::ALBUM REVIEW::

Seems like popular urban praise leader Israel Houghton is releasing a new album every month. Maybe he’s in competition with Beyonce or maybe he’s just enjoying his newfound popularity as one of the most consistent artists in the gospel arena. After releasing Live In South Africa and also earning the prized Grammy award for Best Traditional Album in 2006, Integrity Music has been pumping out a number of projects hosting Houghton’s powerhouse weaponry including a holiday album and Freedom; a project featuring New Breed as the primary artist. His resume’ only intensified with outer involvements and engagements of his production creativity to albums for a host of artists including Freda Battle, Karen Clark-Sheard, Darwin Hobbs and Free Chapel Church. But Houghton has proved that he has a strong work ethic and doesn’t fear of overloading the industry with his “New Breed” sound - which leads us to the 2007 release of A Deeper Level.

Recorded live at Grace Church in Humble, Texas during a special worship summit, this album pretty much pick up where Live In South Africa and Live From Another Level dropped off. Jerry Harris claims his position as the new music director and handles keyboard duties while former New Breed music director Aaron Lindsey returns to provide co-production duties and help assist in adding extra overdubs on the keys. Supporting musicians include bassist Terrance Palmer, guitarist Eric Brice, keyboardist Justin Savage (Jonathan Nelson) and Mike Clemons on drums. But there is an apparent change of pace. More intimate worship, smoother-paced songs and a difference in style patterns and even the texture of the musical work. Most of the thick gospel funk Houghton is known for is replaced with a rock/acoustic element very familiar to contemporary Christian/pop music. And the decision feels intentional since Houghton has had a hard time breaking through to the upper brackets of mainstream Christian pop music and has yet to take home the big Dove Awards - even though he remains a forerunner in the world of cross-cultural worship music. On board are coveted and respected Contemporary Christian icons Chris Tomlin and Darlene Zschech (known for penning and recording “Shout To The Lord”); hoping to usher Houghton’s music comfortably into more living rooms and mp3 players across the board.

The album opens up much differently than previous album releases from the New Breed army. “So Come” gets a warm, intimate introduction of light keys and string enhancements with Houghton’s respectful preparatory exhortations leading into a tranquil invitation for God to enter into the prepared worship experience. The song slips comfortably into “Prayers Of The Righteous” - loaded with an entrancing melody, gorgeous lyrics and creative shifts of moods. The final change reaches a breaking peak of gutsy instrumentation and prolific prophetic declarations of victory. Houghton then pulls out his list of qualifications in various musical styles on songs like the pop/rock “Say So” (which uses a ‘80s friendly rock format), the Latin reggae-tinged “With Long Life” and the catchy breath-taking jump into Hillsong-related worship on “I Know Who I Am.” The latter, which feels like a fitting reprise of “Friend Of God”, features a brief appearance with song co-author and worship sensation Chris Tomlin. Then there’s African (“Identity”) and urban hip-hop (“Surely Surely”) that also are thrown into the radical mix of cultural styles Houghton experiments with. It’s not like Houghton has never played with other styles and formats, but Houghton has for so long tried to break away from the controlling label of being just a gospel artist by industry standards. On A Deeper Level, authentic gospel roots and elements are very limited. They are traces of gospel affection in the soul ballad of “If Not For Your Grace” and on the passionate “Deeper.” There’s some contemporary funky gospel elements that stands out on “Surely Surely,” but it’s not enough to call this a gospel album.

It is refreshing to hear the bonus cut, “You Are Not Forgotten” - a well-produced studio cut that breaths the same air of a Babyface/Tony Rich acoustic ballad. First introduced on Israel’s overlooked 1997 Warner Bros. debut project, the song features a stunning duet and supporting acoustic guitar work by young rock/blues singer Jonny Lang.

But there are a few other problematic incidents to address that separate this project from New Breed’s previous collections. There’s more edits and fade-outs present, so the album doesn’t always flow like one continuous session of worship. There’s an interchanging of subjects from one song to the next - so listeners have to look beyond this being a live recording and view the content as separate individuals tracks laced together as best as possible without using much discernment. Then there’s the apparent absence of the gospel elements Houghton normally features. While the pop market will have no problem welcoming A Deeper Level gladly into their comfort zone, gospel audiences may not be as eager to adapt to the extreme shift. Houghton is known for digging into exhortations and providing ministry on top of the songs, but deep calls unto deep and he entertains a limited number of heated, controversial topics including abortion, marriage and homosexuality on the reprises of the songs. At times, a vigorous Houghton is aggravated with the turn of the moral climate in modern times and then there’s moments when he is refreshingly kind and tender hearted. The different and quick mood changes are good for those looking for an entertaining cannonball of versatile storytelling, but worship music is usually locked down on focusing just on the music. Guess this is why the album bears the suspicious marquee: A Deeper Level.

But even with all of these adjustments, A Deeper Level is an enjoyable listen from start to finish. The music isn’t as musically challenging as his last two projects. Houghton is in great voice and continues to prove his value as one of today’s strongest mature vocalists in both praise-and-worship and gospel categories. The production, at times feels too hard to believe to be remnants of a live recording, is close to being a representation of an excellent product. So overall, the project contains all the right parts to being substantially brilliant. But it is the listener that has the last say-so. All of the cross-cultural, multi-ethnic interchanges may be a bit too much for the average gospel listener? Even after a few listens, some will continue to point out that the album sounds too indulgent or unbalanced. This is a price that Israel and his New Breed gang is willing to accept. In the end - even with all of the great lyrics, knockout praise melodies and stellar productions - it’s not enough gospel for gospel.