Review

I’ve never been a big CCM guy. I pretty much exclusively listen to “worship” music. For much of the 90’s Christian Contemporary Music seemed to be, to me, very homogenized, falling into the same kind of formulaic trap that seems to ensnare all the “secular” genres. So, sitting down to listen to City on a Hill, with all its big-name artists, had me feeling like they had one strike against them already. And, too, there was the whole business of getting all these guys on the same album. You kind of roll the dice when you bring a bunch of artists together. The question becomes “Why are these people all getting together?” The answer will frame the work that is done. With that admittedly jaded view I began to explore City on a Hill: Sing Alleluia. I’ve listened to it over and over again, in my living room, on my way to work, working on the computer… And this cynical reviewer has been won over.

One thing I noticed right away was the production and the arrangements; the polish of the project. As I said, I listen to a lot of worship music, and much of that is recorded live at a church service (and rightly so). This work stood out in sharp contrast to that. Each song was crafted with exceptional vocal lines, often pitting two distinct voices harmonically against each other. The progressions, while in their essence simple, were nonetheless colored with 7th chords and 9th chords, separating it more from the run of the mill. The melody lines were professional grade, as well. And the musicianship was as tight as you might expect, given the cast of characters involved.

But, what of the songs? Was this just another delightful sonic sample from “the big boys”? Was it a vocal treat with no substance? Hardly. Most of the songs were written by project producer, Steve Hindalong. And to sing and play them, he got Jennifer Knapp, Mac Powell, Nichole Nordeman, Bebo Norman, Fernando Ortega, Caedmon’s Call, FFH, Jars of Clay, Phil Keaggy and more.

The album begins as if you’ve just entered the sanctuary: Majestic pipe organ, bells, choir singing St. Francis Assisi’s words “All creatures of our God and King…” As the organ fades, an acoustic guitar begins and we hear Jennifer Knapp singing again about all creatures. Just when you’ve been drawn into the song and Jennifer’s voice, Third Day’s Mac Powell joins the duet. I can’t think of another singer’s voice I enjoy more than Mac’s. His deep, booming, soulful tones just keep making me want more. This song, Sing Alleluia, is the anthem of the project and is already getting a lot of play on, you guessed it, CCM radio. How could they not?

As you listen through this album, each song will stand out. The themes paint broad strokes across the canvas of God’s attributes: His holiness, His greatness, the Holy Spirit… Several songs surprise and delight you with a weaving of liturgical elements into the contemporary sound. Of special note is Jennifer Knapp’s “Hallowed”, with Phil Keaggy on guitar. Many songs are written using the Lord’s prayer, but this one stands up and must be counted at the top.

“Communion”, takes another well covered theme; Cliff and Danielle Young (Caedmon’s Call) join Phil Keaggy on this one. Its potent lyrics bring out one of the heart’s cry of today’s younger Church: a desire for community and unity. “To unify the children of His grace, Our Savior beckons us to know the taste of true redemption. Now as we break this bread wine as one, God’s family unites in reconciliation”.

The album, which began with organ and bells calling one to worship, ends in a congruous fashion: Organ dismissing us in a magnificent reprisal and postlude of “All Creatures of our God and King”, birds chirping, church bell ringing. As worship leaders, there is much to gain from this album. There are songs for Sunday morning, and songs for private meditation. This album will also fall into the hands of many who don’t lead worship… and it will lead them… and that is its mission. And as for me, I fall on my face again before the Lord as He reveals His ways to me, exhorting me past my prejudices, showing me that Contemporary Christian Musicians can, indeed, lead us in worship.

Review by: John Ausmus