People talk about the music from PREACHER MAN - VOL. 1 …
“What makes Preacher Man, Vol. 1 so striking is its sincerity. This is the work of an artist rediscovering his purpose through sound. Every lyric feels earned, every groove intentional. Oledude has transformed grief, activism, and love into something deeply human and spiritually elevating.”
PREACHER MAN - VOL. 1: THE ALBUM
ANALYZE MY LYRICS 12/10/25 *** : Preacher Man - Vol. 1
Chris Oledude’s debut album Preacher Man – Vol. 1 does something special, feeling both sweeping and intimate, urgent and hopeful, personal and communal all at once. Spanning four decades of lyrics he has created, the album forms a unified body of work rooted in social justice, compassion, responsibility, and belief that ordinary people can spark extraordinary change.
Rather than functioning as disconnected singles, the songs speak to one another, forming a kind of moral and emotional arc in which Oledude’s voice becomes a guide through struggle, reflection, and ultimately a renewed commitment to humanity. In that way, this record is less a collection of tracks and more a lyrical conversation about justice, empathy, and the choices we make as communities and individuals.
Across the entirety of this record, Oledude draws from that tradition of socially conscious songwriting which foregrounds direct language, emotional visibility, and moral clarity. Rather than leaning on metaphor for metaphor’s sake, he repeatedly opts for plainspoken truth as his central tool. That frees the album’s messages to reach the listener without filters: freedom is necessary, justice is required, love is nonnegotiable, and apathy is dangerous. From the opening lines to the final refrain, Oledude roots the album in the belief that change, though difficult, begins with human connection.
One of the clearest threads running throughout the album is an idea of collective responsibility. Oledude returns to a core message time and again: it takes people joining hands to repair a fractured world. The theme appears in various forms-through pleas for social unity, critiques of inequality, and reminders that empathy must guide action-but the core principle remains consistent. On Freedom Prayer, the album’s first track, Oledude immediately establishes this tone through insistent calls for hope, work, forgiveness, and communal voice. The simplicity of the language is intentional; it mirrors a chant or affirmation, something shared rather than merely spoken. This opening gesture undergirds all that follows. The album is not merely one of calling out injustice; it’s about awakening the listener’s sense of agency.
Throughout Preacher Man – Vol. 1, Oledude turns repeatedly to the idea of an inner moral compass, particularly in the context of social turbulence. The lyrics of Rainbow Soul expand on this, blending political awareness with spiritual resilience. When Oledude writes about trust, shared challenges, and the vision of a “rainbow” shining in every soul, he is not just celebrating diversity—he is insisting on unity as an active practice. This insistence echoes through the album in different ways: even when the songs critique political failures or social inequality, Oledude continually returns to love, trust, and solidarity as the only possible answers. The result is a recurring idea that moral progress requires both courage and compassion.
Another major lyrical thread is Oledude’s exploration of inequality, power, and the harm caused when societies lose sight of justice. Turning Tables, one of the album’s singles, brings this theme to sharp focus. While on surface level, it’s a song about fair wages, within the album’s larger context, it becomes a symbol of all systems that devalue human life and dignity. Drawing from real-world examples, like parents unable to provide basic needs for their families or workers denied fair compensation, Oledude makes sure to remind the listener that economic inequality isn’t an abstract theory but something that has immediate emotional and moral impacts.
Then there’s No Crowns for Clowns, which critiques political corruption and the erosion of democratic principles; taken together, one begins to see an emerging pattern-the album positions justice as a shared obligation and insists that silence is no neutral position.
While many of the songs confront societal issues head-on, the album never descends into hopelessness or cynicism. Instead, Oledude keeps weaving in reminders of personal responsibility, spiritual strength, and the capacity to choose compassion even when chaos presents itself. A song like If A Woman Had Made the World imagines an alternate reality made from empathy, reciprocity, and nurturing leadership. As such, this speculative vision isn’t presented as fantasy but as a challenge: if we can conceptualize what a better world might look and feel like, what stops us from working towards it? In this way, imagination consistently functions as a call to action on the album.
