::ALBUM REVIEW::

The music ministry of the West Angeles Church of God In Christ, pastored by Bishop Charles E. Blake, has been instrumental in formalizing urban praise and worship within gospel music with its groundbreaking Saints In Praise trilogy - now considered to be collectors’ items for urban worship aficionados. And since Sparrow, the popular CCM label, dropped the series along with its black gospel roster in the early nineties, West Angeles continued to rock the cradle of gospel music with its influential music leaders including an impressive set of musicians that featured longtime ambassador Judith Christie McAllister, Kurt Carr, Jason White and Patrick Henderson. McAllister has since recorded a number of albums on her own, but lovingly solicited extra help from West A’s team of professionals. Add to that the rich history of recent live recordings from a wide spread of sensational artistry that includes Kirk Whalum, Norman Hutchins, Kurt Carr and Donnie McClurkin. This level of experience speaks of the credibility associated with Blake’s powerful leadership. Almost two decades later since the release of the first Saints In Praise collection, the musical component of West Angeles picks up where they left off with No Limit; their adventurous debut on EMI Gospel. McAllister, who has since left the church to pursue new ambitions musical ventures in Nashville, returns to the fold to help support minister of music and accomplished producer Jason White (Kurt Carr, Norman Hutchins) on this ten-track offering.

The album could not open up with an appropriate, infectious cut like Chaz Shepherd’s contemporary spin on the popular worship chorus “Sanctuary” - appropriately renamed “Lord Prepare Me.” The song, which uses hyped modulations, a run-through of Charles Mason’s “Yes, Lord’ chant and a newly-crafted, funky bridge, is a fascinating wonder that embodies the rapturous beauty found in congregational-friendly urban worship. The album continues with McAllister’s lead performance on a light rendition of L.A. Mass Choir’s “We Exalt Thee” - divided into two segments and both extended beyond the three-minute timer. The famed worship leader also returns on the call-and-response-driven “I’m Gonna Praise Him” - set to a blazing synth score pumped with high-octane gospel energies. The song does feel like a leftover reprise, especially with the type of fade in attached to the album’s opener, but the delightful funk of this spellbound rhythmic cut easily describes the intensity associated with McAllister’s style of music - a style that McAllister discovered within the sacred walls of West Angeles. Fun contemporary gospel jams are also prevalent on the disc and are enriched with Jason White’s distinctive keyboard runs and passionate horn arrangements etched by renowned saxophonist Donald Hayes. On “For All That You Have Done”, Nicole Potts of the Kurt Carr Singers jumps into the contemporary thrills punctuated by a strong set of funky musicianship and vibrancy from the background choir. Surely the song is quickly silenced too soon and may trouble a few listeners with Potts’ never-ceasing ad-libs towards the end, but the song packs a great of enthusiasm aimed for radio play. The title cut, penned by Shepherd, is a warm urban-laced cut that borderlines a Kirk Franklin and a Kevin Bond tune. David Daughtry, known from his list of solos with the L.A. Mass Choir, is wisely selected to handle lead duties and works the vamp with his undetected high-octave Al Green-ish soars. And with the inclusion of East Coast modulations, the song turns into one sensational Holy Ghost party without any apology. But what breathes great accomplishment into this short, but fervent collection is the depth of versatility that sums up the worship experience of the African American church. Epic worship ballads like “Forever You’re My King”, gloriously led by Carolyn Johnson White, and the eccentric gospel anthem “For Great Is The Lord” help define the group’s passion for providing a balanced representation of a healthy musical diet. That effort, conveyed on record, stands as a mighty testament of the group’s continual direction in the ever-changing field of urban worship.

Bishop Charles E. Blake, known for just his narrative abilities and exhortations during the Saints In Praise collections, girds himself with two of the albums song selections and does what T.D. Jakes or Bishop Eddie Long fear to do the most. Of course, Blake should never give up his day job as esteemed pastor for a singing career. That doesn’t necessarily mean he is a bad singer since he works up a cold sweat on the quickly paced congregational hymn “Oh Lord I Thank You”. The vibe conjures up the spirit of Carlton Pearson’s earlier Azusa productions and finds a comfortable Blake aptly leading the song into a churchy moment of old skool devotion.

Surprisingly, No Limit meets most requirements in the areas of replay value, quality production and overall presentation. Though the album is short in its running time - clocking at fifty minutes - the album ascends over most urban worship albums for carefully bridging contemporary gospel with passionate sing-a-long material. The renditions are far from being uninspiring and the original cuts are well executed without any typical signs of undeveloped characteristics. It’s hard to drop comparisons from this project upon the previously-mentioned Saints In Praise series, but No Limit is a charming modern chapter to its world-renowned impact and bears that same good old feeling gospel enthusiasts felt when digging into Bishop Andrew Merritt’s Faith In The House project for the first time.