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REVIEWS:
Lisa Bevill _All Because of You_ (Sparrow)
Even with only one listen to Lisa Bevill's sophomore release _All Because of 
You_, the average listener notices that things have changed significantly 
since the release of her first album, _My Freedom_. But even for those of us 
who bought _My Freedom_ and liked it, this is not a bad thing.
To be sure, the sonic quality of the album is equal to, or better than, her 
debut release, which is saying plenty. This shouldn't be surprising with the 
likes of Tommy Sims, Dann Huff and Jerry McPherson lending their musical 
talent, Angelo and Veronica helping out with backing vocals, and both Sims 
and Charlie Peacock handling production on the album.
What is surprising, however, is both the trend toward slower songs and the 
increased depth and spiritual content of the lyrics since Bevill's last 
effort. One has only to listen to songs like "The First Uncloudy Day," or 
"All Because of You" to wonder if perhaps Bevill's heart has been in this 
type of soft, melodic tune from the beginning. In fact, even though the hip-
hop sounding "Sunshine and Joy," the pop standard "No Condemnation" and the 
funky "Trouble the Waters" hardly classify as slow, they still sound as if 
the singers and players are purposely holding back just a little, 
emphasizing artistic style and variety over sheer speed and volume.
Still, the cornerstone of the album is it's lyrical content. Songs like 
"Fall into Your Arms" and "No Condemnation" are written and sung with a 
sensitivity that can not help but highlight the spiritual maturity of the 
artist. Where _My Freedom_ dealt in positive themes, _All Because of You_ 
addresses clearly and specifically the need for, and the benefits of, a one 
to one relationship with Christ. In fact, "Sunshine and Joy" quotes almost 
word for word from Philippians 4, "Hold On" from Isaiah 40, "Trouble the 
Waters" from John 5 and, of course, "No Condemnation" from Romans 8.
From the title to the specifically Christian message, _All Because of You_ 
stands as a well-produced effort designed to carry its listeners to a more 
intimate knowledge of the Lord. To take such a marked turn on the second 
album may seem risky in light of an audience that would probably be content 
to hear _My Freedom_ Part Two, but Bevill should be admired for making an 
album like _All Because of You_ regardless of that risk.
--Bert Gangl

World Wide Message Tribe _Dance Planet_ (N-Soul)

The trio from Manchester England is back with a follow-up to their self-
titled debut, a project that should excite pop and dance music fans.

This time their sound is a little more even across the project. Taking a 
little more pop influence in with their techno/house stylings, making it 
slightly brighter and more even, I think it's a strength for _Dance Planet_. 
There is plenty of variety, from slow grooves to deep driving techno beats 
to cheery upbeat tunes, but not so much that it appears schizophrenic (a 
personal criticism of their first album).

Another potential problem is that techno music is generally not a very good 
medium for insightful Christian lyrics. With heavy use of loops and samples, 
most lyrics tend to be short repeated phrases in this genre. By using some 
rap verses and vocal segments, WWMT is able to squeeze some content in the 
tunes--giving the album good substance, and keeping it from becoming simple 
and redundant. The vocals are not simply another rhythm track--they have a 
purpose. They remain straight ahead, and focused on eternal life and getting 
close to God, with the exception of "We Take the Blame," which focuses on 
worldly problems.

As on their debut, they add one ballad. "Peace" is a wonderful tune with a 
surprise--a female vocal. It is an appropriate affirmation of the 
dependability of God and the peace that He offers.

With over 51 minutes (well, there are two remixes added) of some excellent 
and easily accessible dance/pop music, it has readily become a personal 
favorite. If you like the genre, you should be pleased.

