::ALBUM REVIEW::

The very moment Kirk Franklin released his highly-praised self-titled debut on the GospoCentric music label, the gospel community immediately was captivated over the freshness that was highly reflected on each cut released. His work with Savoy Records' Georgia Mass Choir, the DFW Mass Choir and the Gospel Music Workshop of America's National Mass Choir had truly paid off for the young musical sensation and expectations were only satisfied when Kirk Franklin & the Family (1992) finally hit the shelves. And it seemed like gospel radio tackled almost every song presented here; unlike any of Franklin's latter collections. Because of these reasons alone, this effort should be labeled his greatest musical explorations - hands down. Bobby Sparks presents a fashionable presentation on the keyboards while album producers Arthur Dyer and Rodney Frazier provides careful musical overdubs. And with good support from Donald Lawrence and Kevin Bond in the mixing department, the sounds presented here are just right for repetitive listens.

Things open just right with the classic "Why We Sing", which uses a sample of the classic hymn of "His Eye Is On The Sparrow" while presenting it anew to those who are unfamiliar to the church standards. The song possess a laidback, R&B-influenced groove with gospel-flavored vocals from the Family, while Franklin executes his infamous trademark of spoken word raps. Things flow right into the contemporary, upbeat "He's Able"; another well-popular radio favorite that finds an highly, unusual lead vocal from Kirk Franklin along with David Mann. But it is the well-developed lyrical powers of "Silver And Gold", which is dramatically accented by Cassandra Cleveland's lead vocal, that surely stands the test of time. The moving finale' on this cut is a gospel powerhouse featuring the irresistible charm of the traditional flavors while incorporating a unique drive of harmonic brilliance.

While hip-hop was still in its growing stages during the time of this recording, Franklin fuses his smooth R&B influences into the delightfully-orchestrated "Real Love". The song bears a significant portion of Angela Winbush Quiet Storm sounds while exposing major creative strengths unheard of on most records at the time. He uses that same formula on the excellently crafted "A Letter To My Friend", which finds a compassionate Dalon Collins leading the way with a memorable solo. When the chorus finally echoes, the Family pulls off the right, mature phrasing for such a melodic ballad. Most listeners may wish this song was a little bit longer, since towards the end the song seems to be developing into an emotional trailblazer. "The Family Worship Medley" possess "We Worship Your Holy Name"; another enjoyable moment in Kirk's early days. It is clearly understandable to say that on this particular moment, the Family becomes a noticeable character within Kirk's composition and ultimately proves that they are just as important to the mix than the music itself. "Till We Meet Again" may not have been heard much on radio, but the song became a favorite in church congregations for benediction purposes. The sweet piano and strings combinations, along with the Family's effervescent background vocals, create a nostalgic experience worth hearing time and time again. Fast numbers like "He Can Handle It" and the reggae-tinged "Speak To Me" are nicely fitted into the sequence of material.

While this project only contain ten songs when added up and may have been Kirk Franklin's earliest project, it is still hailed by most critics as being a breakthrough for contemporary gospel in the 1990s and also contained the most singles of all of Kirk's album releases thus far. It may be hard to understand for recent generations to grasp such a reality, but it is a definite truth that one should not try to dodge or escape from. And for a debut, Franklin jumps onto the recording scene with a developed craft, a knack for composing heartfelt numbers and a sensuous drive to splendidly combine traditional and contemporary elements together; ultimately making a record that best describes the formulaic customs of the nineties and possessing a peaceful, unchanged presence years later.