REVIEW: "The Bright Sadness"

REVIEW

"Word Of God Speak" review from Todd Wright on Vimeo.

REVIEW: Today Is The Day

WN Review #1 from Todd Wright on Vimeo.

REVIEW

Chris Tomlin - "Hello Love" Released September 2, 2008

There seems to be a pattern to Tomlin's musical life. It goes something like this - Chris releases a studio record. Chris tours that album. Eventually, Chris shows up on a live CD, most likely a Passion release, with 2 or 3 brand new tunes. Historically, those 2-3 live tunes have been AWESOME. Next, Chris releases a newer studio album that includes studio remakes of his previous live hits, four or five new ballads and a couple of rock songs.

It's not a bad pattern...it's created a lot of hits for Chris and affords him the opportunity to play and sing before thousands of people each year. With Hello Love, the pattern continues. Some live favorites are there, some fresh new ballads pop up and a couple of standout rock and roll tunes round out the record.

For this review, I figured it might be fun to take it song-by-song. Hang on...here we go!

Track 1: "Sing, Sing, Sing"
I had not heard this song before Passion: God Of This City. While I tend to prefer Tomlin's live tracks to his studio ones, I do think the studio version of this tune is much stronger. Personally, it seems a bit more solid and thought out. Tomlin is great at these high energy tunes. I did notice on this track (and the whole album, really) less in the way of programming. The opening track has plenty of synth stuff, mind you, but pre-programmed rhythm stuff is noticeably absent. (Tomlin seemed to start stepping away from this with the last record...and apparently is continuing to do so.) This one is a great opener and a fun listen. As to playability, I'm not quite sure - there's a lot going on in the tune, but not a lot of chord changing, which can be frustrating for bands not used to learning parts note for note.

Track 2: "Jesus Messiah"
A friend of mine had mentioned this tune awhile back and I was able to find in on the "New Song Cafe" over at the www.worshiptogether.com website. As an acoustic number, it didn't too much for me, but the studio version is strong. It's a pretty straightforward "Tomlin" song - pretty simple melody and predictable arrangement with lots of power in the chorus. I'm still not crazy about the song, but it is interesting to see what production can do to an otherwise simple tune. I think lots of churches will be drawn to this one - lyrical imagery is strong, song is easy-to-emulate, over all production level is pretty ear-catching.

Track 3: "You Lifted Me Out"
Let me see if I can accurately describe this song: imagine the opening power chord hit from the Foo Fighters' 'Long Road To Ruin."' As it fades, the song explodes in your face, a strange hybrid riff that sounds like Crowder-meets-The Killers.

Got your attention? Track 3 is great. Definitely a rocker of a different feel for Tomlin. I like the jazzy chord inversions in the verse and the straight-ahead rock groove on the choruses. Lots of folks will also gravitate toward the reverb-piano-syncopated-Coldplay attack of the bridge section.

As to application, I'm not sure. There's lots of stellar playing here and this may end up one of those songs that was built for radio.

Track 4: "God Of This City"
This song may well be my 'worship find of 2008.' The live Passion version has encouraged and inspired me more than I can say. I absolutely love this tune.

I had hoped the studio version would stay close to the live one, but that doesn't happen. There are a lot of absences here - first off, the signature piano riff is absent from beat one. (I think it may show up later in the tune, but it's mixed very low.) Secondly, Chris plays with the melody in the second pass of the song. Through some research, I've read that this second verse melody is the original take as composed by the writers in a band called "Bluetree" who wrote this song. While it might damage some of the congregational feel of the tune, this variation does make for more interesting listening. I also loved the live version lead section. The studio version lead is very different and just didn't carry the same power for me, personally.

This is undoubtedly a song churches will do, but I think we'll find most of them doing the Passion version rather than this new take.

Track 5: "I Will Rise"
This song really hits two different ways for me. On one hand, I love the fact that it's a modern worship song about Heaven. (Ask any worship leader...there aren't many of those floating around.) From a songwriting perspective, I really appreciate the obvious time and effort put into this tune. On the other hand, it felt a little to predictable for me. Chris has done lots of piano ballads in his career and I think this one suffers for it's familiarity. I've read a couple of reviews of this record that make much of the "standard" nature of Tomlin's material - a "if-it-ain't-broke-don't-fix-it" type of deal. I think there's some truth to that, but this song didn't really impress.

Track 6: "Love" (with Watoto Children's Choir)
I hope somebody gave Chris Tomlin a high five after he wrote this one. Or a pat on the back or a hug or something, because this has to be one of the most creative songs I've ever heard. Sure, adding an amazing, famous children's choir from Africa doesn't hurt, but even so, this marks a departure for Chris.

