::ALBUM REVIEW::

Riding high off a massive wave of success from the double-GRAMMY work on the Clark Sisters’ reunion effort Live: One Last Time and producing debut offerings for DeWayne Woods, Sunday Best finalist Shari Addison and the Murrills, Donald Lawrence remains gospel’s latest renaissance man with the knack of solidifying chart-topping albums and chorally-embellished material fixed up with a polished production. In the world of rich, colorful gospel interpretation, Lawrence has build an earnest reputation around his crafty work with the now-retired Tri-City Singers and continues to model his more recent projects in the contemporary gospel traditions of old but with a more flaring embrace towards more pop-injected melodies. Then there’s the ambiguous usage of “feel-good” messages over the years, loaded with lyrical content of prosperity and blessings, tucked in Lawrence’s parading line of radio hits. Track back to “The Blessing of Abraham” and beyond: “I Speak Life,” “Giants,” “Healed,” “The Best Is Yet To Come,” “Never Seen the Righteous.". All, in which, have a thematic underlining that bears a course of repetitiveness. Figuratively, it’s almost easy to predict the nature of Lawrence’s next step. Not surprising, Lawrence gives recession-burdened audiences a jolt of the same type of rhetoric using popular teleevangelist Bill Winston’s latest “name it and claim it” scriptural theories on his second solo album and his second concept album, The Law of Confession, Part I (his first was with the Tri-City Singers’ Bible Stories). Backing him up again is the faceless Co., a group of well-trained, yet relatively unknown singers that include the likes of Blanche McAllister-Dykes, Jason Nelson, Floyd Wilkinson, DeWayne Woods, Latrice Pace and Kim McFarland-Anderson.

Produced by Lawrence and Daniel Witherspoon (Shekinah Glory, Vashawn Mitchell), The Law of Confession, Part I chronologizes the teachings of Bill Winston and attempts to put his bold words to radio-friendly music, as Jackie McCullough did on This Is For Your, Lord and T.D. Jakes did with The Lady, Her Love and Lord. With a pen of an eloquent psalmist and poet, Lawrence arranges the scriptures tastefully with Winston’s sermons (even if some of it is a little over exaggerated in terms of some traditional teaching and today’s reality of economics). “The Word of the Lord” aptly stages the album with its Judy McAllister-esque Latin-faux punchy rhythms and injects enough Bible verses to sound like a symphonic bible study introit for a Broadway musical. It may have a campy style, but it does give the album much relief and personality for the very difficult task of staying relevant to the central theme. “Back II Eden,” the album’s first single and rightfully the best offering on board, is punctuated with a cool R&B bounce taken out the handbook of the ‘90s anchored by Calvin Rodgers well-executed drum work. After the charming verses and the sing-a-long chorus, Floyd Wilkinson elevates the song into a highly-charismatic frenzy using commanding ad-libs and a few impressive vocal curly-ques.

Lawrence does an impressive job in creating a very original melody with a classroom teaching on the gospel-tinged title track. Not really sure if the song is lyrically relevant for maximum radio results, but there’s a charming musical set-up that is delicately performed and choir ready. Kim McFarland-Anderson goes into her squall mode on “The Blessing Is On You;” a song that borderlines the intensity of Lawrence’s previous big hit “Encourage Yourself” and as likeable as Richard Smallwood’s “My Everything (Praise Waiteth).” Most of the comparisons are easily traced in the haunting string arrangement from Darin Atwater. By the time the reprise is echoed on “Word of My Power,” Lawrence tries to stretch out the preachy vamp with newly-inserted ad-libs and impromptu-like choir verses. Fans of TBN’s Kim Clement will find the moment spectacular, tough cookies will find the song a bit indulgent. Closing out the ministerial moment is Lawrence’s quietly reworking of “The Blessings of Abraham.” Sweetly rendered with Lawrence’s lullaby-like vocals and only a piano accompaniment, it’s a wise inclusion and effectively works with the blessing mantra.

Musically, there’s not a dull moment to really filter through. The album continues with other bold cuts including the traditional-arranged “Citizens of the Kingdom” and the warm inclusion of the Richard Smallwood-penned ballad “I’ve Got Something.” “Happy Being Me,” containing a lounge soul backbone propped up by Derek Allen’s acoustic guitar and the co-writing abilities of the renowned neo-soul singer Angie Stone, is wisely injected towards the back of the disc. The timing of the song is just as important since its transitional mode gives the album a genuine flow and a fitting, somber farewell. Before the disc fades, Darin Atwater encloses a symphonic prelude to the seven-minute prophetic-edged “There Is A King In You.” The feel-good lyrics are safely perched on the hearty Smallwood-sounding ballad. After two verses sung in unison and tamely rendered by the accompanying instruments, the background vocals of the Co. excellently speaks consoling words to the downtrodden (I know that life has challenged you/but the king in me speaks to the king in you/You were born to rule/There is a king in you”). It’s a moment that places the icing on the cake, even if it is highly dense with ministerial lingo. Still it ministers to the heart of aching in depression and may be next in line for a radio release.

With a central theme on prosperity and personal advancement and staying true to the album’s mission, there’s no sign of worship choruses, churchy gospel magnification or the occasional remission into other subject matters. And as confession goes, there’s not even a place for sinful confession on the record, which also plays to the advantage of Lawrence’s “feel-good” music. While there’s some serious moments executed here, much of the batter surrounds the never-ending “go get your blessing” prosperity that continues to drain gospel music’s effectivity. Still, Lawrence’s followers won’t find much to be disappointed by on The Law of Confession, Part I, even if the album is gloated with more of Smallwood’s big plays and not enough Whitfield magic. It may not be as hit-worthy as Finale’, but it surely is appealing to consumers and critics to see Lawrence take another stab at a theme album and only on one disc. What certainly scares those looking to trace his next move is knowing that the album title brazenly suggests there’s more of the same ol’ “feel-good” self-absorbed prosperity to come.