::ALBUM REVIEW::
by J Matthew Cobb
Posted: July 3, 2009

Claude Harris, Jr., also known as Claude Deuce for short, has been instrumental in laying down tracks and musical wisdom for a strong list of gospel talent including Tonex’, Sean Simmonds, Canton Jones, Izzy and Dave Hollister. As an independent artist and producer, he has already built up a strong set of fans that extend well beyond the comforts of his Augusta, Georgia dwellings. Finally his craft of producing, writing and singing has afforded him the opportunity to release his first national project Young Elder, released through Taesis Media Group.

The strategy is quite apparent from the beginning of the disc: to deliver hard-hitting urban stuff with the Nureau stamp, bold experimental instrumentation and the vocal outbursts of J Moss. The opening track, “It Ain’t Over,” might be the biggest surprise for Deuce’s urban swagger. He uses the careful pop ballad - styled with the Detroit group trademarks of Commissioned and the Winans - to show off his vocal aerobics, but it doesn’t agitate the ear since it’s probably what Marvin Sapp would have done in a live worship setting. By the way, the song isn’t all fresh since the original shell-like demo leaked out almost a decade ago on the web. Strangely, the demo possessed a more soulful, Rhodes-accompanying layout that is absent on the 2009 version.

“Got That Stuff,” boasting about God’s favor on top of a cool Bobby Brown-esque‘90s groove, actually brings in strong radio vibrations and stands out as one of the album’s powerhouses. “The Word,” a poignant worship gospel track is as strong Deuce gets to a heartfelt gospel performance. With its live instrumentation, animated vamp and Deuce’s passionate vocals, the song is able to strike up a number of emotions. With much of the credit surrounding its strong lyricism and solid build-up, it’s one of the few tracks where Deuce uses that type of confidence. The Ne-Yo-natured “Math,” featuring gorgeous piano lines, possess a cool sound on top of a startling, but original concept (“Subtract negativity/Breed your destiny/I need thee/Like 1 plus 2 makes three”).

In an awkward crossover way, Deuce entertains hard-to-touch subjects like sanctified dating on “Holy Ghost Gyrl.” But even with its light Musiq Soulchild musings and innocent approach to describing the virtuous woman, the sensual bedroom vibes gives the song a bit of a R. Kelly aroma. Other songs, while playing with Tonex’ styled vocal aerobics and a few production perks, is short of melody like the over-labored “Don’t 4 Get” and the Stevie Wonder-gone-wrong nature of “4 Who U R.” After hurdling through sounds teasing the Day 26 and Keri Wilson crowd and less Mary Mary urban pop, the songs feel trite and easily thrown together. Even the Deuce Myx of “Got That Stuff” and the hidden bonus track, possessing a strong percussion sample of B.T. Express’s “Do It ‘Til You’re Satisfied,” does everything but maintain its momentum.

There’s definitely a lot to give Claude Deuce credit on. He’s proven to be a hard worker, a talented behind-the-scenes resource and the consummate engineer, but the craft on Young Elder, possessing some serious potential, is a bit uneven and clumsy. While Deuce serves up an urban R&B product containing a handful of radio-ready cuts, it’s not the big bang it could have been.