My Heart Depends on You

Sounds like … Norman's agile tenor is reminiscent of Daryl Coley's, and much of the music reflects the influence of Stevie Wonder and Fred Hammond.At a glance … fans of Fred Hammond will enjoy Norman's work, while others will find the album too Hammond-heavy to reflect Norman's sound on its own terms.Track Listing More & More to Me Fell in Love with Jesus (A Long Time Ago) You Can Use Me 'Tis So Sweet Deliverance Will Come Lift Your Name on High Stand Within Us This Is the Day My Heart Depends on You Finally Found God of Love Lucky Lift Your Name on High (Instrumental)

Imagine this: One day, Memphis-based singer Shea Norman is called at the last minute to fill in for a band scheduled to play an after-party concert. He goes to the venue, but his singers are running late. Annoyed and a little put out, our hero ends up singing alone—and he sounds good. The after-party guests include Fred Hammond, one of the artists in concert. Hammond's people talk to Norman's people. Collaboration ensues, and everyone ends up living Musically Ever After.

With a story like this, it's no wonder so many of the songs on Norman's F.Hammond/Verity debut My Heart Depends on You focus on themes like hope, deliverance, and dependence on God. Norman's tenor and singing style have a sound reminiscent of Daryl Coley, and he shines on tracks like "More and More to Me," which has a pop-gospel feel with a hint of swing; the funky, synth-imbued "Lucky"; quartet-grounded "Fell in Love With Jesus"; the soaring, shiver-inducing "Deliverance Will Come"; and the tender "'Tis So Sweet," which features Norman on thoughtful piano. In the second verse, the hymn as a love song from child to Father, substituting the word "Daddy" for the name "Jesus."

Several of the songs reflect Hammond's influence on Norman's music. That's not the worst thing in the world; if you need a mentor/friend/co-writer/background singer/bass guitarist/guest vocalist/producer, Hammond's a great guy to have on your side. Still, the listener is left with the frequent impression that Norman's artistry at this point is still heavily derivative of Hammond's—it feels like he's picking up where Hammond and Radical For Christ left off (for example: "Lift Your Name on High"). Next time around, it'd be good to hear more of Norman's personal artistic vision.