Tony Vincent

Item: One Deed
Author: Beau Black

One Deed

(1997)

Reviewed by Beau Black

Discogs Apple Music TIDAL Amazon Music YouTube Music

Label Star Song RecordsThe LighthouseJune 1997

ccm pop rock power pop

Tony Vincent's 1995 debut was one of my favorites for that year-it's quirky, energetic pop with mild alterna-leanings really hit the spot in a market crowded with sound-alikes. Naturally, I anticipated this followup eagerly; that is, until I heard Vincent had traded in the production team of Charlie Peacock and Brent Bourgeois for producer Dennis Matkosky. Not that I have anything against Matkosky, who has solid secular credits on his resume-more that I feared he would depart from the sound that caught my ear (and, judging by the first disc's success, quite a number of other listeners' ears, too). This is a departure, but not a wholly unpleasant one. One Deed is a more conventional pop album, but it's an enjoyable one.

Probably the most notable feature of this disc is the number of solid, catchy pop tunes. Where Tony Vincent was marked by diverse sounds (dance/techno, Beatle-esque pop, alterna-pop), One Deed is a more cohesive effort, focusing more on songs than diffuse sounds. Matkosky's assembled a crack band, including Kenny Greenburg, Brent Milligan, and Dan Needham; strong playing all around, but I wish he'd let them cut loose a time or two-no rip-roaring solos from Greenburg or standout parts from the rhythm section. The Beatles influence that permeated "High" from the last disc is woven throughout the tunes (particularly "One Deed"), though in a much subtler form. In fact, everything about this album seems to reflect restraint.

Standout tunes include the title track, with its irresistible chorus and bridges, "Do You Really," and "Can't Have One Without The Other," another lush pop number that should do well on radio. These tunes, and also "Fighting Over Love Songs" and "Hey World" (a good tune despite an annoying chant), pair infectious tracks with catchy lyrics. There are also a couple of softer tunes that are effective: "Polly's Eyes," written for a family friend who died of cancer, and "Closer To Your Dreams," which closes the album. One Deed will probably be spinning singles for quite some time, but there's nothing here as remarkable as "High," "Simple Things," or "Out Of My Hands" (from his debut).

Though this is a solid Christian pop album, I'd expected more from Vincent. In a recent Billboard article, he said that he was aiming for crossover appeal with this effort. I hear little here that would give him that chance. Too bad. A more distinctive sound-and a little more risk taking and energy-might have given him the opportunity to follow dc Talk and others to secular airplay. I'd say "High" from his last disc is still his best chance for that.