But what could
have become just another indie gospel project among thousands
released each year was turned into something special by multi-talented
producer Nathan Young. The Nashville-based Young, director of
the Orchestra Nashville Gospel Choir, is Hayes’ musical
guardian angel: he produces the album, plays a wicked B3, directs
the background voices, and demonstrates the magical musical drive
more typically representative of big budget, major label productions.
Frozene is an old-fashioned, spitfire church singer
in the style of Leanne Faine (who introduced her to Young), Angela
Spivey, Dottie Peoples and Lemmie Battles. Thus, Frozene is at
her best on the uptempo traditional numbers, and she knows it,
too, because three of the thirteen tracks are rousing church wreckers.
finest moment on the album, however, can be heard on the title
track. Here, Frozene duets with an unnamed male lead (possibly
Nathan Young). The two engage in a fiery testifying tournament
that turns the heat way up on the performance. One can imagine
assembled saints leaping to their feet, hands waving in testimony
and voices lifted in praise and reverie.