James Fortune & FIYA- Encore
Gospel hitmaker returns with more polished set, despite the preachy ramblings
With the winning hand of radio, James Fortune stands tall as a star in today’s gospel world. Counting his radio smash “I Trust You” and “You Survived,” two exceptional power ballads that pattern the gloried musical paces of Kirk Franklin, Fortune and his troupe FIYA have taking the contemporary gospel playing field by storm, even if it’s very familiar to the Franklin brand. The chatter of Fortune’s talked-out, mostly preached ad-libs to the light whispers from the choral layouts are obvious giveaways to the cherishing pop-like gospel traditions of Franklin’s arsenal. But where Fortune stumbles severely is in his albums’ presentation – crowded with a maximum list of guest singers, busy rhythm sections and the departure from traditional melody. Thankfully, one or two songs rise up as the album’s bread and butter, but Fortune, a better song writer and musician than he is a front man, learns a few important lessons along the way and applies them wittingly on his third record, Encore.
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Myron Butler & Levi- Revealed…
Besides going live and doing more sophisticated worship, Myron Butler makes very little progress in making a golden record.
Being a heir of music greatness has its share of high expectations. Myron Butler knows about that. He once shared the song writing credits with gospel stallwarth Kirk Franklin and led the popular youthful ensemble God’s Property into stardom; planting them into the history books of 1990′s contemporary gospel music. His own works have documented many albums from gospel’s biggest stars (Twinkie Clark, Smokie Norful, T.D, Jakes, Marvin Sapp, DFW Mass Choir). It made sense for Butler, after GP folded into its unfortunate disparity, to strike out on his own. Already two albums in, Myron Butler tries to change his pace some by placing his group, Levi, before a live recording audience and by expanding his turf to cover the acoustic reflective worship in most Contemporary Christian records of today. The first two songs summarizes some of his expeditions into risky chord changes, bold harmonies and melody-bending surmising. The album opener, “Revealed,” works like a sparkling gospel-energized update of MJ’s “Wanna Be Startin’ Somethin” but with a load of intricate funky horn buzzes and call-and-response moments.” Kirk Franklin makes an appearance with Butler on the Motown -meets-Barry White “Just Can’t Live.” Think of the opening of Barry White’s “You’re the First, My Last, My Everything” and the Supremes’ “You Just Keep Me Hangin’ On” and that’s what you get here. “Just Can’t Live” seems like an apropos match, but somehow the song losses steam halfway into the song as it ascends up a chain of mountainous choral and musical shifts. While the vamp, decorated with “ahhs” and lengthy crescendos, tends to keep the momentum going, it takes listeners away from the spunky drive. The last time you hear this kind of tempo and groove is at the tail end of the record, with the go-go partyness of “Covered.” The rest of the record is Butler incorporating pop worship into convoluted gospel harmonics.
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Smokie Norful- Live
Since dominating adult contemporary and R&B radio with his bonafide crossover ballad hit “I Need You Now,”, Smokie Norful survived one-hit wonder status and even impressed the Academy by taking home a Grammy win for his 2004 album Nothing Without You in the Best Contemporary Soul Gospel category. Yet it is relevant to add that the coolness of Norful’s career and his relevance on the charts has simmered down some since his goldmine hit. On Live, Norful rediscovers the most popular trend in gospel music by using the live audience to once again build up his army of supporters. Taped at Memphis’ Canon Center, Norful isn’t a total stranger to the live atmosphere. In an effort to meet the surging demand of Norful’s quickly-growing fan base, he recorded the ten-track EP, Limited Edition, months after I Need You Now. Being a full-time pastor of Victory Cathedral Worship Center in Romeoville, IL also benefits him with interacting with his audiences. But the singer/songwriter isn’t as seasoned as a Donnie McClurkin or John P. Kee in a live audience. He stumbles over words and his thoughts during his introduction of “Justified” and he appears to be in rare form only when the music is going. Even his introduction of Heather Headley on the project lacks the oratorical emphasis it deserves.
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