Youth For Christ, the youth choir out of Jacksonville, Florida, entered in 2001 as an associate of sorts of the Georgia Mass Choir. The result was a Grammy nod.

For the sophomore live-recorded project, their Emtro Gospel debut Love Comes In All Colors showcases the mass choir in fine form. Under the direction of Troy Sneed, the album is chock-a-block with playable cuts that will find a welcome equally on radio as in church as in your car stereo.

The choir's youthful and energetic sound is always on point, and doesn't falter throughout the course of the project. Songs are tightly tied to the in-pocket band (that counts Maurice Rodgers on organ and Corey Johnson on drums, Rick Watford on guitar and Derrieux Edgecombe behind keys as members, with Edgecombe also serving as musical director).

And it sure doesn't hurt to have guest solo shots from Kim Burrell, Bruce Allen (vocals!) and Rev. Milton Biggham, along with several lead solos from Sneed.

Burrell makes her presence known on the soft ballad title cut written by Dale Williams, which encourages with its message of unity in the Body of Christ. Burrell enters alone and carries the song until mid point with her usual resonant vocal play, at which point YFC comes in to echo her words in chorus.

When Rev. Biggham takes his place behind the mic, the attendant crowd erupts into applause. "I Can't Forget" is the name of the song, and indeed, those words take on double meaning, as Biggham's compelling delivery (familiar to anyone who's seriously followed traditional Gospel choirs for any length of time) combined with Michael Ferguson's firm bass anchor that drives the funky cut —along with periodic horn punches from a talented group under the moniker of Dirty Horns— makes the song memorable.

"Shine On Me" is memorable for the back-to-back contrasting versions offered on the album. Soloist and composer Omega Forbes handles solo duties on the first version —an interpretation that relies on horns and a heavily-bottomed bass instrumentation that treads on funk territory before the fade. The song then moves into the 'church' version, with Forbes handing the mic to Brian Carn for this subsequent organ-driven interpretation that has YFC remaining silent, and is also filled with significant interspersed sermonizing.

Then, as if to demonstrate that YFC can hold their own without any soloist in front (as if that's not already evident from their excellent work already shown on the songs already delivered), the choir ably steps up with "Jesus Is The Light". Soprano, alto and tenor sections work up a sweat with some fancy part interplay.

Bruce Allen is known for his sax stylings (as half the award-winning Allen and Allen instrumental jazz duo), but leaves his instrument in the case here, as he joins with the youthful Ashley Boston in duet on "Yes Lord" on a composition written by him. The song has a nice melodic edge and good chorus hook from YFC ("yea, yea, yeah, yes Lord").

Also check out Sneed's take on "Great Is Thy Faithfulness" and his work on the two-part "I Give You Praise".

To conclude the recording, "Let Jesus Lead You" has soloist Henrietta Telfair coming in for a traditionally-flaired romp from writer A. Henry Thomas to bring the album to a close.

YFC certainly makes an impression on Love Comes In Many Colors. So snag it!