::ALBUM REVIEW::

The interesting revival of the Old South’s musical heritage of the mundane blues and traditional gospel roots has been one of the interesting tales of today’s musical scene. What’s new now is really a revisit of what has already been done. In the pop world, Amy Winehouse, Anthony Hamilton, John Legend, Robin Thicke and Joss Stone are enjoying a big deal of success revisiting the songs and styles of old. Even Christina Aguilera decided to do a full-length album on the styles of ancient and created a healthy buzz with older audiences. And even in certain gospel circles, a tide has emerged from the deep blue sea bringing about a number of Golden Era-sounding recordings but with finer production, of course. Aaron Neville, Candi Staton, the Blind Boys of Alabama and Mavis Staples are just a few of the unsung heroes of this historic sound that have helped bring about the deep, deep roots of Southern gospel and soul. But isn’t it interesting to know that one of the glorious traditional albums of 2007 came from a former hard rocker.

Mike Farris, lead singer of the popular ‘90s rock group Screamin’ Cheetah Wheelies, expresses his faith in his ode to a number of Southern styled inspirations ranging from Memphis blues, New Orleans jazz and moody country on “Salvation In Lights”; his first full-length outing outside blues/rock campgrounds. The timing is just right for the shining star since he felt it was time, according to interviews and press releases, to reveal his struggle and personal victory over alcohol. And he uses music as a refuge to grow stronger in his Christian walk - but goes a bit further to anchoring his heartfelt soulful and rugged vocals to an abundance of Southern styles of music. He opens the project off right with an acapella lead-in with sassy background vocal support from Ann McCrary-West and Gale West. Then enters the welcoming arrangement to the traditional “Sit Down Servant” with a taste of Nawlins’ zydeco spice. The mood of the album remains strong for the most part and even gets tantalizing on the soulful ballads such as his emotional remake of Sam Cooke’s “Change Is Gonna Come” and the dank Mississippi bluesy original “Devil Don’t Sleep.” But it is the upbeat gospel-infused arrangements and punchy brass section that showcases a joyful freedom that makes this album so exceptional. Such is the case with “Precious Lord Take My Hand;” an arrangement that almost feels like it was stolen out of the Hi Records’ studio and Al Green failed to release it to the public. Once Farris belts out “lead me on” with the background vocalists and goes into a stunning chord walk down, you can hear a heavy dose of originality being poured into the classic gospel hymn. There’s a dash of rock and Stax soul added into the bubbling Rosetta Tharpe composition “Can’t No Grave Hold My Body Down” and “Take Me (I’ll Take You There)” revives the Staples’ classic with a smoother, tranquil acoustic-driven arrangement. Profound gospel energies circulate “I’m Gonna Get There”; an original selection that finds Farris throwing out jovial belts and seriously exciting vocals alongside the infectious background vocalists. Add the sassy horn arrangement and swinging rhythms to the set and the Holy Spirit enters in and invades the boisterous vamp. Farris also pays homage in places to the great late Southern gospel/country legend Johnny Cash on “Streets Of Galilee.” While the song is purely a Farris creation, it resonates the same emotion and power of Cash’s jubilant material. Surely, Farris has done his homework on the legends and feels at home on these old soul originals and recreations.

The quality of expertise released on “Salvation In Lights” is guided by signature production work from Harris and Matt Martone (3 Doors Down, Skillet, Big Tent Revival) and showcases a brilliant in-house band containing Farris (guitar), Eric Holt (keys), Dave Rorick (bass), Paul Griffith (drums) and an energetic versatile horn section.

No one knows for sure if Mike Farris has entered into the gospel fold to stay. It almost reminds you of stellar talent like Ben Harper playing around with the Blind Boys of Alabama for that one album and then drifting off back into the pop world - like it was just something different to do. But Farris’ artistic side feels so comfortable and suitable for God’s rock ‘n roll. You probably won’t hear this kind of music floating through the playlists of gospel radio, but it’s a definite project that reveals the life-changing forces of traditional gospel music. It’s a return worth returning to. And possibly cause a remnant in today’s rebellious generation of gospel talent to wake up and do the same.