The Ache - Brandon Heath

 

An honest look at life and one of the best recordings of the past year.

The Ache
Brandon Heath
Length: 11 songs/36 minutes
Label: Centricity Music

I feel the gravity on “The Ache,” the track that opens Brandon Heath’s album by the same name. He describes the aftermath of his dad leaving the family:

I didn’t build this house, but I carry the weight
Between the memories and the mistakes
I can’t tell if it’s hurt or healing
But I’m feeling the ache

I see myself in the lines, carrying the weight between my memories and mistakes. The swelling chorus makes the song majestic. The transparency is moving.

Someone might think it a hard listen but the next two tracks are full of energy and whimsy. “He Does” playfully imagines a multitude of desires that seem out of reach. Oh, wait, there is Someone who in Himself brings them near. I like the Elton John reference: “Holding us close like a tiny dancer.” God does all of that and more.

“Thank You Need You Love You” makes me think of Help Thanks Wow by Anne Lamott. Two people who write for a living encourage simplicity when words fail. The music is joyous.

As in Heath’s prior release grace once again shines through. Witness the summary at the end of “Gospel Truth.”

For Him, I wish I could be better
But He says that I’m enough
It’s done and there’s nothing I could do

Like Christian in The Pilgrim’s Progress it relieves us of our burden.

“Scars,” a standout, was written just four days after the shooting at The Covenant School in Nashville. It honors Matthew Sullivan, a friend and the school’s chaplain. Beautifully arresting, it offers hope and recognizes that life continues despite the scars. This and the title track alone make the album worth having. Thankfully, there is so much more to savor.

An electric guitar leads the R&B/gospel influence on “Highly Favored (feat. Ryan Ellis).” Heath and Ellis alternate and combine their voices on this upbeat tune.

“Can We Go Home Now” looks at uncertainty and tenderly appeals for relief. Heath increases the tempo and mood once again on “How to Apologize.” He rhapsodizes in quirky fashion about accomplishments but admits he is still learning when when it comes to apologizing.

Peter Pan comes to mind on “Neverland.” The enchanting music fits that story and this love song. It’s romantic without being cloying.

This is one of the best recordings of the past year. The blend of acoustic and electric, intricate production, strong songwriting and the balance between gravity and joy. This is Heath at his best.

If that isn’t impressive enough the songs are available as ASL (American Sign Language) interpretation videos for the deaf. You can find them on YouTube.

Hello Human - Apollo LTD

Was John the only dreamer?

Hello Human
Apollo LTD
Label: Centricity Music
Length: 13 songs/44 minutes

On Hello Human Apollo LTD open their moonshot with the rousing “Breakthrough.” This testimony song is a preview of all that follows: pop-rock, lyrics that find “beauty in the broken,” a sound that is easy to like, coupled with life-affirming lyrics.

A psychedelic swirl of sounds in the background opens “Future’s Calling.” A booming bass and drums occupy the forefront before being joined by a massive guitar riff. It’s an exhilarating setting for the longing in the first stanza:

Is anyone out there
Is anyone listening
Is there any path to understand
Or is it just a mystery

The album’s title comes from the verses that immediate follow the chorus:

Hello human
Hello suffering
It’s hard to reconcile what is
And the way it was meant to be

The song points beyond ourselves:

Call it the answer
Call it our Savior
Or call it a remedy

The highly accessible rhythm and the simple but dynamic guitar chops make it a standout.

Jordan Phillips and Adam Stark, who comprise Apollo LTD, toughen their sound on “Hooked,” which has a decidedly rock edge. It had me thinking David Bowie’s “Fame.” The grit makes it a musical highlight.

What stands out on this release is the relatable songwriting:

So you made some wrong turns
Lessons had to get learned
I’m not gonna throw no stones
We’re prodigals and long shots
Children of a good God
And we don’t have to walk alone

“A Day in the Life” brings a needed reminder:

Sometimes you’re up, up, up
Then you’re down, down, down (everybody’s got their good days, bad days)
When you’re riding high
Then you’re on the ground (wish we didn’t have to learn the hard way)

The production is excellent: expansive yet intricate and layered with plenty of energy.

