::ALBUM REVIEW::

The voice behind such phenomenal classics as "Changed", "Goin' Up Yonder" and "He's That Kind Of Friend" has earned an equal share of royalty with the eternal, reigning queens of Gospel music (Mahalia Jackson, Clara Ward, Marion Williams, Shirley Caesar). How her vocal instrument trumpets so powerfully and effectively over the notes and how effortlessly she precessions those hits in her repertoire into classics has yet to be defined by modern musicologists. Believe it or not, her voice remains in excellent condition since she first appeared on record in the late 1970s as she reveals on her newest collection of songs entitled ""I Never Lost My Praise: Live". This would be her eight solo project and her second offering on the GospoCentric label, with a six year difference in between this and her last offering. Regardless of the strange hiatus, Hawkins is still strong and vibrant as ever; showing no sign of vocal weariness.

One should also note that she shines the greatest in a live setting. And since this is a live recording, taped at Reid Temple AME Church in Glenn Dale, MD, she is at home where she is most comfortable. Sitting in the production chambers are popular gospel icon Kurt Carr (whom carries most of the album's responsibilities) and her son Jamie. With eleven songs selected stretching from powerhouse gospel to epic-length worship ballads, "I Never Lost My Praise: Live" is pretty much set up, like her GRAMMY-winning "Live" (1990) album, with much to look forward to. But set-up is pretty much the only comparison.

There are memorable moments engraved on here, including the beefy, thunderous praise number, "Excellent Lord"; one of the album's strongest and hottest highlights. Jamie and Sunny Hawkins both pen this extraordinary jubilant cut bearing a fashionable distinction with Israel Houghton and Judith Christie-McAllister uptempo numbers. And it is the perfect way to open up the live collection. Other juicy tracks include the fresh remake of "I Need You" (first heard on her "Determined" (1980) project and penned by Walter Hawkins) and Carr's "Like Never Before". The latter embodies the nature of Carr's highly-recognizable songwriting. Full of orchestration and rich with melody, the song bubbles with excitement and sizzles even more as the tempo increases into churchy praise break mode on the vamp. Even though Carr is craving lots of attention here with his unexpected exhortations and ad-libs, Hawkins is still the center of the cut and commands things heavily with her soprano wails. When she releases the enjoyable phrasing of "Lift him - ooooo" towards the end, you know she's still got it.

For most of the album, Hawkins dips into a relaxed, worshipful posture while belting occasionally when the songs crescendos to its peak of performance. "Come Holy Spirit" and "Worship You", both scribed by Jamie and Sunny Hawkins, are attached in the first medley and are anchored with warm lyrics. Then the eleven-minute medley, stretching from highly covered worship choruses such as "Praise The Name of Jesus", "There Is None Like You" and Bill Gaither's "There's Something About That Name", enters the scene and concludes with a new composition, "You're Everything To Me". With all of these songs appearing back to back, you feel as if you are experiencing a form of pageantry. Plus, It's very overwhelming to intake all of this in one listen. This is the price one expects to pay when recording live projects. Long, epic proportions are usually expected on them, but sometimes too much can be way too much when it hits the album.

Good moments get tangled up with less, organized efforts - which appears to be the album's obvious flaw. The title cut has a few lyrical disappointments since it opens with a nice narrative and sends listeners to that one thing that Tramaine mentions she has not lost over the years. Then she starts naming more than one thing: her hope, her joy, her peace and most of all, her praise. Seems like the songwriter forgot the numerical value of one. Of course, theologians may defend the idea that hope, joy and peace help to create our praise, but mathematicians and those in search of authentic songwriting shouldn't have a problem with this issue. "You Get The Glory" is outdated and propped up with careless gimmicks like the juke joint piano opener and the irritating dedication to radio announcers. And the "Oh Happy Day" remake is nothing major. Everyone has pretty much covered the Edwin Hawkins classic, as Tramaine reminds listeners in her spoken narration prior to the song. There are some renditions that are worthy of hearing (Aretha Franklin, Atlanta Centennial Mass Choir), but this one is just mediocre. You almost expect something magical to take place from the funky intro, while Hawkins speaks, with light drum taps and bass movements, but there's nothing to really marvel over - except hearing Tramaine put her spin on it.

A few irritations pop up on occasion. Kurt Carr finds any opportunity he can to be seen as he grabs the microphone and helps guide Hawkins like she's in need of curbside assistance. She didn't need that kind of attention on albums before and it is quite obvious she doesn't need it now. And this happens on every project Carr produces - which is becoming more and more irritable and less tolerant. And what's up with the same quick keyboard run from Maurice Rogers on almost every ending that Kurt Carr produces. You heard it on Bishop Paul Morton's "Still Standing" and Byron Cage's self-entitled project. And you are bound to experience that same thing, in various segments, on "I Never Lost My Praise".

This album isn't that bad of a project. Hawkins is in great condition vocally. The stellar band featuring Jonathan Dubose, Joel Smith and Lloyd Barry's horn arrangements are splendid. But there's not a tear-jerkle in sight like "Changed" or nothing as moving as "Holy One", "It's Right And Good" or "The Potter's House", and it's not her fault either. A great voice on moderately-okay material doesn't equal greatness. "I Never Lost My Praise" will suffice for now, but it will only increase the hunger for better.