::ALBUM REVIEW::

With much success resulting from the precious debut project of Dorinda Clark-Cole, high expectations arose for what was to come. The content found on that project spoke in resounding volumes and helped launch Clark-Cole into comfortable territory being a solo artist. Now after viewing the official release of her sophomore project, “The Rose Of Gospel” (a moniker given unto her after viewing rose imagery on her first project), that attention the she was once favored with tends to drift away some; especially since Clark-Cole tends to change up on her own style this time around. Maybe not plotted, but the album feels uninspired and not memorable enough; far from living up to its predecessor. Her voice is in good condition, purely jazzy, and full of her irresistible riffs and vocal runs. Her energy is still pretty much present, even though there are moments where it feels as if she’s in a studio setting. But the material brought to the table on this adventure barely lives up to her normal style of splashy gospel (recall: Alaska Mass Choir, Twinkie Clark Presents The Florida A&M University Gospel Choir).

Opening the live set, recorded at St. Agnes Baptist Church in Houston, Texas, is Dorinda’s collaborated creation, along with musical director Asaph Alex Ward, D. Miller and D. Campbell, on “Great Is The Lord”. This is one of the many examples on the album where Clark-Cole loses her audience. It’s not as if her voice doesn’t satisfy, but it’s the whole sum of the equation. When adding jazzy instrumentation, Clark-Sisterish background vocals sounded like Dorinda Clark-Cole doubled three times, and a melody that barely sticks, the song fails to produce the edgy quality it really needs to become a successful single; if not that, the perfect introduction to an album. But count it all joy: Ms. Clark introduces a few good joints tucked deep within the project. May not be compelling enough, but it’s favorable. The slow-tempo, thick traditional flavor found on “I’ve Got A Reason” makes the list. The song showcases an impressive keyboard opener from Ward with Clark throwing out verses that seem reminiscent of “I’m Still Here”. Full harmonies from New Direction and a set of background vocalists including Nakita Clegg and Gene Moore, Jr. adds to the smouldering stew, add in a full band and the song has the intensity of an ol’ skool Twinkie classic. Michael Bereal’s sensational organ mastery also is a pivotal moment within the mix; reminding you of that rich flavor offered on JDI’s Alaska Mass Choir project. It’s clean, polished and done right. Desmond Pringle’s “Worked Out For My Good” fits well on Cole as its traditional thump electrifies the speakers; it’s one of the only pleasant returns to what Cole is known for. Live horns provided by Lloyd Barry’s direction help thicken the churchy experience. Her evangelistic touches are far from invisible as she relinquishes heartfelt lyrics along with her sensitive and calming personality on tracks like “Everything He Promised” and “Nobody But God”. J. Moss collaborates with Cole on “Work To Do”, which is a touched-up, urban remake of the Clark Sisters’ version from the 1994 Miracles album. It opens up with a theatric, busy opener, even with the deep-voice narrator reminiscent of Michael Jackson’s Thriller video. Would have been more effective on DVD rather than on CD, but the song features funky horn arrangements and Cole’s party-like attitude; proving that she’s no stranger to R&B styled, contemporary tunes.

There’s not many low moments tucked here: just not enough ‘umph’ in the songs. “So Many Times”, penned by Derrick Starks, finds that all-familiar Detroit bounce with zesty bass walks. It does have a Maestro (Thomas Whitfield) flow to it, which is a common trait in Detroit contemporary songwriters, especially with fast-tempo church songs, but it fails to grip in the places where Clark’s past favorites like “You Can’t Hurry God” and “Right Now God” left us. Probably the only downfall is the ten minute spoken word track ("The Word Became Flesh") featuring Cole reading scriptural passages originally taken from the Audio Bible project. Most of her fan base would have preferred to hear a preached word or a segment of one of her infectious sermons, but regardless of what, thirteen minutes for a bonus track is definitely too much for any album filler. Plus, not having a Clark Sister reunion may disturb a good number of people.

While we are ever grateful for Clark-Cole’s contributions to the gospel music world and do not discredit her efforts, we only wonder where this album would have really gone if she brought in some serious songwriters and real, hardcore gospel that would take things up a notch. Spring is always the best to see roses bloom, let’s hope that next year the color and texture of her next project reflect her full potential.