Dave Hollister Albums (6)
What The Critics Say
Dave Hollister beat out Kelly Price and SWV's Coko to become the most successful urban B-lister to go gospel in 2006. His debut in the genre, The Book of David, Vol. 1: The Transition, shot to the top of Billboard's gospel tally and cemented him as a new force in sanctified urban music, but it did more than that: it proved that you can do gospel and still keep it real. Witness Protection picks up right where Transition left off, but only stylistically: Hollister is no longer interested in bringing to light the demons of his past, but to leave them behind and get his praise on. The levity doesn't mean the album is rife with empty hallelujahs or silly praise workouts. Instead, the crooner lets listeners in on his new lot in life -- Hollister grew up in church, but Witness Protection shows a man worshiping not because he has to, but because he wants to. An émigré of contemporary R&B, Hollister doesn't skimp on slickness because he's found God; on the contrary, Witness Protection offers some of the most true to form R&B confections gospel has seen in 2008. Hollister keeps things unabashedly grown and sexy here: his loverman tendencies haven't gone anywhere, with a mature vibe that recalls former colleagues Ginuwine, Avant, and Jaheim. The big difference, though, is that Hollister is now crooning for the Lord, nailing the vocals with more soul and self-assurance than he ever did during his post-Blackstreet days. As Witness Protection testifies, the brother is doing all right: just two albums in and almost without trying, Hollister has climbed the ranks of urban gospel to become one of its strongest, most effortless proponents. ~ Andree Farias, All Music Guide
'The Book of David, Vol. 1: The Transition'
Release Date 9/26/2006
Tracks 21
Label Zomba
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What The Critics Say
On bended knee, and with a trembling voice, Dave Hollister sounds more fervently full of remorse than ever before. That's saying a lot, given his past work with Force One Network and Blackstreet, as well as his previous four solo albums. In this case, he's looking for forgiveness from his Lord, not his woman. His first album for Gospo Centric (the logo is very, very small on its packaging, as if he and his label don't want to scare off the nonbelieving and gospel-music-phobic members of his fan base), The Book of David, Vol. 1: The Transition really isn't that much different from the singer's past releases. Hollister has a newfound focus (which you can see in his eyes, unless you can't get past the fact that he now might pass as a dead ringer for actor Chi McBride), and the subject matter often takes on a slightly more pronounced turn for the spiritual, but the tracks bump and sway as much as any other set he has released. Besides, the detectable changes shouldn't shock anyone who has followed him -- he came up in the church, and both of his parents were preachers. The album lacks the beneficial brevity of 2003's Real Talk and meanders during the second half. Beyond that, it is just as appealing as anything else in the man's catalog and should not be disregarded by virtue of its label of release. ~ Andy Kellman, All Music Guide
What The Critics Say
Significant aspects of Dave Hollister's career went around in circles during 2003. Early in the year, he contributed to Blackstreet's flop return (not his fault), Level II; just as significantly, he came back to Dreamworks as a solo artist, after what he viewed as a disappointing stint on Motown. While those two moves seem like last-ditch attempts at recapturing old glories, this fourth album is only outshined by Ghetto Hymns as Hollister's best. Unlike the bulk of his peers, Hollister is able to convincingly pull off all of the numerous roles he plays. He might not be as flashy or as young as the acts lighting up the charts, but he has a lot of wisdom to offer -- minus the grandstanding -- along with a seasoned voice and the exceptional production skills of his small supporting cast (including Tank, Bink, and Mike City). It's a lean album with plenty of dimensions and little in the way of wasted moments. Hollister makes every second count, and while there might be a few lines that make you scratch your head -- such as "I need you as bad as old folks need soft shoes" -- Real Talk forges the singer's status as one of the most consistent, down-to-earth figures in contemporary R&B. ~ Andy Kellman, All Music Guide
'Things in the Game Done Changed'
Release Date 9/17/2002
Tracks 16
Label Motown
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What The Critics Say
Former Blackstreet member Dave Hollister has a problem all too common in R&B: finding songs half as memorable as his voice. But his third solo album -- and his first for Motown -- makes some progress in that quest, suggesting that a little Detroit magic might have rubbed off on this Chicago hustler. Despite its title, Things in the Game Done Changed doesn't mark any substantial shift in Hollister's formula: he still favors repetitive tunes rooted in gospel, substituting the ebb and flow of his powerful pipes for catchy hooks and melodies. It's an approach he shares with contemporaries like Gerald LeVert -- but while LeVert has made a virtue of consistency, concentrating exclusively on the bedroom, a little variety serves Hollister better. Working with a variety of producers (including Tank, a younger kindred spirit), Hollister eschews the hip-hop collaborations that marked Ghetto Hymns, but a few rousing soul shouters on the order of "We Gonna Make It," plus a newfound optimism, give this collection a welcome spark, and make you appreciate his ability to spin the thread of a good idea into complex emotional tapestries like "Tonight" and the anguished Tell Me Why." There's still no hit that would give Hollister the recognition his voice deserves, but he's finally made an album as rock-solid as his singing style. ~ Dan LeRoy, All Music Guide
'Chicago '85... The Movie'
Release Date 11/21/2000
Tracks 14
Label DreamWorks
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What The Critics Say
Chicago native Dave Hollister recalls his past situations on Chicago 85... The Movie. A great follow-up to his gold CD Ghetto Hymns, the singer/songwriter enlists top talent such as Mike City (who has worked with another Chicago native, Carl Thomas) to make his recollections crystal clear. The title actually refers to a rough period in Hollister's life when he found out that his father was actually his stepfather and in an act of rebellion began gangbanging. Chicago-based producer Steve Huff, who also had success with Avant, produced the lead single, "One Woman Man," which began quickly racing up the charts. On the solid mid-tempo slammer "Keep on Lovin' Me," Hollister sings about a woman he admires even when she curses him out and makes his bail. The singer almost reaches operatic vibes on the sparse "Destiny" with its swirling string arrangement. On the confessional "Doin' Wrong," Hollister gives one of his best vocal performances over a funky stop-and-go guitar/bass riff. The chugging "I Don't Want to Be a Hustler" spells it all out with Hollister apologizing to his mother because he wasn't raised that way. Amid the baby mama dramas and the thug-life odes, Dave Hollister communicates an authenticity through clearly expressed lyrics that makes Chicago 85... the Movie thrilling "viewing." ~ Ed Hogan, All Music Guide
What The Critics Say
Dave Hollister's Ghetto Hymns is something of a concept album about the triumphs and pitfalls of love and relationships in the inner city. Of course, that doesn't mean it's always serious or realistic, but what matters is that Hollister knows how to mix hard-hitting beats with his own smooth singing and a number of cameo raps by the likes of Erick Sermon, Redman, Jazze Pha, and Too Short. The result is a record that, while it could have been trimmed a bit, will generally please fans of Hollister's former group, Blackstreet, and of other hip-hop/soul hybrid artists. ~ Steve Huey, All Music Guide