I’ve always appreciated the line in “Spark” by Over the Rhine: “Was John the only dreamer?” Apparently not! This is a reference to “Imagine” by John Lennon. Apollos LTD takes it a step further on “Who We Are”:

I’ll tell you it’s not a dream
It can be our reality
Could kindness and patience be the song of the nations and hymn for us all

“Think globally, act locally” may be cliché but it’s an encouragement to become the change we seek. Who knows what will come from a spark? Apollos LTD use their considerable powers of persuasion to cheer on those who listen.

Sound of Victory - planetboom

Encircling the walls with multi-cultural praise

Sound of Victory
planetboom
Label: Venture3Media
Length: 10 songs 51 minutes

Sound of Victory by planetboom makes an explosive start with “Till the Walls Come Down,” which is loud and bold:

Ima praise you, Ima praise you
’Till the walls come down

This is a reference to the walls of Jericho that fell flat after being encircled by the Israelites. It was an act of worship in that they obeyed God’s instruction. What makes this rousing sound interesting is the underlying Caribbean or Jamaican rhythm particularly evident in the percussion. It’s a battle song to open this mostly live recording.”

The live version of “L O V E (featuring Planetshakers)” is next. This group does R&B in worship as well as anyone. The infectious groove makes me wish for more along this line. It seems so rare in this genre. Bound to bring a smile if not joy to the heart.

The next three songs have a definite urban vibe incorporating elements of club, rock, rap and pop. At least that’s my clumsy way of describing it. As with the first couple of tracks, the vocals are male-dominated. This switches to female-dominated on the last four live tracks, which are longer, more melodic and worship-oriented.”

On the lighter side “Arriba!” features proper counting in Spanish as in “Uno, dos, tres.” Those familiar with U2’s song, “Vertigo,” know that the opening Spanish countdown goes a little haywire after “dos.” It is a funny comparison in my mind; not to take anything away from Bono’s memorable unhinged countdown. I like the opening instrumentation here though I don’t know what I’m hearing. A lively Spanish rhythm serves as an anchor.

The sound of the modern worship portion reminds me of the early Darlene Zschech led Hillsong offerings. I like the creative intros and quiet parts along with the more immersive and expansive pop/rock sound familiar to this style. It’s easy to criticize for those who dislike it but it’s powerful and majestic. It can also be peaceful and soothing. Listeners don’t get the full impact of being there but it’s a dynamic representation of what transpired. “First Love Fire” even incorporates a bit of intercession for the city and nation. Bravo!

In “Powerful Peace” Christ speaks to the storm in hearts:

I don’t need to fight
I drop all my weapons
You hold the victory in Your hands
There’s no need to strive
When I remember
That all the world is in Your hands

A chiming guitar and thunderous rhythm swell like a mighty wave that washes ashore. In a time marked by turmoil Christ’s calming influence is needed more than ever. It’s a reminder that this rest ought to be the foundation for making a difference in this world.

The Spirit’s role comes to the fore throughout in lyrics that seek personal and corporate revival through a fresh outpouring. Those who appreciate this emphasis should feel right at home.

The closing “L O V E (studio)” is ready for radio airplay. It has a rhythm-heavy soul beat and even manages to include the apostle Paul’s words, “Love is patient, love is kind”, as a bridge to the chorus.

Plenty of variety, which makes this stronger than weaker. Give this group credit for not only being creative but expanding the boundaries of praise and worship.

This is Holy - Mack Brock

Centricity debut features well-crafted, arena-sized worship bracketed by more intimate moments

This is Holy

Mack Brock
Centricity Music
11 songs/42 minutes

On This is Holy Mack Brock’s voice, sound and content recall Bebo Norman’s later work with its dense sound and praise-oriented lyrics. This is guitar-driven, arena rock in a studio setting. I hear a touch of European influences; guitar hooks with background synths providing atmosphere.

Brock’s history includes a 10 year stint with Elevation Worship, co-writing some of their early hits. Several solo releases followed before this debut on Centricity. I have a bias for this label as I have enjoyed so many of their releases and they are home to some of my favorite artists.

Although this may not be that different than similar modern worship recordings I like the subtle variations. Attention is given to the song structure; no extended improvisation here. The longest track is just over five minutes; most are three to four.

Some releases in this genre have a Charismatic orientation but that is not evident here. “Just Like You’ve Always Done,” is closest proclaiming that God’s still working miracles, referencing the Scripture that declares God is the same yesterday, today and forever. No argument there. It’s just that some focus more on signs and wonders as part of their theology, and it’s not as appealing to me. The teaching in these songs is sound covering the essentials of following Christ.

