::ALBUM REVIEW::

Gospel’s premier male vocalist, Donnie McClurkin, is used to covering other’s material - and usually reintroduces that material to a new and broader audience. But he is also skilled enough to pen his own compositions, and within his original songs, there is enough substance and synergy to become instant favorites. We’ve seen it with “Stand”, “Speak To My Heart” and “Jesus, At The Mention of Your Name” and we all know what he is capable of doing. Apparently, McClurkin finds it more fascinating to depend on reworking classics...or maybe McClurkin is too tied down to write any new material.

That’s probably the only evident flaw that can be traced to his latest musical chapter; “Psalms, Hymns and Spirituals Songs”. Eighteen songs (excluding the dividing points within the medleys) embrace this two-disc collection and McClurkin only pens three out of the whole batch. But this project does escape certain criticism because of its befitting album title. The title explains why you don’t see McClurkin-inspired tunes...this is somewhat of a tribute album to the songs of the past. The songs that nurtured us and provided the special foundation for gospel music. This is the primary focus here, even if one may be baffled over the inclusion of “Ooh, Child”, originally performed by The Five Stairsteps, featuring nerve-wrecking rapping from Kirk Franklin.

But all of this collection ain’t bad, even for the covers. The album is divided into two discs with two central themes: one being reverential praise and worship while the second one leans more on the traditional side. On Disc One, things open up with Brookyln Tabernacle’s “Days Of Elijah”; framed in the style of contemporary praise and worship. “I Will Sing”, a Donnie tune, slows things up some, but it’s very simple in nature and sounds like a track for a children’s choir. Michael W. Smith’s “Agnus Dei” possesses McClurkin’s gleaming vocals, which are high and magnificent showcasing his incredible range. “I Call You Faithful”, known to many as one of the favorites from Bishop Clarence E. McClendon’s Integrity project, spins its way on here and energetically sticks out on the first disc. With a stream of hymn medleys and McClurkin tackling the all-familiar “Total Praise”; which also features Richard Smallwood, the songwriter, delivering an awesome piano drive, while Darin Atwater arranges the live strings. Besides hearing this song for the umteenth time, there’s nothing sensational here except for McClurkin’s voice. But the entire first disc seems a bit too familiar.

Disc Two opens up like the conventional African-American church service. “We’ve Come This Far By Faith” is the processional, with choir marching down the middle aisle into the choir loft and devotional service memories are followed with “I Will Trust In The Lord” and “I Love To Praise Him”. Pick your favorites if you will, but there are far better covers out there than what Donnie offers of these timeless gems. And that seems to be the problem with the churchy material. It’s just not memorable. The choir almost sounds like one of those background groups for TBN’s Praise-a-thon artists. While Dottie Peoples jumps in on the vamp of “I Love To Praise Him”, one of the more rational ideas for this kind of background of music, it misses the mark of bringing enough energy that matches Donnie’s previous churchy out-takes (like “Special Gift”). The Language Medley may sound too gothic for conventional gospel enthusiasts, but this is where Donnie shines the greatest throughout all of this project, He dives into various cultures; picking glamorous standards like “As The Deer Panteth” (sung in Japanese) and “Great Is Thy Faithfulness” in Dutch and so on. This event in particular seriously showcases how talented McClurkin is and how dynamic he can be on stage. It may be a bit too dynamic and show-offish to many, but it works here.

This recording, taped at Rock Church in Virginia Beach, VA, almost fills like a live recording artifact. It basically flows smoothly without any immediate interruptions. The band may be missing Kevin Bond’s lead-ins on keyboards this time around, but Leon Trent Phillips, Derrieux Edgecombe and Darrell Freeman, with Calvin Napper on drums don’t disappoint. Add Mo’ Horns in the mix, and the musical framework is pretty much interesting.

But the only thing hurting this album is Donnie’s serious songwriting and a real glimpse of new music. Maybe we will allow Donnie to escape the criticism because of the album’s safe title. When you are a pastor and are on high-demand like that, you expect a project to feature this kind of production...or worse, disgusting album-fillers.