::ALBUM REVIEW::

Every now and then we miss a few good projects along the way. Usually by overlooking them because of location or by the artist's associations. But the joyous church sounds of the sanctuary choir of the Salem Baptist Church Music Ministry, also known as the Voices of Victory Mass Choir, deliver a careful collection of songs on their Blackberry Records debut. Produced by GMWA favorite Jay Terrell and renowned producer and songwriter Rudolph Stanfield, "They That Wait" contains ten selections that are heavily fixed in a steady, unfaltering traditional flavor and is greatly emphasized by the toughness of the natural, churchy harmonies of this mass choir. With these experts on board along with a talented band, the musical direction is quite impressive from several angles of disposition.

Opening with a slowed down version of "They That Wait" (first heard on the GMWA Youth Mass Choir: Live In Philadelphia MCG project), the cut gets blazing synths and a groovier disco thump filled with deep dark bass added in. And with Artemis Gospel artist Stephanie Dotson Thomas breaking out her aggressive, confident vocals on the lead vocals, the song is surely has an unforgettable flavor that will leave you pressing the "repeat" button. An infectious, neo-soul groove finds its way on "I Can Do All Things". Also penned by Alfonza Meeks and Terrell, the song rocks with an haunting bass and walking chord action on the opener but things takes a different exit on the bridge with its contemporary, groovy chord action. Laurnea Wilkerson, on her solo, showcases a vibrant, youthful vocal displaying a breathtaking dose of distinctive cool. A hurting production problem can be heard on the opening when you can hear screams of the original solo performance covered with the finished overdubs from Wilkerson, but the song still has promise. Rudolph Stanfield's "I Can't Forget", another revisit, finds Shirley Jordan pulling out her Southern charm on the fiery, charismatic number.

Other guest appearances highlight the project and basically provide the meat of the album's weighty proportions. The late Debbie Austin gives an emotional delivery on the gorgeous, penned "Hold On Your Change Will Come". It's framed in the pattern of a James Cleveland number with choral pulls and beautifully, orchestrated piano performance from Rudolph Stanfield. Austin gets throaty in some places and even belts out some unusual cracking on this eight-minute adventure, but the astonishing emotions felt throughout this cut accurately defines the intense textures of a soulful gospel tune - even with all of its rawness. Terrell & Stanfield's "Jesus Saves", with its vivid moods and beautiful musical shifts, finds Bruce Parham delivering his irresistible, high-range vocals to the majestic, eight-minute hymn arrangement. Pay close attention to the gorgeous vamp which features a memorable three-part lyrical split with the choir while Parham milks the melody with his commanding ad-libs. You almost hate to hear this song fade out. There is one more beautiful track to not forsake - and that is the gracious ballad "Unconditional Love". It is written in standard Stanfield fashion with all of its mechanical elements and intimate phrasing, and with Whitfield Company veteran Gwen Morton delivering her trademark vocals, the song most certainly would have fit easily into Thomas Whitfield's repertoire.

There are a few spots present that lack the excellent commitment of the previous mentioned gems. "Praise Is What I Come To Do" possess too many changes and is quite lengthy in and undeveloped in many areas. Even though it bears a likeable melody from the beginning, it steadily morphs into multiple characters throughout the song causing a downfall in its presentation. "Take Me To The Water" is botched up in old-time gospel swing tunes like "Just Like A Tree" and "None But The Righteous" and actually has a formulaic workshop, generic sound that is far from memorable. But there is a sincere quality of church-styled numbers here and it is powered by strong, strategic vocalists that give the songs a meaningful amount of justice. While there are songs that may hurt the overall value of the album's worth, the ones that actually work are sure to cause a good stir in the ears looking for new and fresh material for church mass choirs. Not a bad effort at all.