Like Michael W.
Smith, Velasquez combines pop and worship with similar results.
Trust
Artist: Jaci
Velasquez (www.jacivelasquez.com)
Label: Integrity
Music
Length: 10 tracks/42
minutes
Easter approaches as
I write. A couple of songs on Trust by Jack Velasquez are
easily associated with the season. “At the cross we find healing/At
the cross we find peace” Velasquez sings on “Lay it at the
Cross.” But what does this symbolism represent? “At the cross we
find Jesus/At the cross we find all that we ever need,” we hear in
elaboration.
Velasquez sings this
chorus like the beacon of light that it is. Apart from Christ’s
sacrificial death, we could never be made whole and have peace with
God.
The words are
punctuated by a synthesizer. It also generates a swirling sound on
the chorus of the opening “Trust You.” After its initial heyday
in the 70s the instrument became less prominent. Is it making a
comeback?
I like the feel-good
vibe of “Cross”; no brooding heaviness here.
Have you heard?
Trust takes a turn toward praise and worship. For those who
have enjoyed Velazquez’s previous releases, there is no need to
fear. She does something similar to Michael W. Smith in fusing pop
with lyrics of adoration.
That may seem a
little sacrilegious to some, but my concern was that this type of
music can be bland and generic. Worship for the masses can lose
artistic integrity.
For those who might
think that popular music styles do not belong in the sanctuary,
consider this. If earlier generations could enjoy Fanny Crosby’s
“At the Cross,” in the reverential music of their time, why can’t
a similar awe and joy be expressed in the musical language of today.
That’s not to say that this is for everyone, but I enjoy how this
release incorporates the style and production of Velasquez’s past
releases. It’s God-ward focus makes it all the more powerful. It’s
not such a radical change that fans won’t want to come along for
the ride. Some tracks lean more toward pop, others more toward modern
worship.
There is only one
song that might be called a standard, and that a modern one, “Great
Are You Lord.” It’s a beautiful
duet with husband, Nic Gonzalez, lead singer of Salvador. The clean
annunciation highlights the lyrics. “Great is Your Faithfulness”
is an original song, not the traditional hymn.
A favorite here is
“I Will Call,” which is more subdued than the opener, but this is
why I like it. It has a smooth feel reminiscent of her past work.
Breathy vocals and spare, ethereal sounds break into an anthem-like
chorus. Part of the appeal of Velasquez is her strong voice, which
firmly declares God’s truth. Words of affirmation become dynamic.
Just the thought in
the title “It’s Never as Dark as it Seems” is healing. The
music is not quite as compelling but suitable.
My favorite might be
“Rest.” The guitar is raw and rugged. The style has a subtle 50s
influence. One could argue that it doesn’t fit, but I’m so glad
to hear this stripped-down, lament-like psalm: “Slow me down enough
to hear your voice/Speak your words of mercy over all the noise/Quiet
the lies that blind me from the truth/I am Yours, I am yours.” What
sounds like a Hammond organ adds texture. The simple lines in the
chorus express a common desire: “Lord, I will rest in you/Lord, I
will rest in you/Trusting in all you do.”
Back to Easter. If
“Lay it at the Cross” is the death side, the triumphant “Praise
the King” is the life side. It celebrates the resurrection.
I like this move by
Velasquez. It builds on past releases, which include expressions of
praise and worship. Those are like the seed, the sprout, the bud, and
now we hear the flowering.