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Various Artists |
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::ALBUM REVIEW:: Arguably gospel music has strongly left its influence on a number of genres and styles ranging from rock, blues, R&B, hip-hop and country. From its inception that dates back to the spirituals and work songs of the South to the struggles of the Civil Rights movement, gospel music is best defined as the agonizing stories of the oppressed but alludes into testimonies of unbreakable courage and faith. The loads of inspiration from this heavenly music has created such a rich tradition in American music that has giving life to some of the greatest pioneers across most music genres. And for those that don’t know the story: Sam Cooke, Aretha Franklin, Elvis Presley, Little Richard, Curtis Mayfield, Joe Simon, Stevie Wonder, Maurice White, James Brown and Bob Dylan are but some of the major figures that benefitted from the soulful styling and life-changing power of gospel. And while its history, both vast and full of mountain highs, remains a never-resolving mystery to its fans and practitioners, it reaches a glorious peak in 1969 when gospel bobbed its head into the pop markets unlike no other spiritual anthem before it or since its release. To commemorate the 40th anniversary momentous occasion of Edwin Hawkins’ groundbreaking pop hit “Oh Happy Day,” EMI Gospel and Vector Recordings summoned up some very big names across a sea of music genres to pay tribute to the modern hymn and to the enduring legacy gospel music has on contemporary culture on Oh Happy Day: All Star Music Celebration. The single disc, eleven-track effort is impressive in how it takes popular and often-neglected gospel songs and updates them with rich arrangements and superior production. Often the songs dig deeper into the nostalgic traditional flavored gospel, with hints of blues and soul, but the songs adapt easily into their new abridged updates. Keith Thomas lifts Curtis Mayfield’s “People Get Ready” with modern synth sounds and drum programming while wisely putting the timeless voice of Rev. Al Green with the mature, convincing pipes of Heather Headley. Hardcore fans of Bon Jovi might not get the kick they want when they hear the original hard rock elements of their #1 hit “Keep the Faith” replaced with a hand-clapping, organ-pulsating churchy arrangement, but gospel fans will adore the welcoming addition especially when realizing how convincing Jon Bon Jovi is on a Sunday morning selection. Stevie Wonder’s “Higher Ground” is taken out of its more well-known funky form and submerged into Robert Randolph’s steel guitar and a more blues-drenched performance. Though it’s more of a predominant House of Blues performance, the Clark Sisters unashamedly work their vocals into the song with such sweaty “get-involved” aptitude that it feels effortless. John P. Kee’s barnyard “I Believe” is resurrected from his Not Guilty soundtrack and is herald by blues-rock singer/guitarist Jonny Lang. Accompanied by the legendary Fisk Jubilee Singers, the song returns back to its authenticity with its tambourines, hand-claps and Lang’s secure guitar work. Mavis Staples duets with folk-pop singer Patty Griffin on the Consolers’ runaway-themed gospel ballad “Waiting For My Child to Come Home.” The refreshing arrangement capped with Griffin’s young vocals, Staples’ experienced gospel groans and a big choir sound are the key ingredients to tastefully revive an overlooked aged gospel artifact like this. Dobbie Brother Michael McDonald, no stranger to the gospel tradition, brings his blue-eyed soul to his newly-penned “Storm Before the Calm.” The song, penned to a churchy quartet zing, gets some serious bandwork and the choral support from the West Angeles COGIC Mass Choir. The heart of the album centers around two very outstanding, stand-out performances. Amazingly for Hawkins’ “Oh, Happy Day” to be covered over a zillion times in recent history, Queen Latifah injects her spark and youthful pizzaz into the Cedric Thompson arrangement; easily becoming one of the more interesting takes on the 40-year old contemporary gospel hymn. For alternative rock band 3 Doors Down to have never perform a gospel record, their daring, textured rendition of “Presence of the Lord” - culled from Eric Clapton’s 1973 Rainbow Concert album - is as interesting as gospel is going to get. The blending of the original rock frame with an edgier funk/rock gloss and a smart gospel presence highlighted by Sharkey’s obvious Hammond B-3, Johnny K’s acoustic-driven production and the soulful echoes of the Soul Children of Chicago. When the infamous bridge enters, the electric guitars wail up, the rhythms explode and the choral responses, all segued together, is the perfect illustration of the ‘60s musical experimentations. Probably the only dry moment is the, only met with mild resistance, is the African world meets gospel take on Bob Marley’s “Redemption Song.” Although the song paints a lyrical picture of the tortures of physical and mental slavery and should welcome an interpretation from the heartlands of Africa, Angelique Kidjo’s performance, even with the light urban beats is far much dryer and resilient to the original. And while Aaron Neville’s “A Change Is Gonna Come” is brilliantly matched for his cool velvety voice, the performance is taken from his 2003 EMI Gospel debut project Believe. Much of the album bears physical reflections of most music styles especially with the big rock names and the R&B/soul legends. But the roots of traditional gospel are carefully embedded into each offering without drying out any of the fresh arrangements. While various artist-slated compilations may scare off those looking for a cohesive, balanced album, there hasn’t been much of an exciting assembly using wise productions and song choices that appropriately pays homage to the moving sounds of gospel like Oh Happy Day, unless you want to count 2003's Gotta Serve Somebody: The Gospel Songs of Bob Dylan. If marketed properly, we could probably bank on a “made-for-PBS” special to be in the works. Oh Happy Day is a glorious, once-in-a-lifetime event that gives gospel the props it wondrously deserves.
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