Michael W. Smith: Stand

I always thought Michael W. Smith had more to offer than the highly successful but extremely polished projects of the past. Smith has finally broken through to his gritty side, and “Stand” is everything we suspected he had inside, and more. Much of it is written as exhortation to the church, Casting Crowns-style. No holding back; I like that in a superstar.

“Stand” offers eleven passionate tracks of worship and exhortation, extremely well produced, thanks to Matt Bronleewe. Smith invited a number of some of the community’s best writers to chime in, including his protégé Leeland Mooring, Martin Smith, old friend Amy Grant, and even the participation of his family. These collaborations result in an album that is both intimate and meaningful, exposing a new raw side of Smith that is quite appealing.

Leeland Mooring’s influence is immediately apparent on opener “Cover Me,” a passionate pop-rocker that affirms God’s constancy and faithfulness. It’s emotive immediacy is pure Leeland, expressed effectively with a sound far less polished that we’re used to from Smith. “Open Arms” follows, his plaintive exhortation to the church to be the arms of love. Its closing chorus uplifts, with an exhilarating we-are-the-world feel. Smith has said that this album is about living what we believe; this theme comes across powerfully in upbeat rockers like “Come to the Cross.” Muscular keys and splashy drums mesh well with Smith’s raspy vocals, adding a nice edge to the track’s urgency.

Co-written with Grant, “How to Say Goodbye” changes the pace tempo-wise, but continues the album’s air of intimacy with its heart-rending tale of a parent’s goodbye to the child leaving home. Again Leeland’s influence is seen in the expressive lyrics of the worshipful “Be Lifted High.” Michael W’s vocal chops have not dimmed even slightly over the years; they may, in fact, have grown more expressive, as heard on his hushed rendition of Keith Green’s familiar “Oh Lord, You’re Beautiful.” “Grace,” written by the two Smiths, Michael and Martin, is thoughtfully crafted and delivered movingly. Interestingly, the title track is a brief but anthemic chorus, followed by the standout track, “Come See.” Written by Smith, his family, and Leeland Mooring, it is a hugely appealing pop song of invitation, sung quietly but with deep passion. This track may just become the “altar call” song of the decade. Equally excellent is the following track, another call to action directed to the church, the rollicking “In Silence.” Again, Smith’s rougher vocals suit the strong instrumentation well, very nicely done.

The album closes out with a bit of a surprise, the pop-love song, “Escape Your Love.” Smith’s son Tyler contributed to the writing of this upbeat and melodic track, which may explain its inclusion. There’s absolutely nothing wrong with the song; a bit reminiscent of Chris Rice, it is sweet and appealing. It just doesn’t really flow with the rest of this sterling project. But this issue is minor in the extreme, for “Stand” may be one of Michael W. Smith’s most impressive albums yet. Quite the accomplishment for someone who has become a something of an institution. “Stand” is a testament to Smith’s creativity.

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