I can make one guarantee here: You’re not expecting this CD. It’ll catch you off guard whether you’re familiar with its artist, Mahogany Jones, or you’ve never before heard her name. And when will this realization begin to sink in? The minute you scope the cover art: There she is, Mo Jones tuned into the sounds of a flashy headset, eyes closed, lids painted, pleasant expression; and laid over this cover are words in a font that is a cross between art deco and funk era. They read “Mahogany Jones” and the title of the CD: “Morphed.”

Then there’s another unexpected surprise. You’ll load your CD player (or download to your mp3) with music from this talented and proven hip hop artist … but the first thought that will flash across your mind will be … wait a second! That sounds like techno! Electronic? Disco-ish? What’s going on? I told you so. But don’t worry. I didn’t completely ruin it for you. Hearing is believing in this case; and nothing that I can write will cause you to entirely snoop these sounds. That is, not until you cop this project yourself.

As you sit back and let each of the tracks from this album rush over you, it’s likely you’ll experience an astonishing sense of satisfaction. Morphed is music. Good music with a seldom-touched message, hot vocals, superior production and gifted lyricism. If you’re able to deconstruct the categories you may have that define music genres and not determine your ability to enjoy songs based on their adherence to those genres, you’ll love this album. And the irresistible sounds of Morphed will gain heavy rotation in your music player.

Are you interested in reading the rest of this review? Click here. It’s at DaSouth.com.

One thing that’s pretty exciting about shai linne’s body of work is that you never know exactly what you’re going to get. Sure, the album titles of his projects give you a clue of the impending content, but shai is undeniably one of the most creative hip hop artists around. As a result, listeners are always bound to encounter surprises with respect to his song arrangement, delivery style, lyrical intensity, musical choice, featured artists, and even covert virtues that only the most attentive listeners will note. Storiez is no different. If you’ve been following shai’s solo projects, you’ll notice that each one has a totally different focus and, though the centrality of the cross will never be absent, they all have a thoroughly unique sound. This is what makes him an intriguing artist to rap fans. And in this vein, Storiez doesn’t disappoint.

Before we dive into the particulars, it’s helpful to know that a large range of “stories” are present in this album. Since it’s so-titled, “stories” are what you’ll get! This project is peppered with tales of servanthood, death, love, fear, martyrdom, womanhood, victory, and childhood. Listeners aren’t preached to, and this project doesn’t make it its aim to exegete Texts verse-by-verse. But whether you’re the type who croons over “theological rhymes” or prefers “real-life rap,” you’re likely to experience a mysterious sense of satisfaction regardless. shai’s musical selections, subject matter, and lyrical ability are bound to indulge varied sensibilities. With that, let’s take a look at some of the selections of note found on this CD called “Storiez,” including several of the attributes therein. We’ll also peruse a few of the less-favored elements.

There are several things that stand out immediately in this project. The first (if you receive the physical CD) is the packaging. Not one to gloss over anything he’s put his hand to, shai ensures that the cover, spine, back and inside of the CD case include meaningful and relevant images. All the listener need do is contemplate the art in hand! Now, as you actually listen to the album what you’ll almost instantaneously notice is the utterly astounding mix and scratch combination you’ll hear at the end of Rick Horne’s intro. Unlike what you’ll find on some albums, this part of the project stays well-timed, on beat, and expertly done. DJ Essence and Average Joe do a great job here. The next track that will catch you off guard is “Wake Up, You’re Alive.” Sporting a melody-rich, irresistible beat developed by Mac the Doulos, this song tells an imagined tale in which the artist is confronted by an eerily-familiar presence further explained at the end of the album. This song is unlike any other heard by this reviewer, and clinches the art of story-telling to a hip hop beat. As if the person glued to their speakers isn’t astounded enough, “Wake Up, You’re Alive” is followed by “Passover,” a drama that’s beautiful on several levels. With a couple of dialogued cut-ins, “Passover” resumes with slightly different beats and a slightly altered delivery on the part of the artist that’s quite consistent with the content at hand. CMR’s Official contributes one of his best production archetypes in this banger. And punctuating this wonderful beginning, Tony Stone offers a sleek, soothing track in “Simple Love Story” that displays a few creative changes for those who have heard the selection before. Another great element of this fun tune is an attribute shai loves to add: Hooks with subtle differences in each, all illustrating a different point of the story. As you may already know, “Simple Love Story” is just that.