--Roger Appelinski

4HIM, _The Ride_ (Benson)
If you are a tried and true 4HIM listener, you will enjoy their latest 
release titled, _The Ride_. Producers Michael Omartian, Don Koch, and Peter 
Wolf team up to create a typical 4HIM recording, tremendous 4-part harmony 
with vibrant vocalization. The theme created throughout the project is one 
of encouragement to the Christian of God's never-ending love.
Beginning the project, Orville & Wilbur Wright are the center of the song, 
"Wings." The artist contrast the flight of the Wright's to our heavenly 
desire to spread our "wings" to our eternal home and "wave these worries 
good-bye." This theme mimics the song, "Fountain of Youth " from an earlier 
album. Switching lead voices, we hear from the distinct voice of Kirk 
Sullivan on "The Nature of Love." An urgent, powerful message brings, "For 
Future Generations" to the forefront as one of the hits on this album. The 
lyrics "what has been I can not change, for tomorrow and today, I will be a 
light for future generations" set a challenge to the Christian community for 
accountability to those around us. Changing pace is the Bee Gees sound of 
Marty Magehee with "Shelter In The Rain." It definitely has the lively 
rhythm to make you want to break into a 70's disco dance.
The relationships we have with friends through Jesus Christ is the theme for 
the slow pop tune, "Between You And Me." As always with 4HIM projects, there 
are a lot of different vocal arrangements between each artists to give each 
song a unique sound. This album makes good utilization of the voices, 
changing lead vocals to fit the mood of the song. "Real Thing" is the 
closest to a "rock" sound as 4HIM will get. The song is lead by tenor, Andy 
Chrisman, but there are a lot of voice-overs to give the tune a spirited 
tone. One of the most unique songs on the album is "Ride Of Life." Complete 
with roller coaster sound effects, you feel like you are on a scream machine 
as this arrangement takes you on this "roller coaster ride of life, lifts 
you up and lets you down...this roller coaster ride of life spins you round 
and round and round." A typical 4HIM arrangement is "What Do I Know," 
complete with lots of ooh's and aah's as only these four guys can do. "Love 
Finds You" is a distinctive song telling us that we are not far away from 
friends that we love. "We may be worlds apart but you're never too far from 
where I need you to be, love finds you, love brings you to me."
Being one of those tried and true fans, I really enjoyed the new release 
from 4HIM. These guys have such great harmony, maybe an acappella project 
will be up next? The lyrics and arrangements are typical 4HIM but they do a 
great job of presenting them in a fresh, new way. I would recommend this 
album to anyone who needs encouragement when _The Ride_ gets a little rough.
--Ann Hathcock

Jerusalem _Prophet_ (R.E.X.)

When I first caught a listen of the European import of _Prophet_ this 
summer, my ears quickly perked up. I had no idea what it was I was hearing. 
I quickly found out that it was Jerusalem, a band I know nearly nothing 
about. The only things that I've learned about them is that they were the 
first Christian group to have a video aired on M-TV and that I love this 
album.

I was impressed by the liner note that states that the album was "recorded 
live in the studio with no overdubs." Without stating that in the jacket, I 
would never have known. The album is full, robust, and masterfully produced 
and engineered.

Much of the music centers around alternative-rock, with some excursions into 
arena rock and hard rock. It makes for an exciting musical experience that 
should appeal to most rock fans--especially those drawn to groups ranging 
from The Choir to Petra to Guardian.

Even with a highly impressive musical effort, the strength of the album is 
undoubtedly in the lyrics. Several tracks encourage rekindling of the Spirit 
in our lives and taking a strong stance against worldly compromise, while 
most of the balance deals directly with the Gospel and nature of Jesus 
Christ. The songs are straight-ahead and simply understood but not boring or 
elementary.

After my first listen to _Prophet_ I knew why so many people were buying the 
European release of the album and not waiting for a release here in the 
states. I think one listen would work for any avid rock fan.

--Roger Appelinski

Steve Taylor, _Now the Truth Can Be Told (Boxed Set)_, (Sparrow)

He's not dead. With a tribute album and a boxed set in the same year, I'm 
sure Taylor was wondering if his doctor was keeping secrets.

So, why do a boxed set? If you have to ask that question, you are obviously 
not a fan of Taylor. However, it is for that reason that this collection 
should appeal to you. It's a chance for exposure to a cross-section of his 
music, with descriptions to guide you through the serious and the satirical. 
Naturally, any fans will jump at the chance for this new item.

Enclosed with the 2-CD pack is a booklet that will be sure to please all. 
After an extensive biographical sketch and career history, the lyrics are 
included with a short description behind the conception of each song. There 
is, of course a wide range of off-the-wall Taylor.

The collection of tunes ranges from the classics like "I Want to Be a 
Clone," "Meltdown," "This Disco (Used to be a Cute Cathedral)," "On the 
Fritz," "To Forgive," and "Jim Morrison's Grave" to the lesser known "Am I 
in Sync?," "I Just Wanna Know," "Under the Blood," "Bouquet," "A Principled 
Man" and the elusive "Winter Wonderland." It includes the live tracks "We 
Don't Need No Colour Code" and "You Don't Owe Me Nothing" and Chagall 
Guevara tunes "Murder in the Big House," "Echer's World," and "Violent 
Blue." Overall, it would seem a fitting mixture to appeal to fans and to be 
a reasonable introduction to new listeners.

