::ALBUM REVIEW::

Since their brief, yet punctual performances on the 1994 live recording release of A Family Christmas, the Mississippi Mass Choir has now released a full-length holiday album bound to grab gospel audiences attention from first glance. We Have Seen His Star, sporting a whopping fourteen track flowing for seventy-eight minutes long and beautiful cover art, finds America’s beloved gospel choir in good shape with original team players on board including ministers of music David R. Curry, Jerry Smith and charismatic choir director Dorcus Thigpen. It is even more amazing to know that famed lead vocalists that have earned the choir a successful set of past hits are also on board including Lillian Lilly and Emma Curry.

The album, recorded live at the Jackson, MS-based Word and Worship Church, opens up with Donovan Thigpen’s launching contemporary cut “We See The Star”; delicately handled by lead vocalist Dathan Thigpen. Unfortunately, things take a mild turn for overkill towards the end with the song’s trapping key changes and its keyboard-supplied horn arrangements. It is very hard to actually pace the song’s next steps since it’s main intention is to show off and give off vibes of a nature of youthful-like rebellion. If crafted right, without all of the big dramatic shifts, the song would have been perfect for a Mississippi Mass holiday album. Filtering through the disc, it’s hard to find big highlights since most of the album barely owns well-crafted original cuts. A good start is the cool rendition of “Go Tell It On The Mountain”, featuring a spunky Lillian Lily on lead. Previously heard on A Family Christmas, the song opens up with gusto four-part harmonies of what feels like a William L. Dawson Negro spiritual arrangement. It then jumps into a sensational 80's contemporary gospel groove that is sure to satisfy any gospel music buff. Rev. Milton Biggham contributes “Jesus Is Born”, featuring a dynamic performance from Marva McKinley, is straight up traditional gospel with modern synthesizer layouts; layered with lyrics quickly explaining the arrival of the Christ child. David R. Curry constructs the original “Don’t Take Christ Out Of Christmas” on a foundation of choir-rockin’ energy staged with catchy harmonic twists, zesty handclaps and an upbeat groove. It’s far from being memorable, possibly due to Timothy Curry’s lackluster lead work, but it has an upright likeable nature that fits in with better-than-campy workshop material from groups like the Chicago Mass Choir. “Joy To The World” is awkwardly assembled as well, but Emma Curry’s captivating Patti LaBelle-like vocals are definitely passionate, intense and empowered with sincere joy.

Some of the familiar songs like “Silent Night” and “What Child Is This” are left untouched and are definitely worthy additions to the mix - proving that too many new additions can ruin a good thing. “Jesus, Oh What A Wonderful Child”, a favorite traditional gospel chorus found on plenty of holiday albums these days, is met with mild disappointment with the beloved Mosie Burks throwing in a set of misunderstood rap-like ad-libs on the vamp. Another problem on the vamp can be traced towards the drummer’s failure to add extra rhythmic intensity on the vamp. But looking beyond those heartaches, the cut is still one of the album’s inspirations.

The late Rev. James Moore can also be heard on the surprising bonus track, “Come All Ye Faithful.” Not sure where this song came from or when it was recorded originally, but such an inclusion is a Christmas present worth opening.

We Have Seen His Star, even in the midst of the holiday magic and sparkle, is a second-rate live recording session that is only supported by a few beloved occasions and moments of interest. In certain pockets, the choir’s vocals are a bit ruff on the edges. Surely the direction in the choir is changing and walking in a different direction. And while most holiday album releases go undiscovered because of its low distribution and seasonal demand, We Have Seen His Star may is confronted with wide load of controversy. Production laziness, lack of overdubs and mediocre arrangements are all a part of the big equation of issues surrounding this set. Maybe the choir needs to solicit newer compositions and possibly search for some solid, strong direction since the passing of their well-respected founder Frank Williams. After learning from such bad choices, let’s pray this is the first thing the beloved choir mentions on their Christmas list this holiday. Not a bad project, but disappointing coming from such an accomplished institution.