Greatpilgrim's Full Review: Worship by Michael W. Smith
Since writing this review, the terrible devastations of September 11th have taken place. In the light of so many people who were injured and killed, I want to remind you that worship is no less important in this time of tragedy and fear than it was in times of peace. As we pray for the victims, the government, and the country as a whole, we must not forget to worship God, who is still in control of this situation. He loves you!
On June 1st, 2001, I got so lucky.
I got to worship (with) Michael W. Smith.
{Grin} If you want to get technical, it wasn’t just me and the Smithster. There were, oh, 10,000 other people there too. But for how personal it felt, it could have been a living room with Michael at the piano.
The concert I went to that night at Carpenter’s Home Church showcased a choir made up of Christian artist upon Christian artist, a band of top-notch musicians, a couple of showcase soloists, but best of all, Smitty leading worship music with a mike and a grand piano. These songs were taped and packaged and released in stores on September 11th.
The real thing was incredible. But the CD, while it can’t beat a live concert, captured the incredibleness.
Michael W. Smith
I admire this guy tremendously. It seems like anything he puts his talent to comes out great. Famous for his boyish, reflective vocals and unlimited creativity, Michael W. Smith is amazing whatever way you look at him. (Yeah, yeah, from the outside too; he doesn’t LOOK forty, believe me!) Get past all the hype and fame and you have a guy who loves to write music, perform it, and touch people’s lives with it.
Before going to the concert (which was my first Smitty concert), I never realized how well he played the piano, but after he led the entire concert at a huge shiny black grand piano, there was no mistaking the sheer creative energy that lay behind his music. As a songwriter, too, he has a lot of passion in what he does, and his singing suits the style of his songs so well. The one thing I was a little disappointed about was how his voice got drowned out by the music and the huge stadium of singers. Maybe that was part of his plan to make sure this album wasn’t a me thing but a God thing. I still like the tracks where he comes out front with his vocals.
The album
Before you write Worship off as a Smitty cash cow on the modern worship frenzy in the Christian music industry, check out what Michael had to say about the growing popularity of worship music in general: “I think it's wonderful as long as it stays pure. I think the frustrating part is when you get record companies who jump on the bandwagon and everybody wants to release worship albums because it's what's selling. That's the only thing that really bothers me. As long as we can keep pure motives I think it's awesome.”
And he means it. The whole atmosphere at the concert was amazingly God-focused adoration. I was so surprised to see Michael pouring himself out, keeping his vocal and musical integrity while abandoning himself to worshipping God. At one point he left the piano and got down on his knees. An artist who can humble himself before a huge crowd like that and truly means business with God gains my full respect, and I now have a new appreciation for this singer.
With Michael at the concert were about 30 Christians artists like Chris Rice, Ginny Owens, Mark Schultz, Out of Eden, and more. They joined the crowd as a backup choir, filling in any gaps left by a confused congregation of singers. ;-) There were a couple of artists on the stage who looked like they were unhappy at not being able to solo, but many others were oblivious to the crowds and the stage and were simply pouring out their love to God. That comes through on the album in the passion the songs ring with.
And let me tell you, these are 13 incredible tracks. Michael said in an interview that he took the twelve worship songs (plus a repeat studio track) that had touched his life and fired his relationship with God the most and put them on this album. The music from Worship is remarkably layered for a live recording, helped by a no-wimp band (including Wes King at keyboard and Raymond Boyd of Third Day at drums), as well several soloists. But beyond the technical side of the effects and the layering, Worship is full of profoundly touching, deeply worshiping music that brings you into the presence of God.
Songs for this album have come from a variety of sources, including SonicFlood, Michael W. Smith’s Exodus project, Matt Redman of the Passion movement, and Rich Mullins. Many of the songs are familiar, but I think there’s a good mix of well-known and fresh new worship tunes included here. The lineup and flow of this album is almost flawless, combining upbeat rock songs and slower, thoughtful ballads. I’m hard pressed to think of a worship song I love that isn’t included on Worship.
The one thing that might hold back this album from being a viable worship album among oh-so-hip praise CDs is the rather old-fashioned-sounding backup choir. It takes away from the “modern” feel of the edgy music, bringing back memories of 80’s and early 90’s praise (you know, acapella groups, slow dull choruses, etc.) But you also get a unified corporate worship feel with so many voices joining together and the “open” sound of the songs. In the end, Worship works on many levels and triumphs over any tiny flaws that might pop up. And with such a compelling praise session going on here, what’s not to like?