Among the most emotionally resonant lyrical themes on the album is the question of how violence affects children, families, and the least able to defend themselves. Save the Children functions as a cornerstone for such discussions. Never once losing directness, Oledude uses imagery to expose how violence, war, and political greed let down the most vulnerable of all. Most strikingly, he does not point out any one group as blame-worthy but widens the frame toward all people and nations caught up in violence. In the context of the full album, it sounds like a reminder that justice and peace are not ideological abstractions but real-life matters involving real casualties.
This theme of shared humanity reappears in gentler form in We Will Get Through This, which shifts from global concerns to the interpersonal. Here, Oledude turns to emotional support, mutual care, and the importance of presence during hardship. The lyrics emphasize partnership, resilience, and unconditional support, showing that compassion works on all levels-from global questions of justice to the private struggles of individuals. This is one of the album’s greatest strengths: the connection between personal and political. For Oledude, they are not separate; indeed, he suggests that the ways in which we care for each other in close relationships mirror the ways in which we should respond to broader injustice.
Orange Blues, lighter in tone, of course, is not without an important place in the thematic web of the album. Humor, desire, and everyday frustration pull the lid off a world overwhelmed by stress and political turmoil. Even in the song’s playful language, a picture emerges of how exhausting it might be to balance personal joy with constant waves of distressing news. This returns to the larger theme of the album: the world is complicated, but even love can become a tool of survival and resistance.
As the album progresses towards its final tracks, the tone becomes increasingly reflective and philosophical. The song I Hate Hate portrays the emotional exhaustion created by endless cycles of violence, misdirection, and ideological manipulation. Instead of sinking into bitterness, however, the song focuses on selecting love as a counterbalancing force. By enacting characters like Jack and Jill who clearly wrestle with grief and loss and confusion, Oledude is reminding the listener that love is an active stance, rather than a passive feeling. To end the cycles of violence, in fact, it takes work, discipline, and clarity about what one is trying to achieve.
The closing track, The Choice, provides a final statement for the album and summarizes many of its core themes. The song anchors the album’s overarching question-what do we choose, individually and collectively, when faced with fear, inequality, conflict, and environmental destruction-via references to history, community, spirituality, and the earth itself. This refrain about choosing wisely ties back to the album’s earlier messages of unity, responsibility, fairness, and empathy. Taken together, this last track positions the entire album as a moral journey. Oledude portrays humanity standing at a crossroads, and the lyrics urge listeners to act with courage, humility, and love.
Yet, the strength of Preacher Man – Vol. 1 lies not just in the power of each individual lyric, but in how those lyrics work together to build a rich, cohesive message. Across all eleven tracks, Oledude crafts a lyrical world that brings social consciousness and emotional honesty into harmony. He acknowledges pain and unfairness without abandoning hope. He criticizes systems while never forgetting the humanity of the people. And he always circles back to themes of solidarity, dignity, and the transformative power of love.
For a first album, it reveals an artist who writes with purpose and conviction but also with deep care for the listener. Oledude’s lyrics call for action, but they also offer comfort. They challenge, yet they invite. They critique, but ultimately, they uplift. Preacher Man – Vol. 1 stands as a lyrical testimony to the fact that music can still speak to the conscience, provoke self-reflection, and create the collective spirit necessary to imagine and contribute toward a more loving and just world.
Full review at https://www.analyzemylyrics.com/chris-oledude/
[ You can read our interview with Chris Oledude here ]
MUSIC REVIEW WORLD 11/12/2025 *** Chris Oledude – Preacher Man – Vol. 1 (Album Review)
Chris Oledude’s Preacher Man, Vol. 1 is not just an album; it’s a revival. The project is a culmination of decades of artistry, reflection, and activism from a musician who has lived through, and sung through, the turbulence of modern America. Born Chris Owens in Puerto Rico and raised in a deeply musical and socially conscious family, Oledude channels a lifetime of experience into an album that fuses groove with purpose.