Of course a boxed set wouldn't be complete with something new--and there are 
two items that fit the bill. "Dream in Black and White" is a scaled-down 
tune about people who spend all their time away from work watching 
television--watching the world in color, but dreaming in black and white. 
"Shark Attack" is a compilation of several demos of early versions of his 
songs, including one that never made it to an album--very interesting to 
hear songs still very young in the creative process.

So, if you're looking for your first real picture of Steve Taylor or if you 
want something to add to your collection of his work, this is a well-
compiled project that shouldn't disappoint.

--Roger Appelinski

Steve Taylor, _Now the Truth Can Be Told (Video)_, (Sparrow)

Seventy minutes to scan the career of an artist. It's possible, but not 
accurate, or is it? For Taylor, it captures his most redeeming quality, his 
odd and cynical sense of humor.

The project offers some examples of his famous video collection, including: 
"Jim Morrison's Grave," "Since I Gave up Hope I Feel a Lot Better," "I Blew 
Up the Clinic Real Good," "Babylon," "A Principled Man," "Lifeboat," and 
"Meltdown." Also included are the promotional video for Chagall Guevara, "I 
Predictionary"--a short video to promote _I Predict 1990_, "The Lost 
Interview" from the 700 Club with Steve Taylor and Amy Grant, some 
promotional footage Taylor directed for Greenbelt, and two of his student 
film projects.

The two film efforts are interesting to say the least. They're a bit too 
hard to describe without spoiling the fun, so if you understand Taylor, 
they'll make sense...

As they say, if you're a fan, you won't want to be without this--I know I 
wouldn't.

--Roger Appelinski

The ForeFront Extended Play Remixes--DC Talk _Free At Last_, Audio 
Adrenaline _Don't Censor Me_, and Code of Ethics _Code of Ethics_ 
(ForeFront)

Scott Blackwell is a busy man these days, yet he managed to contribute most 
of the creativity behind these new offerings--remixes of some of the 
industry's upbeat songs. He pulls off some excellent work, up there with his 
best.

The DC Talk project includes two remixes of "Jesus is Just Alright"--an 
energetic 'Techno Mix' and a funky, R&Bish version in the 'Retro Mix.' An 
stripped-down, but almost downbeat mix of "Luv is a Verb" and the video 
remix version of "The Hardway" round out the 22+ minutes on the album.

Two mixes of "Can't Take God Away" start the Audio Adrenaline project. The 
first, the 'Eternal Life Mix,' is an extended version of the original with 
long digital-effects based interludes in spots. The 'House Mix' relies more 
on some funky organ sounds with the synthesizers enhance the original. The 
'Hardcore Mix' of "We're a Band" is a rather stark contrast to the original. 
Practically the vocals are the only thing left with a few drum and synth 
loops, leaving a slow grooving remake. Ian Eskelin adds an 'Aquatic Dub Mix' 
of "Big House." It also offers a fairly slow groove in contrast to the 
original, with much of the track being a slow loop with quick electronic 
effects , bringing this album close to 23 minutes.

The most artistic license is taken on The Code of Ethics mixes. Vocal 
effects are a force behind the 'House Mix' of "Without Reason," mixing heavy 
delay of the sped-up vocal with a sparse drum and synthesizer loop resulting 
in a light, intriguing mix. The eight-minute 'Trance Dub' of "Without 
Reason" is a bit more full and slow than the first. The 'Tribal Groove Mix' 
of "Follow On" is also on the slower side, with a slightly organic layer 
under the samples and effects. Barry Blaze and Ian Eskelin round out the 
almost 26-minute project with the 'Salsa Tribal Mix' of "Satellite Babies." 
It is a radically different sound than the original. Featuring a quick R&B 
background with plenty of samples and quick guitar riffs, most of the lead 
vocals are a sped up, and altered to sound like something across a bad 
telephone connection. The choruses feature a blend of the altered vocal with 
the more natural one, creating a very impressive sound.

While there are only four songs on each album, I thoroughly enjoyed the 
mixes and like most of them more than the originals. If you liked them once, 
you'll probably like them again in their new form.

