Getting directly to the details of the music, this CD is subtitled, "Sweet Sweet Sound" (which is derived from the Track Four song.) Well, the lead vocals (Sarah Reeves) are indeed markedly sweet but the overall ambiance somewhat becomes a minor competition with the raspy rhythm guitar which is no doubt accentuated with a little fuzz-tone. Further, on instrumentation, the music lacks anything that really manifests any noteworthy lead guitar work anywhere on the album. This musical deficit is not inherently adverse but voids like this can eventually generate some tedium for listeners.
Reeves' overall performance radiates the commercial rock sound which prevailed throughout the 1980s rock genre but this is hardly unexpected. The general characteristics of so-called Christian rock tend to run several years behind its more innovative progenitor. I do not present this element as being in any way negative - I mention it more to demonstrate that the chord progressions which characterize Reeves' music are pretty elemental and that these ideas have been around for a good long time; therefore, low marks for originality but high ones in terms of listener palatability (popular sound.)
The harmonies (all female) are artfully meshed and here Reeves dwells on safe ground by cleverly exploiting plenty of suspended notes and Major 9th vocal blends. I specifically recall when this technique became re-popularized some years ago, (Classical composers have used it for generations), most especially by progressive bluegrass musicians - the end product is an upbeat, robust, and inspiring-type song.
Reeves' youthfulness is readily perceptible as a consequence of her voice timbre and the character of her singing is somewhat whispery. While her volume has not fully matured I fully anticipate that this mannerism of her singing depth will mature if she continues in the music business.
The Christian message here is well-defined through Reeves lyrics, an area of poetic concern of which many Christian Rock artists seem to lose track. Her song clarity could have been slightly improved had the guitarist(s) backed off just a bit.
My final point is likely one that many prospective fans are asking: Only seven cuts? I recall from my many pleasant years of listening to record albums, 8-track tapes, cassettes, and CDs that the unwritten industry standard for the minimum number of songs on an album was ten. Jerry Garcia of The Grateful Dead was notorious for only just meeting his scanty obligation of ten songs on most of his albums, many of these songs having been hastily written right in the studio so that an album could be adequately produced. So I was surprised that Reeves gives us only a paltry seven tracks. Oh well, times change and perhaps it's me who has become the anachronism.
In summary, this CD will make for delightful road music within the cadre of Christian rock enthusiasts. I think more than an hour of listening might become redundant and thus heighten one's desire for at least an occasional impressive lead guitar riff here and there... but it is what it is.
Recommended, noting the caveats as listed.