Ginny Owens broke out of obscurity in 1999 with the debut album Without Condition on Rocketown Records. Widespread press coverage in the Christian and secular music worlds, three number one songs, and a massive personal appearance schedule, laid the foundation for capturing the New Artist of the Year Award at the 31st Annual Dove Awards Show in the spring of 2000. Not a bad first round!
Deferring her sophomore release for nearly three years though, seems a curious strategy, given the ground breaking success Owens garnered with her coming-out effort. A narrative in the Rocketown press kit for the brand new Something More album, may provide some measure of explanation on why number two took so long. It seems the chaos brought on by the massive success of Without Condition was apparently somewhat overwhelming to Owens. It's a circumstance few experience. Conventional wisdom offers little sympathy. "That's a good problem to have," many would say. Nonetheless, a "back to basics" and "first things first" strategy were helpful in moving Owens to the next step.
We can only imagine the intense pressure that results from a massively successful first album. Curious eye balls everywhere must have been focused tightly on this young woman from Jackson, Mississippi. Looking back, Owens says, "I had to go back to that very first common denominator of realizing what initially inspired me to write. That inspiration came from my faith in Christ and the gift of life he had given me."
If good things come to those who wait, the Christian music community must expect a rare gem in this follow-up project. Having listened to Something More for a few weeks, let me strongly suggest that fans holding high expectations will not be disappointed. Production wizard extraordinaire Monroe Jones (Third Day, Chris Rice, Geoff Moore, Salvador, Mark Schultz, Shaun Groves) was invited back for another round. Owens' obligatory thank you wishes printed on the jacket, include praise for the supporting "music makers": "Once again, you've made me sound so much cooler than I am ..."
Quantifying the "coolness factor" falls outside of this reviewer's qualifications. I've never been referred to as Dr. Cool. However, if Owens' comments allude to the multi-layered instrumentation and elaborate production techniques contained in this effort, then "cooler than I am," might just be an apt characterization. Producer Jones could get much of the credit for the super-charged production on Something More. One of the busier producers in the business, Monroe Jones's style is still remarkably "hands-on". He smoothly segues from project to project with the ease of a seasoned trapeze artist.
Without Condition and Something More do share a few features in common. However, on balance, even though largely inhabited by the same cast of characters, the two collections are much more different than they are the same. Most of the songs on these albums are built from a piano foundation. Ginny Owens serves as her own keyboard player on some of the songs. Session piano players are also utilized. It's also possible that Producer Jones may have contributed a keyboard part or two without published credit, as he has done before. The song writing and lyrics are also similar in both efforts.
From these joint characteristics, Something More becomes something more! It's a less organic, more layered and contemporary sound. Owens' relaxed, contemplative ballads have become extensively produced, pop/R&B/hip hop flavored diamonds in the same vein as The Spice Girls, En Vogue, and TLC. Even most of the poky tunes receive some electronic treatment. Although Owens' vocals venture slightly into a style which matches the new instrumental direction, it's really the added bells and whistles of the supporting cast which drives Something More down a new highway.
It's easy to illustrate the merging of both styles with the first two songs on Something More. "Prelude" reflects the sparse, earthy, old style used primarily on Without Condition. Musically, "Prelude" is slow and deliberate, but the lyrics give an indication that change is in the wind:
One day I decided I'd aspire to higher ambition, so I set out on a mission to change the world.
The rest of the lyrics in this song make it clear that Ginny Owens isn't referring to higher career ambitions, but it's interesting how an unintended, yet somehow relevant meaning comes forth. It's relevant in that, although not necessarily deliberate, this new direction will likely provide Owens with an even more expansive audience with which to deliver her intended message. From there, "Prelude", the old style, seamlessly segues right into "With Me," a portend of what's ahead in the rest of the album. "With Me" begins with a crazy reverberation/editing/echo loop which provides the listener with the illusion that Owens is stuttering in time to the music, the sort of thing you won't find on Without Condition. It's a medium tempo song of hope which provides us with the first radio ready hook of the portfolio:
The good days come, the dark days call,
But every day you're with me, with me through it all.
I will embrace what every moment brings, cause you are with me.
An examination of Ginny Owens' music wouldn't be complete without a commentary on that voice. It's Owens' amazing voice, a striking composite of school girl innocence and bold maturity that is readily apparent. It's an appealing unification of styles which might on paper seem incongruent. Yet, this uncommonly curious pairing of vocal patterns is a large part of Owens' appeal. Her voicing is mellifluous, smooth as honey. If Owens lacks anything vocally, it's range of emotion which would infuse some of these songs with greater depth and feeling. At 26 years old, you've got to believe greater passion and sensibility will be tools that Owens will add by osmosis as she gathers additional life experience.
Ginny is an exceptional song writer, quite adept with solo compositions, yet she has quite extensively been paired with a host of highly qualified song writers. With such diverse songwriting collaboration, one might rightly fear a patch work outcome. To the contrary, Something More flows smoothly from beginning to end. Each song seems as if it belongs.
Nearly every song has an infectious musical "hook", that memorable "sing-along" portion of the song that lingers for hours, sometimes days. Not so coincidentally, this is what music directors and program directors listen for as they screen new product. "I Am" has already earned extensive radio airplay. Sophisticated foresight and planning have infused this project with multiple air play options. I predict Something More will surpass the three hits that Without Condition offered.
"This Road," co-written with Kyle Matthews is reflective and sad, characteristics that Christian radio generally runs away from. It's a lovely song, a prayer really, which questions the pain of living. It's the one song on Something More which consistently brings me close to tears. Which one will be the biggest hit? My vote is for "Simply Love You" with "I Know Someone" a close second.
As often happens, Owens did not complete a few of the songs until the eleventh hour. "Run To You" was one of those songs. Having completed the first verse and chorus, Owens struggled with a case of writer's block. Scheduled to record the vocals three days after the September 11th terrorist attacks, she faced a deadline with an unfinished song. Reflecting a believer's perspective in the context of stress and struggle provided Owens with inspiration to finally complete the song. The very same God who holds the universe, also holds us in His hand:
Ever since the moment life began, humankind has tried to solve its mysteries.
So many things we cannot comprehend, so we draw conclusions that we can believe.
Well I know that your hands have placed the earth upon the seas
and pitched a tent in the heavens for the sun.
The author of the universe is the Father who loves me
so only one conclusion can be drawn.
When the winds of change try to blow me over and the shadows of confusion hide the truth,
I will hope in the One who is forever. I will run to you.
With Something More, Ginny Owens has found an acceptable balance of vulnerable, real life songs which offer at least as much sharing as telling. It's often difficult to earn airplay when sharing so personally. Lyrically, Christian radio seems to reward artists who "tell" more than "share." Customarily, songs which "preach to the choir" and state the obvious get the nod over more personal, vincible songs. Realizing these rarely complementary goals, may be Something More's most impressive achievement. As it turns out, Something More is something else.
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Other coverage for this album
The Phantom Tollbooth 2002Reviewed by Jessica HeikoopAfter her much recognized 1999 release Without Condition, bringing her three # 1 songs, three Dove Awards in April 2000 (New Artist of the Year, Best Enhanced CD, Best Inspirational Song of the Year for "Blessed"), performances at Lilith Fair 1999 and Sundance Film Festival, performances and interviews on Live! With Regis and Kathie Lee and the Ainsley Harriott Show, songs featured on three…