--Roger Appelinski

White Heart, _Nothing but the Best--Rock Classics_ _Nothing but the Best--
Radio Classics_ (Star Song)

As White Heart prepares to enter the next stage of their career with a new 
record label, they close this chapter with two "Best of" releases.

_...Rock Classics_ contains "Convertibles," "No Taboo," "Sing Your Freedom," 
"Let the Kingdom Come," Powerhouse," "Independence Day," "His Heart Was 
Always In It," "Light a Candle," "Nothing But The Best," "Change the Way," 
"Heaven of My Heart," and the new songs "Climb the Hill" and "Letter of 
Love.""

_...Radio Classics_ includes (a complete and fully instrumented rendition 
of) "Morningstar," the new "My Eyes Have Seen," "How Many Times (Seventy 
Times Seven)," "Fly Eagle Fly," "Montana Sky," "River Will Flow," "Desert 
Rose," "A Love Calling," "Say the Word," "Unchain," Silhouette," "Once and 
for All," and "The Flame Passes On."

"Letter of Love" is a driving guitar-based rock track with heavy keyboard 
enhancement. "Climb the Hill" is slightly slower, with a slow start that 
builds to an almost anthematic crescendo, and "My Eyes Have Seen" is a 
forceful midtempo tune. Each seems to fit on the project--not classics, but 
the proverbial "destined to be classic" category.

They're the standard greatest hits--no surprises, but a nice addition to a 
collection.

--Roger Appelinski

Whitecross, _Unveiled_ (R.E.X.)
Let's get this right out in the open: Whitecross' _Unveiled_, like so many 
Christian albums, is an album full of derivative and unexceptional tunes. 
There is nothing here that hasn't been done at least as well elsewhere.
Having said that, _Unveiled_ does have its modest charms. While most songs 
are reminiscent--sometimes uncannily so--of earlier tunes from AC/DC, Led 
Zeppelin, Van Halen, or the like, this is perhaps not an altogether bad 
thing. Vocalist Scott Wenzel sounds as though he was born to belt out tunes 
like these. If what you want is an album full of solid rock songs you can 
crank up to "11" Whitecross delivers. The obvious difference is that 
_Unveiled_'s lyrics are generally more uplifting than those of their secular 
counterparts, praising God's mercy and love instead of some groupie's more 
carnal attractions. Again, there are no deep insights here, nor are the 
lyrics especially clever, but Whitecross does speak the truth of the Gospel 
in their straightforward way.
No one will mistake the members of Whitecross for musical geniuses, but this 
album deserves the kind of airplay and appreciation that any solid rock 
album would receive. Guitarist Barry Graul (formerly of Halo) may be no 
Eddie Van Halen, but he's smart enough to spare us the gratuitous solos 
other guitarists of his caliber might inflict upon their audience. Likewise, 
bassist Tracy Ferrie and drummer Michael Feighan lay down a solid 
foundation. _Unveiled_ may be uninspired, but it does display a level of 
workmanship that is at least above average for the industry.
--Rob Szarka

Crystal Lewis _The Remix Collection_ (Metro One)

Crystal raps! It's true. On the remix of "I Now Live," and "Spiritual 
Warfare" the little lady takes a vocal assault that really isn't too bad. Oh 
course, she isn't going to take over the rap world, but it serves as a nice 
addition to this compilation of remixes of her most famous tracks.

In addition to the two remixes "I Now Live" (the energetic opener with rap, 
and a slower grooving mix) there are two versions of "Little Jackie." The 
first is a slow groove featuring raps by T-Bone to tell a different version 
of the story, while the second is a funky R&B version. There are also two 
versions of "Shine Jesus Shine." One is upbeat with plenty of guitar work, 
while the other is a slow, laid-back, R&B version. Both remixes of "You'll 
Be Back For Me" are upbeat, with the former being a looser, percussion 
driven version, with the latter (the aerobic version) being a little faster, 
deep bass lead remake.

"Lonely" is a pleasant remake with a stripped down feel. It offers a driving 
R&B bass track with jangly guitar and bright horn samples along with 
keyboard effects creating a peppy and light experience. "Don't Worry" is 
slow, full groove, loaded with rhythm tracks--keys, bass, synthesizer, horn, 
and drum.