From the opening moments, layered with ambient sounds of nature and a resonant voice calling out for freedom, you know you’re entering sacred territory. The first song sets the tone: soulful, introspective, and unafraid to wrestle with hard truths. Oledude’s vocal presence is rich and commanding, but never overbearing; it feels like he’s guiding a congregation through both sorrow and celebration.
Throughout the record, Oledude balances heartache with hope. Songs like “The Choice” and “Save the Children” confront systemic injustice and moral responsibility with lyrical precision and emotional weight. In contrast, “Rainbow Soul” and “If a Woman Had Made the World” bring joyful energy, built on funk-infused basslines, tight harmonies, and infectious optimism. These songs groove while carrying messages that stick long after the rhythm fades.
“Orange Blues 24,” one of the standout tracks, hits with raw urgency. Its blistering blues riffs and defiant tone recall protest traditions of earlier generations, yet it feels entirely of the moment. “No Crowns for Clowns,” meanwhile, pairs biting political critique with sharp, modern production. Both pieces demonstrate Oledude’s skill at translating righteous anger into art that moves the body as much as the mind.
Production-wise, Preacher Man, Vol. 1 shines. The mixes are clean and dynamic, with clear separation between instruments. Bass lines are warm and defined, while the layered vocal arrangements, sometimes choral, sometimes conversational, create depth and texture. Spoken-word passages appear throughout, offering moments of reflection amid the rhythmic pulse. The transitions between songs feel deliberate and cohesive, allowing the album to play like a continuous narrative rather than a collection of tracks.
There’s a deep reverence for musical history here: traces of classic soul, gospel, funk, and folk are interwoven into Oledude’s contemporary sound. The result is a sonic tapestry that nods to artists like Curtis Mayfield, Stevie Wonder, and Gil Scott-Heron, yet speaks with Oledude’s own unmistakable voice.
What makes Preacher Man, Vol. 1 so striking is its sincerity. This is the work of an artist rediscovering his purpose through sound. Every lyric feels earned, every groove intentional. Oledude has transformed grief, activism, and love into something deeply human and spiritually elevating.
In an era hungry for authenticity, Preacher Man, Vol. 1 stands tall, a vibrant, fearless collection that reminds listeners that music can still heal, challenge, and inspire. It’s a record that doesn’t just speak truth to power; it invites power to listen.
SCORE / Excellent – In the end, Preacher Man, Vol. 1 feels less like a debut and more like a long-awaited homecoming. Chris Oledude reclaims his voice not just as a musician but as a messenger, bridging generations, genres, and struggles with honesty and heart. His songs remind us that rhythm and resistance can coexist, and that hope can still move mountains.
Full review at https://musicreviewworld.com/chris-oledude-preacher-man-vol-1-album-review/
TURNING TABLES: THE SINGLE
AKTMUSIC.COM 11/26/25 *** Chris Oledude’s “Turning Tables”: A Funk-Driven Call for Justice Wrapped in Soul, Grit, and Truth
Co-written with Christopher R. Owens and Dr. Lora-Ellen McKinney, “Turning Tables” was born from poetry, protest, and lived experience. McKinney’s social justice background, shaped by a lifetime of activism and a family rooted in the civil rights movement, gives the song its backbone. In contrast, Oledude’s musical arrangement gives it pulse. The track’s production is warm and organic, built with real players across Woodstock and New York City: Beau Brady’s steady drums, Greg DiBenedetto’s piercing lead guitar, and a vibrant choir of background vocalists who lift the chorus into a communal chant.
Full review at https://www.aktmusic.com/2025/11/chris-oledude-s-turning-tables-a-funk-driven-call-for-justice-wrapped-in-soul-grit-and-truth.html
GOOD MUSIC RADAR 11/28/25 *** CHRIS OLEDUDE - TURNING TABLES
Turning Tables opens with that chant that hits like a wall of voices:
“Stop the oligarchs today. Save our jobs, fight back today. They say cut back, we say fight back.”
The sound itself feels earthy. The drums and guitar move around each other like they’re keeping the same fire lit but from two sides. It’s rhythmic, almost communal, the kind of beat you feel in your chest before you even think about the lyrics. That’s why the message works — the music holds it up.
