::ALBUM REVIEW::

All eyes are glued to the third project on GospoCentric from Kurt Carr. And it’s not just because of its long-awaited release, even though the wait was surely a pain for many, but it mostly concerns the selected album title that seems to draw controversy week after week.

“One Church” is an album that has a specific purpose evolving its existence. Unifying the Body of Christ while presenting material for all nationalities and background, while delivering lyrics that all can relate to, probably sums up the premier focus of Carr’s latest album release. A wonderful cause indeed, especially since artists including Donnie McClurkin and Israel Houghton lately have decided to cater to these new-age trend. But its one that attracts major attention and serious flack since the project sounds like a mixture of everything and barely possesses a sense of balance. Going from one music style to the next, going from one sound to the next...the flow is just uninhibited.

The opening track sounds like an unreleased Donna Summer track, with his Euro-classical strings and thumping disco drum licks. It’s a very theatric piece, but it plays well in Carr’s repertoire, since he’s known for creating these type of songs. Things tend to heat up with “God Great God”, another up-tempo praise-and-worship song, but due to its lyrical emptiness (even though there’s just too many words to sing) and musical flow, it sounds generic in comparison to Carr’s previous worship theme songs. And where ths song lacks, the song seems over-cooked with its busy bandwork and radical modulations. Carr plays the role of the worship leader on this track, and also on the bulk of the cuts here, while Nakitta Clegg, a new recruit into the KCS group, joins along.

“Psalm 68 (Let Our God Arise)" is a Carribean/salsa mix which features Mike Rippoll on guitar. Though it has its Santana-influences, around this point, real gospel listeners will slightly be turned off by the lack of gospel input really is heard. You will probably find one or two real gospel songs on this project, and the rest is over-cooked steak without the Heinz 57 sauce. A rendition of Walter Hawkins’ classic, “Be Grateful”, finds its way on here. And even though the rough edges have been exchanged for smooth, soft-spoken vocals until the vamp, the originalmakes this one sound soupy and uninspired. “God Blocked It” may be Gospel’s only hope; featuring a basic traditional foundation and lyrics that bring up sudden memories of “I Almost Let Go”. This is the kind of song that will bring up historic remembrances of Carr with James Cleveland, the Southern Cali Community Choir and the L.A. Gospel Messengers. Does it work? Well, not for long, but it’s probably the only gospel-influenced track represented...unless you want to include “Power Praise (Let God Arise)”; a chunky, fast-paced praise break containing Pentecostal flavor and churning energy reminiscent of Vickie Winans’ “Already Been To The Water” on the vamp.

Plus the remix of “The Presence Of The Lord Is Here” (minus Byron Cage - the vocal originator), which was written by Carr, is by far, another way to cash in on one of America’s popular songs today. It opens up with a Baptist breakdown and Carr’s narrations, expounding on the lyrics even more, then entering the same flow of the original arrangement.

The timing for this album may be a bit off for Carr since his career now includes being a highly recommended producer. But he has had an ample amount of time to prepare for his next project. In between albums, after one listen to “One Church”, there’s an obvious indication that Carr has been sidetracked in a sense. Or maybe he is more inclined to service other musical styles rather than being just a gospel artist. But even with that said, this project barely satisfies the styling of Contemporary Christian or Urban Gospel; leaving this one a disappointment to those that expected anything less. Do no compare this one to Carr’s previous works. If you do, you will be heartily sorry.