::ALBUM REVIEW::

In 1991, Savoy Records, still based out of New York at the time, was enjoying a lucrative season of well-accepted, best-selling projects on the charts. Albums from the Georgia Mass Choir, Rev. Clay Evans, Dr. Charles G. Hayes, LaShun Pace and Dr. Jonathan Greer had positioned Savoy back on the Billboard charts and had earn them such a visibility that it rocketed their success to the masses - even with the usage of the small, independent backing of Malaco Records as their sole distributor. It didn’t take much time for Reverend Timothy Wright to join in on Savoy’s mighty run in the early ‘90s with the release of I’m Glad About It - an eight-track juggernaut filled with Wright’s signature Brooklyn gospel style, catchy melodies and electrifying performance set off by the combined efforts of the Chicago Interdenominational Mass Choir. Mostly all of Chicago’s finest including soloists, choir directors and musicians came out to support Wright in this endeavor and features a superb list of talented greats (Brenda Moore, Michael Weatherspoon, Cynthia Nunn, Tyrone Dickerson, LuVonia Whittley, Tina Watson).

Things start off funky with Wright’s uplifting “Trouble Don’t Last Always” - one of his most prized and highly-recognizable compositions. Featuring Wright’s trademark gruffly vocals and keen direction, the song runs through a memorable melody into a vamp secured with all the right elements for a good time. “Yes, I’m A Believer” also captures the same feel of enjoyment - opening with broken up choral parts and a relaxed accompaniment and later exploding into a highly spirited declaration of faith with the parts mending together in joyful harmony. The song is simple, effective and became one of Wright’s greatest hits. Even though Wright doesn’t pen all of the tracks featured on I’m Glad About It, he remains the center of attention and colorfully reveals his passion for progressive contemporary gospel music for Sunday morning repertoires. The title track, for example, rings with the youthful energies of John P. Kee and Hezekiah Walker material and is impeccable in its presentation from beginning to end. “Master Can You Use Me”, one of the album’s underground treasures and sure highlights, finds Jesse Campbell (best known for singing on many of T.D. Jakes’ musical projects) delivering a passionate lead vocal and is surprisingly remembered as one of his early appearances ever on record. Other cuts such as Cynthia Nunn’s “Know Your Place In God” and Benjamin Love’s lovely balladic rendition of “My Savior’s Love” (featuring guest vocals from Tina Watson) help complement the album’s stronger, funky cuts and gives the album the needed cushion for easy-listening and a great replay value.

It’s amazing to hear in places how dated James Perry’s horn and string arrangements feel, yet still rings with solid fervency and pretty much defines the early-90s contemporary gospel sound. Years since its album release, I’m Glad About It stands out as one of the era’s greatest highlights and ended up being one of Wright’s defining moments of gospel creativity.