Rating: 4 stars

Producer: Lari Goss
Label: Hopper Music
Website: www.thehoppers.com

Buy Here

Track list: “Victory Shall Be Mine,” “Oh How Amazing Is Amazing Grace,” “Something’s Happening,” “Nobody’s Too Bad Or Too Good,” “I’ve Been To Heaven,” “East of Jerusalem,” “Could It Be I’m Dreaming,” “He Remembers To Forget,” “I Know Who Holds Tomorrow,” “On The Authority,” “Living In The Arms Of Mercy,” “Statement Of Faith”

I’ll admit, I’m a casual fan of The Hoppers. Other than the occasional iTunes purchase of some of their more well-known songs and stuff they’ve done that I heard and enjoyed, I’m not all that familar with their work. I am, however, familiar enough to know that they have maintained a solid sound for the past few years, and this collection of songs is no exception.

The project opens with two upbeat tracks to grab the listeners attention. “Victory Shall Be Mine” has the typical orchestrated, driving sound that the group is known for, and “Oh How Amazing Is Amazing Grace” features a New Orleans big band style. On the other end of the spectrum, the title track is a big ballad that was originally done by male quartet Mercy’s Mark. The Hoppers take a more epic, ponderous approach to it than that group did, featuring the whole group on the first verse, Dean Hopper on the second, and Kim Hopper on the third verse, all the while building to the powerful chorus. What truly separates this version from any other, however, is Connie Hopper’s recitations sprinkled in between the verses, which fit in perfectly with both the lyrics and the sound of this song.

The other covers on the project include another Mercy’s Mark song, “Living In The Arms Of Mercy,” which is given a more traditional treatment this time around, and the GVB hit “On The Authority,” which is considerably jazzier than the Vocal Band rendition. The former features drummer Mike Hopper stepping behind the mic, and the latter, Dean Hopper. A Southern Gospel classic, “I Know Who Holds Tomorrow,” is also redone, and is slightly faster than most versions I’ve heard. That track features Claude Hopper in his only solo of the album.

Some of the other memorable songs from this project are “Nobody’s Too Bad Or Too Good,” which features Dean and Kim Hopper’s daughter Karlye, and is both well sung and well written, and “East of Jerusalem,” a big slow number that features Kim Hopper, and manages to be a great song in its own right without any sort of nod to the group’s hit, “Jerusalem.” The final song, “Statement of Faith,” features all the same vocalists that are on the version found on the Legacy Five project, Just Stand.

Final thoughts: In the world of modern Southern Gospel music, the names Lari Goss and The Hoppers are almost synonymous. Goss is once again behind the producer’s chair for this latest project, and the combination once again turns out a fine body of work. While not exactly exploring groundbreaking material for the group, this project sticks to the tried-and-true sound that The Hoppers have attained over the last few years, while still throwing in a few unique numbers to add flavor. One thing you can say about this group is this: they are consistent in the quality of their material. “If it ain’t broke, don’t fix it,” indeed.

Bottom line: Fans of The Hoppers, or quality Southern Gospel in general, will enjoy Something’s Happening.

Rating: 5 stars

Producers: Bill Gaither, David Phelps, & Michael English
Label: Gaither Music Group
Website: www.gaither.com

Buy Here

This project was purchased directly from the artist. This fact has no bearing on the final rating.

1. Better Day – The project starts off with a song that will be familiar to those who have seen the last DVD that the Vocal Band put out, as it was the title track. There are a few subtle differences in vocal arrangement and instrumentation from the live version, which make it more than just the studio version of a song that was previously introduced in a live setting. This track displays the smooth harmonies of the five-man lineup right up front and whets the listener’s appetite for the rest of the project, which makes it a good choice for an opener.

2. When He Blest My Soul - Like the previous track, this song was already featured on a DVD release. There’s added instrumentation here also, most notably the driving brass section that work with the organ and piano to inject energy into the song. The vocal arrangement is outstanding, most notably with David Phelps and Wes Hampton’s parts interchanging throughout the final chorus. While Gold City is the group that comes to my mind when this song is mentioned, the Vocal Band has a version that is just as good.

