::ALBUM REVIEW::

It’s hard to imagine one’s debut album to being their finest work. Erica and Tina Atkins, the Inglewood duo known collectively as Mary Mary, bravely make their debut appearance on the Columbia label after a few stints on various compilations (Dr. Doolittle, The Prince of Egypt). Their efforts proved to be groundbreaking and helped position them as one of gospel’s rising stars and ultimately placing urban contemporary gospel back on the pop charts.

The album is strongly supported by writing partner and producer Warryn “Babydub” Campbell - whom previously worked with pop/R&B sensations Mariah Carey, Dru Hill, Xscape and Total. But it wasn’t until Thankful was released that Campbell’s style of production became the talk of the town and the demand for his quality work intensified. That is because the blueprint for his fresh, hip-hop flavored, rhythmically stimulating sound - usually associated to his heavy mirco-managing duties on mostly all of the instruments - is purely manifested in a rich, dynamic presentation. Add the fact that the Atkins have a strong writer’s advantage and create terrific melodies around Campbell’s musical layouts - giving off fresher manifestations of Destiny’s Child, Brandy and SWV but with familiar gospel trademarks. “Shackles (Praise You)”, the anchoring lead single, became a smash hit on both pop and R&B radio and intensified their popularity within the gospel community. Perky vibes, catchy hooks and an irresistible chorus bubbling with originality highlight the joyfulness of the track, but much of the album’s tracks bear the same level of cool. The title track is a refreshing song portraying their gratefulness to God’s blessings and is told with an upbeat slice of urban R&B. “Somebody”, a definite urban pleaser, is splendidly arranged with breezy sound effects, guitar runs and hype rhyme from the Atkins camp. The same applies to the West Coast-influenced “Joy” featuring a mesmeric melody and On the lush ballads like “One Minute” and “Still My Child”, Mary Mary knows how to shift moods without ending the album’s irresistible replay factor. The slow songs are anchored in such a way that not only do that feel like appropriate transition songs, but they are carefully inserted to bring the album a seaming flow that runs from its introduction to its final minute. “What A Friend” and “Can’t Give Up Now” are refreshing recreations of classic gospel - the latter being one of the album’s certain standouts for depositing a cool beat on the familiar chorus of James Cleveland’s “I Don’t Feel Noways Tired.” Featured guests Destiny’s Child (including Beyonce') joins on “Good To Me” - a mild reggaeton tune featuring a small sample of a Curtis Mayfield track. Closing out the album is the funk-driven interpretation of “Wade In The Water”, designed by guest producer and accomplished bass guitarist Andrew Gouche. The song captures a raw, live sound made by killer instrumentation and a mini-choir formed by Chris Bolton, Eric Dawkins and Keisha Ealy. While the song’s overall sound doesn’t feel like anything else represented on Thankful, it is amazing a definite breath of fresh air for those in need of more familiar contemporary gospel elements.

The type of artistry Mary Mary exemplifies on Thankful is one that feels revolutionary and bears a representation of quality trendsetting. From the production to the crafty songwriting, the album is a force to be reckon with. And there’s not many gimmicks featured here such as big guest appearances and multiple exits of styles to pacify all musical backgrounds. Thankful is an urban R&B-styled contemporary gospel album, that still contain the passion and heart of gospel music even with all of its commercial packaging surrounding it.

The platinum-selling Thankful went on to claim the #1 spots on Billboard’s Contemporary Christian and Gospel charts and reached an impressive number 22 R&B and 59 pop. “Shackles (Praise You)”, the album’s biggest single, stormed its way to number nine on both the R&B and dance charts, while creeping to number 28 pop. Mary Mary went on to win their first GRAMMY for their debut project in the Best Contemporary Soul Gospel category in 2000.