“High Priest” bursts in with a combination of sonic delights that include hi-noted chimes and vocal-sounding fillers. shai delivers a story about a Hebrew high priest on the Day of Atonement that will probably have you running back to Leviticus to catch the specifics of an amazing precursor to the work of Christ on behalf of sinners. Carried forward by an innovative chorus, this also is a favorite. Another highlight is track number 12: “Martyrs.” In this song, shai collects four other exceptional emcees to spit stories of martyred saints who tell of a range of emotions as they contemplate their varied circumstances. Fans of “The H.E.R. Project” will be elated to hear the voice of Techniq, who destroys her portion with expert flow and knockout lyrics. As usual, Evangel spits hefty rhymes as he tells the tale of William Tindale. And both God’s Servant and J’son recount heart-wrenching details of other examples of martyrdom. Within this track, as expected, the lowercase emcee contributes an incredible account of James the Just over a bangin’ track that sounds like no other. Along with a bass-less intro, shai depicts James pleading with God as follows: “Sovereign Lord, You’re so holy, You know me / I’m nothing but dust but I trust in You only / I see the faces in the crowd below me / I’m standing on the rooftop of the temple and they about to throw me …” Suddenly, the bass enters and provides a gorgeous bottom for one of the best parts of this entire CD.

Most of the rest of this album consists of an array of honorable mentions. This designation isn’t offered to denote barely satisfactory songs; rather they are actually quite brilliant and stay true to the theme of the CD. Among the best in this category are “Greatest Story Ever Told,” “Testify,” “Spurgeon,” and “Penelope Judd.” It’s both clear and refreshing that the lowercase emcee stuck his neck out to courageously offer such a distinctive project. The voices of children and additional featured vocalists found throughout the project are also a welcome element.

Now, we’ll jump from the most favored elements of this, shai’s third solo project, to the least. In terms of the specific songs offered, there’s only one that this reviewer can say she simply didn’t like. Granted, each and every selection presents worthy stories, varied and important subject matter, and even consistent enjoyment. But ironically, “Work It Out” is the only one that left a bad taste in the mouth. The reasons aren’t because of any generally-accepted elements of distaste ingrained in the song, but because this reviewer holds a dislike of two things this track includes: (1) The expression “I know that’s right,” which is repeated several times at each hook, and (2) Certain instances of what can be called “chanting chicks,” which, to the reviewer, sounds mindless and lacks substance. Why is the distaste for this song ironic? Because it is full of admonitions aimed at women to “Work It Out” in their walk with Christ and, in that way, it’s actually quite edifying. Another less-favored attribute of Storiez is something that can be found throughout the album. Sonically, the album isn’t as crisp as it should be. Intermittently this causes a bit of strain in deciphering vocals and instruments. It’s a bit frustrating, because there’s so much to like about this CD that should be very crisp and clear to the ear, but it isn’t. Sometimes the vocals are a tad too low in terms of volume, and other times the integrity of the mix simply doesn’t match the virtue of the song. One example is Evangel’s rap on “As the Hour Draws Near.” The track selection simply doesn’t match the genius of Evangel’s lyricism. It seems that either he should have been given a track that better matches his higher vocals, or that he possibly recorded his portion without the benefit of the music. Elements like these take away from an otherwise near-perfect project.

In closing, with few exceptions, Storiez is a worthwhile effort that brings much to the table. Creatively, it’s a powerhouse that includes a diverse array of sounds, fantastic beats, a unique theme, and shai’s superior poetic words. Each track is different than the previous, all contributing to a great odyssey full of musical enjoyment. The selection of featured artists was savvy and the beat-makers made this album incredible.

There’s no doubt you’ve never heard anything at all like Storiez. It’s a strong contribution to the genre and music in general.

Pick it up.

This review can also be found in the Reviews board of Holy Culture Radio.

The first thing you’ll likely take note of is the refreshingly clean sound quality evident in this venture. Escaping Me is sonically clear, each track is unique, and the instruments – whether electronic or not – are easily decipherable. This is a welcome attribute.

The second thing is the diversity and creativity of the beats and overall production. The “SuperBadd” remix boasts a delectably nasty flavor that will likely cause you to pause and take note. The velvet sounds of the title track, produced by J. Pierre, are totally delightful. Brinson-produced “What Should I Pray” is clearly a head-nodder with its West-coast rhythm. His dark melody in “We Need a Savior” puts his artistic courage and style-assortment on display. “Long as I live” is simply beautiful; and J. Pierre’s concert-style intro in “Hello” sets the album off in expert fashion.

Please click here if you’d like to read the rest of the review.  It can be found on the Rapzilla website along with several others I’ve been fortunate to write.

