::ALBUM REVIEW::

After teasing us with his crafty songwriting on various projects ranging from Bishop Larry Trotter to Mark S. Hubbard, the Chicago native finds enough time to record his national debut project on the Tyscot music label. Recorded live at Sweet Holy Spirit Church, pastored by Bishop Larry Trotter, in Chi-town, Mitchell presents a fresh set of special baked material sung by some of his friends and other colleagues on background vocals and familiar musicians which include Rick Robinson on keyboard, Maurice Fitzgerald on bass and Calvin Rodgers on drums.

This is mostly choir music, so Mitchell does take a backseat on a good sum of the material; even allowing several to share lead vocal duties in various spots. The album opens up with Resean Buckley - sounding incredible on the praise-and-worship-oriented “Where The Praises Are”. The bump and drive is refreshing and helps accent the sweet melody. The opener flows immediately into “No Way”; sounding so identical you think it’s a reprise for a minute - even though the topic of discussion is changed. VaShawn Mitchell jumps on the microphone; graciously narrating and singing with a jazzy approach. Mighty intensity arises on the vamp, as Mitchell’s music mostly does. The choir sings aloud “It just won’t work” and then inverts into a powerful war cry with Mitchell skillfully providing moving exhortations. “Destiny”, one of the last up-tempo songs, is a contemporary-urban jam filled with lightweight funk, affective chord structure and spellbound energy.

Yet there are some unpredictable shortcomings. The album falls too much on the slow tempo side; probably one of the obvious disadvantages this album presents. The ballads (the inspiring title cut, "S.O.S, “Lost In His Presence”, “Encouragement Medley”) are elegant in style and presentation, but they are too weighty in comparison to the fast tracks and tend to overshadow them. Maybe that is the reason because the remainder of the up-tempo songs feel like album fillers. But just to hear Evangelist Monique Walker on Mitchell’s latest emotional masterpiece, “Your Tears Have Paid Off” is sufficient to the ears. This song shows an elevation of Mitchell’s songwriting - merging deeper lyrical expressions with effective musical moods. It almost sounds like a song in the style of a Donald Lawrence or David Frazier composition -the blessing is that there’s enough originality in this song to put Mitchell in a class of his own. And Walker’s sultry performance has you wondering why we have not heard more from her in recent years. If there is one slow song this album is sure to bring demanding attention to, it’s this one.

Another disadvantage this album presents, which actually isn’t Mitchell’s fault. Mentioned in the liner notes, “Good News”, an arrangement of the classic Negro Spiritual, it is accredited to Donald Lawrence. This is a fatal flaw indeed, especially since this arrangement was actually created by Michael L. Pickett. If you have the GMWA Youth Mass Choir project “Live In New Orleans 2000" or if you are a member of the NCGCC, you know this to be true. Though the song bears a more laid-back, acoustic guitar in comparison to Pickett’s version, the song still packs a hefty punch. But, giving credit where credit is due is essentially important when claiming an artist’s integrity. In this case, Mitchell bears the burden.

And if you want to get more technical, listen hard to the fading of some of the songs (which include “Destiny”, "S.O.S" and “Grace And Mercy”) and you will hear early cut-offs. Unlike vinyl records back in the day, this problem is an end result of a quick rush job; probably hurrying to get the music out on the shelves. Maybe this problem may change with the next printing.

Overall, “Believe In Your Dreams” has lasting potential and is sure to pick up momentum over time for the unforgettable moments expressed on it. You will be hearing more from VaShawn Mitchell - this album definitely proves that. Let’s just hope that he has analyzed the obvious deductions (not that many but are critical) represented here. With the right finishing touches, this album could have been unavoidable.