3. Love Like I’m Leavin’ – This is the third and final track that has already been introduced elsewhere. Nothing much differs between this take and the live one, but the studio version better highlights some of the vocal subtleties in the group harmonies.

4. You Are My All In All – In the first “new” song on the project, David Phelps’ arranging skills are brought to bear on this CCM classic. A cello brings in the start, and Pachelbel’s Canon in D is interwoven throughout the song with an acoustic guitar and violins. Phelps is featured on the verses, and keeps it pretty low-key for the most part before taking it up into classic power-tenor mode for the final chorus. Phelps’ arrangements are something the Vocal Band sorely missed, and this is a perfect example of why.

5. Please Forgive Me – This Crabb Family hit gets an orchestrated treatment and features Michael English. The emotion with which English sings is evident throughout the first verse and carries throughout the song. Some very smooth harmonies are sprinkled into the second verse, and then after the second chorus, an arpeggiated vocal lead-in brings in a powerful final chorus. This is one of the highlights of the disc, showcasing both the group’s power harmony and how much vocal strength English still has.

6. Greatly Blessed, Highly Favored – Right off the bat, you get the sensation you’ve heard this song before. That’s because, technically, you have. This Larry Gatlin and Bill Gaither cooperation takes the melody and rhythm of the Gatlin Brothers hit, “All The Gold In California” and changes the words to convey the message of being a “Greatly blessed, highly favored, imperfect but forgiven child of God.” Wes Hampton takes the solo on the verse, and while the song is a definite re-write of a popular country tune, it thankfully manages to avoid the cheesiness factor and stands on its own two feet.

7. He’s Alive - Fans of Don Francisco or owners of David Phelps’ rare pre-Gaither solo project, Journey To Grace, will recognize this track. David Phelps displays that he can tell a story with a lyric like few other singers can, and while the final chorus is half a step lower than his solo take, the wall of five voices give it extra punch, and his suspended high note is no less powerful.

8. Ain’t Nobody - This song displays one of the most unique sounds on the album. This Michael English feature features some very precise group harmonies to start out, with Bill Gaither singing half a beat in front of the group, making for an interesting sound. I can’t quite put my finger on how to describe this track, but funky would be the best term. It’s bouncy, progressive, and different.

9. Clean - David Phelps displays a smooth, soft delivery on this Bill Gaither & Larry Gatlin creation. Wes Hampton is above Phelps on the tenor line, giving the backup lines by the rest of the group a very full sound that really takes the track to the next level.

10. Muddy Water - It’s back to the funky, gritty sound on this one. English’s vocal riffs at the beginning are reminiscent of those of Guy Penrod on the title track of the group’s 2008 project, Lovin’ Life. Gordon Mote supplies some very nice piano riffs throughout, and Bill Gaither’s standout bass lines on the last lines of the choruses are probably the strongest on the project.

11. That Sounds Like Home To Me - This Goodman’s classic hasn’t been covered all that much, so this was a good choice for a song to update. The group gives it a swing feel and the vocals display a tight sound not unlike what you would find on a Booth Brothers project. Michael English takes the first verse (which is only fitting, since he was in the 1982 Goodmans group that sang the song), and Mark Lowry is featured on the second. David Phelps leads an almost-acapella final chorus before the instruments come back in on the last half and bring the song to a soft close.

12. I Know How To Say Thank You - Mark Lowry gets his first full feature on the album with this song that many may know from when it was sung on a Homecoming video by Sarah DeLane and Marshall Hall. Mark’s tones have become fuller and richer with time, and this is one of his finest performances to date. A powerful final chorus brings all five parts in before softening up again for a quiet finish.

13. He Is Here - Wes Hampton takes a song that Kirk Talley is well-known for writing and singing and puts his own spin on it. Wes was a good tenor when he first joined the Vocal Band, but has really come into his own in his time with the group, and even more so in the five-man lineup, and this track proves it. The soaring melody brings out probably his best solo feature in his tenure with the group. A subdued choir in the background closes out the project with a fadeout.

