Sounds like … the dc Talk vocalist singing gospel standards (and more recent gospel-ish songs), blending styles in a manner reminiscent of Mike Farris, Johnny Cash, and The Blind Boys of Alabama.
At a glance … Kevin Max may have been going for "stylized adaptations" of gospel classics on The Blood, but the arrangements are derivative of similar projects and too predictable to be considered innovative or creative.
Whether expressing himself personally, spiritually, or musically, Kevin Max has long been something of an enigma in Christian music. Though he's brought freshness and creativity to the scene, he's never comfortably settled into a solo career with an identifiable sound for more than one album. Some would cite that as proof that Max can't be bound by conventions, but others would counter that he's yet to figure himself out as an artist. Revisiting his previous solo projects (beginning with 2001's Stereotype Be), there's evidence for both sides—a singer/songwriter who strives for innovation, but often compromises it by relying too heavily on his varied influences.
That's exactly what happens again on The Blood. Max is quick to point out that this is not a hymns project or a worship album. But it is still an album of cover songs—namely, "stylized adaptations" of the gospel classics that influenced pop and rock. (Never mind that 4 of the 10 tracks were written in the last 40 years, and thus couldn't have influenced the pop/rock pioneers of the '40s and '50s.)
There's no question that Max has gathered an amazingly diverse list of talent for this project—starting with producer Will Owsley (Amy Grant's guitarist and a talented solo artist in his own right). Along with a number of prominent session musicians (including B3 master Phil Madeira and multi-instrumentalist John Painter), there are enough guest artists here to credit the album as "Kevin Max and Friends."
Unfortunately, the adaptations are more routine than stylized. The album begins with a throwaway cover of "The Old Rugged Cross," with Max doing his best Johnny Cash impersonation to tinny EQ and record scratches, reproducing old-time production values. Other than shortening the hymn to a one-verse prologue, he's done nothing with the song that's different from classic recordings … and that's pretty much the case throughout.
Much is being made of this album's rendition of Prince's "The Cross" because it reunites dc Talk. Of course, the three members have already reconvened for a 2004 remix of tobyMac's "Atmosphere" and their 2002 song "Let's Roll" (a tribute to Todd Beamer). Once you get past the novelty of the reunion, the cover's not all that interesting—Michael Tait is featured for a verse, tobyMac yowls in the background, and it ultimately become repetitive. The Blind Boys of Alabama did a similar but superior (and less repetitive) adaptation of the song for their 2002 album Higher Ground. Max seems to be a Blind Boys fan, since he also covers the group's cover of "Run On for a Long Time" (from 2001's Spirit of the Century) with American Idol finalist Chris Sligh—again, with lesser results....
Continue Reading at this Christian Music Review
Friday, September 19, 2008
Kevin Max - Holy Night
A Christmas album consisting of thirteen classic songs sung by Kevin Max. Need I really say more?
While it's tempting to leave the review at that, it would do the artist and the listener a disservice to not elaborate further. Kevin Max, now a veteran in the Christian music industry, has been wowing audiences with his impressive vocal talents since his days in the much acclaimed trio, DC Talk. Upon venturing out on his own a few years ago, Kevin has brought something unique and deep to music. His vocals can rip into your soul through a piercing scream or lull you into a pensive state. His latest release, The Imposter, hit shelves just over a month ago, offering a collection of some of Kevin's best work to date. But with the Christmas season swiftly approaching, Max has crafted together what will most likely be the most timeless project of his career... a Christmas album.
Holy Night pulls its most potent moments through its beautiful simplicities. You won't find an original tune amongst the album's thirteen selections and this might be one of the most enduring aspects of the record. Those who love the Christmas season and especially the classic music that comes along with it will find Holy Night familiar and inviting. Max breathes new life into these traditional songs, adding his personal touches just enough to freshen up the tracks while leaving an undeniable "Christmas feeling" to them. Most of the songs are held back and restrained, carried along by a classy, serenading piano ("God Rest Ye Merry Gentlemen") or just a glimmer of synths ("The First Noel"). Holy Night is all the while a sensitive and delicate project. Max presents "Silent Night" as a lullaby while offering what might be the most somber and contemplative version of "Joy To The World" you'll ever hear....
