At a time when so-called "alternative" music has faded into an achingly familiar refrain of scrappy guitar changes and angst-ridden vocals, Cindy Morgan is blazing across the music landscape like nobody's business, with a rather atypical idea of a career trajectory. This is, after all, the same woman who changed both her management company and her producer just a few years back. Creative control in hand, Morgan has redirected her career with projects that offer intricate and impressionistic sketches. Indeed, Morgan's latest, The Loving Kind, provides further evidence of a liberation of both thought and presentation in her craft, which was never present during her dance-pop days.
Previously, Morgan explored the borders of art-rock and alternative pop, with gospel, R&B, show tune, and folk companionship. With The Loving Kind, she drives full-throttle into the heartland. Inspired by a trip to Israel, Morgan looks with fresh eyes at the life of Christ, and Passion Week in particular. However, she is still finding her footing on this musical trek. As a result, some moments on The Loving Kind lack cohesion and refinement: at times, Morgan searches for direction, misjudges dynamics, or makes adjustments mid-song. While she unequivocally possesses a strong vocal range and ability, Morgan sometimes lacks in the enunciation and diction departments. Yet, tracks like the haunting "Higher" or the stunning "Can You Hear Me?" prove that she is capable of finding her voice and making the listener eager to follow on this unfolding journey. Without a doubt, Morgan continues to be a radiant, unpretentious performer who distills the essence of whatever style (or styles) she's investigating - she sings funk riffs with the openheartedness of a folk-singer ("The March"), slices through techno overtones with blade-like precision ("The Whipping"), and offers up unfettered praise with the inspired delivery of a worship leader ("Praise The King"). Truly, on the tunes where Morgan finds the proverbial "Promised Land," the walls come down.
As with her previous effort (Listen), Morgan has chosen a more album-oriented direction with The Loving Kind. Like the Beatles and Michael Card, her songs are best listened to within the context of the album. In fact, some of Morgan's cuts do not make sense on their own, and that can be frustrating.
On this pilgrimage, she takes her listeners from the gardens of Eden and Gethsemene ("In The Garden") to the triumph of Christ's resurrection ("Alive And Well"). Morgan's immersion in scripture and sojourn in the Holy Land have yielded lyrical gems - "Take My Life," a passionate, power ballad written from Mary Magdalene's vantage point (this cut is sure to become a signature song); and "The Last Supper," an exquisite duet with Wes King inspired by Luke 22. Morgan's writing also has many dark and dramatic edges, not unlike the eyewitness accounts of Christ's passion. Several tracks have an urgent and emotionally charged quality, which stems from their content and construction, as well from the fact that both the piano and vocal parts were recorded simultaneously. Indeed, what makes The Loving Kind so compelling is Morgan's ability to communicate her encounters with Christ in a fresh and original manner - breathing new life into a familiar story.
It is obvious that Cindy Morgan's trip to Jerusalem has changed and enlivened her perspective on the Gospel accounts. As a result, the focus of her current album is centered around the amazing story of redemption. And if you follow Morgan's lead as she traces the steps of Jesus, the Savior who trod the sod of Israel, you will find that despite the violence and the death, our God is truly "the loving kind."
Similar sounding releases
2002Crystal LewisHoly, Holy, Holy
2003Twila ParisHouse of Worship
2003Kate MarkowitzMap of the World
2005Point of GraceWinter Wonderland
2000Nichole NordemanThis Mystery
2005Cherie AdamsThe Sweet Life
