::ALBUM REVIEW::

For over two decades, Hezekiah Walker has been recording fun exciting displays of contemporary funky gospel music - styled in such a tradition that people have gone to such great lengths to label it the “Hezekiah Walker” sound. And for generations, Hezekiah Walker has become an inspiration to many youth choirs and choir directors for keeping good choir music alive. In the linear notes of Souled Out, the pastor’s thirteen project to date, Walker expresses his labor of love for a style of gospel music that has become so unappreciated and neglected by today’s gospel industry. “Although the industry is trying to do away with choirs, this CD is a testimony that we are here to stay.” It’s kind of hard to believe that it has been over twenty years since Walker and his energetic Love Fellowship Crusade Choir jumped on the recording scene. But evidentially, Souled Out is a fresh new chapter for the songbook of Hezekiah Walker. For the most part, it serves as an inspirational guide for struggling choirs looking for cool material that bears the seal of approval from the renowned Pastor of Hip-Hop.

Strategically the opening segments of the album revisits the former Love Fellowship formula of the ‘90s. It’s not a sweeping unique approach, but the excitement has never sounded better. It’s been years since Nate McNair has actually dropped a legitimate funky track on a Hezzy record (skip “He’s Able” from 20/85. After hearing three newer works from the songwriter/musician, the first half of the album morphs into a presentation that would have easily fit into the time period of Walker’s bigger album releases of the ‘90s. The infectious title track, loaded with a catchy melody and a resounding repetitive vamp, is a sure sign of rewarding tracks to come. Walker’s spunky narrations sets off the lively party and climaxes with tangy choral harmonies that takes listeners back to their 1999 hit “Power Belongs to God.” The sweet marriage of Donald Lawrence’s serene production (especially with the sparkling horn arrangements) and Love Fellowship’s live choir hand-claps and big choral harmonies on the head bobbing “Souled Out” justifies the brands of both musical giants. McNair co-writes with Estee Bullock on the midtempo sleeper “Keep On Moving On.” The interplay of the modern jazzy Rhodes sounds and Jeffery Lesley’s crunk drumwork gives the song a cool laidback sound fit for a Saturday morning cruise. “All of My Help” is just as energized with its sonic synths and stimulating beats - digging deeper into the vaults of Walker’s urban-spiced gospel. There is no hesitation in stating the obvious: the first three tracks are the album’s finest moments and will give off a funny resemblance of the remarkable three cuts opening the LFT Church Choir’s debut project.

From there on out, Souled Out runs like a jumbled goodie bag mixed with likable sweets and out-of-place oddballs. What works is the inclusion of Craig Hayes’ soulful anthem classic “O Give Thanks.” For those who are unfamiliar with the churchy tune, the singable song will most certain become an instant winner for Walker’s core audience - even if gospel-styled anthems are very thin in the arsenals of Walker’s projects. “It Shall Come to Pass” lacks the blockbuster moments of the David Frazier -penned original in which Monique Walker lead on Live in London at Wembley. What the song does right is breaking the song into two parts: a suppressed six-minute choral performance and a fitting reprise capturing Shawn McLemore’s ad-libs on a looping and inspiring vamp. Still, the big energies and momentous contributions of Monique Walker are too hard to forget. “You’re All I Need” finds Hezekiah Walker leading a spirited worship tune. It’s not so bad since LFC pour out their big harmonies on what feels like a praise team track. Walker gives the song a noticeable appreciation and depth with his fitting lead worship duties, but the closing “oh/oh/oh” pop chant, as short as it is, is the song’s bread-and-butter. Then the tumbling blows of a cut-and-paste version of “There’s No Way” and the awkwardly, inserted Israel Houghton track “Moving Forward” (surely aimed to bring new listeners to the predominately gospel choir-friendly album) are a bit off focus from the bigger tracks. The unison-loaded “God Favored Me” is just as disappointing since it flows exactly like a sequel of “I Need You To Survive.” The lyrics may have substantial importance for the embattled pastor since going on the record to clear his name from online rumors and media conspiracies but it lacks the needed dose of originality to be taken serious. Adding Marvin Sapp and DJ Rogers on the reprise helps matters some, but it feels rushed and comes off as a last-minute studio decision.

While Walker’s last set of projects have dwarfed in comparison with the big ‘90s releases, it does take on a few new and unexpected risks that shows some sign of artistic growth. Some work (“O Give Thanks”), some just don’t feel right (“Moving Forward”), but the first half of the disc will probably be best remembered the most and will easily carry the blessing of listeners’ joyful approval. At least from an angle, it’s not as uninspired as the memory-lane course of Family Affair II and doesn’t feel as scattered as 20/85. This time around, Walker will fulfil his obligation to keep choirs around just a little longer.