Directory of Contemporary Worship Musicians - Way of Life Literature

Directory of Contemporary Worship Musicians - Way of Life Literature Directory of Contemporary Worship Musicians - Way of Life Literature

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Prosch, Kevin(For more on the the history of contemporary praise musicfrom its inception in the Jesus People movement and theintimate association of contemporary praise with thecharismatic movement in general as well as its most radicalaspect, the “latter rain apostolic miracle revival,” see “CalvaryChapel,” “Christ For e Nations,” “Lindell Cooley,”“International House of Prayer,” “Tim Hughes,” “IntegrityMusic,” “omas Miller,” “David Ruis,” “Marsha Stevens,”“Michael W. Smith,” “John Talbot,” and “John Wimber.”)e fact that “another spirit” controls the contemporarypraise music movement is nowhere more evident than in theministry of Kevin Prosch, whose praise songs include “Harpin My Heart,” “Show Your Power,” and “Love Is All You Need.”Some of Prosch’s music is published by Integrity.Prosch is said to have “influenced more worship artiststhan any other leader in this decade,” including Martin Smithof Delirious, Matt Redman, and Darrell Evans.”He lives in Amarillo, Texas, owns a recording studio, isassociate senior pastor at More Church, and pursues hobbiesthat include “fishing, lots of camping, and a good glass ofLagavulin” (Scotch whiskey).Prosch breaks down the walls between the holy and unholyin a shocking way. His former band the Black Peppercorns isdescribed as “a group that played in pubs and bars and sangsongs that blurred the lines between sacred and secular andsaw folks in those bars have genuine encounters with theSpirit” (“Kevin Prosch, the Black Peppercorns, and EmergentCharismatics,” jonathanstegall.com).To blur the line between the sacred and secular is to follow“another spirit” (2 Cor. 11:4). Israel’s priests were reprovedwhen they “put no difference between the holy and profane”and showed no “difference between the unclean and theclean” (Ezek. 22:26). ere are many clear lines that are to bedrawn in the Christian life, but the CCM crowd wants to258

erase lines. We are to choose the spirit over the flesh (Gal.5:16-17). We are to “abhor that which is evil; cleave to thatwhich is good” (Rom. 12:9). We are to love God and not lovethe world (1 John 2:15-17).Prosch definitely blurs the line between the sacred andsecular. He and fellow “worship leader” Leonard Jones love totake immoral and New Age rock songs and perform them inthe context of a “worship” service. Prosch sings the Wailers’very sensual “Stir It Up” as if the Lord is singing it to Hispeople. ey sing the Beatles’ songs “I want to Hold YourHand” and “Come Together” in the same foolish way. Prosch’sband plays Van Morrison’s “Brown Eyed Girl” in the contextof “worship.” e words are about a man and a “brown eyedgirl” who seek out places to be alone to play “a new game”with their hearts “a-thumping.” It doesn’t take a rocketscientist to figure that out. True, it’s pretty “innocent” for rockand roll, but it is blasphemy to mix sensual songs like thiswith the worship of a holy God. Christian rockers are socrazy drunken on backbeat music and their intimateassociation with the world that they have everything mixedup. To play such a song to believers even apart from thecontext of worship is foolish. Are those the thoughts that wewant young people to meditate upon? To follow VanMorrison’s suggestion is a sure fire way of shipwrecking ayoung person’s moral life.In 2002, Prosch was “restored to public ministry three yearsaer admitting to a string of affairs” (Charisma News Service,April 18, 2002). Prosch lived an adulterous lie for years. Hesinned grievously against his wife and destroyed his marriageand has multiplied his adultery even farther by remarrying(Matthew 19:9). Apparently, the songs “Stir It Up” and“Brown Eyed Girl” are the man’s personal biography.Prosch’s spiritual roots go back to the Vineyard movementwhere he was nurtured for his career as a contemporarymusician. (See “John Wimber and the Vineyard” in thisdirectory.)259

Prosch, Kevin(For more on the the history <strong>of</strong> contemporary praise musicfrom its inception in the Jesus People movement and theintimate association <strong>of</strong> contemporary praise with thecharismatic movement in general as well as its most radicalaspect, the “latter rain apostolic miracle revival,” see “CalvaryChapel,” “Christ For e Nations,” “Lindell Cooley,”“International House <strong>of</strong> Prayer,” “Tim Hughes,” “IntegrityMusic,” “omas Miller,” “David Ruis,” “Marsha Stevens,”“Michael W. Smith,” “John Talbot,” and “John Wimber.”)e fact that “another spirit” controls the contemporarypraise music movement is nowhere more evident than in theministry <strong>of</strong> Kevin Prosch, whose praise songs include “Harpin My Heart,” “Show Your Power,” and “Love Is All You Need.”Some <strong>of</strong> Prosch’s music is published by Integrity.Prosch is said to have “influenced more worship artiststhan any other leader in this decade,” including Martin Smith<strong>of</strong> Delirious, Matt Redman, and Darrell Evans.”He lives in Amarillo, Texas, owns a recording studio, isassociate senior pastor at More Church, and pursues hobbiesthat include “fishing, lots <strong>of</strong> camping, and a good glass <strong>of</strong>Lagavulin” (Scotch whiskey).Prosch breaks down the walls between the holy and unholyin a shocking way. His former band the Black Peppercorns isdescribed as “a group that played in pubs and bars and sangsongs that blurred the lines between sacred and secular andsaw folks in those bars have genuine encounters with theSpirit” (“Kevin Prosch, the Black Peppercorns, and EmergentCharismatics,” jonathanstegall.com).To blur the line between the sacred and secular is to follow“another spirit” (2 Cor. 11:4). Israel’s priests were reprovedwhen they “put no difference between the holy and pr<strong>of</strong>ane”and showed no “difference between the unclean and theclean” (Ezek. 22:26). ere are many clear lines that are to bedrawn in the Christian life, but the CCM crowd wants to258

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