::ALBUM REVIEW::

After winning big at the Gospel Music Association’s Academy three times in total, Isaac Simpson emerges onward to the gospel scene with his urban-laced debut while providing a mild introduction to his supporting music ensemble - the Columbus, OH-based Divine Providence (DP). After sealing a record deal with Nu Spring, a newly founded subsidiary of Alliant Music Group, the group fires up a record filled with mixed expectations and mild concerns. Introductory albums usually can be compared to rollercoasters - you never know what you are going to get. Usually it’s a mix of everything as the artist tries to find their niche’ and sound. Simpson, guided by Antuan Walker’s production, attempts to get his point across with his unique brand of edgy urban contemporary gospel. It’s definitely far from being totally original since the record sounds like something that underground urban choirmasters like L. Spenser Smith or Gary Mayes would have worked up, but he tries to establish his own identity on this fifteen track studio offering by penning mostly all of the compositions singlehandedly and locking in his Myron Butler-influenced urban gospel.

“He Changed Me” opens the set, using familiar grooves and cheat moves from the Thompson Community Singers’ “My Mind Is Made Up” and even thrills ears with a case of live horns and Jonathan Nixon’s bubbling bass work. Everything works well until the song goes into a dangerous breakout on the vamp filled with dark, gothic mood swings. The dark funk slides into a needless instrumental reprise showing off drum work and deeper organ thrills. Even though it’s fascinating to hear bands jump into a jam session, the exit strategy feels a bit awkward here. While the opening feels a bit eerie, the love ballad “He Loves Me” immediately follows; helping to ease the musical journey into comforting territory. Nikki Ross guests on the warm cut while Simpson provides background exhortations. The two go head-to-head on the emotional vamp - sounding like a big shouting match - but the song’s overjoyed sensations and comforting message overshadows the song’s thin list of worries. Michael Stuckey’s lead performance on the inviting “Come As You Are”, offset by DP’s heartfelt harmonies and unison deliveries, provides one of the moving highlights on the disc. “Believe”, another encouraging ballad, leans on worshipful pop and comfortably swings through Hamilton Hardin’s string arrangements and the presence of unrestrained acoustic guitar additions. The engaging vocals of Lisa Page-Brooks turns an ordinary number like “You Can Make It”, with its drawn-out epic storytelling stretching across a course of six minutes, into mesmerizing stuff. It’s a bit confounding and complex with its multiple parts and sections, but Page-Brooks takes ownership of the song; proving her worth as a lead singer.

“Search Me Lord”, the only big non-contemporary offering, finds Simpson rearranging Charles Nicks’ classic hit and working alongside with Thompson Community Singers’ longtime lead vocalist Leanne Faine. Her gutsy vocals fit the song like a glove, while DP strays from their sweet harmonies to dig deeper into vibrato-infused Chicago styled singing. It almost sounds like a different choir, but the offering is pleasantly done, even if it feels out of place for such an urban record.

Most of the songs featured on Right Now possess likeable features, yet most go in one ear and out the other and not leaving a memorable impact. One of the better accomplishments: “Great Is Your Mercy” works up a funky lather and opens with the right synths and a charming melody that clicks, but actually appears on the very tail end of the project. Songs like the title cut, “Lift The Savior Up” and “Who Is Like Our God” possess musical elements worth acknowledging, but are plagued with busy arrangements, over-acentric productions and not enough melody. There’s even moments when Simpson’s vocals aren’t strong for the tempo given him and even falls a bit flat on the notes; hurting the record considerably (ex. “Who Is Like Our God”). You can also feel that some of the production tends to get a little weak towards the closing of the disc.

In the end, Simpson and DP does a fine job in mastering the art of bringing in powerful resources (Lisa Page-Brooks, Leanne Faine) as a starter artist, but only scratches the surface for making a great first impression. If the direction of the songs were a little bit refined, Right Now may have yielded a better response from listeners. Definitely the potential is there, but it never really comes together like it should. Next round should really create a demand for better direction from the executives, matured material and possibly a bigger budget.