::ALBUM REVIEW::

One of the greatest vocal stylists to ever emerge from the pop and urban contemporary world, Regina Belle has proven to be an excellent singer with a great passion for versatile music expressions. Although she is best remembered for her groundbreaking Columbia debut project and the best-selling sophomore follow-up Stay With Me (which yielded radio hits "If I Could" and "Baby Come To Me") during the late ‘80s, Belle stormed into the adult contemporary music market in the nineties - while reinventing herself - with critically-acclaimed album releases and the explosive #1 pop single "A Whole New World (Aladdin’s Theme);" featuring an unforgettable duet with R&B crooner Peabo Bryson. All of this led Belle to the top of her game and easily positioned her as the Anita Baker of her generation. At the turn of the century, classic soul music was overshadowed by the commanding beats of hip-hop; eventually leading Belle to once again rediscover her lush R&B and jazz roots on subsequent album releases (This Is Regina!, Lazy Afternoon). And at a time when soulful R&B has returned to its wonderful form of glory with the recent success stories of Alicia Keys, John Legend and Ledisi, Belle unexpectedly surprises her supporters with a super return to her gospel roots on her first-ever gospel entry, Love Forever Shines. But it should not come as a big surprise since Belle, even with her Nancy Wilson-esque smooth pop/jazz stylings, has one of those voices that usually expands with intense emotion and soulful vigor - common traits that are normally synonymous with traditional female gospel singers.

The independent project, released on Ruben Rodriguez' re-launched Pendulum Records, is a fourteen-track studio offering that flutters through an array of sophisticated gospel diversity spanning from beefy traditional gospel to Belle's usual powerhouse pop ballads and adult contemporary sounds. And it's best to say that she handles most of the styles with glowing and satisfying results. The ballads, her greatest triumph, are the album's greatest material - led by the the charming sounds of "Victory." The song, co-written by Belle, owns a sweet Oleta Adams flavor - featuring Belle's distinguished smoky vocals, subtle strings and well-placed keyboard sounds. Her belting enlarges towards the end as the song reaches a powerful climax that solidifies her ranking in power ballads. Chris Walker's "I Call On Jesus" is beautified with moving lyrics pointing to God's divine providence and features a classy duet towards the end with 80s R&B diva/gospel psalmist Shirley Murdock. "Who Touched Me", gorgeously penned by renowned gospel composer V. Michael McKay, retells the biblical story of the woman who had enough faith to stretch out to touch the hem of Jesus' garments. But it is the seasoned choice of keyboard sounds and the nature of the ballad's melodic flow where the song perfectly suits Belle's commanding vocals and revives her gospel-styled R&B base. Songs like the goregous title cut, "Come Into This Place (Worship Song)" and the closing cut "I'll Never Leave You Alone," with its tranquil jazz sounds, also help support Belle's colossal reputation amongst gospel audiences.

But Belle doesn't disappoint on the more familiar traditional gospel outings and delivers a good, healthy dose of authentic gospel to the mix without compromising any of gospel's strongest ingredients. "Can't Nobody," penned by Shawn McLemore, rocks with Sunday morning joyfulness and is primed for radio airplay. The ample amounts of ad-libs on the song's vamp showcases Belle's impromptu skills on a quick, spirited cut of this nature. "Almost Slipped" feels like a Donald Lawrence/Kevin Bond contemporary number; laced with sweet background harmonies and a funky vamp synonymous to big gospel choir performances. "Good To Be Loved" features a duet with Melvin Williams (of the Williams Brothers) and blends Al Green bluesy soul with neo-soul R&B. "God Is Good," the album's first radio single, may run across a few criticisms. While the heart of the song is in the right place for returning to the ol' skool gospel tradition of acapella, the lengthiness of the album version - clocking at eight minutes - is too much for the average gospel listener - especially for a song that is patterned in the traditions of devotion-based congregational hymns. On top of that, the opening introduction from her brother and the repetitive lyrics bears a burden that may cause Belle's fans to detour from the rest of the album.

Throwing a few urban-laced and hip-hop-tinged R&B vibes isn't too risky for Belle, but should still be done with carefulness and a great deal of sensitivity. Her voice is too polished and interesting to be attached to weak, mediocre production. This happens in a few spots on the disc, such as the predictable "God Said" (featuring a very elementary rap from guest artist Browneye) and the Oriental synth sounds bearing down on "My Destiny." These productions, even though they aren't intolerable, feel a bit outdated and may have fared better in the hands of Bryan-Michael Cox or Rodney Jerkins.

Even without any big gospel producers on board, Love Forever Shines is a wonderful and careful entry into gospel for Belle and should be embraced by her loyal fan base as well as those curious to what she is capable of producing for the gospel market. Her recent announcement of being called to the ministry and serving the Body of Christ as an evangelist will probably win even more listeners her way. But without all of the big support agendas from the press and super marketing schemes, Regina Belle delivers a powerful collection that succeeds most recent gospel projects from mainstream artists and showcases a comfortable and relaxed Belle doing what she does best. This time around, the lyrical content now speaks about a deeper love that's vertical and not horizontal. Though we aren't really sure if gospel is a longterm deal for her, Belle is still kicking with talent and proves she is far from being out of the game.