There’s also that clever biblical pull — not preachy, not moralising — just using language people already know to talk about basic rights and dignity. There’s something very smart about taking something sacred and grounding it in everyday survival like wages and labour. It makes the message hit harder.
The title Turning Tables makes complete sense once the track settles in. It isn’t about flipping the script for drama. It’s about shifting power. You can feel it in the way the lyrics push back against cuts and unfairness, and in the way the music keeps circling back to that idea of reclaiming something that’s been slipping away. It’s workers saying, “You don’t get to decide everything. Not anymore.” That’s the turn.
And beyond everything, this is a song for people. It’s not trying to be an anthem, but it becomes one because of what it’s saying. It sits right in that space where culture, politics and everyday life meet.
Turning Tables feels like a reminder that music has always been a way to fight back, and this track steps right into that lineage without hesitation.
Full review at https://www.goodmusicradar.com/review/chris-oledude-turning-tables/
INDIEMUSICFLIX.COM/ 11/29/25 ***
Chris Oledude is a trailblazer of new age thinking and music, and Turning Tables is a song that needs to be played across streets and workplaces. There is a quality to his music that resonates through time itself. Chris has a unique blend of sounds in his music, but it never fails to be people’s music. Which means that it has a lot of choir and chanting on the streets kind of influences it. If there was a genre one could assign to Chris’s music, it would be the song of the soil and people.
Turning Tables is a song that will go down in the books as one of the greats. It begins with a firm, loud chant: “Stop the oligarchs today.” Clearly, he is not holding back, and this is reflected in his music as well. The beats are bold, like the thumping of feet, and the cool and assertive jazz takes over. There is an element of devotion and dedication owed to the choir beats and in the lyrics as well. We all know the deep history shared between liberation, being working class and the Black community.
This song is proof that this connection runs deep. Lindsay Wilson’s voice only adds layers of depth in this song. This song is what happens when Rent and Barbershop have a baby. The problem is that we don’t have enough of Chris’s music, and we don’t have musicians like him, but that’s to his advantage! So what are you waiting for? Click on the links attached above and get your fair share of Chris Oledude as we wait for more of his music.
Full review at https://indiemusicflix.com/movie/chris-oledude-turning-tables/
ROCK ERA MAGAZINE 11/19/2025 *** TABLES MUST BE TURNED!
What’s immediately striking is the song’s sense of lived experience. The production glows with 80s warmth, yet nothing about it feels nostalgic for nostalgia’s sake. Oledude and Lindsey Wilson move through the melody with a kind of shared urgency, their voices carrying the weight of stories shaped by real workers, real exhaustion, and real demands. Their harmonies don’t soften the message; if anything, they deepen its resonance.
“TURNING TABLES” speaks with a clarity that cuts straight to the heart of economic struggle. It sketches families stretched beyond their limits, paychecks that dissolve before the week is done, and a system that treats labor as disposable. But the track never collapses into despair; it rises. Each line feels like it’s meant to be shouted in rhythm, held up collectively, sung back with conviction.
The groove itself becomes its own form of protest. A tight rhythm section anchors the track while guitar lines flicker around the edges, giving the arrangement a sense of steady, purposeful motion. It’s music with a stride: confident, unhurried, but undeniably pressing forward. Oledude channels decades of musical lineage and political memory, yet spins it into something distinctly his own.
“TURNING TABLES” doesn’t simply ask for justice; it insists on momentum. It frames resistance not as an abstraction but as a dance of determination, a chorus built to be echoed in rooms far bigger than the studio that birthed it; and as a doorway into PREACHER MAN – VOL. 1, this track feels like the ignition spark: fiery, grooving, and anchored in purpose. Oledude isn’t just telling a story; he’s summoning a collective stance.
The message is unmistakable: tables must, indeed, be turned!
