THE versatile celebration choir fronted by Bonnie Deuschle has released an explosive 16-track live album titled, Change The World.
The album brings to 16 the number of gospel albums produced under the choir’s recording stable Hear the M
usic Records. The choir, which is the musical flagship of the Celebration Church housed at Celebration Centre in Borrowdale, has through their latest offering solidified the country’s gospel music status on the global stage as equally good and gratifying as a result of the sound engineering quality and ingenuity blended herein.
Another unique characteristic of the album is the synergy and synchronisation of instruments, which makes it a pleasure to listen to. This live recording confirms the choir as a force to reckon with in the gospel industry.
Songs likely to inspire the hearts of many include Kingdom Come, Toimba Ishe, Change The World, This Is For You, Sold Out, Your Joy and Tinokumbirawo.
Kingdom Come is an electric track about the Lord’s prayer first presented to the public during the opening night of the Harare International Festival of the Arts. It was co-written by Bonnie together with her son Jonathan Deuschle.
Tinokumbirawo (We are asking) on the other hand appears to be controversial and hard-hitting against the country’s economic crisis as evidenced by the lyrics, which call for divine intervention as thus: “Jesus watch over all, your great word to perform. For our nation’s in need of your mercy and peace. Let your word arise today, that if with humble hearts we pray you will heal our great land by the power of you hand.”
The choir’s music is represented in several countries, which include America, Britain, Kenya, South Africa and Zambia, among other markets.
Hear the Music Records stable has not only produced the Celebration Choir, but has recorded and marketed some of the country’s leading gospel artists who include Bonnie, Prince Mafukidze, Kudzai Sevenzo and acapella outfit Faith Moves Mountains.
In the past the Celebration Church has been criticised for being elitist and exclusionist, but one does not need a Van Gough’s ear of music to be convinced otherwise after listening to their latest offering.