This may sound weird, but I think Tomlin picks up a mantle here - I think this song could set him up to be the next generation's Stephen Curtis Chapman. Regardless of your feeling about Stephen Curtis Chapman's music, he has consistently produced anthemic, creative, epic songs that hook us in. Tomlin's "Love' is just that epic. And I have no idea whether or not this was the plan, but this song could easily fit into secular radio play. That does speak to an absence of "Jesus" phrases, but I wonder what the worship-marketing-machine will do with this song.

I doubt any churches will pick this one up. It's definitely a performance piece, but one so refined it may remain performed only by the guy who wrote it.

Track 7: "Praise the Father, Praise the Son"
Again, far too predictable for my taste. I thought it take more of a hymn-like approach, but this one fell flat for me. I'll be interested to see if this one catches on.

Track 8: "God Almighty"
I really liked the orchestral opening on this one - very reminiscent of Rich Mullins. Overall, the song feels a bit like "Famous One." It's certainly different, but the waltzy-feel and lyrical direction seem very familiar. I wonder if churches could pull this one off without a string section...

Track 9: "My Deliverer"
My absolute favorite track on this record. My favorite Tomlin tune of all time is probably his version of "Everlasting God" from the last record. While I like the Brenton Brown and Lincoln Brewster versions, I thought the mellow, jangly take from Chris and band was an awesome version.

"My Deliverer" has those same qualities. I love the tempo, the guitar groove, even the chord voicings through the chorus are simple yet surprising at the same time. My fear is that this song will get overlooked by other tracks that are a bit more produced or flashy, but I sure hope not. This is an amazing tune.

Track 10: "Exalted (Yahweh)"
I never could get into this tune. It's another piano ballad. It's got some good stuff, but I just couldn't dig into it very much. Maybe just a personal preference, but this one didn't really register on the radar.

Like any record, there are highs and lows on Hello Love. I feel the highest points are where we hear Chris and the production team branching out...experimenting...taking ownership of new arrangement ideas or styles. Some folks will dig the more familiar stuff - the "old standby" idea - but I think these represent the lower points on the record.

All in all, I think it's a good worship record. I think it's a great listen for worship musicians...it offers some interesting points of discussion and analysis for those of us who make music on a regular basis.
Track 11: "All The Way My Savior Leads Me"

REVIEW

Hillsong Live - This Is Our God
Integrity Music

If you're a part of the American church, you probably know who the Hillsong folks are. Now, back in the day, they were the biggest deal in worship music. Their album output is amazing...there for awhile, it seemed like there was a giant Hillsong CD machine popping them out once every ten months.

Then, two or three years ago, most of the worship world woke up to United. The powerful, seperate musical entity birthed in Hillsong Church's student ministry. And that's when it got crazy.

As the United songs became more popular, more of them started showing up on records by Hillsong proper. And, of course, debate ensued. (Which version of "Salvation Is Here" is better? Why did they kill that guitar riff? That sort of thing.)

Well, Hillsong's new record is out (along with a companion DVD) and its causing quite a stir. Normally in CD reviews, I tend to approach them very systematically. But for this review, I'm just gonna' hit the high points - the things that stand out to me about this record.

STICKING WITH WHAT WORKS
This sounds like a United record. Hillsong's frontwoman Darlene Z. is in the mix, but not near as much as in previous records. This is a Joel Houston/Brooke Fraser affair. And it works, big time. I think the United team are bringing a nice dynamic approach to the Hillsong catalog - lots of atmosphere, relatively easy-to-follow arrangements and a dash of rock and roll.

PET SOUNDS
While there's lots of trademark stuff here, there's also some new territory. The most noticeable thing is the use of toms. Previous Hillsong records have been relatively straight-ahead projects, but This Is Our God experiments with tom-drumming in a way that's creative and yet still stays away from knocking off Coldplay. The vocals are really well done, too. Previous Hillsong records have felt a little too crowded for me - five or six singers, giant choir, crowd mics, etc. All of those things are there again this go 'round, but I feel like the record is mixed to give a pretty intimate feel to the melodies.

I'm also glad that the United Rhodes isn't all up in my face. United records are well-known for their liberal use of a Rhodes keyboard/electric piano organ patch. It's a cool sound...but a little predictable. It's still there in the new record, but it's used way more thoughtfully and simply, which really makes skillful use of it's tone.

The one thing that keeps sticking around is high, tremolo/delay lines. United has loved this sound for awhile and it's on the Hillsong stage, too. Imagine three or four guitar tracks...and then this little single note warble running throughout the song. Like the Rhodes and organ, it's cool, but it's getting less cool the more I hear it.

