::ALBUM REVIEW::
by J Matthew Cobb
Posted: April 13, 2009

Four years have past since Donnie McClurkin broke out with the risky double-disc and ill-fated live project Psalms Hymns & Spiritual Songs. The move, attempting to capitalize on McClurkin’s growing fan base, proved to be an easy attempt to feed the demand using familiar worship choruses, congregational offerings and cover songs without much of new arrangements. The busy guy, with full-time ministry and a heavy touring itinerary on his hands, had to rush back to the drawing board in coming up with some kind of redemption for delivering such a rush job. That means new, memorable material on the next round. While McClurkin has publicly discussed his desire to retire from gospel music, he remains in great demand since he proved to be a viable asset to modern gospel through church staples like “Stand,” “That’s What I Believe” and “We Fall Down.” McClurkin returns to his live recording ethic to deliver We All Are One (Live in Detroit), his fifth solo project, but presents a few cautionary surprises along the journey.

Most importantly, half of the disc, while somewhat glossed like studio efforts, was taped at Detroit’s Straight Gate International Church. The other half are studio entries. While studio tracks are usually juxtaposed into most live offerings to give them a bonus feature jolt, it’s rare that you see half of the song selections representing studio reincarnations. Maybe this move presents the project with a false advertising lightbulb, but McClurkin does his best to redeem himself by composing all but one of the songs while revisiting a number of well-versed styles that have carefully branded his current musical identity. He seems comfortable on the worshipful, “Let The River Flow;” albeit too simple in its arrangement with its lengthy, overly-repetitive chorus, vague poeticism and super-saturated string arrangements by Darin Atwater. He even takes charge on the infectious, uptempo funk-gospel “Trusting In You;” musically excerpted from the ambitious chapters of his New York Restoration Choir period. But McClurkin shines the most in some of the most unexpected instances like on the sing-a-long flavored “You Are My God and King.” The song interestingly inserts a few bilingual stanzas to spruce up the excitement, but the cool sounds of Justin Salvage’s keyboards and the melodic chorus is perfect for congregational worship. The reprise, containing some audience participation and playful banter from McClurkin, keeps the warm fuzzy feelings around a bit longer. “Wait On the Lord,” the album’s first single, gives Karen Clark-Sheard’s stellar performance a little more starpower when compared to McClurkin’s lead, but the song channels the evocative nature of “Stand” without sounding like a measly copy-and-paste job. The Darwin Atwater-penned “Purple” is definitely a ballad highlight since it is marinated with symphonic glossiness, heartfelt harmonies and a lyrical pattern that speaks of the beauty of God’s splendor. The end result - capped with McClurkin’s breathtaking tenor - is superbly original, organic and challenging. Even on the sanctified arousals of “The Great I Am” and the contemporary jazz/R&B elements of “Home Someday, ” McClurkin effortlessly stamps his strong signature vocal presence on styles that aren’t as evoking as his worshipful pop regimen. Those presentations help give We All Are One the likeable response and the overwhelming, pleasurable nod of approval.

That’s not to say that We All Are One is void of faults. “Hallelujah Song” is irritatingly repetitive and the title track, even with its dogmatic references, is bound to run across scrutiny and controversy from tough religious experts. The chorus may be a warm, comfortable bandage to the divisions of God’s church, but the first verse raises more questions. McClurkin asks: “..How we get so divided/How got so torn apart...some Episcopalian/Church of God and Lutheran/COGIC and Presbyterian/Gospel and the CMM” The question is never resolved, nor fully acknowledged but only serves as hype and cute rhyme impulses along with the “We Are the World” choral chants tucked in the chorus. And of course, after a little brainstorming we realize that the answer to the giant mathematical problem of the church’s apparent division is elementary. Could it be that everyone doesn’t think, view, act or believe the same thing? Right. Still, beyond the proverbial mantra of the song, the melody lacks the drive it needs to drive McClurkin’s points to the finish line. Even Funkadelic’s “One Nation Under a Groove” boasted more indelibility in its “we are one” campaign.

Aside from the wrong choice for an album title and its title cut or the false advertising of a full-length live experience, We All Are One (Live in Detroit) is a giant positive step for McClurkin’s career. He shows he still has the possession of a hearty songwriter’s pen and his angelic voice has more bite than ever. Anyone that can still remember Psalms, Hymns & Spiritual Songs will be excited to know that he has grown a new leaf and is returning to building off of his previous successes found on ...Again and Live in London and More. And with newer flavors and ambitious tracks like “Purple” and the CCM/pop gospel sightings on “Choose to Be Dancing,” We All Are One (Live in Detroit) gives incredible hope that McClurkin still has the gusto to remain relevant in today’s gospel music. Still it is missing the big ballad opportunities and is a few memorable moments shy from McClurkin’s glorious past.