::ALBUM REVIEW::
by J Matthew Cobb
Posted: April 13, 2009

One good look at Tabatha Roy and you see the innocence and the youthfulness of Tarralyn Ramsey, a first-generation Verity Records freshman that once garnered the reception from industry pros and fans of a veteran gospel sensation. For those that don’t remember, Ramsey gave up on her dreams of being a gospel singer in hopes of making it in mainstream when she entered one of the first of reality-TV “search-of-the-next-superstar” sweepstakes (VH1's Born to Diva!). She won and was signed to Casablanca while releasing another album to go nowhere. Fate had delivered a cold blow twice. But her gospel entry, fueled with hefty production from Donald Lawrence, Carnell Murrell, jazz guru and NBA-pro Wayman Tisdale and performances from F. Darnell Davis, Patrick Love’s ensemble and Tonex’ made her debut just as interesting as her voice. Tabatha Roy definitely has the charm that Ramsey once showcased, matched with outer beauty and a fresh clean resume’, and as an independent act she does a good job in connecting with her friendly comparison. On her album Worship You, the production duties are spaced out between Murrell and Tisdale, while the other half of the album, serviced by Kermit Evans and Ken Kelly, do a fine job in matching up with the well-known champions. Roy also co-writes all but three of the tracks assembled - providing listeners with the assertion that she knows what to deposit as an artist. But as the eleven-track studio offering unfolds musically, high expectations are lowered to minimum fanfare.

Infectiously opening up the album, “Happy” submerges a familiar Barney children’s song into a ‘90s SWV-R&B swagger. By time Murrell takes over by placing his guest vocals on the final mix, the song losses some of its tenderness - thought its not much to write off the entire song. While a credible name for gospel songwriting, Murrell delivers a shabby dud on the non-transitional, chorus-repetitive title track where he also guest stars. As the album progresses, the production slumps and songs like “Can’t Live Without You” and the demo-natured “Put Yo Trust,” bearing Pace Sisters-esque background harmonies, fail to connect and blossom. Surprisingly the album does gain some ground towards the end of the collection. Ken Kelly rescues the acoustic-driven “Fall on Me” (thanks to Chan Horton’s live drum punches) and “Just Believe,” using light synths, sentimental acoustic guitar accents and Roy’s brilliant vocal approach. On “Surrender,” Roy revisits the serenading‘90s quiet storm while building on the Missy Elliot/Tweet aesthetic boasted by a big sound, throbbing with hip-hop bass and smart synth work. Even if the background vocals are in need of some overdub patchwork and Roy occasionally misses a few of the notes on the bridge, the song burns with urban gospel radio potential.

Worship You does suffer in part from its abrasive production edges and plenteous lukewarm melodies, but after a few careful listens the album, especially when finding the more vivacious cuts like “Fall On Me” and “Happy,” seems a little more interesting. And even on the lighthearted ‘80s gospel-inspired “Continual Praise” and the live-sounding “Joyous Day,” which uses a laidback neo-soul lounge layout fit for Ledisi, Worship You isn’t the slouch it originally projected to be. After a few listens it is easy to determine that Roy feels comfortable in her skin and the selected musical styles designed for her fit nicely. But with better developed melodies, a few carefully-paced ballads and some effective production, things would have been a lot more memorable.