The production quality of this record feels way more "thought out." Instead of just blistering through tracks, we get some real subtle arrangement embellishments. The vocals and melodies are outstanding and I think they've got some musical backing just as amazing.

SAYING SOMETHING
I really like the lyrical direction of this record. This Is Our God leaves behind some Hillsong's name it-claim it, I've-got-the-victr'y approaches. There's also not a lot of United's trademark we're-gonna-start-a-revolution, fire-storm-rain, come-on-get-up-shake-your-booty themes either. These songs are God-focused prayers, many of them focusing on placing our trust in God in our most difficult times.

WHO'LL DO IT?
That's always the question, huh? Can these songs be done? Can your church team pull them off? Who knows? So far, I've got three tunes marked for consideration - the nice jangle of "Run" would be a nice opening groove for worship; Brooke Fraser "Desert Song" feels pretty welcoming; and "Healer" is something of a powerhouse. (Although I think songs about healing often require a little bit of scriptural background...just to get our minds right.) I'm sure there are other tunes that are accessible and available to teams. So far, those are the three that feel the best for my team.

This Is Our God is really one of the best Hillsong releases we've heard in a long, long time. I think you'll love it.

REVIEW

Tommy Walker - I Have A Hope
Maranatha Records, Released 3/18/2008

Tommy Walker is no stranger to most worship leaders. For years, he's been the white, West Coast guitar player who writes funky worship/gospel numbers and is backed some of California's finest studio musicians and singers.

Walker showed up on most of our radars with his song "He Knows My Name." Walker is renowned for his jazz and R&B tinged live worship albums and his songs are widely embraced by worship programs attempting to blend jazz and gospel into their current-day worship setup.

However, all of those die-hard Walker fans better get ready, because I Have A Hope is whole new thing.

What's different? First off, it's a studio album. Secondly, it's produced by Ed Cash, a fine artist in his own right, now mostly known for his production success with Chris Tomlin. Third...well, because it's different.

WHAT WORKS
There are a lot of things that work here. First off, the studio element clears away some of the clutter of Walker's live jams. The songs are a bit more sparse, leaving room to hear the really amazing musical underpinnings. I also like that the music has come slightly closer to the mainstream. Walker's gospely-vibe is still there, heard mainly in the vocal jam ending of the record's standout track, "I Have A Hope," and in the closing "Holy Spirit Come." But the other tunes are different. Both "Hallelujah, We Will Sing" and "In The Light Of Your Glory" are both beautiful piano pieces that seem a bit more simple melodically. The rock tunes are great, from the Tomlin/Cash formula in "Do It, Lord" and the nice jangly "Pass It On" to the hyper-funky "Your Love," Walker and band bring their expert hands to pop and rock.

Lyrically, most of the songs are superb. There's a little too much repetition in a few tracks ("I believe, I believe, I believe in Jesus" and "Do it, Lord; Do it, Lord,") but the other songs are written so well that nobody's gonna' be thinking about those elements. Most of the tunes seem to be in singable keys, although I've yet to pull out my guitar and test any of them.

I also think that I Have A Hope is a really solid collection of songs. There's nothing more frustrating than picking up a new worship album and finding two good songs, is there? That's why I love this record. The songs have their challenges, sure, but I get excited at hearing stuff that is so good and yet so different from what my team and I tend to use in our church. The possibilities on this record excite me.

WHAT DOESN'T
In addition to some of the repetition issues, the big obstacle here in musical prowess. I've been trying to figure out what sort of proficiency an average church praise team needs to have to pull off these tunes, and I'm getting upset thinking about it.

These songs definitely require a rock solid rhythm section. Without a drummer and bassist who understand groove and don't mind getting funky, the songs are gonna' fal flat. The other undeniable element is keys. Without somebody adept at piano, Hammond and rhodes, some of these songs just aren't going to fly. I think it's also important to seperate which of these songs are "fun to listen to" and which ones are "this will work in the service." It's a hard thing - sometimes we love songs so much (too much) that we force them into our setlists without even realizing that they might not work.

WRAP UP
Most of this record is phenomenal, and the part that isn't ends up being a guilty pleasure. Some of the more gospel-stuff is so out there that I would never even try to use it...but it's fun to listen to!

I'd suggest that worship leaders buy this record for a couple of reasons:
1. 4-5 possible tunes for almost any "contemporary" worship service.

2. This could end up being a landmark album in modern worship - I think it could possibly rank up there with Baloche or Tomlin in this regard. It's so different, and so well done that you won't regret picking it up.

3. Great production work, which always helps us in our arranging (or lack thereof.)

This review was written by Todd Wright.