Full review at https://rockeramagazine.com/chris-oledude-turning-tables/
SWIISPA 11/22/25 *** Chris Oledude’s “Turning Tables”: A Groove With Something to Say
Chris Oledude’s new single, “Turning Tables,” is the kind of song that makes you straighten your back a little, like you suddenly remembered you meant to stand up for something today. The track comes in with a steady, funky groove that feels familiar in the best way. It has that warm, lived-in sound that reminds you of music people used to play loud on a Saturday morning when the windows were open and chores weren’t getting done.
The heart of the song is simple: people need fairness, and they’re tired of waiting for it. Oledude sings it plainly, without twisting it into anything fancy. Lindsey Wilson joins him, and together they turn the message into something you can move to. Their voices match well, like two friends who know how to finish each other’s sentences without trying.
What makes the song stand out is how real it feels. There’s no pretending, no sugarcoating. It’s straight talk with a beat…
“Turning Tables” also gives a strong hint of what Oledude is aiming for with his album ‘Preacher Man – Vol. 1′. He’s pulling together pieces from different chapters of his life. He’s mixing old influences with new energy. And he’s not afraid to speak up about the things people talk about behind closed doors. It’s rare to hear a song that feels this grounded while still keeping a sense of fun. If you need a song that says something real without beating you over the head, this is it. If you need a groove to walk a little faster to, this is it. And if you want a reminder that music can still push back against the way things are, then “Turning Tables” does that too.
Full review at https://swiispa.net/chris-oledudes-turning-tables-a-groove-with-something-to-say/
WE WILL GET THROUGH THIS: THE SINGLE
NUVAPULSE 12/8/25 *** A Song for the Heart: Chris Oledude’s ‘We Will Get Through This’ Brings Hope and Healing
I listened to Chris Oledude’s “We Will Get Through This” and it hit me in a way few songs do. The song was released on 28 November, 2025. It’s quiet at first, but it grows on you because it’s honest. There’s no flashy production or over-the-top arrangement, just music that feels lived in and real. It’s a ballad, but not about romantic love. It’s about friendship, about sticking by someone when life gets messy and hard. That’s what makes it feel so immediate and human.
Yanitza Lee’s voice adds something I didn’t expect. When she and Chris sing together, it feels like they’re having a conversation through music. It’s not perfect or polished in a commercial way; it’s warm and sincere. And the guitar work from Tomas Rodriguez fits so naturally. It’s soft and supportive, never in the way, just helping the voices tell the story. You can feel the friendship and trust in how they perform, it makes the song feel alive.
Knowing the story behind the song made it hit even harder. Chris wrote it after spending a year helping people struggling with mental health and substance abuse. You can hear the care in every line. It’s not just a song for listening, it’s a song for holding onto when things feel heavy. That’s what makes it so important, especially in times like these when so many people feel lost or overwhelmed. It’s a message of hope that doesn’t feel forced.
On the album, it follows a much darker, more violent song, which makes it stand out even more. After hearing the harshness of the world, this song feels like a pause, a moment to breathe and remember that support and love matter. By the end, you’re not just hearing the song, but you’re carrying it with you. It’s simple, but it’s one of those songs that stays with you long after it ends.
Full review at https://nuvapulse.com/a-song-for-the-heart-chris-oledudes-we-will-get-through-this-brings-hope-and-healing/
MUSIC FOR ALL 12/8/25 *** CHRIS OLEDUDE offers single from debut album.
“We Will Get Through This” is the fifth single released from CHRIS OLEDUDE’s debut album, “PREACHER MAN – VOL. 1”. The work is inspired by the experiences of this multifaceted artist, and this song in particular has a theme that addresses the unconditional love that is often demanded of people who care about individuals suffering from psychological or emotional distress (or both) and the consequences — including substance abuse.
Sonically, we have a work that encompasses sophisticated styles with diverse facets, excelling in bringing together folk, pop, waltz, and classical music in a beautiful package that reveals masterful arrangements, as well as an impressive vocal duet.
The sound features a foundation of acoustic and electric guitars interwoven in perfect measure, a flawless rhythm section in its tones, as well as well-placed keyboards and brass instruments that only enrich and enhance the track's energy. Not to mention the percussive elements that give it a certain Latin feel.