The songs
Forever starts out the album on a somewhat cutesy note with Michael’s daughters each reading a verse from Psalms. Thankfully, Michael isn’t into cutesy too much, and with a rumble and a growing crowd noise in the distance, the rollicking chorus bursts on the scene 30 seconds into the track. The anthemy lyrics and rhythmic clappable beat, still with a strong worship emphasis, are a great way to enter the spirit of Worship. How can you help singing along with the infectious, ardent music and words of this track? “Forever God is faithful, forever God is strong, forever God is with us, forever…”
The Heart of Worship has been a staple of church praise and worship for a while already. The evocative melody and heartfelt words of adoration, however, are probably destined to stay fresh, especially if every performance of it is as distinctive as this one is! From the start, a syncopated synthesizer rhythm, quiet but steady, adds a new twist to the pacing, expansive music. David Hamilton’s redolent violin strains weave in and out during the second half of the song, along with a mandolin-esque guitar and Michael’s lovely piano notes. Here the thousands of voices in the background actually enhance the communal worship experience, though nothing can beat Smitty’s heartfelt solo vocals singing, “I’m coming back to the heart of worship, and it’s all about you Jesus…I’m sorry Lord for the thing I’ve made it, when it’s all about you…”
Draw Me Close, from the Exodus project, was not included in the pre-release track list, and I am so glad this mistake was fixed. Because it would have been a mistake to not include this gorgeous, unrestrained song that soars in so many ways – musically with a memorable, expressive melody, lyrically with fresh yet intensely worshipful words, and so much room for new elements to be added. Beginning with tentative piano chords and a barely there drum tapping, Michael and the choir immediately launch into the verse, which gains momentum through the chorus and “split voice” second verse (ladies only, then men only, slightly clunky in my opinion). But then when the chorus comes around again, it in power, dynamics, and layering. A fabulous track in terms of building and worship potential.
Tune Your Eyes Upon Jesus, which I knew only from the Newsboys’ highly synthesized rendering, surprised me both at the concert and on the CD. It begins with a violin playing an unfamiliar introductory tune (sounding a little Celtic), then leading into the main melody crooned softly by the violin. Halfway through this track, only three minutes long, the piano takes over the accompaniement, and does a little solo number with the violin after one sung chorus. Not a song I usually think of in terms of modern worship – it’s pretty but repetitive and somewhat outmoded – and there isn’t much time to “get into” it; however, the creative production makes this song beautiful and completely different from the version I’ve been used to.
Open the Eyes of My Heart opened up the concert itself (even though it’s number four on this CD). Similar to Forever in feel but a tad slower, it still picks up the pace from the last track with a medium-paced, catchy rock beat. I listened to the rendition I’m familiar with, the one by SonicFlood, just for comparison purposes, and I have to say, I like the different instruments and layers introduced throughout this version. Lyrics are minimal – the title line repeated over and over in the verse, a couple of additional lines in the chorus, and then “holy, holy, holy” repeating. Nevertheless, the exuberant yet appealingly deep music rounds out the musical excellence of the song (incidentally composed by one of the guys who wrote the next track).
Above All is a refreshingly new worship tune written by Leny LeBlanc and Paul Baloche. Or else I’ve been out of the music loop too long, since I had never heard this song before. I’m almost glad, because the melody is so beautiful, and the poetic yet worshipful lyrics match the music in their loveliness and expressiveness. A melodious piano begins the song, accompanied by a subdued ensemble that intensifies slowly. During the magnificent climax, the piano and violin once again intertwine, this time complemented by a lush band (how can that be? Only Smitty knows!). And the lyrics are just as beautiful – they convey the wonder and awesomeness of God in the same breath as the miracle of His sacrifice of His Son.
