As I just mentioned to a friend in a comment on my Facebook page, this song by YOUNG SAINT articulates, so well, where I stand at this point in my life: BLESSED! You may not be a fan of rap music and you may not identify with urban culture as represented in this video, but, listen to the lyrics throughout the song. This is universal truth and all credit is due to my God. Please consider my last post, “An Honest Survey,” in conjunction with the message and passion in this song.
The song “Blessings” is available as part of Young Saint’s album TRANSITION.
Kevin Max’s newest project, BROKEN TEMPLES, will officially be released on March 10. I’ll be counting down the remaining days to the release of the album on this page with a post each day exploring and celebrating some of his prior creative ventures.
[8:15PM UPDATE] In light of the announcement of Kanye West’s new album title, I present this clip of Kevin Max with dcTalk performing “Help!” and “So Help Me God” from WELCOME TO THE FREAK SHOW
THE IMPOSTER was released in 2005 and remains my favorite Kevin Max album because of the strength of the album as a whole, the lyrical theme running throughout (inspired by the concept of the imposter, as written about by Brennan Manning in ABBA’S CHILD), and the role that the album played in tuning my spiritual life in. But, the track featured for today’s countdown entry is included because it is one of Max’s most impressive vocal performances and, in my opinion, is one of the best covers ever recorded. It is Max’s take on a song from Bob Dylan’s 1979 album SLOW TRAIN COMING and I dare say that Max’s vocal, in combination with the pure and reverant piano arrangement, fleshes out the song in a manner that Dylan himself would have to be pleased with. While more characteristic Max-styled tracks like “The Imposter,” “Platform,” and “Your Beautiful Mind” stand firmly on their own merit, this cover is a performance to behold.
Within the context of the catalog of work involving Kevin Max, from dc Talk on, Cotes d’ Armor conjures up the image of a summer blockbuster action hero calmly lighting a cigarette while the scene in the background explodes in a gasoline hellfire blaze. The palpable hints of Depeche Mode’s VIOLATOR, PRETTY HATE MACHINE by Nine Inch Nails, and Moby’s ANIMAL RIGHTS, combined with Max’s unique knack for mixing colors has yielded a tour de force of a concept album that will hold its own against the test of time. While this will not be mistaken for anything remotely close to the products most recently put out by his former cohorts TobyMac and Michael Tait (Newsboys) it should be said that Cotes d’ Armor is the one product that is not restricted by the pop Christian-lite confines of Nashville and, subsequently, will still be revered long after the fad-based veneers that so many others exploit have faded. This is by far, as a whole, Kevin Max’s best album. Get it and settle in for a long trip.
