::ALBUM REVIEW::

After looking at the science of legends from before, we can understand Donald Lawrence's intentions to do a solo project. Artists like Andrae' Crouch, Thomas Whitfield, John P. Kee and Walter Hawkins, whom were always known to be backed by their institutional choirs, have all stepped from their comfortable surroundings to do solo entries. So it is no surprise to see Donald Lawrence backing away from the choir scene to go solo; especially after a sudden announcement of retirement from his beloved Tri-City Singers. Amazingly, you can almost sense on "Go Get Your Life Back", their previous project, signs of solo-time for Lawrence, since he practically sings more material than he usually does; making the entire project their only departure from their classic choir sound in comparison to their other albums.

This studio project, released in October 2004, is a hard meal to digest for serious Lawrence observers. While it is flooded with material stretching from praise-and-worship to contemporary grooves with a well-polished horn section and clear background vocals, the project is predominately a grand showcase of renowned singers and artists, both in the secular and deeply spiritual. On top of that, it's hard to separate the style of Tri-City from the persona of Donald Lawrence. This project is a major shift of the two. You wouldn't catch the majority of the productions and even the lyrical developments in Tri-City's repetoire. But is the production badly executed? Not really. There's some good heavyweighted tunes to run your ears through. Starting things off is the radio-friendly "Healed"; penned by Jonathan Nelson (whom released this song underground on his debut project "Everything You Are: Live In Baltimore"). Over-the-top horns and the missing raw element of Nelson's version hurt this version, but there is a definite groove factor tucked in the melody and the additional musical changes (accented bass work, in-the-pocket drum taps) also help cross the song over into a larger listening audience. If this song was omitted from the mix, things will look pretty bad since much of the material offered here are not worthy album openers. "Miracles" is a comfortable tune, opening with a calm and warm opening. Lawrence breaks in with a brief solo entry, but the tide tends to shift. The song pulls the bridge and vamp of the song by the same name taken from the "A Songwriter's Point Of View". Vanessa Bell Armstrong guests here, and excels with a moving performance filled with her classic, throaty and jazz-influenced vocal thrills. Faith Evans pours her heart out on "Say A Prayer"; a song that tells us Evans' longing for Jesus Christ to pray unto the Father as he did for Peter on her behalf. Backed by the Chicago Symphony orchestra and directed by Darwin Atwater, the song is beautifully constructed and fits well with Evans' angelic vocals. "Don't Forget To Remember" is another remake, this time taken from the "Bible Stories" project. This time, the talented and jazzy Lalah Hathaway joins in on the laid-back Quiet-storm-influenced rendition. Probably better sounding that the original especially with Ramsey Lewis calming piano trances on board, this cut stands out strongly even if it doesn't feel like a "Donald Lawrence production". "Better", featuring the Murrills' Family and DJ Rogers towards the end, is full of groove and locked with a gospel-styled melody and catchy R&B attitude - with the helpful assistance from industry veteran Tommy Sims.

Now comes the lightweights and underweights. "You Covered Me" features an unique billing of the contemporary tag-team of Pastor Hezekiah Walker and Lawrence, but the song has a plain appeal to it with its odd, cheesy rhyming structures and the musical arrangement feels a bit outdated. When the two of them sing together, it almost feels like a gospel, updated version of a Sammy Davis & Frank Sinatra 1960s tune. "Angels" sounds like a slick version of R. Kelly's "Steppin' In The Name Of Love" and with a weak vocal from Lawrence and R&B crooner Carl Thomas on board, you just wonder if the extra billing was only present to give the album a stronger cross over appeal. Add Lawrence's rap-like exhortations, with its silly "trying-to-be-too-hard" vibe to the foundation, and you feel this track falls deeper into an awkward category of dissatisfaction. "Wailin' To Dancin'", another track produced by Tommy Sims, is irritating in some places with its far-from-impressive, galactic sounds. This track tries too hard to sound original that the event of piecing world music with funk with hip-hop presents an eerie atmosphere that is uncommonly experienced from a gospel project. "Restoring The Years", the same track from the Tri-City Singers' only greatest hits album to date, gets tucked into the mix.

Most of the other cuts lack the synergy and creativity of the Tri-City projects and are mere forgotten moments within the overstocked collection. And while things look from afar as a solo project, Lawrence plots most of the highlights around the other superstars; which makes sense. Lawrence's vocals and talkative raps, by itself, is not weighty enough to fill a full-length project. While "I Speak Life" may have been shaped after projects in the past like Kirk Franklin Presents God's Property, there's just not enough to go around on this set to call this a blow-out event. But with the radio single "Healed" available and enough "Who's Who of artists" on board to make anything look good, "I Speak Life" will probably go into history for having the effort and just enough personality to flatter the toughest critic. But when compared to Lawrence's greatest creations, simplified lyrics and straying away from the classic sounds that are the heart of contemporary gospel will persuade many to pass this one up for the others.