::ALBUM REVIEW::

By large, Israel Houghton is one of the most trendiest and most refreshing artists to emerge out of the modern worship movement since his debut. With two solo projects already in his corner and a slew of New Breed projects and a dozen more New Breed-related products on his plate, Houghton has carefully and unsurprisingly injected a slew of musical styles into his multi cultural aesthetic. He has proven he can do it all - funk, rock, soul gospel and hip-hop - and remarkably well. But in spite of his efforts to create a rock/pop/gospel fusion, most of his more recent projects have leaned on the more sloppy side when it comes to organization and swiftly running away from charming melodies. The Power of One, Houghton’s latest solo entry, is a rewarding and defining adventure that demonstrates an abundance of songs ready to be streamlined into most modern radio formats. While still cluttered with loads of musical styles, this one is more appealing across all the aisles, regardless of one’s tastebuds, because the production is fresh, the music is brighter and Houghton’s conviction is undeniably rooted in soul.

While the album has a thematic approach to its procession as it ultimately connects listeners to the responsibility we all have in helping change the world, it’s not all about inspirational fodder. There’s loads of worship, good-time and reflective gospel and some highly interesting musical highs being executed. Opening the fanfare is the pop-friendly and contemporary gospel benchmark, “Everywhere That I Go;” which uses the New Breed signature sound and occasional moments that resemble the pulse of a safe U2 ‘80s song. The song, even with the familiar Stevie Wonder “dah-dah-dah-da-da-dahh” segment from “Living for the City” nicely inserted into the closing seconds of the song, is every bit breezy and ready for pop radio. The first single “Just Wanna Say” carries a groovy resemblance to Myron Butler’s “Set Me Free” with a more percussion-anchored drive, whizzing synth effects from Aaron Lidnsey and a cool sampling effect from Liz Wright. Amist the rocking drumwork and hip-hop/hip-rock crunk, the song possess pretty moments anchored by the backing vocals, innocent party excitement and whirling keys towards the end. The Jamaican-styled “Surely Goodness,” carefully segued from “Just Wanna Say,” is far from being an imitation of the island sound; proving once again Houghton’s knowledge and passion of culture without sacrificing his lyrical finesse. Jerry McPherson’s guitar work and Chevelle Franklyn’s cameo vocals elevate the song into more of a dancehall style with promising duet effects. “Moving Forward,” previously exhibited on Hezekiah Walker’s Souled Out album, is delivered with intensity and is performed better in the confines of Houghton’s tamed studio. Unlike Walker’s version, which is forced and noisily-cluttered, Houghton exudes a pleasant grace and formidable delivery that works well with the pop worship ballad. Just as interesting, “Sing (Redemption’s Song)” treads on the lines of John Mayer and U2 with its soft rock edges and cool melody. “I Receive,” done in the same vein of soft rock/pop as the previously mentioned, acts like a Phil Collins’ “In the Air Tonight” replica with its ‘80s light drum work and echoing lead vocals. The title track sneakily dabbles with the melody of Ashford/Simpson’s “You’re All I Need to Get By” on the opening but shuffles into his important message that one person can change the world. Lyrically it is sound; a definite esteem builder and so important to hear in these difficult times. There’s a nice melody tucked here and the warm voice of Da’Dra Greathouse (of Anointed) gives the song more muscle.

Surely the star of the album, and not just because it’s tailored up with hard gospel elements, is the flashy, upbeat “Saved By Grace.” Jonathan Dubose, Jr. and Akil Thompson kicks off the song with finger-snapping guitar licks and the song bubbles with contemporary gospel energy blazing like a Prince 1999 jam session. But the song’s character explodes into a Morris Day & the Time funkfest after the jump; packed with incredible synth layers, guitar action, percussion blazes and even a preachy segment that serves as the perfect interlude for something so irrepressibly funky and carefree. “Every Prayer,” another gospel moment that rumbles with radio attention, is heartfelt from beginning to end. The sensational gospel ballad also possesses a short vamp that deserves a little more repetition with its rocking Fred Hammond-like influences (assembled with Tommy Sims’ keyboard bubble bass) and Mary Mary’s charming ad-libs, but still rattling with enthusiasm and high hope.

“My Tribute Medley,” supported by Andrae’ Crouch’s timeless “My Tribute” and Chris Tomlin’s worship anthem “How Great Is Our God,” gets a pop rock/CCM makeover that is sure to become a classic at Houghton’s live concerts. While the exhaustive time length of the song may puzzle readers (clocking at ten minutes), there’s a catch. When the song fades at three minutes, there is a silent segment injected and then, fading into the speakers, is a continuation of the funky onslaught of “Saved By Grace.” It’s an unpredictable move that is soul-satisfying for Houghton’s New Breeders as it offers up more of that good ol’ funk.

Probably the only irritant is the violin-accented, angry punk rock sounds of “You Found Me.” With tobyMac on board, Houghton goes even further into newer territories hoping to get his New Breed message across. But it’s too far of an eclectic move that may challenge those use to the comfortable and more familiar sound of Houghton’s worship dynasty.

While Houghton remains unafraid to walk the relentless waters of musical styles, The Power of One is an excellent overview of what embodies his influences and musical tastes. He’s a rock star with soul at times and can be so worshipfully romantic that he could easily work his way into soft and mellow worship hymns. Even though it’s a strong possibility he could have done this kind of album with his companion group New Breed, Houghton proves that he’s a modern-day trendsetter for gospel music’s future. The definite plus for the album is that there is more emphasis on not drifting away from rich melodies and very few rebellious twists. And with the right push and elevation, Houghton may have multiple tracks from this musical workout on various radio playlists. The Power of One, so far, is the album to beat in 2009.