::ALBUM REVIEW::

Buzz artists tend to catch our attention from time to time. And for quite sometime, Sean Simmonds remained in waiting as he wrestled for the right time of exposure and a spotlight in the industry. After paying his dues singing with Sharon Riley & Faith Chorale in his hometown of Toronto, Canada and making a lasting impression in the music world while attending school at the renowned Oakwood College with urban gospel group Chapter 5, the atmosphere has finally unveiled a season of birthing for the creative soul of Simmonds. Xist Records has released "True Story"; a collection of studio cuts mostly recorded at the now-popular Woodaworx Studios in Huntsville, AL; mostly produced and mixed by Kelvin Wooten (Jamel Strong, Anthony Hamilton). Neo-soul, R&B vibes dominate the mix here, while the songs infuse innovative hip-hop beats that feel like a Ginuwine project and musical motions that resemble Tonex's tamed material. Cast the idea of hearing gospel-influenced material out: this is a project that captures the sound of modern urban radio on top of safe, inspirational lyrics. But it is apparent that Simmonds has smooth, soulful clear vocals and demonstrates the power of his range on most of the album's ballads.

The power ballad, "Won't It Be", stands out mightily with its engaging smooth instrumentation and Simmonds' careful vocal expressions on the lyrics. Reflecting on the hope of seeing Jesus Christ and those loved ones whom have gone on before remains the heart of this song's foundation. You can also hear the influences of Smokie Norful on some of the intense moments of the verses and chorus. All of these fundamentals help make this song a definite delight. "Soul Glo", penned by Simmonds and Wooten, borrows a familiar, humorous line from Eddie Murphy's "Coming To America" and incorporates a sensual Isley Brothers slow-jam rhythm to a spiritual lyric. Omari Williams' live drums captures a neo-soul energy here, while Wooten's mastery on the boards are spiced with excellent delivery and timing. Definitely radio-friendly, on both R&B and gospel formats. "Look At Me Now", comes as a surprise. Montrell Darrett, whom has been extra quiet lately in the industry, produces the cut and also handles background vocal duties here. His creative mark is very much visible here, while the relaxed number reflects a subtle quietness unheard of in most urbanized gospel. Grooves found on the breezy "Can't Stop" and the powerhouse rock/hip-hop jam "All My Life" are also meaningful musical pleasures.

Most of the beats and production here are top-notch and definitely showcase the creative drive Wooten inhabits. "Don't Do" has a background of a master hip-hop creation, but it is lyrically challenging and almost feels like a distraction since it feels like it strives too hard to impress. The song has innovative appeal, but it goes a little over the top in the lyrical division. Remember Lauryn Hill's "That Thing"? Using the idea of a piercing, piano loop on "For Love" is a smart move here, but there's not a memorable melody here that has that sing-a-long effect most expect from an uptempo tune. Blame it on the flow of the lyrics. It just seems too busy and too much for such a cool musical arrangement. "God Bless The Ghetto" (produced by Linxkanek) offers hope to the hopeless and wisely uses the modernized sounds of fast-forward pitch effects on top of a rhythm-and-praise arrangement, but the monotonous, repetitive lyrics breathe a lackadaisical spirit upon the strong beats.

Fans of Usher, Ginuwine and any of P. Diddy's past work will find it easy to dig the production on "True Story". Hearing Simmonds' vocals, even on the B-side tracks, will even spark a great deal of interest in those seeking for fresh and innovative voices in modern gospel. There's such a great deal of talent tucked here - but there are several bad spots here to point out; mostly in the arrangement of the lyrics and rhymes while other songs sound like indirect clones of one another. You can expect this on an urban gospel debut these days. Amazingly, the production and master beats are presented with a progressive, cinematic style that fits just right on Simmonds' voice. But lessons are learned from first experiences, and we are hopeful that Simmonds and crew will take these ideas into consideration on the next round.