Various Artists

Item: City on a Hill: Sing Alleluia
Author: Bert Gangl

City on a Hill: Sing Alleluia

(2002)

Reviewed by Bert Gangl

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Label Essential RecordsThe Phantom Tollbooth2002

ccm pop rock worship

To say that Songs of Worship and Praise, the debut album in the City on a Hill worship series, cut a fairly imposing swath across the Christian music landscape would probably be something of an understatement. Collecting a Dove Award for Special Event Album of the Year, placing the debut single, "God of Wonders," simultaneously into the Top Ten on the Adult Contemporary, Christian Hit and Inspirational charts, and selling over 300,000 copies, the critically-lauded release stationed itself as a decidedly daunting benchmark for all that would follow in its wake. Happily enough, producer Steve Hindalong, who netted a Dove nomination for his work on the first project, has more than risen to the challenge this time around.

For Sing Alleluia, the sophomore volume in the City on a Hill set, Hindalong recruits Common Children front man Marc Byrd to help with production and songwriting tasks and, together with the stable of artists assembled, their work is nothing short of stellar. Mac Powell and Jennifer Knapp offer up a gritty, heartfelt vocal delivery for the lead-off track, "Sing Alleluia," knitting their vocals seamlessly into the song's shimmering pop textures. In the same way, the splendid musical and vocal sections drafted by Jars of Clay to accompany the text of Frank Bottome's classic hymn, "The Comforter Has Come," are both intricate and magnificently sublime. Nichole Nordeman and Christine Byrd blend their sparkling voices into a synergistic whole for the beautifully restrained "You Are Holy." And Bebo Norman's breathy, semi-droning singing style forms the perfect foil for the soaring instrumental portion of "Holy Is Your Name," vaulting the lively track to a place alongside Alleluia's best entries.

Perhaps the album's strongest section, though, comes with its closing three-song trio. While thoroughly distinctive, "Hallowed," "Lift up Your Hearts" and "Communion" possess an endearing and familiar character that causes the listener to feel as though they're listening to long-forgotten favorites rather than hearing the compositions for the first time, which is perhaps one of the highest compliments to be bestowed upon any artist's work. If Alleluia possesses a slightly muted sense of the indie spirit that sprinkled Hindalong's previous forays into modern worship music, it nonetheless carries with it a greater accessibility and forfeits virtually none of the originality and artistic merit that have long stamped Hindalong's and Byrd's previous efforts. Besting the admirable Songs of Worship and Praise project is, needless to say, no mean feat. But Hindalong, Byrd and Company have done so, almost, it seems, without trying. An absolutely superb outing. Sing "alleluia," indeed!

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