::ALBUM REVIEW::

Youth For Christ (YFC) happens to be one of the consistent recording groups putting out material dedicated to the modern contemporary sound aimed for younger audiences. They made their official debut on the Savoy Records’ label with “Higher” back in 1999 and impressed listeners with a wise choice of songs; channelling both traditional and contemporary gospel with a very talented band providing a resounding foundation. Now with the founder and director Troy Sneed developing Emtro Gospel, his own music empire, YFC has been allotted room to breathe as an artist while experimenting with . On their latest chapter, “The Struggle Is Over”, the super-sized youth choir continues to flow in their trademark sound while sprucing things up with a few cameo appearances from upcoming gospel sensations and a more refreshing soundtrack complimentary to their age compared to their previous offerings. But have they avoided the idea of performing B-side material and just doing another album to get put on their resume’? Maybe not, but this round feels like it has gone a little bit higher.

Getting into the meat of the live-recorded “The Struggle Is Over”, listeners begin to develop an assortment of ideas and conceptions of the musical experience. There’s definitely a workshop choir vibe that comes from the speakers. Then it is evident that the strong set of musicians, which include Derrieux Edgecombe and Trenton Phillip on keyboards, Mike Ferguson on bass, lead guitarist Rick Watford and skilled drummer Cory Johnson does a good job in covering up most of the challenges from the uneven choral textures of the ensemble. Plus there are a few songs that are forgettable and needs a little more sharpening, but the production value and most of the uptempo cuts, along with the title cut, gives YFC the modern edge-up they really needed in 2007.

“The Struggle Is Over”, the title cut co-written and performed by Stellar Award winner Jonathan Nelson, has a simple sweetness attached to its melody. It’s a warm, balanced ballad that showcases the right dose of musical sensitivity, warm unison and harmonic parts and Nelson’s careful worship leading. Alex Hill’s “Have Mercy” is also warmly executed with Senetria Pittman providing good-natured lead vocals on top worshipful lyrics. Towards the song’s vamp, the tone morph into rock-gospel with big synthesizers and organ whirls circulating a repetitive lyric. The attached reprise of “Have Mercy” may have prolonged the song’s overdone lengthiness, but it is probably one of the wisest musical creations offered from the YFC camp. Other ballads such as “Blessed Be The Name” and the cool rendition of “Oh How I Love Jesus” are also welcoming to the ear.

But the biggest improvement here may be located in the uptempo cuts - which spark an irresistible, infectious mix of dance-pop and house music elements. These kind of songs are very much believable on the big youth choir sound from YFC and reveals a charisma on record that is hard to duplicate - especially for live recording sessions. “Everybody”, penned by Todd Wilson and James Burt, showcases a storming groove peppered with timed keyboard chord punches. Trenton Phillip’s “Power In The Blood” is cool and captures enough funk to turn a casual drive down the boulevard into a fantastic voyage. When the vamp enters the picture, the choir along with the unpredictable motions of the band leaps into a series of jubilant modulations. “Come Bless The Lord With Me” and “I Will Bless You” may bring about comparisons to Sneed’s last solo project (which was a very good one) with its praise-and-worship trademarks and cool contemporary thump-funk. It’s also important to note that these songs are scattered out amongst the good ballads and the remaining duds. Decisions like that help develops a cohesive, balanced musical offering that invokes a rewarding musical experience for listeners.

Now to the album's lower points. Songs like John McClure, Jr’s’ “Jesus Put Himself In My Place”, which opens the album, bears a few likable characteristics but it gets too busy and too neo-Nazi with its unexplainable vamp and hard-to-make out words. “Praise Him” feels too much like a B-side jam. The band provides a powerhouse funk that bubbles with the energy of ConFunkShun and Prince, but the music and even the choir comes off too predictable. Emtro Gospel recording artist L. Spenser Smith appears on “In Awe”; a song that isn’t that bad of a composition, but does feel too elementary on Smith’s vocals and also loses its praise-and-worship element after being stuffed with a thick, mid-tempo, R&B-ish gospel groove.

YFC definitely grabbed the attention of the industry with this album’s anchoring lead single. Surely people will dig deeper to find out that this group of young people are more than just another assembled group of singers with a catchy name. Okay, no one knows the names of these kids, but YFC, with the help of Troy Sneed, have created a project that gives young adults and children something to look forward to hearing on Sunday morning. Most of the songs are simple and easy to pick up, except for the orchestrated musical grooves from the band. While the songs may not triumph too much over their 1999 debut, it is a light step up artistically and conceptually from their previous collection (“Love Comes In All Colors”). This one is a little more balanced and refreshing for the youth’s image. And with Jonathan Nelson on board and funky dance tunes attached to the collection, that is something that will definitely give these kids and their listening audience something to shout about.