::ALBUM REVIEW::

Donald Lawrence is definitely one of the hardest working brothers in the gospel genre and the rewards of such an exhaustive schedule has proved to be quite rewarding for the longtime director of the Tri-City Singers. After winning big at both the Stellars with DeWayne Woods’ debut project and racking up at the Grammys for work on the Clark Sisters’ Live-One Last Time project, Lawrence tills new ground by finally releasing the debut project of the Murrills - a family-based sextet with deep roots and connections with the Tri-City Singers. The North Carolina-based group, whom have been singing together for years, is comprised of Andre, Donnell, Damion, Arnetta, Darwin and Roger Murrill. The group has already seen the light of day on previous D. Lawrence-affiliated projects including I Speak Life and Tri-City’s super-charged Finale’, but the actual manifestation of a debut has been pushed back for quite some time...until now. Lawrence guides the project through a continual flow of his contemporary stylish and crisp productions and even solicits the help of industry vets like Tommy Sims and Percy Bady and PJ Morton to help compliment his crisp, sleek style.

The album opens up with another run-through of the funky, soulful “Better;” taken from the I Speak Life album. Still considering this album as an introduction to the Murrills, the song definitely sizzles with its groove-laden foundations and the closing jam session featuring R&B/inspirational gospel crooner DJ Rogers. It still sounds good and refreshingly new, even if its been heard for the umpteenth time. Immediately following that, the Murrills launches into a dazzling recreation of Eddie Kendricks’ disco-saavy “He’s A Friend..” With a change of lyrics, some newly-enhanced drum programming and old school sampling, the song serves a moving tribute to a highly-forgotten crossover hit from back in the day by packaging in a new charismatic bunch - featuring gospel croons from Roger and Darwin - into the classic’s lush melodies. Percy Bady kicks out a heavy beat on “How I Feel About You;” deeply soaked into soulful guitar deliveries from Eric Walls. With the hearty grooves gliding the song into a sweet serenade, the group takes turns on lead vocals while crooning out mature harmonies on the chorus.

In what feels like a title track for a Madea’s Family Reunion playlist, Donald Lawrence scribes "Family (There's A Healing;" a heartfelt slow burner using prophetic encouragement (a la Usher Me, Restoring The Years) but staying within the theme of family. Arnetta Murrill-Combs, known for leading big hits like “Usher Me,” “In The Presence of a King” and “I Am God,” neatly embraces the notes with a rare sensitivity that adds a sweeter beauty to the entrancing arrangement. That same vibe can be heard on the laidback remake of the Winans’ “Long Time Comin’ (Holdin’ On).” The song is beautiful enough and really bears no room of much alteration, but the group does their best to make the song by trying to sensitize the original with lighter guitar plunks, dreamy keyboard strings and less gospel infections at the end. Their attempts are appealing, but still come up short on delivering the big exclamation needed for the vamp. Same goes for their unpredictable remake of New Edition’s love ballad “Can You Stand The Rain.” The song stays calm and tranquil from beginning to end and feels more like a follow-up to the Force M.D’s “Tender Love.” While it is a sweet moment to harness - especially for ol’ skool R&B lovers and knowing Lawrence has a good ear to easily turn a secular love song into a comforting song of hope, the never-changing mood might cause listeners to nap a little.

While the album’s brightest and most-remembered tracks are featured in the front of the disc, “Survive,” highlighted by a serenading quiet storm groove and inspiring lyrics, finds Arenetta Murrill-Crooms singing on a smoky ballad that would easily fit on a Stephanie Mills album and will definitely earn steady repeats on the stereo. And urban songwriter/ producer PJ Morton doesn’t disappoint with the affirming “Good Days, Bad Days.” It’s a love letter filled with encouragement for those battling ups and down in relationships. On top of the Murrills’ colorful harmonies and a memorable performance from Roger Murrill on lead, the song is elevated by PJ Morton’s neo-soul production. After turning heads with his composition “Let Go, Let God” for DeWayne Woods in 2007, Morton is unquestionably arising as one of the industry’s freshest songwriters.

While Family Prayer rambles like a Sounds of Blackness or Sweet Honey on the Rock carbon-copy with all of the African-enhanced interludes and the various acts and chapters, the album still is a well-conceived, clever and an enchanting debut from the family troupe. With a nice mix of ballads and jumping uptempo funky jams, the Murrills delivers a classy set of contemporary gospel and R&B that develops strong character that works perfectly for them. Lawrence is personally known for writing and performing big choral numbers done in the Whitfield/Hawkins musical vein, but he finds all the right elements and ingredients for the Murrills to give them their own identity outside Lawrence’s stratosphere. Very few gospel families break beyond the barometers to become like the Winans, the Hawkins and the Staples, but with this well-paced project and the blessing of Lawrence’s careful production on their hands, the Murrills are definitely on their way to brighter days.