::ALBUM REVIEW::

The major impaet the praise-and-worship phenomenon has had on the surface of gospel music should be compared to the big transition of contemporary gospel during the late 1960s. Most of the subject matter in gospel music has been watered down to surround the passion that defines intimate one-on-one worship with God. Even though it’s not a bad idea to do worship albums, it almost seems like a fad is becoming more and more evident about worship music, since the large majority of gospel artists (including, but not limited to CeCe Winans, Byron Cage, Tramaine Hawkins, Karen Clark-Sheard, Marvin Sapp, etc.) are now shifting both their sound and their musical focus towards worship music. Add John P. Kee (better known to many as the Prince of Gospel) to that growing equation and you just may have to change his moniker to the Prince of Gospel Worship since he has decided to go down the worship route once again with the New Life Community Choir on his latest project; Nothing But Worship. This time, he marries the heart of worship music with the rhythmic and dominant features of gospel music in hopes to help jumpstart a career that has been drifting in the distance since he announced plans to retire from the industry back in 2002. Recorded live on the road during different sessions of the lengthy Nothing But Worship Tour, this album contains much of what Kee is known for putting out: hard, funky grooves, lots of staccato phrasing and big 80's neo-synths. Longtime music director Garland Miche Waller fronts the stellar set of musicians which include popular guitarist Rick Watford, bassist Tony Russell, guest bassist Andrew Gouche and Kee’s son, Chris on drums. The project also features a few guest appearances from celebrated newcomers Nikki Ross, Jason Nelson, Maranda Curtis and renowned session singer Timiney Figueroa-Caton.

A few pointers are obvious from the very beginning that Pastor Kee is still in the ring and fighting to keep the important, near-extinct presence of contemporary gospel before us. First, the grooves are still there and are easily identifiable to Kee’s signature sound. After getting into the melodies, you can still hear the intense passion and charisma from Kee’s character - a clear sign that after twenty years of performing and recording gospel music full-time, he hasn’t lost his edge. Get into the big cuts and you will realize the potential and reality of his future.“Right Now Praise” carries the drive of the VIP cut, “Mighty In The Spirit,” but possesses an even greater sounding chorus and interesting doses of bright funk. The magnetic powers of the traditional driven “It Shall Be” feels just right for a briskly Sunday morning-processional. Veteran New Life vocalist Shelia Lakin blasts into some killer vocals and provides great support with Kee’s vocals and direction. this song almost feel like Kee found the remnants of his big hits of the early-90s and decided to add a hint of extravagant energy to the mix; making it one of the bigger moments to spotlight. On “I Know It”, Kee brings the majestic choir excitement from the Thompson Community Singers to an enriching, non-tiring message that focuses on the resurrection of Jesus Christ. There’s a few harmonic surprises and an interplay of parts that surfaces and with the seasoned lead vocals of Emily Haris out front, the song has a soulful churchy drive that’s hard to resist.

But not everything about Nothing But Worship is acceptable, such as the unforgivable jumps from one-person’s perspective to second-person’s perspective. This occurrence happens just too much within the lyrics of some of the more likeable cuts including the infectious-contemporary “Sanctuary”. The song has a spunky, foot-on-the-floor groove and dances around a brilliant display of buzz synths, bumping guitar work and engaging harmonies, but the error of speaking to the congregation in the verse and then jumping to God as the main audience is a problematic error that is hard to ignore (ex. Prepare your hearts for worship/Prepare your hearts for praise/Let everything that hath breath/Stand up and bless your name). “Glorious Is Thy Name” does the same thing (ex. Glorious is thy name oh Father God...Our God is marvelous, yes He is wonderful/Thy praises shall be in my mouth). The same happens in the urban-laced “No Greater Love/Ain’t Nobody.” Even though this incident isn’t as obvious here and only occurs on the chorus, it’s a mistake that a 20-year veteran would have quickly addressed and fixed before even hitting the shelves. Some songs are just too lengthy in presentation - not because the songs have important mood changes but because of overdone, repetitious segments. Even with Fred Hammond appearing on “Oh Lord, Our God,” there’s not much to salvage on a song that is simply organized, features very little strength and only supported by a dozen of modulations stretched out to a lengthy five minute presentation. The song would have worked as a simple interlude track, but the extension of the song pushes listeners to hunt for the fast forward button. “Glorious Is Thy Name” flows in the same vein; with the verse and vamp being repeated one time too many. It is mistakes like this that hurt the overall integrity of the project and harms the credibility of Kee’s reputation of being a musical dynamo/perfectionist. Add an irritating, empty-instrumental, hip-hop inspired remix of “Right Now Praise” and an awkward attempt at acoustic Hillsong worship on “Live For You” - and you see where things clearly went wrong for what could have been a pretty good project. There are times when you almost feel Nothing But Worship is a safe return to the Wait On Him and We Walk By Faith albums of the early ‘90s. Of course, without all of the mistakes and bloopers it would have come close to that reality. There’s a few good pointers to highlight and a few songs that may gain serious attention on gospel radio, but not enough to reclaim Kee’s return to the glory days.