While it's tempting to leave the review at that, it would do the artist and the listener a disservice to not elaborate further. Kevin Max, now a veteran in the Christian music industry, has been wowing audiences with his impressive vocal talents since his days in the much acclaimed trio, DC Talk. Upon venturing out on his own a few years ago, Kevin has brought something unique and deep to music. His vocals can rip into your soul through a piercing scream or lull you into a pensive state. His latest release, The Imposter, hit shelves just over a month ago, offering a collection of some of Kevin's best work to date. But with the Christmas season swiftly approaching, Max has crafted together what will most likely be the most timeless project of his career... a Christmas album.
Holy Night pulls its most potent moments through its beautiful simplicities. You won't find an original tune amongst the album's thirteen selections and this might be one of the most enduring aspects of the record. Those who love the Christmas season and especially the classic music that comes along with it will find Holy Night familiar and inviting. Max breathes new life into these traditional songs, adding his personal touches just enough to freshen up the tracks while leaving an undeniable "Christmas feeling" to them. Most of the songs are held back and restrained, carried along by a classy, serenading piano ("God Rest Ye Merry Gentlemen") or just a glimmer of synths ("The First Noel"). Holy Night is all the while a sensitive and delicate project. Max presents "Silent Night" as a lullaby while offering what might be the most somber and contemplative version of "Joy To The World" you'll ever hear....
Kevin Max - The Imposter (Northern Records)
Sounds like … a broad array of alt-rock and Brit-pop influences including U2, Morrissey, The Killers, Coldplay, Blur, David Bowie, Franz Ferdinand, and Keane.
At a glance … offering more openly spiritual and vulnerable lyrics and a better understanding of his stylistic range, Kevin Max's The Imposter is a slight improvement over his already strong solo debut.
Michael Tait and tobyMac have both done well since parting ways with dc Talk, so why hasn't Kevin Max met with similar success? Three probable reasons come to mind. Max's stylistic direction isn't widely supported by Christian radio, forcing him to try his alt-pop/indie rock with the more competitive mainstream. Related to that, some would say Max's songs haven't shown enough originality, sounding too derivative of his musical influences. And then there's his rock star persona, which rubs some Christians the wrong way, enough to call him arrogant, egotistical, and a poseur; some have even questioned his faith.
All of this is indirectly addressed on Max's second-full length effort, allowing The Imposter to settle the minds of critics while maintaining credibility with the art rock fans expecting depth and creativity. Inspired by two books from Brennan Manning, The Ragamuffin Gospel and Abba's Child, Max's album title refers to the conflict between flesh and spirit common to all of us. In recent years, Max has left Forefront Records (still the home label for Tait and tobyMac), moved to Los Angeles, signed to the Californian Christian label Northern Records, and networked with several music industry vets. Between the hard knocks he's faced since 2001's Stereotype Be album—in the music biz and through his divorce—the enigmatic singer/songwriter acknowledges that he is indeed flawed, like all of us.
With the confessional title track, he acknowledges the fabrications of his life and pleads for forgiveness, appropriately blurring the distinction between God and earthly relationships. Viewing dc Talk's classic "What if I Stumble" as a prelude to the inevitable, Max's "Platform" asks the tough, Psalm-like questions in the aftermath of sin: "Why'd You choose me when You knew I wasn't tough enough?/Why'd You send me when You knew I would run?/Why'd You put me into places that I didn't want?/Why'd You call me when You knew I would hang up?"
