The important elements of any gospel choir album are solid soloists, a good choir, and instrumentalists, who add to the sound without detracting from the vocals. In all cases, this project succeeds-combining the feel of a gospel choir with the Motown sounds of the 1970's. One of the joys of the album is to pick out the different styles of each song and match it to a Motown artist.
The long list of soloists, manage to span not only a wide vocal range, but a variety of styles as well. From funk to blues, each of the soloists comes across solid and clear, avoiding the temptation to use the same vocal stylings in every song. The choir's presence is felt and appreciated without having them get in the way of the soloists. The choir parts tend to be either in unison or two part harmonies, but what they may lack in ambitious arrangements, they more than make up for in strength.
The musicians are an integral part of the sound. Names like Booker T. Jones on the organ, Freddie Washington on the bass, and Michael McDonald on piano stand out.
The message of this album is strongly Biblically based. The lyrics, whether being sung by the choir or the soloist, are clearly pronounced, allowing the full message to be appreciated. It is not an album that one would use as a "stealth" conversion tool, but any non-believers who like the old Motown sound would enjoy this album.
