Tony Vincent's self-titled debut is a deep pop album. Musically, although very hook-laden and heavily produced (by Charlie Peacock and Brent Bourgeois), there is more range and experimentation than most pop releases today. A first listen might leave the impression that the lyrics are a pop-standard contrived set of catch phrases, but a longer look will show amazing depth and spiritual truth that is offered through rather unique metaphors.
The lyrics are not all from Vincent. Most are from him co-writing with Bourgeois or Douglas McKelvey, and a handful are by Bourgeois or the Bourgeois/McKelvey team. The standout that may sound familiar to the more eclectic listener is "Holiday" by Mike Roe and McKelvey.
Some lyrical highlights are a great appreciation of God's grace in "Must Be the Season:"
It's five a.m. I don't know what I'm doing up and on the floor It's just so strange to see The grace that's raining down on me There's no rhyme, there's no reason Must be the season, of God's Love
"Far Cry" is a personal favorite. The smooth vocal harmonies in the ballad make a new version of 1 Corinthians 13, stating:
I could open the doors of a mystery Turn all these shadows to light Keep faith when the odds are against me Believe when I'm losing my sight ...But it's a far, far cry from love All my passion, my tears, and my blood Sacrifice will never be enough
...I could open my arms to the hungry Fight to keep flesh on their bones Surrender my body for burning Lay down everything that I own
But it's a far cry from love...
Other lyrical statements revolve around resting in the Lord, relinquishing human dreams to God's desire, the problem of idolizing money, and open-hearted praise to God.
Some of the musical experimentation occurs on "High," which has a distinct Beatles vibe and "Shake the Money Tree," which is a very funky R&B influenced track, and the opener, "Must Be the Season," which has heavy bass-sequenced verses leading into an aggressive rock chorus. Not to mean that the rest is cut-and-dry formulated pop music--there are dance and rock elements throughout. You can even sense shades of Simple Minds on "Out of My Hands." It does not lack for variety.
It took a while for me to warm up to this album, but it is now heavy in my listening rotation. Most of the project will miss the AC market (except for a ballad or two), but should definitely attract the CHR audience and fans of pop-based music that isn't afraid to try a few different elements.