Such vulnerability seems uncharacteristic in light of Max's previous work, and it makes the equally blurry "I Need You, The End" an even more poignant declaration of dependence. "The Imposter's Song" also makes a fitting response with comforting words of grace: "Please believe, you're beautiful when you're not made up … You're beautiful without the makeup." In the catchy radio single "Sanctuary," he longs for the peace and satisfaction that can only come from God: "Hand me the code to your gates of knowledge/Teach me the truth I never learned in college/Let me walk this valley till I find a place called home."
It's not all about Max, however. The gorgeous "Your Beautiful Mind" was written for an atheist friend, outlining a hopeful conversation and conversion. The dark, industrial-flavored rock of "Jump Start Your Electric Heart" is his response to others who live a phony existence: "It's time to draw the shades, eyes are open wide, a brave new world to face/Your maker is ready to connect the hard drive."....
Continue Reading at this Christian Music Review
At a glance … offering more openly spiritual and vulnerable lyrics and a better understanding of his stylistic range, Kevin Max's The Imposter is a slight improvement over his already strong solo debut.
Michael Tait and tobyMac have both done well since parting ways with dc Talk, so why hasn't Kevin Max met with similar success? Three probable reasons come to mind. Max's stylistic direction isn't widely supported by Christian radio, forcing him to try his alt-pop/indie rock with the more competitive mainstream. Related to that, some would say Max's songs haven't shown enough originality, sounding too derivative of his musical influences. And then there's his rock star persona, which rubs some Christians the wrong way, enough to call him arrogant, egotistical, and a poseur; some have even questioned his faith.
All of this is indirectly addressed on Max's second-full length effort, allowing The Imposter to settle the minds of critics while maintaining credibility with the art rock fans expecting depth and creativity. Inspired by two books from Brennan Manning, The Ragamuffin Gospel and Abba's Child, Max's album title refers to the conflict between flesh and spirit common to all of us. In recent years, Max has left Forefront Records (still the home label for Tait and tobyMac), moved to Los Angeles, signed to the Californian Christian label Northern Records, and networked with several music industry vets. Between the hard knocks he's faced since 2001's Stereotype Be album—in the music biz and through his divorce—the enigmatic singer/songwriter acknowledges that he is indeed flawed, like all of us.
With the confessional title track, he acknowledges the fabrications of his life and pleads for forgiveness, appropriately blurring the distinction between God and earthly relationships. Viewing dc Talk's classic "What if I Stumble" as a prelude to the inevitable, Max's "Platform" asks the tough, Psalm-like questions in the aftermath of sin: "Why'd You choose me when You knew I wasn't tough enough?/Why'd You send me when You knew I would run?/Why'd You put me into places that I didn't want?/Why'd You call me when You knew I would hang up?"
Such vulnerability seems uncharacteristic in light of Max's previous work, and it makes the equally blurry "I Need You, The End" an even more poignant declaration of dependence. "The Imposter's Song" also makes a fitting response with comforting words of grace: "Please believe, you're beautiful when you're not made up … You're beautiful without the makeup." In the catchy radio single "Sanctuary," he longs for the peace and satisfaction that can only come from God: "Hand me the code to your gates of knowledge/Teach me the truth I never learned in college/Let me walk this valley till I find a place called home."
It's not all about Max, however. The gorgeous "Your Beautiful Mind" was written for an atheist friend, outlining a hopeful conversation and conversion. The dark, industrial-flavored rock of "Jump Start Your Electric Heart" is his response to others who live a phony existence: "It's time to draw the shades, eyes are open wide, a brave new world to face/Your maker is ready to connect the hard drive."....
Continue Reading at this Christian Music Review
Kevin Max - Between the Fence & the Universe (Blind Thief Recordings)
Sounds like … Kevin Max's obvious love for alternative Euro pop/rock acts like U2, David Bowie, Queen, and Robbie Williams.
At a glance … KMax's sound is cool and arty, but it lacks that personal touch to establish him from merely rehashing his influences.
