::ALBUM REVIEW::

Purely one of gospel's most enduring records during the eighties, "I'm Encouraged" (1986) is treasured by many for its evolutionary craftsmanship, brilliantly executed contemporary music and wonderful set of Whitfield classics. Recorded live at the Civic Auditorium in Cleveland, Ohio, Thomas Whitfield, along with his renowned aggregation of singers known as the Whitfield Company, delivers an eleven-track presentation featuring some of Whitfield's most intimate material. And listeners are bound to agree when hearing the album's opener, "I'm Encouraged". Amazingly, the song is a smooth ballad but it is soaked with delicious chords, a hearty bassline from Kern Brantley and irresistible harmonies. Gwen Morton passionately delivers with her captivating soprano voice and her charming and controlled vibrato elements. Surprisingly, Whitfield jumps in on the reprise with encouraging narrations and intricate piano deliveries while leading the congregation in an interactive praise. It is at this point where history begins and the rest is purely an act of God.

Every cut presented is distinctively perfected in Whitfield's care. "When I'm Weak I'm Strong" slowly builds up with pumping organ work, slow walks on the piano and is lifted with its powerful vamp and touching lyrics. "By and By", an intricate arrangement of the popular hymn, is an eight-minute odyssey featuring uncanny chord developments and choral brilliance. When the vamp kicks in, using strong rhythm punches and keynote chord swings, the song drives home the beauty of the hymn's chorus. Then comes one of the few uptempo cuts made available: the unforgettable, groovy "Up Above My Head". The song is majestically crafted; fusing elements of sweet funk, neo-classical and West Coast R&B. But when the song slides into the closing bridge, the tone totally changes into a riveting, never-ending display of nastay funk dosed with layers of intense 80's synthesizers and captivating drum work.

One of the most memorable presentations of Whitfield's career is the graceful arrangement of "Never Alone"; which is also captured here. Arranged by Rudolph Stanfield, the song features the soulful, brilliant deliveries of Jo Ann Brown and dives into several modes including traditional channeling grooves, hearty dark build-ups and the gorgeous phrasing of "He won't leave me" (which somehow leaves a valuable and permanent imprint in the conscious of the listener). It is that same phrasing that envelops the sensual reprise in which is mostly rewarded with popular favor. Whitfield lingers on the thought, ministers with passion using soft piano touches and his Detroit-influenced smoldering vocals while Stanfield excellently plays the Hammond alongside the Maestro. The choir continues their outstanding background duties while the song continues to drive home its inspiring message. John Askew's "Wrapped Up, Tied Up, Tangled Up" also uses the amusing, colorful foundations of "Never Alone" while wrapping itself around the Company's professional voices. Larry Edwards jumps in to add to the moving masterpiece.

Stanfield also contributes the spirited, churchy "Praise His Name", which features lead singer Gwendolyn "Wendy" Davis in her element. The shouting session goes to a brilliant level of delivery towards the end with major, on-time foot-stomping and hand-clapping from the Company.

Closing out the project is the worshipful "Dear Jesus". By far one of the greatest examples proving how amazing Whitfield's craft was, this cut features passionate layers of piano execution, Whitfield's mesmeric vocals and an intricate and unforgettable choral performance from the Whitfield's army of singers. And with Whitfield's neat way of revealing his loving personality, who can resist his shout-out to the city of Cleveland by mentioning the place of recording in a worship song. How remarkable. Most students of the Whitfield Academy of Higher Learning will cherish that one infamous line: "tonight in this Civic auditorium".

Even though there is a definite lack of fast cuts here, Whitfield blots out that void with strong ballads and powerful musicianship. It only proves why the songs from this Billboard Gospel Album of the Year (1986) is still being heard and played in churches, community choirs and on radio stations across the globe.