There’s much to enjoy about Life on Life. For those who like to sit back and take in the music they’d just purchased, this project will be a complete and persistent effort to persuade believers and provide real-life examples of what it means to build relationships with the “Life on Life” mantra for the glory of Christ. Topically, this album addresses discipleship in a way unique to many ears. It starts with a title track that deftly introduces the subject to the listener: “Come and ride with me / roll with me / build with me / stand with me / live with me / grow with me [life on life] and I’m praying that it’s Christ you see / as you share your life with me.” It continues with several songs that stand out in terms of their well-placed lyrics (“Run,” “Music,” “My Heart,” “I Do,” “Ladies & Fellas,” and “Grace” come to mind). There are also a few exceptional production efforts. And intermingled in the album are several astounding interludes that are intimate and stimulating examples of the interaction of siblings in the Lord living life on life.

Are there any disappointments? A few. And they’re all related to the beats selected for a small number of songs. The problem is that in these specific cases, the sound is simply too typical. The title track is filled with promising lyrics, but the musical element can be a turn-off because, upon first listen, it makes the album seem like it’ll be “just another CD.” “Listening Choice” is another track which possesses challenging and appropriate lyrics (“what’s in your headphones?” is a simple but profound question), however it, too, suffers from beats that trudge along much like numerous others we’ve all heard in contemporary hip hop.

Are there favorites? Certainly. The bonus track, “Grace,” is beautiful. J.R. uses his talented vocals on the hook, and the song provokes rejoicing that God’s great salvation has come knocking on our doors. What an incredible reality! “Grow” is another worshipful song that glorifies the Lord and identifies Him as the source of all we need and strive to attain. “Ladies & Fellas” is a gem that speaks to critical truths about marriage both for those in the covenant relationship and those looking forward to it. “Sittin’ Big” provokes a sigh of relief for those into uniqueness in beat selection. Msimp’s artistic percussions and excellent production are a musical highlight of this project. A gorgeous love song to the Lord, “My Heart” strikes a superb balance between personal lyricism and the smooth vocals of Dawndia laid over an even smoother track by Demetrius Hinton. It’s a great choice for this album. Another favorite is “Music,” which communicates both the harsh realities of the music industry and the significance of proper motives to those aspiring to become recording artists. J.R.’s steady melody and J’son’s honest perspective make “Music” a solid tune. I would be remiss if I didn’t include “I Do” among my favorites. It’s an intense, heartfelt song to an unrepentant loved one. In this highly personal account, J’son declares: “I know it’s hard to see but God, He wants to give you light / right now you only breathe but God, He wants to give you life.” Finally, the outro aptly redirects listeners to a Christ-centered focus in the form of a wonderful concluding acappella.

In sum, Life on Life is a clearly-directed CD with subject matter that is greatly needed in the Body of Christ. A couple of common-sounding tracks may provoke disappointment, but there are others that help make up for this deficiency. Moreover, the incredibly realistic interludes combined with the driving theme cause the good to far outweigh the bad.

This review can also be found in the Reviews board on Holy Culture Radio.

In this follow-up to Our World Fallen, FLAME is sure to make one fact clear: though Earth and its inhabitants are in dire straits because of sin and rebellion to God, a tremendous hope remains. This hope is in the Person of Jesus the Messiah, who was sent by the Father to satisfy His righteous wrath appropriately aimed at those who have sinned against their own Creator. This is the most blessed fact in the history of existence, but a natural question remains: does this album express such a Truth with the artistry necessary for a full-length music project?

To find out, click here for the rest of the review!

Well, there are a few things you should know before you snoop the sounds of shai linne’s early 2008 undertaking. First, the title of the CD perfectly aligns itself with the old saying “what you see is what you get.” The album is about nothing else but the atonement of Christ. Such a topic is unfathomably astonishing, to say the least, but it alone is what the project brings to light. Second, The Atonement is not shake-your-rump type entertainment. Not at all. In fact, it’s a sobering collection of artistry. Sure, the musicality and lyricism are well worth mention, but this album won’t be spun in clubs. Finally, you can rest assured that once you hear it from start to end, you’ll come to yourself on the other side having grown and been enlightened in some delightful measure.

Knowing that this album is designed to be listened to from track 1 to track 19 (no skipping – at least not at the first go-around), let’s dive in. The opening is eerie. It’s deep, classical sound is rich and provokes meditation. The narrator utters timeless words, deejay essence crafts a bangin’ percussion-driven transition, and we’re off into a head-nodder that rhythmically surges forward: “In Adam All Die.” As one would hope, The Atonement begins with a track that gets into why an atonement was necessary in the first place. And the album builds, song after song, from there.

Want more?  Click here!

You: So, you got a chance to hear the newest 116 project of 2007. In one word, what’s your reaction?

Me: One word?!? You gotta be –

You: Just one word. Come on. Challenge yourself.

Me: OK, my one word is … “absurd.”

You: What?!?

Me: Absurd. Yeah. It’s utterly absurd what these dudes do in this project. It’s absurdly creative. Absurdly ground-breaking (for Christian hip hop and rock, that is). Absurdly eye-opening.