O Kevin Max, where art thou? The other dc Talk brethren have kept themselves busy in the public eye. Michael Tait has released two albums in three years with his band Tait, and had the leading role in last year's acclaimed rock opera !Hero. At the same time, tobyMac has ridden high with two successful solo projects and high profile touring. On top of that, Tait and tobyMac's latest albums were both nominated for Grammy awards in the Best Rock Gospel category. Kevin Max, the enigmatic third member, hasn't achieved the same level of success, despite his critically acclaimed 2001 debut Stereotype Be. Since then, he's had to cope with a failed marriage and an attempt to find a home in the L.A. music scene. It's only just recently that KMax has signed a new record deal with small indie Christian label Northern Records to release his sophomore effort in 2005.
In the meantime, KMax released Between the Fence & the Universe, a six-track EP available through his website and some Christian music stores. (Depending on where you pick it up, you might find a seven-track version that includes a so-so cover of Leonard Cohen's classic "Hallelujah." Despite the title, it's not so much religious as it is a beautifully melancholic love song that's been deemed inappropriate for some stores to carry.) Perhaps it bridges the gap between what we've heard and what's to come, and who's to say some of these songs won't appear on the future release?...
Continue Reading at this Christian Music Review
At a glance … KMax's sound is cool and arty, but it lacks that personal touch to establish him from merely rehashing his influences.
O Kevin Max, where art thou? The other dc Talk brethren have kept themselves busy in the public eye. Michael Tait has released two albums in three years with his band Tait, and had the leading role in last year's acclaimed rock opera !Hero. At the same time, tobyMac has ridden high with two successful solo projects and high profile touring. On top of that, Tait and tobyMac's latest albums were both nominated for Grammy awards in the Best Rock Gospel category. Kevin Max, the enigmatic third member, hasn't achieved the same level of success, despite his critically acclaimed 2001 debut Stereotype Be. Since then, he's had to cope with a failed marriage and an attempt to find a home in the L.A. music scene. It's only just recently that KMax has signed a new record deal with small indie Christian label Northern Records to release his sophomore effort in 2005.
In the meantime, KMax released Between the Fence & the Universe, a six-track EP available through his website and some Christian music stores. (Depending on where you pick it up, you might find a seven-track version that includes a so-so cover of Leonard Cohen's classic "Hallelujah." Despite the title, it's not so much religious as it is a beautifully melancholic love song that's been deemed inappropriate for some stores to carry.) Perhaps it bridges the gap between what we've heard and what's to come, and who's to say some of these songs won't appear on the future release?...
Continue Reading at this Christian Music Review
Stereotype Be - Kevin Max (Forefront)
Sounds like … sophisticated and progressive pop/rock with a strong European pop influence—fans of Peter Gabriel, U2, Sting, David Bowie, Queen, and John Lennon should eat this up.
At a Glance … Kevin Max's musical influences are too obvious and consequently he doesn't quite make the music his own, but this is undeniably an impressive album of ear candy and thought-provoking lyrics.
Part two of the dc Talk solo album experiment comes from Kevin Max, the man with the soaring tenor voice that sometimes warbles as well as a love for poetry and art rock. Kevin is unquestionably the most enigmatic member of dc Talk, and he's left many people scratching their head at some of the public statements he's made or the behavior he's exhibited on stage—which makes his new solo debut all the more auto-biographical. Through the lyrical content and the general artistic scope of the album, Stereotype Be challenges Christians and non-Christians to step outside their comfort zone and examine the relevance of faith and truth in their daily living.