Final thoughts: The past couple of projects that the Gaither Vocal Band had recorded had many people, including this blogger, wondering if Bill Gaither was bringing in the twilight of the Vocal Band and planning to retire. Other than a couple decent songs, there just seemed to be something lacking in the music. A lineup change that led to an unprecedented five members in the Vocal Band and the return of Michael English, David Phelps, and Mark Lowry to the ranks injected new excitement in the group, and the sound was incredible. The first project by the new group, Reunited, was good, but it had people longing for the group to do something truly new.

Greatly Blessed is that something new. Every vocalist is at the top of their game here, and the song selection and arrangements hearken back to both the vocal prowess of Phelps’ days with the group and the creativity of both that era and English’s first run. Part of the beauty of having five people is hearing how the parts are structured on each song; Wes Hampton and David Phelps do their fair share of swapping the tenor part, which make for some interesting background harmonies on each song.

Bottom line: This Vocal Band’s first real product of new material is a breath of fresh air into their discography, as it gives the group a chance to explore with different styles and use the five vocal parts to create a unique sound. There is simply no reason that Greatly Blessed should not get 5 stars.

Rating: 4.5 stars

Producer: Ben Stewart
Label: Unsigned
Website: www.kingdomboundquartet.com
Samples can be heard here.

Track list: “The News Is Out,” “A Love That Wouldn’t Die,” “Call Jesus,” “That Wonderful Day,” “What On Earth For,” “One Of These Days,” “I Love Living In Grace,” “The Night That Love Was Born,” “Seek and Save,” “That Sounds Like Forgiveness To Me,” ‘Save In The Cross Of Jesus,” “What A Precious Friend Is He”

Often, many Southern Gospel fans don’t pay attention to lesser-known groups. Most of the time,  it’s simply because we have a preconceived notion that the quality will not be on par with the more widely known artists, and therefore won’t be worth our time or money to listen to. And sometimes, that may be the case. I’ll admit, I have that attitude sometimes as well, and even as I was in talks with a group member to do this review and was putting the disc in the player, I still had a little bit of reservation.

The Kingdom Bound Quartet pleasantly surprised me. They have a sound similar to that of the Dove Brothers or the Kingdom Heirs, which is no surprise, since the music tracks were produced at Crossroads Studios by Danny Crawford (who produced the Dove Brothers’ latest outing, Unshakeable.) Though the comparison is very tangible on the project’s more upbeat tracks, the group still has a sound all its own.

The project opens with the driving country sounds of “The News Is Out,” which features lead singer Ross Carter and displays some very smooth harmonies between he and tenor Ben Stewart on the second verse. The project then segues into another heavily country flavored song called “A Love That Wouldn’t Die,” a Dianne Wilkinson tune that has been done by both Triumphant Quartet and Steve Ladd. Bass singer Chad James displays his Jeff Chapman-like bass throughout the song.

The project’s title track, “Call Jesus,” is a slower, lightly orchestrated song that features the lead singer, and is probably one of my favorites on the disc. The group covers an old Soul’d Out tune, “That Wonderful Day,” and the two groups have renditions that are fairly equal in quality. Another cover found later on in the project is “I Love Living In Grace,” which has recently been recorded by both Tribute Quartet and Liberty Quartet. Other than some minor differences in instrumentation and vocals, not much separates this version from the other two, but that can be forgiven since the groups were working on it at relatively the same time, and therefore didn’t know what the others would do with it.

The group’s current radio single, “One Of These Days,” was a good choice for the first single, because it has the sound to hang with other quartets like the Dove Brothers, but is unique enough in sound to give the group some identity. “What On Earth For” is a smooth baritone feature for David Sherrill on the first verse. “The Night That Love Was Born” an acoustically driven Christmas song that is beautifully delivered. “Seek and Save” is another upbeat song that is one of my personal favorites. Of the last three songs, “Save In The Cross Of Jesus,” a powerful ballad featuring the tenor, is probably the most attention-grabbing.

