A quick glance at the album cover—featuring a clean-shaven Kirk Franklin (his face and his head)—and you have to wonder what led to Franklin’s drastic-yet-youthful transformation. As it turns out, his razor-and-shaving-cream job is more than skin deep. It’s locked in step with his stated desire for innocence and pure focus on Jesus rather than on commercial success.
This new release indeed reflects that desire. Gone are the hilarious ditties where Franklin skewers trash-talkin’ naysayers. The lyrics are all about Christ—His love, His sacrifice and His worthiness of worship.
The Rebirth of Kirk Franklin sports Franklin’s well-known genre-bending tendencies—there are multiple blends of gospel, R&B, rap, funk, rock, pop, reggae and classical—giving this collection a more spontaneous gospel flavor than he’s had in a while.
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"He Reigns" begins with guest vocalist Papa San spittin’ out reggae-styled vamps. The song then jumps to a samba version of Rich Mullins’ "Awesome God" and ends with Franklin’s own verses. "Caught Up," the album’s most purely gospel tune, features Shirley Caesar belting out her heart and soul. The very talked about song, "911," is the most interesting selection. It showcases Bishop T.D. Jakes trading spoken word with Franklin over some elegant piano. "The Blood Song" is supported by Crystal Lewis, Jaci Velasquez and Donnie McClurkin, and proves a fine commentary on the meaninglessness of skin color:
"Some say you’re black, you’re white/They question if you’re real/We treat you like we treat ourselves/I wonder how you feel/To see your children fight in spite of the tears for us you shed.…"
There are only two small missteps. The introductory horn arrangement for "When I Get There" is way too similar to Lionel Richie’s ’80s hit, "All Night Long," and the "hidden track" with Toby Mac of dc talk ("Throw Yo’ Hands Up") makes a stab at hard rock, but it’s too lightweight and over the top.
Overall,
The Rebirth of Kirk Franklin more than delivers the goods—spin it and hear for yourself.
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Dave Urbanski