The singer also has the support of the beautiful singer Yanitza Lee, who performs a masterful duet, making the song even more enchanting. Not to mention the perfect backing vocals, which further enhance the lyrics. All in a solid production, creating a very fitting atmosphere for this end-of-year celebration period.
Full review at https://musicforall.com.br/chris-oledude-oferece-single-de-disco-de-estreia/
BERLIN ON AIR 12/8/25 *** Chris Oledude – We Will Get Through This (Indie Pop)
Es gibt wohl kaum etwas Schöneres, als wenn sich zwei Stimmen so wunderbar ergänzen und ein perfekt aufeinander abgestimmtes Duett mit reichlich Gefühl enthüllen. Die Rede ist von ‘We Will Get Through This’, einer Neuerscheinung des talentierten Singer/Songwriters Chris Oledude, die in Kollaboration mit Yanitza Lee entstanden ist.
Neben den fabelhaften mehrstimmigen Passagen haben mir vor allem die gesungenen Melodien gefallen, die besonders im Refrain ein Gefühl von Gänsehaut vermitteln und zugleich etwas Hymnisches und Hoffnungsvolles hervorbringen. Auch in den Lyrics spüre ich eine gewisse Stärke und Ausdruckskraft, die etwas Ansteckendes verkörpert.
Musikalisch untermalt von einem mittelschnellen Balladenarrangement und exzellent gezupften Läufen, ist 'We Will Get Through This’ ein Werk, das auf direktem Wege berührt. Keinesfalls unerwähnt lassen wollte ich den erzählerischen Stil, der den Raum zusätzlich mit einer gewissen Wärme erfüllt. Hört direkt mal rein und bleibt ebenso mit weiteren Veröffentlichungen von Chris Oledude bei Spotify auf dem Laufenden:
There is hardly anything more beautiful than when two voices complement each other so wonderfully and reveal a perfectly coordinated duet with plenty of feeling. We are talking about 'We Will Get Through This', a new release by the talented singer/songwriter Chris Oledude, which was created in collaboration with Yanitza Lee.
In addition to the fabulous polyphonic passages, I especially liked the sung melodies, which convey a feeling of goosebumps, especially in the chorus, and at the same time bring out something anthemic and hopeful. I also feel a certain strength and expressiveness in the lyrics, which embodies something contagious.
Musically accompanied by a medium-fast ballad arrangement and excellently plucked runs, 'We Will Get Through This' is a work that touches in a direct way. I did not want to leave unmentioned the narrative style, which also fills the room with a certain warmth. Listen right in and stay up to date with other releases by Chris Oledude on Spotify:
Full review at https://www.berlinonair.cc/post/802347174960775168/chris-oledude-we-will-get-through-this-indie
OBLIQ 12/18/25 *** WE WILL GET THROUGH THIS
Chris Oledude delivers a powerful and deeply human statement with “We Will Get Through This,” a standout moment from his debut album PREACHER MAN – VOL. 1 that confirms his vision as an artist unafraid to lead with empathy. The song brings together key collaborators whose contributions shape its emotional core. Oledude met Yanitza Lee in early 2023 while she was singing soprano in a small choral group created to honor Rev. Dr. Martin Luther King Jr. Struck by the purity of her voice, Oledude later invited her to join the album sessions, where she delivers a stunning co-lead performance. Guitarist Tomas Rodriguez, a longtime collaborator, adds a warm and expressive layer that beautifully complements the duet, making this their first studio recording together. From this page’s perspective, this is a highly distinctive pop track infused with classical-pop, folk, and many other influences. The atmosphere is immersive, capable of pulling the listener into a completely different and unique world. Despite its complexity, the production is remarkably refined. Beautiful melodies meet an extraordinary, powerful voice, resulting in a true masterpiece.
Full review at https://www.instagram.com/p/DScQJS_jIgu/?igsh=MXVueTR2NXExMjc5OQ%3D%3D
ZILLIONS 12/4/25 *** Chris Oledude unveils “We Will Get Through This” a timely beacon of love, hope, and human resilience
Chris Oledude's new single, "We Will Get Through This,"... is full of memories, shows off his refined artistry, and captures the emotional weight of what we're going through right now.