The mixing is handled mostly by Scott Osborne, Muffla, and Kaliq. Scott 
Blackwell and Peter Jacobs work on a few of the tracks. I wouldn't say this 
project breaks considerable ground, but it is impressive in the diversity of 
style covered.

Freely admitting that I'm not much of a Lewis fan, I found this collection 
to be quite enjoyable and fresh --something I've listened to quite a bit. If 
you want a little bit of an adventure, sample this one.

--Roger Appelinski

DC Talk, _Narrow is the Road (Video)_ (ForeFront)

DC Talk's concert tour is rated as one of the best on the road by fans. 
_Narrow is the Road_ is a long form video focusing on the concert experience 
of this popular group.

The video opens with some of the video's many clips from the past year on 
the road, set to "Luv is a Verb." A short interview with Michael Tait 
explains the group's intent for touring. Up next is a concert performance of 
"Jesus is Just Alright." After a bit of "Say the Words," they talk about 
Compassion International and meet a child they support. They also feature a 
segment of instrumental solos by the band members as they introduce them to 
the crowd.

The guys took cameras along as they went with Billy Graham on a day off. 
They also took a trip to Liberty University and reminisced about the 
founding of DC Talk. After concert footage of "That Kinda Girl" and "I Don't 
Want It," they go behind the scenes to look at the making of the video for 
"The Hardway." 

One of the highlights is a chance for the guys to meet with Larry Norman and 
discuss the song "I Wish We'd All Been Ready." They share a small clip of 
their performance of Norman's classic in a downbeat unplugged vein. After 
another short interview about the purpose of the video project, they add 
more concert footage of "Free at Last." Also included are the videos of 
"Jesus is Just Alright" and "The Hardway."

While _Narrow is the Road_ doesn't really shed too much new light on the 
band's life, purpose, or message, it's an enjoyable experience, and one that 
serious fans of the group probably won't want to miss.

--Roger Appelinski

Tourniquet, _Vanishing Lessons_ (Intense)
Tourniquet is back with a new lead vocalist and producer for what may be 
their best album yet. Luke Easter handles all the vocals and Jim Faraci is 
on the production helm for the band's fourth, _Vanishing Lessons_. The 
rumors concerning a less aggressive sound that have started (and not helped 
by the new logo and cover art) are founded primarily in the presence of a 
couple tunes which are not the screaming 100mph grooves that the group is 
known for. Fans of their heavier stuff can take comfort in the fact that 
they still can get as heavy as ever, as evidenced by "Pecking Order" and 
"Acid Head." The album contains plenty of the characteristic guitar 
harmonies and throbbing bass sounds, furnished by Gary Lenaire and Victor 
Macias.
The spiritual caliber of the album's lyrics are as strong as ever. Listeners 
are given a taste of the strong new vocals in the opening seconds of the 
first track, "Bearing Gruesome Cargo," a song about using one's past as an 
excuse for one's behavior. The album deals with a number of topics usually 
left alone, such as the part-ballad (!) "My Promise," which is penned from 
the perspective of a new husband to his new stepchild. Easter even hits some 
high notes on this one. Drummer Ted Kirkpatrick, who wrote most of the 
songs, gets a chance to shine on "K517," which is simply an intense drum 
solo (without any overdubs) over Domenico Scarlatti's 517th sonata. 
"Twilight" is a slow melodic, lyrically-convicting song about the neglect of 
the elderly in our society. _Vanishing Lessons_ is quite a change for 
Tourniquet, but the change really worked here, and the album should help 
establish them further as one of the premiere bands in Christian metal.
--Erik Sellin

_Fireside Christmas_ (ForeFront)
_Fireside Christmas_ sounds just like its name. Picture a couple cozied up 
by a roaring fire, sipping hot chocolate and wrapping presents. Or an 
intimate little gathering of friends as they gather around the Christmas 
buffet and share holiday plans and pleasantries. This album would make great 
background music for any occasion such as these. Produced, arranged, and 
performed by Mark Townsend, the album is a comfortable blend of secular and 
Christian holiday music. The traditional non-religious songs are "Jingle 
Bells" and "Deck The Halls" while the other side of the season is 
represented by "What Child is This," "We Three Kings," "Silent Night," "O 
Come, O Come Emmanuel," "Joy to the World," "O Holy Night," "O come All Ye 
Faithful," and "Away in a Manger." All are instrumental only and are 
performed in a light jazzy manner, never losing the dignity of the season. 
Last year, I reviewed Christmas albums by Kurt Kaiser and Phil Driscoll. Of 
the three, I think I liked this the best for setting the tone of the season 
without getting into really heavy production of the Christmas music we have 
grown so accustomed to. I would recommend this album to anyone who wanted 
something different _Fireside Christmas_ would make a great open-me-early 
gift to enjoy over the whole holiday
--Julie Henry

