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Mennonite Brethren Herald • Volume 43, No. 13 • September 24, 2004 |
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This could have been titled Revenge of the O.C. Supertones Circa 1997, but it’s refreshing to hear the Supertones return home after the funk-punk detour of 2002’s Hi-Fi Revival. The bombast of “Wake Me Up On Time” re-introduces the Supertones to an audience who don’t know (or might have forgotten) that the ‘Tones were once the best punk-ska outfit this side of Reel Big Fish. ROTOCS hits all the bases that made the ‘Tones famous: ska (“Transmission”), reggae (“Shepherd Is The Lamb”), and bouncy punk (“Cult of Cool”), but what makes ROTOCS truly inspiring is the musical progression within the classic sounds. Glimpses of the Police crop up in “Prince of Peace” while the ethereal island swim of “Dream of Two Cities” betrays sensibilites beyond the reach of most punk bands. Lyricist Mojo is deathly afraid of being misheard. Every lyric of every song is printed in the book and, what’s more, is accompanied by an explanation. Ironically, the explanations are sometimes more metaphysical and confusing than the lyrics themselves, but they give a good idea of where Mojo’s coming from, whether speaking from the perspective of a new believer, singing of Christ’s love for the unwanted, or contemplating the endtimes. Some will call ROTOCS dated (Christian ska is, like, so 1997) but the newfound lyrical and musical maturity of the Supertones make this one stand out as more than a throwback album.
Anthony Evans Jr. has taken more than a couple of cues from his mentor Kirk Franklin: Even More has its share of Franklin’s signature gospel/pop/funk choruses, and Franklin himself pops up on the slow groove of “Incredible.” Fortunately, Evans and his production team have the good sense to switch up their beats occasionally, and it’s then that Evans’ warm, soulful vocals come into their own. Whether crooning softly over the piano-driven balladry of “Restore Me” or strutting over the pop-groove of “You Know My Name,” Evans showcases an impressive array of musical personalities that will appeal to gospel, R&B, hip-hop, and CCM fans in turn. Evans has a very strong streak of praise and worship in him. Aside from a touching tribute to Evans’s father, each song addresses the Almighty personally with a heart that alternates from prayer and praise to a desire to overcome selfish desires. What ties the album together is Evans’s uncanny knack for expressing utter sincerity in everything he sings, right down to the smallest “yeah.” Even More isn’t groundbreaking. It’s impressive nonetheless, due not in small part to a production team that is obviously familiar with Evans and is able to craft songs around his distinctive vocal style. It might take one listen to decide if it’s for you, but Even More is at least worth that one listen. | ||||||||
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