar hard rock arrangement. But Roberts and the company, for the most part, deliver reliable examples of contemporary gospel without sounding rebellious or insipid. There's a joyous spirit attached to the grateful praises offered here and proves that there still lives a breed of new-generation gospel makers that know how to appropriately merge uniqueness with the rich traditions. While "Soulful Worship" may have made a few mistakes during the editing process, it is a cheerful follow-up to "All Things: The Soulful Experience...Live" and promises to open the floodgates of destiny for Greg Roberts & Soulful Celebration's career.