::ALBUM REVIEW::
by J Matthew Cobb
Posted: September 22, 2009

While overseeing the musical warehouse of JDI Records since its inception, James Roberson has become an industry survivor in taking a small independent music label to the top of the Billboard Gospel charts, along with the careers of artists including Norman Hutchins, Beverly Crawford, Chester D.T. Baldwin and DeNetria Champ. While grooming his roster into gospel stalwarts, Roberson has revealed on a number of occasions his desires to step into the recording booth; particularly on the small snippets etched towards the end of each of JDI’s album releases. All listeners had to await for was the day of its awakening. Roberson, who treads the same waters of Tyscot Records’ chief Dr. Leonard Scott by entering into the musical arena, comes out on top in a number of areas. It’s obvious that Roberson trumps his fellow industry partner with his tender, warm vocals. He proves that on Everybody Dance, his debut project, and does a pretty good job in surrounding himself around material that fits into the vein of the highly-distinguishable JDI formula. Michael Bereal, while reduced to mostly keyboard finishes and music arrangements, still offers up his trademark sounds to the mix and gives the album a respectable finish.

The cluster of songs (only eight after subtracting the reprises and closing 10-minute infomercial) are not bad picks. Some are quite good and others, bearing strong potential, are weighted with not enough vocal force and confidence from Roberson. For starters, the opening title track on a zesty dance mix but only leaves the background choir as the major standout since Roberson sits comfortable in his Donald Lawrence-ish emcee chamber. Where Roberson shines is on the funky Carnell Murrell tune, “Joy Unspeakable,” taken from the archives of the Dallas-Fort Worth Mass Choir. It’s not like he takes the song into the stratosphere, but the punchy chorus and fiery band work gives fans a taste of classic jubilant choir music. The contemporary drives on “Revive Us” and the reverent sounds of “Praise the Lord” are also worthy mentions. Surprisingly, Roberson lands an unmarred pop power ballad on the BeBe Winans-penned “I Wanna Be More.” With a delightful set-up including live strings, saxophone echoes from Donald Hayes and an accompanying chorus on the closing minutes, the song proves to be one of the exceptional inclusions.

But quick studio throw-ins like the two-minute, music less “Trouble In My Way” and the unforgivable short reprises are all oblivious to the stronger content. That, along with the ten-minute JDI Sampler, may be the album’s prominent fallout. And while he’s quite cozy on the ballads and assembles a strong band to back him, Roberson isn’t that much of a memorable presence vocally. His ad-libs are still barren of brute force and there’s an obvious shyness that bubbles up on the firecracker cuts. Cognizant of the album fillers and quick reprise exits, listeners will only appreciate Everybody Dance for being a short introduction to Roberson’s career as an artist. After what appears to be a quickly-assembled debut, it still isn’t certain if a sophomore effort will be pursued.