::ALBUM REVIEW::

Though we live in a reality that propels our surroundings to change, some things are better left not changing. While it is probably true that the Mississippi Mass Choir has undergone several facelifts over their breathtaking tenure, they have remain committed to their formula of success. The same crew from day one, which includes Jerry Mannery, David R. Curry and Jerry Smith, remains unmoveable with their profound sharpness in the production chambers; leading and guiding the Mississippi Mass Choir throughout their eight live recording (excluding their cameos with the late Rev. James Moore and Rev. Benjamin Cone, along with compilations and “greatest hits” collections) which happens to be “Not By Might Nor By Power”. Recorded live at Thalia Mara Hall, this collection of songs mostly exhibit the traditional quartet-like roots on the bulk of the new material. It is fair to say that the choir is known for their radical, inclusive interpretation of contemporary gospel, but they are mostly sought out for their Southern traditional grooves and for that occasional “woo” of excitement from the soprano section. You can easily find that charging quartet drive on the songs this time around, such as on “If I Be Lifted Up”, which reveals the next generation of Mississippi Mass vocalists from Jermichael Riley and Benjamin Cone III on ol’ skool flavored tunes. “God Is Keeping Me” and “One More Day” compliment the traditional Chicago gospel style; with its seasoned additions of spunky hand-clapping and lead guitar add-ins. Plus, “One More Day” almost has a synth sound that almost sounds like it came off of Stevie Wonder’s “Higher Ground”. Though the sound is vintage for some, it works delightfully. Mosie Burks, known for her charming performances on MMC classics’ “When I Rose This Morning” and “They Got The Word”, reappears on Milton Biggham’s arrangement of the old Caravans classic, “I’m Not Tired Yet”. In the credits, Biggham assumes all the credit for the song writing, but we here at PRAYZEHYMN want to clarify that the original songwriter is Inez Andrews. The song is updated only with a riveting musical introduction, a zesty guitar riff and with spunky Baptist-like piano punches from Jerry Smith, but the rest is pretty much the same.

Besides the ordinary flow of Mississippi Mass’ traditions, Beverly Crawford jumps on “The Next Time Will Be The First Time”; a song that puts you in mind with the Wilmington Chester Mass Choir’s ballad powerhouses. The song has a definite elegance to it, even though the lyrical content may be difficult to interpret from a certain angle. “Victory Shall Be Mine”, penned by David R. Curry, is his strongest piece here and covers musical influences ranging from Whitfield to Rev. James Moore. You may be able to trace David Blakely, former musical director for the late Rev. James Moore, on this track, so that’s probably why there’s such a strong similarity here. The song surely triumphs on the bridge: choir climaxes with intensity, lead vocalist Christi Richardson belts out enough hearty yells to save a nation and the band’s energy is too intense for radio. But it’s worthy enough to hear over and over again, especially for Mississippi Mass’ enthusiasts in search of that rare “special moment”. After you pass the eighth cut here, you basically have heard it all. Frank Williams’ “Thank You For My Mansion” is revisited, with a new recording of vocals using the same technique used for previous tributes such as the memorable Nat King Cole & Natalie Cole duet on “Unforgettable” using advanced technology. Only serious collectors may find this specific offering to be a delight. Otherwise, there’s nothing really new here, even though the song is truly one of Frank’s finest compositions. And of course, closing things is the familiar setup of Rev. Benjamin Cone, Jr. delivering the culminating sermonette; recapping his recovery with prostate cancer on “It Was Worth It All”.

When one looks back over the extensive journey of the Mississippi Mass Choir, they will see a glorious introduction, a reigning period on the music charts, sorrowful moments which include the passing of their founder and many of their musicians and friends, and even setbacks and comebacks. Wondering how this choir has stood the test of time is a serious mystery. It has been a very good while; longer than any modern-day traditional mass choir. Especially with this kind of a success story. After hearing this collection, you may want to add a few more chapters to this book. More albums are on the way, even though the glory years will surely supercede what is to come.