Breathe might be a bit overused by now, but I still consider it one of my favorite gut-wrenching worship songs, with its simple, haunting melody and fervent chorus. Soft synthesizer strings and that mandolin guitar introduce the theme, soon added to by a floating violin melody that lingers throughout the whole track. This version is as powerful as it gets: the intensity of a rock band combined with the emotion of an orchestra. I think it’s just a bit fast, but the energy and passion behind the song easily make up for the increased tempo. Harmonies and an abundance of instruments come together as the song progresses, and the burning lyrics put into words the hunger for God that so many of us experienced that night. “This is the air I breath, your Holy Spirit, living in me…And I, I’m desperate for you; and I, I’m lost without you…”
Let it Rain may have a chorus of almost bare simplicity (“Let it rain, let it rain, open the floodgates of heaven”), but boy, does the extreme force of this song get to you! Michael croons the chorus softly and mixes his piano chords with a background percussion until the full power of the song explodes in a sweep of worship that includes practically every instrument on that stage! The lovely music of the chorus rings out for a couple of minutes; then Michael’s pastor, Darren Whitehead, passionately reads a powerful passage from Psalms. As he ends, the crowd erupts and the song builds again, bursting into what is perhaps the loudest and most forceful moment on the album.
Agnus Dei, transitioning from the last track with a throaty viola carrying the melody, is led in the verse by the female singers and the piano, eliminating most of the earthy, rocking power of the original Exodus song by Third Day. Michael joins in singing the chorus, which still feels dragging and low-key. It isn’t till the second chorus, when the full band makes its appearance, that this song truly gains strength and momentum. If you thought that the Third Day version was too acoustic to complement the lyrical melody, you’re in luck here: the music is much more soft and fluid, but I still miss the grittiness of the original. (By the way, I was mystified by the title of this song until I took Latin this year, when I learned it meant “lamb of God.” Thought you might want to know.)
When the first gentle piano chords of Awesome God kicked off, you could hear the crowd going wild! I consider it the unofficial theme song of the church today, because it blends perfectly the soothing accessibility of traditional, conservative praise and the passionate, rock-based worship currently in vogue. Penned by the late Rich Mullins, Awesome God has long been a staple of Michael W. Smith, for good reason – it’s singable, chantable, lovely, and brilliantly written, as well as a wonderful worship song. This live rendition puts a fresh twist on this already superb song with its hugely expansive buildup, sudden silence to just singing, and then another surge of power to the climax. After the song seemed to end, we just would not let it go, so the band played it again! (But of course that isn’t included here, although 40 seconds of wild clapping is.)
More Love, More Power brings back the minor-key beauty and simplicity of Let it Rain. Dark and quietly strong, this resounding heart’s cry is a one-on-one with God, and its ebbing and flowing seems to match the ebb and flow of the intense worship in the song. It is so different from what I thought it would be; instead of a poppy rock track, this song couples the evocative music of a soundtrack with the tenderness of a slow ballad. Michael’s voice disappears halfway through, while his piano carries the mellifluous melody from beginning to end. Otherwise, nothing mars the luster of this song, not even the sparse lyrics.
Purified – Bonus Studio Track from what I remember was not played at the concert. The melody seems to not line up with the beat, or else the words are delayed from what they should be, or something! In any case, this floaty, traditional slow Smitty song (written with his wife Deborah) is a little hard to sing with, although the lyrics are God-addressed and appropriate for a worship setting, exploring total forgiveness and abandonment to God. The song straightens out musically when a steady, rhythmic percussion and string section is added, yet overall the quality and distinctiveness of this song feels much less than is usually the case with Smitty.
Above All – Bonus Studio Track, the first radio release from the album, was recorded in studio (to preclude the “distant” sound of a concert), and while I miss the deep feel that a song recorded live gives, this track itself is incredibly beautiful regardless and builds a bit better than the live one did. The studio version has a softer, more intimate feel (well, duh, I guess; they don’t have to pump the music over thousands of square feet), and it brings in many creative touches that realistically can’t be achieved live. I loved hearing more of Michael and his enthusiastic vocals (he tended to fade out in the live version). I look forward to this song each time it comes on the radio.
Verdict
Smitty just keeps getting better and better! Worship, along with Freedom, has some great tunes, and moreover is an intensely worshipful experience. Like Michael joked at the concert, these are songs that you crank up and sing out the window when you’re driving alone. If you enjoy Michael W. Smith’s artistic style, modern worship, and live music (and can stomach the backup choir), this is an album too good to pass up.
Favorite tracks: Draw Me Close, Above All, Let it Rain
Least favorite tracks: Agnus Dei, Purified
Have you been dreaming of seeing Smith live in concert? Heres your front row ticket! His first-ever all-praise concert features heart-stopping perform...More at Christianbook.com
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