Tony Moore & Jehovah's Chosen
Love Lifted Me
For a departure from the usual, you canít go wrong with Tony Moore &
Jehovahís Chosen. Demonstrating that all creativity is sourced from God and
that His creativity knows no bounds, this Philly choir plunges into the
pool of music fusion with carefree abandon. While director Tony Moore
a striking physical resemblance to Andrae Crouch, apart from a similar tendancy
ingenuity, the similiarities end there.Producer: Anthony Bell
album release date: October, 2000
Love Lifted Me is first and foremost about inventive mixes,
and instrumental sound composition. Thatís not to say that vocals are
lacking, because they certainly are not. In fact, on their own, both
and solo vocals on this disc deserve glowing praise. But the potency
the Jehovahís Chosen band is so strong, and the musical arrangements so
awe-inspiring, that by albumís end, it has become the main impact.
Brass is prominent througout the project, with trombone, baritone horns
the unlikely sousaphone making appearances (the interlude "Heaven
To You" is funky and pure brass worship).
The project is eased in with undeniable praise balladry on "Worship
vocalists Rhonda Underwood and Linda Wilson take on the lyrics of
with considerable support from Jehovah's Chosen and a never-resting bass
from Harold Lee Robinson.
There are a number of intriguing cuts that are too spoken to be called
but too musical to be called spoken poetry. "Hear Our Prayer" (from
T-WYSE) and the dramatically delivered, brass-backed "Righteous
(from Lady Danko) are examples of this form.
The renowned Melvin Crispell handles organ duties on the jazzy "The
(penned by James Poyser), which also includes a unique instrumental mix
wah wah clavier, rhodes, trombone and synthesize/steel drums. Laid on
are a few familiar and simple vocal lines ("Jesus is a rock in a weary
land, He's a shelter"). Probably not coincidental to Crispellís
involvement, the choir handles the song with a style that
James Hall and Worship and Praise.
Rock fusion gets a workout on the first half of the remix of
"Oh Lord", complete with guitar
distortion. The worshipful cut then morphs into an incredible
gumbo of rap and synthy computer sounds
and future-vibes. Interestingly, the
original mix to this song appears four tracks later on the CD,
and has a notably more focused vocal and harmonic
The other remix on the project is "King of Glory",
which as the album-closing track, adds a classical prominence (piano
harpsichord effects) along with a strong rhythm track to the
familiar lyrics. It's always a cool thing when the remix is so
obviously different than the original, which is the
case here, as a modern jazz feel is the obvious focus of
the first mix.
There's so much more loaded on this album, that thereís barely space to
mention the fascinating musical interludes ("Johnís Lude" especially).
If you think your CD collection has hit a musical rut, and are perhaps
looking to break the mold, go no further than Tony Moore & Jehovahís
Go get your Gospel fusion on.
reviewed by Stan North ó
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