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.

The 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.

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