Oledude gets a lot of his ideas from the music that shaped him, like simple songs from his childhood, calming folk melodies, Broadway-inspired emotions, and the timeless quality of famous pop duets like those of Diana Ross and Lionel Richie. The result looks like something you've seen before, but it's still very different. You can hear the song without turning up the volume because it is so subtle. It makes its point clearly, easily, and with a goal in mind.
The music sounds better because of where it came from. Oledude worked for a small non-profit that helps people with mental health and substance abuse problems for a year in the summer of 2023, remembering the dedication there and how much it was needed. After finishing the assignment in August 2024, the song became a moving tribute to the Philipstown Behavioral Health Hub in Cold Spring, NY, where it was first sung.
What began as a tribute soon became more important. The song's message of unconditional love and compassion has gotten stronger since the 2024 election and the chaos that followed. "We Will Get Through This" explores the quiet, unyielding strength that people who help those who are mentally or emotionally troubled need. This is happening more and more.
Full review at https://www.zillionsmagazine.com/2025/12/chris-oledude-unveils-we-will-get.html
RAINBOW SOUL: THE SINGLE
GROOVER CITY 1/1/26 *** Rainbow Soul by Chris Oledude: Love, Groove, and Memory:
Brand new year, the grace of 2026, and a strong start – if you think you’re ready for this. Yeah: funk, gospel, upbeat, call it whatever you want. What matters is the way it moves people, the way it brings voices together, the way it carries history without dragging it behind.
That sense of movement sits at the heart of Rainbow Soul, the latest release from Chris Oledude. The song has roots going back to 1984, written during the surge around Rev. Jesse Jackson’s presidential campaigns and the rise of the Rainbow Coalition. It comes back now with time behind it and people at the center.
Brooklyn, politics, and inherited fire
Growing up in Brooklyn, Chris Oledude watched civic life unfold up close. His father, the late Congressman Major Owens, stood inside those movements, and that proximity left a permanent mark. I hear that imprint all through Rainbow Soul: trust between people, shared responsibility, and the idea that democracy breathes through participation. The words come out straight. I hear streets and long nights all over it.
Listening, I hear someone who witnessed history forming rather than reading it later. I hear a song that takes its time and speaks clearly.
From gospel speed to funk depth
Musically, the 2025 version shifts gears. The original fast gospel pulse opens into a funk-driven groove, giving the song enough space to stretch and gather momentum. The chorus opens up, and suddenly it’s not one voice anymore. It stops sounding like one person and starts sounding like everyone.
The rainbow itself grows as a symbol here, extending naturally toward LGBTQIA communities as part of the same human story. Love, peace, and dignity sit at the center, kept the way it was meant to be.
A song that keeps pace with the times
Rainbow Soul fits seamlessly within Chris Oledude’s recent body of work, alongside releases like No Crowns For Clowns and the album Preacher Man – Vol. 1. These pieces feel informed by civic life, and obviously by studio craft. When I listen, I hear songs taking a side, and it’s a human one.
I spend a lot of time listening, and this one is clear about what it’s saying: policy keeps human lives inside it, community shapes direction, and music works best when it brings people together.
Find Chris Oledude on Facebook, Instagram, Spotify, YouTube – then follow your ears wherever they feel curious.
Full review at https://groovercity.com/rainbow-soul-by-chris-oledude-love-groove-and-memory/
BERLIN ON AIR 12/30/25 *** Chris Oledude – Rainbow Soul (Soul | Pop): 🕑 Lesedauer: 2 min / 📷 CTTO / Chris Oledude. Offizielles Erscheinungsdatum: 30.12.2025
Ich kann euch versprechen, es wird keine Minute dauern, bis euch die neue Single ‘Rainbow Soul’ von Chris Oledude in einen unvergleichlich guten Groove versetzt und zum Aufstehen und vielleicht sogar Tanzen animiert.