You: Wow. That’s pretty extreme, sis. Let me ask you this … what makes it different than any other Holy Hip Hop or Christian rock CD out now?

Me: Let me see. I would have to say what makes it different is the inclusion of authentic rock, the blending of more than one song per track, the energy level, and the way it gripped my conscious to actually live out my faith. It’s different, all right. But not in the way a cautious person would say “different” when they really mean “retarded.” Different in a wild, amazing way. Yeah.

To join the rest of the convo, click here!

My first listen to Cross Movement’s latest release, HIStory: Our Place in His Story, was pretty uneventful. I snooped the music while in the car driving to and from the office one day. Nothing stood out to me at that point.

But my second listen caught on by surprise, like an unexpected stocking snag or an unforeseen hook-grab of the belt loop on my jeans. “Whoa, what was that?” was my constant response song after song. I was sold then; and after running the CD through about a half dozen times, I’m awed. Honestly, “HIStory” comes at you like the constant jabs of a boxer on a roll. It holds hit after hit after hit. And as a HHH lover who has nearly every CM work since Heaven’s Mentality, it’s delightful to see how far this group has come.

What a brilliant concept: ending what could be Cross Movement’s career as a group with an album about God’s providential inclusion of these individuals in His plan for His creation. This project is a look back, a glance forward, and a perusal of the current condition of a human race that desperately needs a Savior.

“We lost Truth in this period/and proof is so mysterious/losing absolutes is so serious/how we think we gon’ live when everything’s relative/is anybody curious?//without a standard of Truth society’s deranged/that’s why I’m up in your ear begging for change.”

Interested in the remainder of this review?  Click here.

Let me start with a listing of general elements this CD brings to the table and provide you guys with some pointers important to your own pursuits. From the very first song, you’ll see that the style Mac the doulos and Iz-Real use to spit the Truth is unique and true to their own style. Granted, some people may not gel well with the gritty, energetic flows they bring, but this duo insists on being who they are. Such should be the case with you. If your style is rough and rugged as is theirs, be rough and rugged! As I listened to this project, I was assured I was getting genuine artistry from these brothers, and I enjoyed listening all the more. You’ll also notice that these dudes go hard for the Gospel. There’s no question in the mind of the listener what their message is and Who they advocate. This album doesn’t have to worry about being ambiguous in its content. Clearly, this attribute is another worth emulating. Whatever is worth communicating is also worth grinding out through the process of writing and producing an entire album. Go hard for it like they do, kiddies. Speaking of which, Mac and Iz-Real spill a complete urgency for the Gospel of Christ. They realize time is being wasted and souls lost as time progresses. Their urgency shows they have a passion for Christians living their faith through a proper understanding of the Word, and unbelievers coming into the knowledge of the Truth as soon as possible so their lives of futility can come to a rapid end. Their rallying-cry music gets the listener pumped up for their life’s purpose. This album might just stay in your CD players for days on end. As for the lyrics, kiddies, let me be clear. Their hooks are catchy, their lyrics are biblically sound, oftentimes their word usage is clever, and their production sends this entire project into the realm of the exceptional albums of our genre. This is also something to take note of. Be sure your writing goes beyond third grade rhymes. Try and put thought into how you present your content. Be creative and have fun, as I’m sure Mac, Iz-Real, and their other album contributors have done here.

Click here to enjoy the rest of the album review.

Before I ever loaded the album into my car’s sound system, my roadies and I had hopped the plane up to Detroit to catch the album release. I’d never been to a release party quite like it. To keep it short, we experienced a gathering with a clear purpose. There were signs of protest (against the likes of wicked cultural icons and castrated American “Christianity,” that is), a buzz of expectation, and a stage that displayed song after song of in-your-face lyrics and dramatics to match. As if that weren’t enough, posted at the back of the stage area hung a large projector screen that offered the audience a visual representation of all that was being expressed that night. I walked away stunned.

So I knew something of what to expect from the album. And I’ve been none less than amped since the first listen. In fact, I was looking forward to the day when this CD would be in the hands of everyone on Earth (but especially residents of the ‘hood) with its relevant, timely message. The Yuinon delivers again with this project: The Gathering.

When you first cop this CD, the first thing you’ll notice will be the insert’s cover. It displays an image of a typical ’60′s era protest march. The only difference is that you’ll see, instead of signs that read “I Am a Man,” “Jobs Now!” or “Don’t Shop Where You Can’t Work,” you’ll notice posters reading “Stop Pimpin’ Now!” and “Live Godly or Die Trying!” What an introduction. You’ll realize quickly, though, that what comes from your speakers when the CD is inserted is even more striking.

Learn more about this bangin’ project by peepin’ the rest of this review here.