Various Artists

Item: City on a Hill: Sing Alleluia
Author: Matt Williams

City on a Hill: Sing Alleluia

(2002)

Reviewed by Matt Williams

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Label Essential RecordsThe Phantom Tollbooth2002

ccm pop rock worship

Sequels are sitting ducks for criticism. Their very existence is substantiated by its predecessor's success. To judge it based on the original seems harsh and unfair, yet it cannot stand without the original. And so, it comes as no surprise that City On a Hill: Sing Alleluia faced some big expectations long before producer Steve Hindalong put the final touches on the album.

City On a Hill: Songs of Worship and Praise, with its unique collaboration efforts and contributions from various artists, received overwhelming critical acclaim following its release in August 2000. Headlined by artists such as Third Day, Jars of Clay, and Sixpence None the Richer, the album boasted some big names who lived up to their billing with an excellent album that highlighted each artist’s strengths and musical styles, yet pulled their efforts into a communal effort.

A year and a half later, the same communal worship apparatus surrounds Sing Alleluia and several of the original artists (if you will) have returned to lend their talents to the project. The end project, pleasantly enough, is another creative endeavor that more than fulfills its roles as a sequel. Notably absent from Sing Alleluia is the presence of the currently "MIA" Sixpence None the Richer, which colored much of the first album. But offerings from the likes of new additions Jennifer Knapp, Nichole Nordeman, Phil Keaggy, and a host of others make up for Sixpence's absence.

St. Francis of Assisi's timeless hymn "All Creatures of Our God and King," sung by Knapp, Danielle Young of Caedmon's Call, and a choir of female artists, provides the backdrop for Sing Alleluia and gives the album a liturgical introduction. Knapp and Mac Powell of Third Day then take the heritage of "All Creatures" and put a contemporary spin on the hymn in the title track. Somewhat reminiscent of "God of Wonders" from the first City on a Hill project, the song uses some orchestral elements and light acoustic work to complement the vocals of Knapp and Powell. The song's lyrics loosely follow those of St. Francis, but the message remains entrenched in the Scriptures.

The gem of Sing Alleluia would have to be the collaboration of Powell and Fernando Ortega on "Our Great God." Both men's vocals complement each other remarkably well and the two joined together to write some of the most moving lyrics on the album as well. The song admits the Christian's small stature and strength, but does so in the shadow of God's greatness. "Eternal God, unchanging, mysterious and unknown/ Your boundless love, unfailing, in grace and mercy shown/ Bright seraphim in ceaseless flight around Your glorious throne/ They raise their voices day and night in praise to You alone." Ortega's smooth, unassuming vocal delivery speaks volumes of the person of God and Powell’s voice was simply made to howl the chorus "Hallelujah! Glory to our great God."

FFH makes a return appearance with the pleading "Hide Me in Your Heart," Derek Webb of Caedmon's Call and Sandra McCracken offer a continuation of The Choir's "Marvelous Light" from the first album, and Jars of Clay reworks another hymn ("O Spread the Tidings Round") on "The Comforter Has Come." And there are too many other great collaborations to mention.

Overall, Sing Alleluia succeeds because it closely follows the first City on a Hill recording, yet doesn't simply regurgitate what's been presented before. The many artists' efforts weave together to create a remarkably unified piece that serves the purpose of a sequel well, yet stands on its accord, as well.