Zum Vorschein kommt ein genialer Soul- und Pop-Track, der mit einer verdammt guten Note Funk einhergeht und sowohl rhythmisch und musikalisch als auch lyrisch etwas absolut Fesselndes verkörpert. Die Zeilen erwecken in mir ein starkes Gemeinschaftsgefühl und motivieren zu einem festen Zusammenhalt.
Im Fokus steht eine beachtlich ausdrucksstarke Stimme, begleitet von einem exzellenten Gospelchor, welcher die lyrische Message und die stimmungsvolle Atmosphäre ungemein stärkt. Für mich ist es der perfekte Track, um mit Feierlichkeit und guten Vorsätzen in das neue Jahr zu starten! Wenn euch 'Rainbow Soul’ gefällt, könnt ihr Chris Oledude bei Spotify und Instagram folgen, um mehr zu erfahren:
I can promise you, it won't take a minute until the new single 'Rainbow Soul' by Chris Oledude puts you in an incomparably good groove and animates you to get up and maybe even dance.
What emerges is a brilliant soul and pop track, which goes hand in hand with a damn good note of funk and embodies something absolutely captivating both rhythmically and musically as well as lyrically. The lines awaken a strong sense of community in me and motivate me to a firm sense of solidarity.
The focus is on a remarkably expressive voice, accompanied by an excellent gospel choir, which strengthens the lyrical message and the atmospheric atmosphere immensely. For me, it's the perfect track to start the new year with celebration and good intentions! If you like 'Rainbow Soul', you can follow Chris Oledude on Spotify and Instagram to learn more:
Full review at https://www.berlinonair.cc/post/804526220617433088/chris-oledude-rainbow-soul-soul-pop
KARLISMYUNCLE 12/20/25 *** Chris Oledude shares a progressive anthem of peace and unity with Rainbow Soul:
“There’s a rainbow in my soul, there’s a rainbow in your soul, there’s a rainbow in our souls…” feels so powerful and inclusive. The chord changes are joyous and emotive, and the instrumentation is sublime. There is no doubt that the song could form part of a future Broadway production. The spoken word moments add a uniqueness that cements the progressive gospel message.
What makes Rainbow Soul particularly unique is its rare fusion of personal history, political legacy and musical evolution across four decades. It was originally written in 1984 and then revived in 2025 – bridging generations by carrying the same core message.
Needless to say, we are in awe, and have added Rainbow Soul to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the growing discography of Chris Oledude, including Turning Tables, and We Will Get Through This.
Full review at https://karlismyunkle.com/2025/12/30/chris-oledude-shares-a-progressive-anthem-of-peace-and-unity-with-rainbow-soul/
NUVAPULSE 1/1/26 *** Rainbow Soul: Chris Oledude’s Funk-Infused Anthem for Love and Unity:
Rainbow Soul reminds us why Chris Oledude has been worth following for so long. It’s energetic, socially conscious, and incredibly human. For anyone looking for music that moves both the body and the heart, this track is a perfect example. It’s fun, it’s thoughtful, and it’s a timely anthem that proves music can still connect people and inspire change.
Full review at https://nuvapulse.com/rainbow-soul-chris-oledudes-funk-infused-anthem-for-love-and-unity/
NO CROWNS FOR CLOWNS
Hear are some comments from folks who heard the song (but they haven't yet seen the YouTube video — https://youtu.be/RnLSJlDixqw):
“Oh, I love this! The message is perfect and I completely agree with your lyrics. But that beat is stimulating too and it makes me want to dance. It reminds me of old style Hip Hop from the 90's. I hope you have a video online because I want to share it. ... It's cool how you've woven those patriotic tunes into the song and synced them with your beat. This chant "Liar Liar" might work some magic. Maybe it will manifest something that will help us. "No Crowns for Clowns." You did good. I hope this song goes viral.” (Female 66)
“I enjoyed this piece. There were a lot of interesting elements at work, from the "Yankee Doodle" rendition, to the callback to William Blake's "The Tyger." (Male 43)