::ALBUM REVIEW::

It's so hard to imagine the density of talent in the St. Paul/ Minneapolis area, especially since we always thought that the inhabitants in that area were far from soulful. But things begin to shift when artists such as Prince, Morris Day & the Time and Jimmy Jam & Terry Lewis took centerstage in the 1980s and 90s. Then comes the gospel story. Sounds of Blackness invaded mainstream radio and doors flew open for Minneapolis. Add Excelsior and James Grear & Friends to the mix and you basically have a fine introduction to the anointed sounds of gospel from that area. And even though they have humbly paid homage to the musical creations of their neigboring Northern cities such as Chicago and Detroit, they have definitely proved to be authentic and pretty much original.

One of the helpful innovators of the updated contemporary spunky sound from that area is F. Darnell Davis. After successfully penning half of Excelsior's big hits and making rounds on James Grear's recent musical offering, Davis steps out with a fresh, vibrant fourteen member ensemble, The Remnant, which also features former and current members of Excelsior. And while weighty comparisons will surely fly because of the obvious relations, The Remnant attempts to tackle new ideas and concepts from their musical leader in order to paint a different impression from Excelsior. And while those attempts fall short, it's wonderful to hear Davis doing what he does best. He pens eleven of the twelve infectious cuts here and co-writes the twelveth one. Add co-producer Brian Kendrick to the musical table, providing impressive and well-polished rhythmic patterns to the drums, and the foundation is set.

Off the record : Irresistible grooves are sure to find. Opening things up is the sentimental worship tune, "I'm Yours", with its flourishing musical developments and swaying rhythms. It has that good feeling of sensationalism that would be found in an emotional scene in an animated Disney film. But the song is an intimate depiction of God's importance to our lives. And when the vamp begins, with its groovy modulations and Davis providing worship leader duties, it is evident that this song was and is the perfect song choice for an opener. "That's Love" is Excelsior material in all of its glory, with a light hip-hop bounce and heavy bass. Hearing that defined vibrato and the thick harmonies on the Remnant begins to make you wonder how a fourteen member group pulled this one off. R&B crooner Stokley, lead singer of Mint Condition, guest stars on "Stop Frontin'" and fits perfectly on his type of vocal. The mid-tempo groove is heavily covered with live band attributes (from the drum to the lead guitar from Mike Scott) and the irresistible neo-soulish Korg chord action from Davis; making this a winner from the first listen. "Give Thanks" sounds like the sequel to Excelsior's "It's My Time"; all thanks to Nesey Davis (whom also provided the lead vocals to the popular hit). She surely brings the drive to this one with her compelling high register, but the song features that excitement Davis' uptempo songs tends to bring. Even with how the song was penned, it moves like "It's My Time". Probably not a sagacious decision, but the groove is too hard too resist.

Slow songs fall easily into the praise-and-worship camp and this is not coincidental. Songs like "Fill This Place", "Why" and the intense "Show Your Glory" portray rich depth in Davis' artistic explorations. The songs are moody, dark and elusive in certain pockets, but eventually blossom into harmonic fluidity; evoking spontaneous moments of thick worship. It's pretty much a Richard Smallwood-musical odyssey here.

The closing chapters of the project contain some neat music. Hearing the creative "Interlude: Funky Sermon" helps explain the purpose of the Remnant as Stacey Jones expounds in spoken word form with an irresistible Rhythm & Praise foundation. Add a jazzy instrumental segment to the end of "He Has Been Good" and you are bound to agree that this project contains creative juice.

Any problems here? Besides the inclusion of two rhythm parts on "Oh Give Thanks" (when the latter one featuring a rap from Just Live is the most effective and the shortest), the album is too short. Only clocking in at fifty-four minutes, you begin to feel short-changed after a good run-through of this one. Plus the abundance of the lead vocalists seem to be a bit timid and lack the needed charisma to complete a studio project like this. But there's more to embrace and cherish - which overshadows the notion of this being an uneven or dissatisfying project. The Remnant delivers a satisfying stew full of prominent harmonies and tasteful melodies along with delicious lyrics. Expect more to come from this colorful group of singers. No doubt.