Album Description Lost In Egypt boasts an array of new songs, from the industrial flavorings of the title track, to the electronic pop worship of "Perfect" and "Beautiful Lamb," to a unique update of Depeche Mode's "People Are People," to the infectious opening track and album single, "Smile."
Item Specifications...
Record Label Razzbarry Records
Dimensions: Length: 4.8" Width: 5.4" Height: 0.2" Weight: 0.1 lbs.
Binding CD
Release Date Feb 10, 2009
Publisher E1 Entertainment
ISBN 0012522422 EAN 0080856002922 UPC 080856002922
Availability 3 units. Availability accurate as of May 26, 2012 10:47.
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I'll be honest, I wasn't even aware that Barry Blaze had put out a new Code Of Ethics album until I came across it at a local CD shop. I hadn't purchased anything by COE in almost a decade (Blaze from 1999), and going by that album, my expectations weren't all that great. When last heard, COE had evolved (no offense intended) from a synth-driven techno/dance style into more guitar centered rock. While this was all good and well - there were still splashes of popish dance on Blaze - it was somewhat of a letdown for those of us who enjoyed their earlier efforts.
Lost In Egypt is a welcome return to the techno/dance (for lack of a better phrase) side of the "band". The opener, "Smile" is a pure pop groove that should please church youth groups from coast to coast. Christian radio will never play it, but it's worthy of being a true hit.
A cover of Depeche Mode's "People Are People" follows, and Blaze is successful in drawing out the song's somewhat spiritual message that hate is a complete waste of time. Makes me wonder why the song hasn't been covered more often.
Other highlights include "Beautiful Lamb", a rare combination of praise song/floor filling dance tune, the title track, which is here in both the album version and a remix which closes things out. There's also a fine updated version of "Something Real", originally on the 1993 Code of Ethics album.
All in all, this is killer from start to finish. Not a bum tune to be found here. A more than welcome return to the Code of the early 90s that helped start the genre of Christian dance music.
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