Final Thoughts: I was impressed with my first listen to the Kingdom Bound Quartet. They are a part-time group, and when I heard that, I was surprised. They have a sound better than some of the full-timers out there. This project was two years in the making, and is the first to feature lead singer Ross Carter, whom the group heavily credits in the album insert for making the project the best it could be. The hard work by the group certainly shows; the sound is professionally done, and the song selection is great, and each vocalist does not stray out their range. Other than a couple songs that don’t particularly grab my attention, I thoroughly enjoyed reviewing this project.

Bottom line: The only way this group could be better is if a label picked them up, although I can’t imagine that the change would be all that drastic, as the Kingdom Bound Quartet is already a great sounding group. Call Jesus gets 4.5 stars.

Rating: 4 stars

Producer: Danny Crawford
Label: Sonlite Records
Website: www.dovebrothersquartet.com

The end of 2009/beginning of 2010 saw several big changes for the Dove Brothers, with piano player Jerry Kelso leaving the group and Adam Harman being brought in, and then adding  drummer Devin Dove and bassist Marc Peele for a three-piece live band. Changes this major will affect a group’s sound for sure, but the question here is this: how did the addition of the band change their sound for this new project?

The group has stayed in the Country Gospel direction they started in with 2006′s Never The Same, and continued with 2008′s Life and 2009′s Hold On. Fans who didn’t like the sound to begin with will really dislike this album; the group has jumped into the Country sound with both feet this time around.

With the band, the group’s song choices for this project feature arrangements that a three-piece band can easily replicate. Interestingly, many of the project’s songs come from the 1970s, an era when live bands were popular in Southern Gospel. The covers run the gamut, with songs such as The Imperials’ “Ole Buddha,” and The Dixie Echoes’ “Good Ole Gospel Song,” both of which feature lead singer McCray Dove and do a great job of maintaining the original feel of the songs while updating them to a more modern sound. Tenor singer Jerry Martin takes a feature on “My Soul Has Been Set Free,” an old Lesters Tennesseans tune (thanks, DM!). As if the group knew that this effort would draw parallels to the Oak Ridge Boys, they also recorded the Oaks classic “King Jesus,” totally updating the arrangement and turning it into a bass feature for David Hester. Hester is also featured on a Blackwood Brothers song that Bill Lyles originally sang, “How About You.”

There are plenty of newer songs to go around as well. “Hey Lazarus” has a callback arrangement on the chorus, with Hester echoing the group on each line. Baritone Eric Dove gets a solo on a verse of the Poet Voices song “Preachin’ In Prison.” “I Recall” is an upbeat quartet song, and “If I Knew Then” is a ponderous McCray Dove feature that has the lonesome sound you would find on any country ballad on the radio today. The last track, “Unstoppable,” is a song originally cut by Rascal Flatts that allows Jerry Martin to cut loose.

Bottom line: While the group has definitely adopted the heavy country sound, it’s not necessarily a bad thing. Although there’s a couple tracks that aren’t my cup of tea, the Dove Brothers have released a project that makes a bold statement about who they are and what they believe in, while very clearly defining their sound.

Rating: 4 stars

Producers: Wayne Haun & Jason Clark
Label: Vine Records
Website: http://thenelons.com

1. The Love Of God – The project’s opener features the group’s youngest member, Amber Nelon Thompson. This particular track does a great job of highlighting her growth as a vocalist in her time with the group. She definitely has her mother’s vocal power, with a modern twist on it (think Kelly Nelon meets Carrie Underwood.) The song’s verses are reminiscent, in both lyrics and structure, of “Don’t Let Me Miss The Glory,” but the chorus gives the song its own identity. Amber absolutely knocks off the top off her solos, and I actually had to rewind before the last chorus to make sure what I was hearing wasn’t just an ultra-high steel guitar riff; the lead-in she gives there sounds like a Mariah Carey vocal run.

