::ALBUM REVIEW::

Talk swept the message boards about the mighty turn-out of musical guests and eager fans at the Mark S. Hubbard & the United Voices of Christ’ recent live recording. Because of Hubbard’s absence on the gospel (recording) scene, people were obviously suspicious of what would come about from a live recording six years since his last album. If one accurately looks over Hubbard’s discography, it is obvious he barely sings, he barely opens his mouth, but there is living proof that what he does contribute to the table is drastically found in the works of his singing aggregation, the United Voices of Christ. This time around, the group’s name is broken down to just “The Voices” (maybe because the group itself is smaller in size than previous years) on Mark Hubbard’s newest project, “Blessin’ Waitin’ On Me” on Bishop Larry Trotter’s label, Utopia Music Group.

To sum it up: this album is an album full of guest appearances. And in more ways than one. From the songwriters (Patrick Love, Richard Smallwood, VaShawn Mitchell, Jonathan Nelson) to the vocalists (DeWayne Woods, Donald Lawrence, Ted & Sheri), from musicians (Richard Smallwood on piano) to even the album’s producers (Malcolm Williams, Richard Smallwood -again). It seems as if everybody pitches in to make this effort an impressive one.

With an impressive slate of songwriters on board this time around, the songs satisfy the ears, especially when first hearing them. Malcolm Williams’s “Help Me Praise Him” is addictive from the beginning, and serves a heavy dose of funky-contemporary gospel along with bumping pumps on the organ. The melody is sure to stick with you for a good minute, but as no surprise, the vamp is uniquely gratifying. With build-on, styled parts, like building blocks; it goes to show you that everything hasn’t been done in gospel. Creative power rests in this track - and it’s the perfect song to start things off. To tell you the truth, the tracks after this one don’t compare...but “Help Me Praise Him” allows personal sensitivity to manifest for what’s to come. The title track sounds like a sequel to Hubbard’s big hit, “He’s Up There”...maybe the reason why is because Reginald Staggers, whom penned “He’s Up There”, writes this one. If one is to find anything that sums up the word “sensational”, ears should have no problem locating VaShawn Mitchell’s “I Won’t Let Go” (which possess that enjoyable, choir-rocking Chicago sound), the traditional, churchy ballad “God Is Merciful” and “When Jesus Came Into My Life”. The latter is Richard Smallwood’s composition, and unlike any other time when Smallwood contributes a song to another artist’s project, Smallwood provides the lead vocals AND blesses the track with his grand piano skills. That’s a first. Of course, the song features Smallwood’s awe-struck, creamy harmonies and classical/traditional gospel mergers, but you can obviously pinpoint that the song is missing a few important elements that would turn the track into one of Smallwood’s classics. Surely, Smallwood has not lost his touch - he’s saving the best for his own project. But “When Jesus Came Into My Life” is a delicate part to this album and works wonderfully with the Voices’ rich vocals. By time the song runs across a key change and the vamp rolls around, that high-octane vibrato power invades and it’s all church after that.

It seems that Jonathan Nelson is seriously in high-demand. His songs has an elegant touch and displays that angelic flow that the late Thomas Whitfield was known for. “Right Now Praise” and “I’m Fighting (My Praise Is My Weapon)” maybe penned by him, but it’s nothing major in comparison to the offerings found on his independent project. “I’m Fighting” has that bounce that will surely put to mind the groove you hear on “I’m Healed”...it’s a groove that barely grows old, but originality sinks this track. But that Whitfield sound does make an appearance on this project. Mark Hubbard decides to re-record the classic Whitfield gem, “Lift Those Hands And Bless Him”. This time, Ted & Sheri duel it out on lead vocals and show their true colors on the tailend of the song with both of them squalling and screaming their points across. But as industry vets will boldly declare, it’s never a good thing to touch a song that is perfect. In this case, the original track, featuring a duet with Whitfield and Vanessa Bell Armstrong, was and is perfect. But it’s good to hear this classic revisited by one of today’s seasoned duos.

A recreation of the old-time United Voices of Christ flavor is captured on the closing remake of “No, I Won’t Turn Back”. The band excels in adding a few highlights and drummer Calvin Rodgers executes awesome licks that sensationally proves why he is one of the industry’s sought-out musicians on the song’s juicy, two-minute reprise.

Let it be said, the Voices are a wonderful group of singers and they still pack a mean harmony. If Hubbard is really in control of this group’s sound, let it go on record that Hubbard has done his job. As for any last words on this project. No, this album, even with all of the additional guests, is uncomparable to Hubbard’s previous musical attempts. But purchasing this album alone for the album opener, “Help Me Praise Him” and hearing good choir singing is worth it all.