::ALBUM REVIEW::

It seems like only yesterday when emerging new sensation Tye Tribbett & Greater Anointing stormed their way to the forefront with Life, their debut offering on the Columbia/Sony music label, in 2004. Before that moment, Tribbett and his Camden-NJ aggregation were bold buzz artists; working with a number of artists ranging from Faith Hill to Usher and made their national arrival on Dreamworks/Disney's Prince of Egypt motion picture soundtrack back in 1998. Since 2004, Tribbett has had great success landing a couple of hit singles on gospel and urban radio charts including "No Way (The G.A. Chant)," "Everything" and most recently, the go-go hit "Victory." While criticisms from both sides of the spectrum met Tribbett due to the tough challenges of his most recent material, his bouyant charisma and the exhaustive mixing of musical styles and genres into his repertoire, he still is praised for being one of the gospel industry's freshest challengers since Israel Houghton and Tonex'.

Fast forward to 2008 and Tribbett continues the ongoing musical saga with his latest project, Stand Out; his third collection on the Columbia label. Mostly recorded live at a "standing-room-only" Rock Church International in Virgina Beach, Stand Out feels so much like a hybrid of a studio offering with live-natured punctuations including live drum work and occasional horn blasts. Guided by Tribbett's supporting band Soundcheck, the project production makes a few important advances by providing an ecclectic, yet comfortable musical arrangements by merging styles of neo-soul, pop, funk and contemporary gospel. Stand Out is not as busy and chaotic in nature of Victory Live! - a big plus for this offering - but it does take the pluses from the growing pains of their previous collection and staples it to the wisely-guided and well-executed Life project.

The album's title cut is hardcore and blunt in presentation lyrically and musically, but the military-like rhythms and rock elements give off outbursts of delicious funk. Rousing sonic synths and familiar unison chanting similar to Janet Jackson's "Rhythm Nation" give the song additional hype, but Tribbett's vocal and song leading trims the edges of the toughness of the music and brings things back into gospel territory. It's also a very preachy cut and bound to rough up a few social groups' feathers - from worship leaders endulging in R&B and hip-hop to "living together unmarried." In the song, Tribbett addresses the calling of God to raise the standard of holy living. If they find it hard to dislike the lyrics, their attention will remain with the striking music. "Look Up," also featuring Kierra "KiKi" Sheard on lead vocals, is a continuation of the brief prelude found on Tribbett's debut project and is more jazz-embellished than neo-soul with its serenading soft-spoken horns and cool, breezy groove. "I Need You," penned by Dana Sorey and Tribbett, walks the thin line of pop worship and CCM while entering into passionate pleas for God's presence and protection, but it is refreshingly penned without any big and dramatic key changes or overcooked choral vocals. Of the major highlights, the bonus track - "Good In The Hood" addresses the stereotypes of urban living and offers up some positive relief on the "hood." Attached to the heavy lyrics are the very impressive club-embossed hip-hop beats and the familiar speed tracking trend used on the lyric: "I got something good inside of me." All of this along with Tribbett's cute singing-meets-rapping method (almost like Nelly meets Kanye West) makes into urban crossover material.

On the worship front, "Let Us Worship," mushed in the middle of a uptempo praise medley, is sweetly rendered with rock gospel overtones capturing a sing-a-long vibe and sweetly climbs up a ladder of spirited modulations. Worship natured in its setup, "Chasing After You (The Morning Song" is beautifully rendered - passionately handled by Aaron Camper and Tribbett - and glimmers with intense CCM pop balladic warmth. "Bless The Lord (Son of Man)" features co-author Jon Owens on lead on a contemporary worship church anthem that paces the trail of most modern Israel Houghton and Chris Tomlin compositions.

But adventerous is the name of the epiosde when Tribbett enters into traditional gospel terrains. Kim Burrell guests on "He Has Made Me Glad;" once again showcasing beefy vocal aerobics spearheaded by super drops and rolls. The song, also featuring Melvin Crispell on organ, journeys through a rollercoaster of choral dynamics that somewhat resembles James Hall's work. With better results, the song for the most part doesn't come across as being gothic in its appearance, even though the closing minutes are overdosed with rhythmic showcases. "I Made It Through" gives fast-paced charismatic churchy music a big makeover with its circus, big-top flavored sounds but later goes into a lengthy, drawn-out, highly theateric performance that feels more like a Broadway opera than a Sunday morning presentation.

Without all the big eclectic variances of Victory Live!, Stand Out is still a unique display of progressive urban gospel music done using more of the traditions of conventional gospel music. And though Tribbett walks a thin line in making live material sound too much like studio cuts, the high energy, sporadic jolts and charismatic personality that Tribbett fans adore is still a part of the program. While there's a bit of predictiability that rests on some of the worship cuts, Stand Out - a monumental improvement - is a better suited listening experience and uncovers a very important shift into stronger, balanced songwriting along with putting more attention on radio-friendly content.