It exposes us to all sub-genres of Gospel music' from old school choir to soul-massaging ballads. It canvasses a plethora of topics from social hatred to idolatry to the Cross. Though there are some hiccups, this record bears all the imprints of Franklin. Much better is album's closer 'Wynter's Promise' which is a tearjerker about how there's always hope beyond death. 'Spiritual,' likewise, is messy and directionless. It certainly isn't the best choice for a single. Lead single 'Love Theory' tries to prescribe the same diagnosis but it's just not as poignant and bold as 'Strong God.' Similarly, sophomore single 'OK' is as trite as its titular. As if to showcase just how wide-ranging Franklins music is, the album opener - a live 'He Reigns/Awesome God (The Medley),' from his 2002 album The Rebirth of Kirk Franklin - weaves together hip-hop, gritty contemporary soul, contemporary gospel, and the norteo and conjunto sounds Franklin grew up with on the radio and in the streets. And Franklin is right in asserting that such social prejudices is essentially a spiritual issue that only God can heal. 'Strong God' is an unblinking stare into the issue of racial hatred. What sets Franklin apart from most Gospel artists is that he always has a social streak in him. 'Forever/Beautiful Grace' is a return back to the basics type of ballad as Franklin gets us to reflect on Jesus' redemption with a heartwarming finesse. And in weaving passages from Isaiah in and out of the song, 'Idols' makes for essential hearing. A kick to the heart moment comes with 'Idols.' Calling to mind some of Franklin's career songs which address issues often out of the kilter, idolatry is an issue often neglected in Gospel music. The album's best song is the ultra-catchy 'Fathers Knows Best.' This choir-driven gem reminds us of Isaiah 55:8-9 (God's ways are not our ways) in ways that are a comfort to the soul. Rather, functioning as the record's emcee, the vocals are mostly handled by a long talented arsenal of singers, which includes Isaac Carree, Eric Dawkins, Sunday Best winner Amber Bullock, along with Franklin-faithfuls Anaysha Figueroa-Cooper, Charmaine Swimpson-Broome, and new additions to the ensemble Minon Sarten, Michael Bethany, Melody Pace, and DeeDee Yancey-Mackey.

In sync with his previous album, Franklin doesn't exactly sing lead on all the songs. Choked with high adrenaline Gospel kickers as well as soothing R&B-styled worship ballads, this album contains everything we love about Franklin. Rather, when the kick drums set in on the album's first cut with the collective praises of Franklin's Gospel choir, you know this is pure Kirk. But rest assured, this isn't a rigid neo-Catholic liturgical affair. And with the symbol of the cross at the centre of the album cover, it looks as if Franklin was wearing a golden crucifix on his chest. With his white high turtle neck and snow-colored jacket, Kirk Franklin looks like a priest waiting in his confessional booth for his next crestfallen parishioner. Prime Cuts: Father Knows Best, Strong God, Idols

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