As you might have picked up from hearing past dc Talk albums, Kevin can be very poetic—and the results are sometimes frustrating but often spectacular. Unlike a lot of Christian music, this isn't an album that's easily figured out from casual listening, and I imagine a lot of listeners will still be scratching their head wondering if this is a "Christian" album. The answer is definitely yes, but you need to explore the album to understand it. It's a recording that asks questions about society and our common struggles in this "Existence," and then attempts to answer those questions by taking comfort that we can simply "Be" what God has created us to be. Several of the other songs relate to this album theme—the desire to be accepted ("I Don't Belong"), the need to be loved ("Dead End Moon"), and the futile pursuit of fame and glamour ("Deconstructing Venus"). The album is similar in message to the book of Ecclesiastes, looking for fulfillment in all the wrong places and eventually finding it in the perfect totality of God. Heady stuff, but it can be quite rewarding after repeated listens.
While you're trying to grasp the meaning behind the songs, what really stands out when listening to Stereotype Be is the sound. Kevin Max's taste leans towards sophisticated European pop, and the album soaks in it with the help of some talented musicians from outside the usual Christian studio musician circles. The album was co-produced by the legendary Adrian Belew, an extremely gifted guitarist who was in the classic art rock band King Crimson and played guitar on some of David Bowie's early works. Adrian also produced "Liquid" and "Flood" for Jars of Clay once upon a time. Joining Adrian is fellow King Crimson alumni Tony Levin, an excellent bass player who's played on just about every Peter Gabriel album (and my oh my, if the opening bass riff to "Be" doesn't sound a lot like Gabriel's "Don't Give Up"). Additional musicians include guitarist William Owsley (who has his own band and has played with Amy Grant), drummer Matt Chamberlain (Tori Amos), and multi-instrumentalist John Painter (dc Talk and Fleming & John). The music is extremely well performed, though I found myself expecting more considering the talent involved—for example, there are some good guitar solos but there could have been more....
Continue Reading at this Christian Music Review
At a Glance … Kevin Max's musical influences are too obvious and consequently he doesn't quite make the music his own, but this is undeniably an impressive album of ear candy and thought-provoking lyrics.
Part two of the dc Talk solo album experiment comes from Kevin Max, the man with the soaring tenor voice that sometimes warbles as well as a love for poetry and art rock. Kevin is unquestionably the most enigmatic member of dc Talk, and he's left many people scratching their head at some of the public statements he's made or the behavior he's exhibited on stage—which makes his new solo debut all the more auto-biographical. Through the lyrical content and the general artistic scope of the album, Stereotype Be challenges Christians and non-Christians to step outside their comfort zone and examine the relevance of faith and truth in their daily living.
As you might have picked up from hearing past dc Talk albums, Kevin can be very poetic—and the results are sometimes frustrating but often spectacular. Unlike a lot of Christian music, this isn't an album that's easily figured out from casual listening, and I imagine a lot of listeners will still be scratching their head wondering if this is a "Christian" album. The answer is definitely yes, but you need to explore the album to understand it. It's a recording that asks questions about society and our common struggles in this "Existence," and then attempts to answer those questions by taking comfort that we can simply "Be" what God has created us to be. Several of the other songs relate to this album theme—the desire to be accepted ("I Don't Belong"), the need to be loved ("Dead End Moon"), and the futile pursuit of fame and glamour ("Deconstructing Venus"). The album is similar in message to the book of Ecclesiastes, looking for fulfillment in all the wrong places and eventually finding it in the perfect totality of God. Heady stuff, but it can be quite rewarding after repeated listens.
While you're trying to grasp the meaning behind the songs, what really stands out when listening to Stereotype Be is the sound. Kevin Max's taste leans towards sophisticated European pop, and the album soaks in it with the help of some talented musicians from outside the usual Christian studio musician circles. The album was co-produced by the legendary Adrian Belew, an extremely gifted guitarist who was in the classic art rock band King Crimson and played guitar on some of David Bowie's early works. Adrian also produced "Liquid" and "Flood" for Jars of Clay once upon a time. Joining Adrian is fellow King Crimson alumni Tony Levin, an excellent bass player who's played on just about every Peter Gabriel album (and my oh my, if the opening bass riff to "Be" doesn't sound a lot like Gabriel's "Don't Give Up"). Additional musicians include guitarist William Owsley (who has his own band and has played with Amy Grant), drummer Matt Chamberlain (Tori Amos), and multi-instrumentalist John Painter (dc Talk and Fleming & John). The music is extremely well performed, though I found myself expecting more considering the talent involved—for example, there are some good guitar solos but there could have been more....