Don Francisco, _Genesis & Job_ (Star Song)

Don Francisco has a new album out called _Genesis & Job_. Long known for his 
story-telling style, Francisco has developed a style that supports his 
theory that painting a picture rather than pointing a finger is a much more 
effective way to get the gospel into people's heads and hearts. In this 
case, Francisco focuses on the stories of the Old Testament found in Genesis 
and in the Book of Job. This album is the first recording in the series 
"Songs of the Spirit" which Francisco is planning to produce. Eventually he 
hopes to perform songs that cover stories in every book in the Bible. There 
is no explanation why in this album, Francisco jumps from the Tower of Babel 
to Job.

Songs on the album include "All the World He Made is Good," "For a Man to be 
Alone What Have You Done?," "The Ballad of Cain and Abel," "The Death of 
Methuselah," "And Noah Found Grace," "Tower of Babel," "God, Job and the 
Devil," "Job's Lament," "Cold Comfort," "Job's Defiance," "and God's Reply." 
These are not hiphop, jazzy, or even grandiose in style, but rather they are 
simple 60's and 70's story-telling. Wife Karen joined Don for background 
vocals and they sound good together. Musicians were Mike Banta joining 
Francisco on guitar, Kirk Hutchinson and Joe Bellamy on keyboard, Banta on 
bass and Shan Martin joining Francisco on harmonica. This is a very good 
album. All in all, if you like Francisco's style, then you'll like this 
collection of Old Testament stories.

--Julie Henry

Concert Review: MORTAL
Mortal has always been a big draw in Memphis, so it was no surprise that the 
local CCM club, 704b, was packed for Mortal's third concert appearance here 
this year. Rising band The Blamed opened for them.
The Blamed's set was well received, especially in the mosh pit. The band 
contains The Crucified's ex-drummer and Mortal's ex-bassist (who plays 
guitar in this band and also joined Mortal for one song), and their music is 
sort of a Prayer Chain-meets-King's X affair, with many tempo changes and a 
chanting singing style. The Blamed's most energetic member was the bassist, 
who is completely bald except for his lengthy sideburns.
Mortal opened with a blasting song from their upcoming album "Wake." 
"Godspeed" and "Alive and Awake" kept the crowd moving- so much, in fact, 
that Mortal vocalist Jyro several times had to urge the moshers to tone it 
down, as the body surfing was threatening damage to the regrettably low 
ceiling and lights.
Though Mortal's reputation centers on their industrial/ thrash sound, in 
this concert they highlighted many of their slower songs. "Rescinding" made 
an appearance, as did two numbers from their upcoming release. Jyro 
described these songs as "kinda poppy," though not necessarily 
representative of the whole album. One new song, "June 1," refers to the 
date of Mortal's last concert here, where Jyro met his girlfriend. Mortal 
then performed a new love song dedicated to her.
Mortal has always been set apart from the rest of the hard-core crowd by its 
extensive use of sampling and drum programs, and this concert had its share 
of songs such as "Rift" and their crowd pleasing sing-along of "Enfleshed," 
which also ended with a lengthy jam. But some songs which were quite techno 
on the album, such as "Mytho-X," were actually improved by ditching the 
tracks and just cranking the guitar. It was even easier to make out the 
lyrics on some songs without the industrial-style distortion which makes the 
words difficult to decipher on the album versions.
In between songs, Jyro told stories about his experiences, spiritual and 
otherwise, and near the end of the concert, he talked at length about his 
life and his friends. It was clear that he feels a burden for drug abusers 
and those in sexual sin, and he gave testimony about how he recently 
realized that he had been sexually abused as a child by one of his baby-
sitters. The concert ended with an altar call and a prayer, and then the 
band members went aside to talk with those who had come forward; there was 
no encore.
It was exciting to see such credible modern music linked to such an 
unashamed presentation of the Gospel. Mortal pledged to return again to 
Memphis in November, and I know their blend of gospel truth and contemporary 
music will find another large audience then.
--Robert Berman

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