2. Beside Still Waters - This song that the Mark Trammell Trio originally did serves as the title track for this CD. Each vocalist takes a turn on the verses, and though the song is by no means a standout, it’s a good showcase of the trio’s harmony.

3. Goodbye Valley, Hello Mountaintop - A fast-paced country tune gives Jason Clark a solo vehicle. Clark does a great job carrying the melody here, and the key changes make for some interesting high harmony.

4. There Is A Way – In a true standout on the project, Amber Nelon Thompson is once again featured, but this time on a powerful ballad. The song is already powerful, backed by beautiful orchestration, but on the bridge, the key changes and takes the song into the clouds. Probably my favorite on the project.

5. He Found Me - In a contrast to the big ballad, this track features a medium-tempo blues feel. Jason Clark takes the first verse, and Amber has the second. This song was a good choice for the first radio single.

6. Settled At The Cross - In her first true solo on the CD, Kelly Nelon Clark is featured on a ballad that is sure to become a signature for her. The sound of her voice has been a constant in the group’s existence, and her alto fits the song perfectly.

7. I’m Going Home With Jesus – This classic by The McGruders has been taken and reinvented to give it a modern feel. The group does a great job redoing it; it doesn’t sound like just a cover version, and they really make it their own. The song has a built-in encore that has another Amber lead-in; this time sounding like something Kim Hopper would do. Fantastic track!

8. My Tribute (To God Be The Glory) – The trio covers this Andrae Crouch classic with a “power orchestra” sound, opening with blaring horns, and electric guitars kicking in on the bridge. While not as original as their cover of “I’m Going Home With Jesus,” their version of this song certainly does it justice.

9. Weep – Kelly takes the lead on this mid-tempo song. Like the title track, it’s not a memorable song, but more of a showcase of harmony. Very smooth, mellow track.

10. Consider Me - Jason Clark carries this mid-tempo jazzy tune. More smooth singing, with some interesting lyrics on the chorus. “Consider me a Jesus fan,” as Averyfineline noted, is a bit campy for my taste, but not so glaringly annoying as to detract from the song.

11. Jesus, What A Wonderful Name - It’s back to the orchestra for this worshipful ballad. This is one of the more memorable songs on the project; it’s powerfully delivered both musically and vocally.

12. I Choose To Live - The closing track serves as the vocal debut for Kelly Nelon Clark younger daughter, Autumn. She does a great job here; her voice fits very well with the other members of the group, and she carries the melody well.

Final Thoughts: I’ll be honest; up until this point, I really hadn’t paid much attention to The Nelons. Sure, I know a lot of their older stuff, from back when they were the Rex Nelon Singers, and sure, they’ve had some great songs over the years, but nothing they had done in quite a long time was grabbing my attention.

Until now.

Beside Still Waters, from the first note to the last, had me sitting up in my chair and really listening. The project features some of the best songs and vocal performances that the group has had in their existence, and each singer has solid features on this project. Wayne Haun & Jason Clark did an excellent job of producing a great sound from both the musicians and the singers, and while not every track was a standout, this is a pretty stellar collection of songs.

Bottom line: Both longtime fans of The Nelons, or those just being introduced to the group, will enjoy this latest effort by the group.

Look for this review to be posted Monday. It would have been posted today (Saturday), but the storm downed the Internet here for quite some time.

The bloggers featured in this review are Daniel Mount, Wes Burke, Brandon Coomer, Nate Stainbrook, Phil Boles, and myself. The project released today (June 1, 2010) and was produced by Lari Goss.
We hope you enjoy reading this review as much as we enjoyed writing it!

Song 1: A Higher Throne

Daniel: A few hours before this CD arrived in my mailbox, I was pondering Lari Goss’s iconic introduction to the Cathedrals classic “Champion of Love.” It’s an instantly recognizable riff—and not just because it is the melody of a line whose lyrics we remember. It’s inherently unforgettable on its own merits. I was pondering whether Goss would ever offer another intro of that caliber.

