::ALBUM REVIEW::

One of the most talked about releases in the CCM and worship community of 2007 was For You I Live - a worship album featuring the music ministry of the 7000-member Resurrection Life Church of Grandville, Michigan. Its unusual blend of gospel and rock, led by worship leaders Michael Gungor and incoming worship pastor Ken Reynolds, created yet another opportunity to allow two different styles to interact with one another and to connect successfully. Unlike Israel Houghton’s big beefy gumbo of funk, CCM, jazz and urban gospel - all very technical styles in definition - For You I Live was wrapped around the church’s big choral abilities; extending beyond any serious lock down of cultural connections or loose stereotypes. Off the heels of such a highly-acclaimed project, Ken Reynolds is stepping out as a solo artist with his associations with Integrity Music on his official debut release - Great Things. Definitely a continuation of the tracks Reynolds presented on For You I Live, but allowing much more room to reveal the many influences that make up his musical background. He boasts of the repertoires of Tchaikovsky, Maurice White, Fred Hammond and Michael W. Smith and injects their renowned signature moves into seventeen tracks that flow from a powerful live recorded worship service and bonus studio tracks. His cheerful personality atop the big sounds, stellar musicanship and well polished production turns Great Things into a project packing the essential ingredients for cross-cultural appeal. A seasoned group of musicians including Michael Gunor (acoustic guitar), Troy Reynolds (keys), Darryl Dixon (electric guitar) and silky string arrangements provided by the City of Prague Philharmonic gives the album a satisfying coating of professional polish.

Starting things off, after a moody and theatric instrumental introduction, is the Latin-tinged “Worthy.” It feels too much like a carbon copy of Martha Munizzi’s successful hit “Glorious” - so there might not be a lot to loathe about here. But the big horn sounds and rich quality from the skilled band work definitely give the album the opening it needs. “Be Glad” runs into a Kirk Franklin-meets-Earth, Wind and Fire arrangement that leans on snappy unison deliveries and quickly-executed horn blasts. The title cut, not as brash or funky, is smoothed out with a laid-back 90s R&B sound and runs circles around a sing-a-long-natured chorus. “Does Anybody Here” majestically juxtaposes smooth soul with pop worship - creating a charming melody that definitely ascends beyond the conventional prototypes of Hillsong. The ballad then flows into “Glory and Honor;” a careful reprise injected with gospel leanings elevating the worship experience into a cloud of emotional response. One of the coolest entries to encounter on Great Things is “So Good (Na Na Song).” Its simplistic yet irresistible lyric and the contemporary nature of Rance Allen Group’s party funk grooves are obvious key factors for this fun track. When the vamp slides into a call-and-response tag, the song never losses its energy and bubbles up with the same results of a finale’ found in a spirited Disney musical. Spirited Joe Pace-ish sounds also embrace the funky “The Best Thing” - even though the addictive opening groove slides away into different changes and key changes. Ballads like “Everything” and "It's Not About Me" showcases Reynolds' heart for passionate and reverent pop worship done with the raw power of gospel.

After the closing live portion ends, Reynolds takes the time out to expose his skillful keyboard mastery on the soothing instrumental track “Reflection” and later calming down with CCM-patterned material (“Holy One”, “I Need To Worship”); steeped into an eloquent coat of lush strings and a drenched acoustic set. The performances ultimately showcase the transcending capabilities of Reynolds regardless of culture and race. He’s highly comfortable with gospel, but is just as effortless with pulling off bright meshes of adult pop and soft rock.

As friendly a record Great Things is, it does leave room for mild observations on how to market such a versatile record. While most of the album’s content ventures from style to style, it luckily does not come across as being a mix bag of big and busy overcooked arrangements. It leans on Israel Houghton’s campgrounds, but never gets too complicated or sophisticated - which proves for the most part that Ken Reynolds’ music is quite accessible for church music purists. It’s a worthy debut for Reynolds and leaves room for greater expectations to come for his next project. With quality songwriting and effective worship leading under his belt, Reynolds could very well be the groundbreaking artist to watch out for in the next few years.