‘Come to the Water’ is the first track on the album, and starts off with a light electric guitar riff hook that is able to accentuate the lyrical moments as Brett sings out ‘…come to the water all who are thirsty, come and be filled…’ Dwelling upon how God is the river and well we drink our salvation from, and the energy source of our faith Brett is able to show us that we can just come as we are to Christ, to be healed, freed and filled as we bring our lives, as broken as they may be, and watch the Father restore us from the inside out. No wonder Brett sounds very much like Chris Tomlin throughout his 3 rd album, Come to the Water! Listening through these ten tracks, I can boldly claim that if Chris Tomlin sung this, he could even pass it off as his own: these ten songs are that good to have the ‘Chris-Tomlin-stamp’! With rich lyrical moments of hope, praise and adoration, Brett Younker sings with such passion and integrity, thus making Come to the Water one of the most fruitful worship albums over these past few months in 2012! Discovering his background, I was amazed to find out the connection between his cover songs and the place he leads worship at- he is a worship pastor at Passion City Church, led and founded by Louie Giglio and Chris Tomlin. Listening through his repertoire of songs on iTunes, I discovered his innate ability to record decent cover renditions of well known worship songs, like Chris Tomlin’s ‘Our God’, Hillsong’s ‘Arms Open Wide’, Fee’s ‘Rise and Sing’, and Kristian Stanfill’s ‘Alive and Running’. Director Kerry Meads keeps the pace lively, and underscores the emotional aspects of the event: the competitions and resentments as well as the sheer joy of jamming with consummate fellow musicians.įor a fleet 90 minutes, you feel like you were there, too, and can share in that joy.As I was browsing through iTunes the other day, I stumbled upon Brett Younker, a worship artist from Atlanta, Georgia.
The solos are great and the harmonies are terrific. Here, his Plus-One is the fictional Dyanne (Katie Sapper, who looks red-dress hot and does a sizzling version of Eddie Cooley and Otis Blackwell’s “Fever” and Dave Bartholomew and Pearl King’s “I Hear You Knockin’”). He’s the narrator, event organizer and ultimately, the object of Elvis’ proposed toast: “To the Father of Rock and Roll.”Įlvis did, in fact, bring a girlfriend to the studio - Marilyn Evans - but it’s not clear whether she joined the guys in song. Lance Arthur Smith has just the right folksy feel as Sam Phillips, so proud and possessive of his boys. who looks and sounds so much like Johnny Cash, it’s uncanny. The 2010 Broadway production was nominated for three Tony Awards, including Best Musical. It mainly featured the country and gospel music the four poor Southerners had grown up singing.īut in 2008, that title became the name of a musical, by Floyd Mutrux and Colin Escott, that dramatized the original session. “Million Dollar Quartet” is a recording of that 1956 jam, which was released in 1981. Though he lived until 2003, Phillips sold Sun in 1969 the studio is still in existence, as Sun Entertainment Corporation. And he was an early investor in Holiday Inn Hotels. Lewis was new to his stable by the end of the evening, he’d be the only one left with Phillips, who discovered and shaped all of them.īut though he was sad to see his “boys” leave for bigger fields and greener pastures (RCA or Columbia Records), Phillips would go on to produce Roy Orbison, Howlin’ Wolf, Charlie Rich, Conway Twitty and others. Over the previous year, the first three had become success stories of visionary record producer Sam Phillips. An impromptu jam session by Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis.
It was a meetup that made rock ‘n’ roll history.
as Johnny Cash Lance Arthur Smith as Sam Phillips and Katie Sapper as Dyanne. The cast of Lamb’s Players Theatre’s “Million Dollar Quartet.” Ben Van Diepen (left) as Jerry Lee Lewis drummer Brian Dall Walker Brinskele as Elvis bassist Mackenzie Leighton Brett Benowitz as Carl Perkins Charles Evans Jr.
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