::ALBUM REVIEW::

Ron Winans once again unites a slew of his comrades and buddies, along with a strong set of his award-wininng siblings and family members, together for a festive live set of music that simply gives you flashbacks of Detroit magic. And any fan of Ron Winans' family reunions will be very pleased to know that this one keeps the ball rolling - in the same productive pattern of his previous workouts.

In the music department, the stage is set with Ivan Powell (of John P. Kee fame) as music director, while Antun Foster handles vocal arrangements. Another student of John P. Kee Academy is Ladell Abrams, who aptly handles the drums with robust energy and class. With a Grade A band in place, the album opens up with sheer magic with Luther "Mano" Hanes' "The Lord Has Been So Good"; a daring, contemporary rollercoaster filled with all of the right ingredients for a joyride. With an East Coast vibe and pretty technical choral parts, the song begins the project with affection. And things only get better. Guest apperances from the Katinas on a spirited "My Father's House", R&B diva Gladys Knight on Wanda Nero Butler's "Can't Help But Love Him" and Jesse Campbell (known for his pivotal work with T.D. Jakes and Rev. TImothy Wright) jumps in on the fast-tempo "Standing Here".

One particular set-back this album possess is its very slowful mode that flows from beginning to end. There's just not enough fast songs to make this recording such a brilliant masterpiece. But anyone that knows the Winans' material knows that they highly suggest slow-tempo ballads and beautifed lyrical statements. With that said, one must observe the content of these songs to actually notice this album's true beauty.

The proof is here. An emotional experience is defined on "I Shall Not Die But Live"; a song co-written by Ron Winans and Dana Davis. Ron, himself, sings the song with mighty conviction - bringing the spirited lyrics to yet a higher pleteau. During the vamp of the song, the background choir brilliant esclates with an inversion and incredible harmonies. "I Made A Promise", a seven-minute journey featuring a cast of Gospel's praised male vocalists featuring Shawn McLemore, Commissioned's Marcus Cole and Rance Allen, demonstrate their incredible vocal gifts on this traditionally-driven cut. The song then bursts into an unexpected, but well received praise break - with Pastor Marvin Winans leading the congregation in. BeBe Winans also provides a tender moment of meditation and worship with "Safe From Harm"; a sensitive ballad set to a lush musical background reminscent of Burt Bacharach. BeBe's, unlike any other slow ballad, delivers one of the best vocal performances he has ever recorded. Gwen Morton, known for her delightful and historical labor with the Whitfield Company singing such standards as "I'm Encouraged" and "Oh, Hallelujah", covers the Gorden Jenson classic, "Redemption Draweth Nigh". The song will even give you distinct, yet short reminders of her early work with Whitfield. Though her vibrato has increased a bit much over the years, she still delivers with grace and innocence - as she so wondrously does on this track. CeCe Winans jumps in with her brother on a sweet rendition of Jackie Pharris' "My Help". Things only heat up as Vanessa Bell Armstrong delivers an awe-struck rendition of Dr. Mattie Moss Clark's "Salvation Is Free". Twinkie Clark was known for her organ mastery on this hit back in the 70s, but Antun Foster steps in on Twinkie's absence and delivers a mesmerizing performance filled with engaging foot-pedal action and mighty thump. Armstrong graciouisly ad-libs with precision as the choir churns with high emotion and intensity towards the song's vamp. Amazing thing about this track is that it opens up smooth, then explodes with power, then fades back into its smooth caccon. Indeed, "Salvation..." is one of the album's better attractions.

Other album keepers such as "Holy", a beautiful worship gem formed perfectly for choirs, and "Walking In My Season", help cultivate the beauty of this album. Truly, this album is a wondeful trip from beginning to end and actually gets better after several repeats. Even though the album does possess one obvious flaw in its post-production (giving off an akward, raw sound and a volume unbalance that puzzles listeners in most places), "A Celebration" uplifts the wounded soul and possesses interesting moments that should not be ignored.