Now Declaration isn’t even in bookstores yet as I write this, so it’s far too early to declare this intro iconic. But incipiently iconic or not, the introduction instantly grabs your attention. A soaring trumpet crescendo is answered by swelling strings and woodwinds. The trumpet sounds again, and the orchestra answers. The band kicks in, and trumpet, orchestra, and band set a fittingly majestic backdrop for a lyric depicting Heaven’s throne room.

Though Declaration is so full of strong songs that there will be stiff competition for radio slots, this song should unmistakably go to radio. Though it’s 5 minutes 25 seconds long, a tempo on the fast side of midtempo makes it seem to go by faster.

Wes: What a great choice to open the disc.  I love the anthemic feel of this song, and right away this cut shows that the partnership between Lari Goss and the Booth Brothers is going to exceed every possibility you’ve imagined since it was made known.

Nate: Agree totally with you guys about this song. I can’t help but get excited when I hear this song. I love it from the opening to the ending. It ends with a breathtaking, sweeping, epic ending.  You mentioned the beginning being a great opening stanza, but the song also ends on a great note. Great song that Lari Goss struck gold on again. And I can’t wait to see this song get staged live.

Daniel: I knew the song was good on its own merits. But not until several weeks later, when I came across the original, by Keith & Kristyn Getty, did I fully appreciate what Goss had done with the song. I should say that I rediscovered the original, to be precise, since I had already heard it. But the arrangements are so different that I hadn’t connected the two until searching for the songwriter.

Goss deserves to be named in the same breath as Beethoven, Bach and Mozart. It would take a talent of that level to take the original and give it this level of treatment.

Song 2: God Did it All
Daniel: This Ronnie Booth feature starts simply enough. A lush orchestral track featuring the woodwind section accompanies a beautiful, lilting melody about Creation. By the chorus, the song becomes a powerful statement of God’s sovereignty. The song builds into a huge ending that should equally captivate live audiences and radio DJs (though Daywind should cut the encore before singling it, as 6:10 is too long for a single.)

The melody for this Rusty Golden / Dianne Wilkinson collaboration has a fascinating provenance: Wilkinson wrote the lyric and composed a melody for the chorus. She brought up the song during a collaboration session with Golden, who proceeded to come up with a melody for the verses—without having heard her chorus melody. Then she showed him what she had for the chorus—and they realized it was a perfect fit.

Nate: This song is very well written and very well performed. I love Ronnie Booth’s voice. This song makes you take notice of just how good of a singer he really is. I love the message to this song. It should challenge you to get ready, and to tell others that “God Did It All.”

Wes: This is the first big ballad you hear from Goss and the Booths, and it doesn’t disappoint.  Ronnie Booth turns in a tremendous performance.  This should be a single, the length not withstanding.  Actually, the Kingdom Heirs singled “He Had To Hold To Calvary” back in the mid 90s, and it was 6:01.

Daniel: It wouldn’t be more than a minute of work to cut out the encore. They’d be wise to single it without the encore (even if they leave the alternate version on the radio compilation disc  for any DJs who want it).

Song 3: I See Grace
Nate: This song written by Jim Brady along with Barry Weeks and Tony Wood, is a song that the Booth Brothers have been staging for several months now. It is one of my favorites on this project. It starts with a epic sounding intro, that settles into to a great medium to fast tempo song, that is very well orchestrated. Jim Brady gets the lead on this song.He never ceases to amaze me with his vocal versatility and range, and he really shows it here. He has Michael Booth stacked above him for part of the first verse, making for some nice harmony. I love the end of the second verse that says “Those who have come through unbearable loss not defined by the past but defined by the Cross.” That is a great line that really defines this song and makes it a potential radio hit. I have been told that this song has been going over particularly well in concerts, and I can see why.

(more…)

It has been quite a while since one of these has been done, but there is a new project being released that has turned the heads of several bloggers at the same time; so much, in fact, that we felt like a mega-review would be prudent, since the majority of us would have reviewed it at some point anyway. So I, along with bloggers Daniel Mount, Wes Burke, Brandon Coomer, Nate Stainbrook, and Phil Boles, have collaborated on reviewing the new Booth Brothers project, Declaration. It is worth noting that we were able to wrap up the review to have it posted on the same day of the project’s release date (by pure coincidence!)

