::ALBUM REVIEW::

Few albums in the late 80s packed the kind of magnitude and impression upon the Gospel industry as the debut release of Frank Williams’ Mississippi Mass Choir. The small, independent yet thriving label, Malaco Records, was recognized for putting out adequate traditional-flavored projects from the Jackson Southernaires, the Williams Brothers and Rev. James Moore, but nothing prepared them for the wave of success they would benefit from with their new artist.

It is interesting to speak of the foundation that established the highly-recognized “Mississippi Mass” sound. Established musician/songwriter/ choirmaster David R. Curry and piano maestro Jerry Smith, along with the heavy bass thumps of Sam Scott, were recruited by Malaco’s Gospel division executive Frank Williams and have forever been associated with developing the choir’s soulful, progressive Southern formula. The live recording itself feels like the best of Chicago’s productions and the low-fidelity, analog pressings of Detroit’s SOG label. Incredibly, this works for the group’s advantage since the songs and dated keyboard sounds are perfectly styled for this kind of production and positions the overall sound as a timeless, classic recording from the eighties.

The album opens up with the vibrant, funky arrangement of “Call Him Up (Jesus Is On The Mainline)” by Rev. Milton Biggham. Spruced with synths and contagious rhythms, the song spreads out into two segments (Part I, Part II) and both totaling, when combined, an astounding eleven minutes in length. Probably too long for some listeners and even gospel radio - when getting into the groove, it’s hard to believe how cool this twelve minute song comes off. It is mesmerizing how Biggham, the famed Georgia Mass Choir developer, comes on board to assist the newborn choir and contributes a dynamic opener for the disc. When songs like Curry’s over-energetic “I Just Can’t Tell You” (featuring a memorable Lillian Lily on lead vocals) and “Having You There” are heard, the posture of the choir’s harmonies and intense delivery are at its peak. Frank Williams lends his vocals, along with a very passionate Leah Curry, to the nine-minute balladic arrangement of “Near The Cross” - a sultry, breathtaking performance that may beat out other arrangements of the classic hymn. Then there’s Rev. James Moore’s appearance on “I’m Pressing On”, which features a keyboard-only introduction with Moore working up the crowd with his vocal crooning and aerobics. The song later explodes into a funky, rebellious groove reminiscent to the Thompson Community Singers’ pulsating, uptempo cuts.

Favorable, but often times overlooked, cuts like the smooth, reflective ballad “We Shall Meet Again” and “Lord We Thank You” are also in the mix and gives the album a laid-back, easy-listening replay value. Rev. Benjamin Cone’s culminating sermon, “The Birds”, was so moving that Cone’s presence has been included on every Mississippi Mass Choir release since. Ralph Lofton’s Hammond organ display is unusually powerful and excellently marinates with Cone’s storytelling.

The choir’s self-entitled project became a very fine chapter in the repertoire of both traditional and contemporary gospel music and helped position the mass choir renaissance back into the spotlight. It also prepared the group for extreme pressure since they were already at the top of Soundscan and Billboard music charts in a matter of weeks. Williams knew he had to come up with the perfect follow-up to such a popular debut. That he did with the best-selling God Gets The Glory and It Remains To Be Seen albums - but none had the effect that their first installment had. Truly, Mississippi Mass Choir is a fine, balanced and satisfying representation of Malaco’s Cinderella artist.