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Jaci Velasquez already has traveled a road decorated with Dove awards, record-breaking sales, and millions of fans. And
Crystal Clear is a praiseworthy follow-up to such success. Once again, Jaci's singing provides the fuel for a moving blend of inspiring pop and Latin-influenced music. She lets her talent soar without appearing too showy, and her rich voice resonates as it leaps and floats through these songs, in which she proclaims her undivided dedication to Christ and reminds us of His all-encompassing dedication to us. This amazing production captures each varying mood with a simplicity that unites purity and maturity. Check out the Latin party-swing of "Escúchame," the ethereal rhythms and cloud-like vocals of "Crystal Clear," or the upbeat dance-pop of "Every Time I Fall" to catch a glimpse.
--Israel Button
After two English albums, a Latin record and two decades on earth, Jaci Velasquez is one of Christian music's brightest stars-and there's no visible ceiling for how high her rocket ship will travel.
Crystal Clear should reinforce this trend. God-focused and full of emotion, this effort also showcases more of Velasquez' Latin roots than on previous English recordings, with many of its 11 songs colored by south-of-the-border rhythms and George Cocchini's excellent Spanish-style guitar.
A great example is the leadoff track, "Escuchame" ("Listen to Me")-a celebratory-sounding tune Velasquez co-wrote with producer Mark Heimermann-that mixes Santana sensibilities with subtle R&B vocal elements. But it's most interesting characteristic is the juxtaposition of the rousing instrumentation against Velasquez' sobering message to a younger woman, warning her to slow down and trust in God.
If Velasquez triumphs at most turns with her unique vocal interpretations, she stumbles a bit with the dance-oriented "Every Time I Fall"; its verses sound-vocally and instrumentally-too much like the chorus to Jennifer Lopez' recent hit, "If You Had My Love." That's an unfortunate oversight because while Velasquez came on the music scene way before Lopez and is a superior singer, general market comparisons are inevitable. "You Don't Miss a Thing," though, is a much better dance track.
And while Velasquez, not surprisingly, is all over the bevy of ballads on Crystal Clear, the best track for my moola is an offbeat Velasquez/Heimermann collaboration, "You're Not There." With its introspective lyrics on God's presence, minor-key melody, majestic chorus, orchestral elements and guitars that recall the Cure (yup, the Cure), this is a brave step off the sidewalk. Velasquez should fill her future records with more of this risky stuff. -- Dave Urbanski (c) 2000 CCM Communications, Inc.
