Majesty by Don Moen

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Majesty

Worship Leader: Ron Kenoly

Integrity Hosanna! Music 1998

For the many who love the music of "one of the most respected worship leaders in the world", and have eagerly-awaited Ron Kenoly’s latest album, the wait is over. Join Ron, his band and the community choir and a congregation of 7000 as they worship God in the Majesty of his holiness, at the Vines Centre at Liberty University, Lynchburg, Virginia. I look at this album from two aspects, which may make this article seemingly incongruent at times; I think it’s "killing two birds with one stone". The two aspects are that of a reviewer and that of a teacher (explaining Ron’s mastery of worship-leading skills).

Those who are familiar with Ron’s music style – a rich, full sound, with a vast accompanying praise choir and a large band – will see these features again in this album. The album begins on a quiet, worshipful note with one of the most well-loved worship choruses of all time, "Majesty" by Jack Hayford. From a viewpoint of a worship leader, one can recognize how Ron helps us focus our attention on worshipping God at the beginning; by starting quietly, with pauses between stanzas; Ron’s prayer, expressing the desire of everyone to worship. Note the contrasts between loud and soft, and how it builds up to the final dramatic ending.

One notices that this album uses mostly familiar songs, rather than the preponderance of new songs which usually mark new Integrity albums. Notice how the musicians begin this song, by building up excitement to the beginning; it is short and sharp. This is in fact a good beginning technique for praise songs. (Avoid convoluted introductions!) Notice how Ron, before beginning the next song, invites the audience’s participation and (importantly) gives the words of God exhorting them of their status in Christ. For the song "the King of Kings is coming", notice how the strong piano/drum beginning spontaneously invites the congregation to clap in rhythm. As a whole, I would say that the praise isn’t as fast-paced as that on his earlier albums (eg God is Able, or Lift Him Up).

Ron makes a powerful, nearly-political statement in his unique song, "Return to Righteousness America". This isn’t a worship song, but a prayer. The themes of abortion, wasteful budget spending, hate crimes, etc. arise in this song. Perhaps Ron’s purpose was to crystallise the feelings and longings of his congregation for revival and repentance in the land.

The worship segment begins with the really familiar "We place you on the highest place", by Ramon Pink. This song is a source of controversy (how can God be placed in the highest place by us? Isn’t he already high above all else?) ; someone once told me that in Asia, "highest place" can refer to places of idolatry where pagan statues are put up to be worshipped. This difficulty arises, of course, due to cross-cultural translation. Dr. Jack Hayford recognized this difficulty during his pastor-ly discourse before the song "Exalt the Lord our God" in his Integrity worship album "Men in Worship". He explains that (paraphrased) "there is no way we can make God any higher than he is. He is already high above all else. What we really mean is, Lord, we’re exalting you in MY life."

Next is Geoff Bullock’s powerful "This Kingdom". The next song, another familiar favourite, starts slowly, softly and worshipfully, marking the start of intimate worship: "I bow my knee" by Bonnie Deuschle. Note the tactful absence of drumbeats, and soothing instrumental accompaniment, which emphasizes the corporate singing experience. Then how the intensity gradually builds up, before ending in the by-now familiar dramatic (orchestral) style.

"We shall behold him", which follows, makes extensive use of the beauty of the orchestra. Musically, notice how the arranger wrote the music to convey the ideas of "thunder" and "rising".

Finally, the worship wraps up with an astounding high-energy arrangement of Handel’s Hallelujah Chorus. For Classical purists like me, this takes some adjusting to. Nevertheless I feel it’s exciting and a good way to unite the worship experiences of centuries with the contemporary style of today. I have seen many good arrangements of old hymns for contemporary music. Bringing out these majestic hymns is a good way to remind us of how faithful God has been through the centuries.

Reviewed by Wesley Cheong