Myron Williams | Thankful

Myron Williams | Thankful
By Peggy Oliver

Since the inception of Juanita Bynum’s Flow Records a few years ago, Myron Williams’ production stamp has graced the labels recordings, such as the groundbreaking Gospel Goes Classical with Bynum and Jonathan Butler. Before Flow Records spouted as one of gospel’s pleasant surprises in 2006, Williams and his brother Demarcus Williams directed MDM & Voices; one of many reasons why their hometown of Dallas flourished with suburb youth choirs in the late nineties along with God’s Property. Their contributions, I Found the Answer and That I May Know Him, made a small dent via the independent company Myriad Records. But there was more to come from this multi-gifted music minister.

Since MDM & Voices, Myron has been a sought after figure on the national level with Bishop T.D. Jakes & The Potters House Mass Choir, singing “When My Season Comes,” and Kim Burrell, amongst others. Besides serving as music director for Bynum, Williams was recently promoted as CEO and President to Flow Records. This was not a revelation as Williams and Bynum are very similar in their worship dynamics blending soulful and classical music overtones. They are also more than acquainted with each other’s gifts, teaming together on numerous occasions. Williams’ sweet vocal tones draw somewhat from suave soul stylist John Legend, but he manages to be a focused worshipper at heart without resorting to vocal hysterics or excessive nagging to make a scriptural point. His debut solo disc, Made to Worship, produced a fairly credible version of “I Can Only Imagine,” the mega Christian pop hit from Mercy Me; and several duets with Bynum such as “Fall On Me.”

The tracks on the latest Flow Records disc, Thankful, are deeply personal for Williams; inspired by the last year and half of roller-coaster events. Williams stays the same course as Made to Worship focusing more on a rich soothing atmosphere. That said, Thankful opens with the downright funkiness of “I Praise Your Name” with a resounding horn section sandwiched in the middle. “Give Him Glory” is another exception to the rule; dripping with down home country blues church service. ”I Wanna Go” is clearly enveloped in the classical mode with an operatic choir intro, piano sweeps and punctuation from Williams and Reginald Strong Jr., and a spoken word from Taketa Williams about overcoming the enemy from Isaiah 40:29: “He gives power to the faint and increases the strength of him that hath no might.” Michael Bethaney’s warm background harmonies and fretless bass by Dan Castillo frame “I’m So Thankful.” “Your Face I Seek” hints a bit at seventies and eighties sweet soul. Always reliable in covering material besides his own, Williams chooses Hillsong Ministries’ “Any Crown”; remaining faithful to the original version but with an extra boost of enthusiasm. In a brief but fascinating testimonial during Worship, Williams speaks about his son to illustrate how God picks us up with “every issue…every concern.”

Where Thankful thrives is with Williams’ intimate approach and intriguing melodies. At times though, Thankful starts to lose a bit of steam. Two prime examples are the melodically safe, “I’ll Do What It Takes”; and the overstretched “More Than Anything,” where Williams explains to the live audience at Destiny Church in Arlington, Texas that this is “cutting edge worship.: But in reality, Williams’ ideas are not exactly rooted in cutting edge. He simply has a natural ability to bring worshippers to a very special place and on most accounts, Thankful takes care of business.

Peggy Oliver
The Urban Music Scene