Continue Reading at this Christian Music Review
Guest appearances
* Rich Mullins - To Tell Them
from the 1992 album The World as Best as I Remember It, Volume Two
* Kevin Max - Lonely Moon
from the 1994 album Strong Hand of Love: A Tribute to Mark Heard
* Audio Adrenaline - My World View
from the 1994 album Don't Censor Me
* Passafist - Louie's Solo
from the 1996 album Never Say Dinosaur
* Rich Mullins - If I Could Make It Work, Love's as Strong
from the 1997 album Canticle of the Plains
* Kevin Max - Save Me
from the 1998 album Awesome God: A Tribute to Rich Mullins
* SONICFLOOd - Something About That Name
from the 1999 album SONICFLOOd
* Kevin Max - Help Me Rhonda
from the 2002 album Making God Smile: An Artists' Tribute to the Songs of Beach Boy Brian Wilson
* tobyMac - Atmosphere: Remix
from the 2004 album Welcome to Diverse City
* Playdough - Sandal Sole
from the 2006 album Don't Drink the Water
* Manic Drive - Blue
from the 2007 album Reset & Rewind
Christian Music Links!
from the 1992 album The World as Best as I Remember It, Volume Two
* Kevin Max - Lonely Moon
from the 1994 album Strong Hand of Love: A Tribute to Mark Heard
* Audio Adrenaline - My World View
from the 1994 album Don't Censor Me
* Passafist - Louie's Solo
from the 1996 album Never Say Dinosaur
* Rich Mullins - If I Could Make It Work, Love's as Strong
from the 1997 album Canticle of the Plains
* Kevin Max - Save Me
from the 1998 album Awesome God: A Tribute to Rich Mullins
* SONICFLOOd - Something About That Name
from the 1999 album SONICFLOOd
* Kevin Max - Help Me Rhonda
from the 2002 album Making God Smile: An Artists' Tribute to the Songs of Beach Boy Brian Wilson
* tobyMac - Atmosphere: Remix
from the 2004 album Welcome to Diverse City
* Playdough - Sandal Sole
from the 2006 album Don't Drink the Water
* Manic Drive - Blue
from the 2007 album Reset & Rewind
Christian Music Links!
Discography
Solo
* At the Foot of Heaven (spoken word EP, Starsong, 1995)
* Stereotype Be (Forefront Records, 2001)
* Between the Fence & the Universe (EP, Northern Records, 2004)
* The Imposter (Northern Records, 2005)
* Holy Night (Northern Records, 2005)
* The Blood (2007)
* Crashing Gates and Passing Keepers (Currently in production)
Collaborations
* Sanctuary (2005)
* Existence (2001)
* Be (2001)
Filmography
* Existence (ForeFront Records, 2001)
* Seek Live (Northern Records, 2003)
* Untitled (Blind Thief Publishing, 2003)
Christian Music Links!
* At the Foot of Heaven (spoken word EP, Starsong, 1995)
* Stereotype Be (Forefront Records, 2001)
* Between the Fence & the Universe (EP, Northern Records, 2004)
* The Imposter (Northern Records, 2005)
* Holy Night (Northern Records, 2005)
* The Blood (2007)
* Crashing Gates and Passing Keepers (Currently in production)
Collaborations
* Sanctuary (2005)
* Existence (2001)
* Be (2001)
Filmography
* Existence (ForeFront Records, 2001)
* Seek Live (Northern Records, 2003)
* Untitled (Blind Thief Publishing, 2003)
Christian Music Links!
Subscribe to:
Posts (Atom)
