A release everyone in your car will love and sing along to, Time After Time adds the signature OneVoice sophisticated arrangement and production style to a long list of classic radio hits from across the decades. What did we do to deserve such easy and endearing entertainment?

If you're somehow new to OneVoice (perhaps a parent of an underclassman), please load the group's RARB page and admire all those blue dots for album scores. This doesn't happen for everyone, or frankly, anyone else. The group's top releases were lauded not only for that signature style, but also for the repertoire, with track listings that often feature modern hits against quite lesser-known works. A line up of oldies-style classics is a bold move from director J.D. Frizzell — will teenagers connect to these pieces? — but he's taught us to trust the process.

Here's the absolute best on a release that never dips below pretty danged good.

Burning Love gives me goosebumps, even though Elvis never did. The delicate slow-jam that unfolds before the party starts is so effective, and beautifully sets up the triumphant, show-choir-esque soundscape that keeps hitting harder and harder until the end. How absolutely wild, I'm exhausted from exaltation after track one.

The solemn intro for Unchained Melody is unexpected and gorgeous, giving lead Abbey Brennan a fabulous foundation to build from. Those backs are working very hard behind Brennan, athletically so, to give her a moving and driving framework for the duration of the piece, never once stopping their intensity or sustained energy. Without their focused efforts, this could be a plodding, dusty ballad; it's anything but here.

Who knew stunning diction could steal the spotlight? The wordplay from lead Francie Ozier commands our attention on Your Song, sitting atop a swirling arrangement from Rob Dietz that makes us hit "Repeat" the moment it ends.

Rounding out the top moments has to go to It's All Coming Back to Me Now. OneVoice isn't afraid of going over the top, but to try to one-up the exquisite melodramatic theatrics of Celion Dion? What's next, Meatloaf? The group and the production team made this one as big as they could, no spaces left. Curiously, it ends on a sort of dystopian-sounding slant, and yet, still works. I don't know how, but here we are.

Pull out your thesaurus and find all the synonyms for "joyful". These iconic songs, these smartly playful arrangements from Rob Dietz and Matt Goldstein, these wildly talented musicians — pure joy on Time After Time.

A cappella household name Briarcrest OneVoice adds to its storied discography with Time After Time. Unlike the albums of yesteryear, the group leans more heavily into covers of timeless tunes over takes on contemporary pop hits, but the quality is everything you — the listening world — has come to expect from OneVoice and then some.

Often OneVoice would contrast its swag-forward pop tunes with an inventive take on a classic hit, such as Higher Ground on Giants and the title track to Higher Love, that would stick with me well after the album review. So imagine the thrill of an album compromised entirely of covers of songs with higher mileage that have survived the test of time. Director J.D. Frizzell, arranger Rob Dietz (and Matt Goldstein for the final track), and OneVoice bring their flair for retaining the heart of the original while bending the genre into something uniquely their own.

Each track has so much to appreciate, starting with Josie Todd's solo on Burning Love, and the shot-out-of-a-cannon sort of energy that accompanies it from the background vocals. Unchained Melody starts pared back by comparison and builds through a full journey of adept arranging, which continues in Ain't No Mountain High Enough, an arrangement that utilizes the background vocals in so many interesting ways all at once to buoy a high-intensity, soulful solo by Skylier Clark. Even one of my least favorite songs of all time, Time After Time, is presented in a way that is so delightfully novel that I can't help but love it. Typically when a song is presented at a tempo quicker than its usual pocket, the feel is lost, but it works here by affixing different background and percussion parts: just part of OneVoice's cover mastery.

The crown jewel here, though, has to be It's All Coming Back To Me Now. It's no small feat to cover Celine Dion in a way that doesn't draw a dismal comparison to the original artist; if anything, OneVoice's turn enhances the classic pop hit, led by an absolutely masterful solo by Sophia Bonasso, who balances heart with vocal flexibility throughout.

This collection of classic songs could be one of your new go-to recommendations to someone interested in checking out the a cappella medium for the first time. And, as is commonplace with a OneVoice album, it is my recommendation to give it a listen as soon as possible.

Be still, my beating heart. I love it when groups use oldies in contemporary a cappella. The genre has significantly widened over the past decade or so with music streaming services such as Spotify and Apple Music providing many smaller artists easy access for groups to cover. With so much new music popping up from all corners of the globe and becoming readily available, older music just sits dormant. However, therein lies the beauty of older music and what OneVoice has captured. It's familiar music with a new life. It's what we remember and something new, all rolled into one, and it's done here incredibly well.

Let's start with the titular track. As a reviewer, it's incredibly challenging to view such a well-known piece in a new light without making comparisons. However, that's not always a bad thing as this track uses the familiarity to its advantage. The chord structure remains intact and some of the well-known phrases — such as the opening — remain in place. However, this piece is slightly more uptempo and driving than the Cyndi Lauper original. Arranger Rob Dietz did a really good job of keeping chunks of the original and then making the piece different. This piece is OneVoice, not OneVoice doing an impression of Cyndi Lauper. The choice to make this a duet between Caleb Mynatt and Anna Grace Loudenbeck is well received, as they complement each other's voices while having their own individual sound. The result is a fun uptempo bop that is worth an add to any playlist.

The theatricality of this album is a top-notch element that had definitely been missing from the past few OneVoice albums. Your Song highlights this well as it is ever-growing and evolving. As soloist Francie Ozier tells her story, the backgrounds grow with her. The backings provide a perfect pocket for the soloist to stand and deliver. By the time we get to the final climactic chorus, I'm absolutely smitten. This ability to infuse a new level of theatricality is a welcome addition to make this piece even more emotionally charged.

When we get to the end of this album, OneVoice finds another level to push themselves to. It's All Coming Back To Me Now is absolutely incredible. It is all about selling the theatricality. Matt Goldstein's arrangement makes amazing use of silence, letting the sound not get oversaturated. Sophia Bonasso's solo comes with a balance of strength and elegance that eludes professional singers. The story arc of the song builds for over three minutes. However, it is worth the wait. The climactic release is absolutely stunning then simply fades out into nothing, making me wish there was another verse, another phrase, literally just more music. This album is worth purchasing for this track alone.

In my last review of the group, I was critical of OneVoice, noting that the group felt almost like a muted version of itself, with good pieces but not a whole puzzle. This album is back to the group I know and love. Time After Time is impactful but balanced, complex but accessible, and a perfect fusion of old and new. Take a listen and enjoy some old musical memories and new audio inspiration.