Fans of both the Booth Brothers and Lari Goss will find plenty to love on this project, so look for the review posted on this and the other blogs on Tuesday.

Rating: 4 stars

Producer: Brad Hudson
Label: Independent release
Website: http://www.thegreenesgospel.com/

Song list: “Sing,” “Highway To Heaven,” “I Know Too Much About Him,” “You Were There,” “Wait On The Lord,” “I Am Redeemed,” “I Have Come By The Way Of The Cross,” “Got Me Some Joy/I Didn’t Think It Could Be,” “Hosanna,” “Come To Me,” and “Oh Holy Night.”

When most Southern Gospel fans hear the name “The Greenes,” there’s usually one of two faces and voices that instantly come to mind: Tony Greene, or his wife, TaRanda. Although TaRanda has not been in the group for it’s entire history, she has made quite a name for herself with her vocal range and ability. Her latest solo project, In The Sanctuary, really showcases that voice.

The first two tracks, “Sing” and “Highway To Heaven,” lean toward to the jazzy, upbeat side of the musical spectrum. TaRanda’s soulful vocals help to drive the songs, and get this project off to a great start. Things then slow down for the third track, “I Know Too Much About Him.” Color me peculiar, but this song hasn’t grown on me yet. It is indeed a pretty song, and the message is made very clear, but the melody seems disjointed and crammed, as if there were too many lyrics written for the song.

An acoustic guitar opens the next ballad, “You Were There,” which I felt was a better musical choice than the previous track. Greene’s vocals are soft and understated for most of the song, until the powerful ending in which she kicks it up a notch. The tempo picks back up for “Wait On The Lord,” and with it returns the soulful sound that the first two tracks featured. The first single from the recording, “I Am Redeemed,” has a black gospel feel to it, complete with a choir. Tony Greene takes the spot as guest vocalist here. The next three tracks alternate from slow, to upbeat, to low tempo again, the highlight being the cover of the Praise & Worship song “Hosanna.” “Come To Me” features a duet between TaRanda and her young daughter, Isabella, at the end. The project closes with Greene’s iconic arrangement of “Oh Holy Night.”

Bottom line: Fans of TaRanda’s voice will find plenty to love with this project, as it is a great showcase of what she can do vocally.

Rating: 5 stars

Producer: Lari Goss
Label: Song Garden Music Group
Website: www.roywebbmusic.com

Roy Webb has made quite a name for himself in Southern Gospel Music already. He first became well-known when he traveled with Ernie Haase & Signature Sound for several years before leaving the group in May 2007 and embarking on a solo career. Last December 31, he joined Gold City as their pianist. Although he released another solo project while still with EH&SS, You Raise Me Up, this project is his major-label debut.

On Timeless, the sounds Webb incorporates run the gamut, from the jazzy/swing flavor (“Joyful Joyful We Adore Thee,” “Amazing Grace,” “He Keeps Me Singing,” “Blessed Assurance”) to the powerful, orchestrated style (“A Mighty Fortress Is Our God/I Sing The Mighty Power of God,” “Come Thou Fount/There Is A Fountain,” “It Is Well With My Soul). A couple of the songs feature no orchestration or background whatsoever, and feature solely the piano (“Old Rugged Cross,” “Just As I Am”). A tribute to piano great Anthony Burger is found here as well, with an arrangement of “Old Time Religion/William Tell Overture” that Lari Goss originally arranged for Burger, but Webb puts his own spin on it, and does an excellent job.

Bottom line: While I enjoy watching and listening to a player perform songs on the piano live, just sitting back and listening to a CD of it doesn’t do much for me. However, I can honestly say I enjoyed this project. The arrangements are unique and exciting, and the album is quality all the way around. Fans of Roy Webb, or piano music in general, will find plenty to love on Timeless.