Brock makes this appealing no matter what camp one chooses to follow. I prefer this because it is just a little different from the major church-related worship offerings. These songs may not show up on sanctuary screens but it won’t be because of the quality.

The two songs that follow the first four are more stripped-back and quieter, providing a welcome change-up. “I Will Exalt You (This is Holy)” is quiet worship. Cyrus Brock, whom I presume is a young daughter, takes the initial lead in “The Best God.” The atmospheric synth sounds like it is approaching from a distance and acts as an unveiling. I wondered about the wording in the title. It seems to be a way of saying that there is none better or greater, and I imagine it as coming from a grateful heart crying out: You’re the best!

“Christ or Nothing” is an inspiring mid-tempo song of surrender that rocks. The chorus makes it resolute:

Oh, it’s Christ or nothing at all
Whatever you want
Whatever the cost
All I have, I count it as loss
’Cause for me it’s
Christ or nothing at all

This boldly proclaims the necessity of being united with Christ. Nothing else will do or satisfy. Slide guitar underscores the theme.

“Be Near (feat. Jenna Barrientes)” is a lovely, keyboard-driven ballad that begins and ends quietly but soars in the middle with all-encompassing sound. It’s a longing to be where God is, “nothing else matters more.” Barrientes takes the first stanza and joins Brock on the second in elegant harmony.

The lyrics show the futility of self effort:

I’m done with trying on my own
My hope is found in you alone
There’s nothing on this earth I need
As long as you are here with me

I also appreciate the passionate proclamation, “Where You are there is freedom. Where you are the darkness flees.” How we need to remember this now in what are trying times for many.

The closing “Your Love Is” presents a series of contrasts showing the superiority of God’s love. It ends with Brock softly singing to gentle piano notes.

Once again Centricity offers a worthwhile recording.

Land of the Living - Jason Gray

 

Gray’s authenticity and hope make this one of the year’s best.

Land of the Living
Jason Gray
Label: Centricity Music
Length: 12 songs, 41 minutes

On Land of the Living Jason Gray makes honest self-disclosures characterized by wit and whimsy. Gray’s vulnerable lyrics remind me of people like Rich Mullins, Andrew Peterson and Carolyn Arends. For those not familiar with him, this is a fine introduction to an artist who continues to refine his craft. Even so, I don’t think one can make mistake by choosing anything in his catalog. He stood out right from the start.

This is a polished mix of organic and programmed sounds; the latter being prominent on keyboards and percussion. Expect hand-claps! Gray was folksier starting out but now draws from a broader palette though still retaining acoustic elements. He incorporates a variety of styles, including a gospel choir on a couple of tracks. This mixture of pop and rock should make him new fans.

One example of the diversity in styles is “Questions,” which pairs a Spanish rhythm with reflective lyrics. The title track which incorporates sweeping strings is similar in sound to Steven Curtis Chapman. It’s an anthem drawn from Psalm 27:13: “I’ll see your goodness in the land of the living,” Gray declares.

The playful piano-driven “When I Grow Up” revels in paradox: “When I grow up I want to be a child again.” How can I not like the relaxed, feel-good R&B-influenced “See as You See”? Sounds like this dissipate my fears and cares.

“Jesus Loves You and I’m Trying” combines humor with grace. The characters we meet personify a number of the divides in society. What an opening!

Here you come again, raising trouble in my comments section
I know I can always count on you
To be the final word on public health, religion and elections
You even brought a YouTube clip for proof

The addition of the familiar Sunday School chorus takes on a new relevancy. Gray not only applies it to difficult people but himself. This reminds me of the old hymn “Standing in the Need”: “It’s me oh, Lord/I’m standing in the need of prayer.” It’s so easy to think that others are the problem and not recognize that we also stand in need. “Jesus loves you” becomes more meaningful when we recognize how much we are unlovable.

The driving chorus of “Be Kind” gives voice to a simple thought that can change lives including our own: “Be kind/’Cause everyone is fighting their own battle.” This aligns with words attributed to Fred Rogers:

There are three ways to ultimate success:
The first way is to be kind.
The second way is to be kind.
The third way is to be kind.

“So, be kind,” Gray sings. “’Cause everyone you see/Needs to know they matter.”

Far from being slow and acoustic, the music is mid-tempo and thoroughly engaging through modern production. Not the kind of sounds Mr. Rogers produced, but my guess is that he would appreciate the message. Kindness, after all, is one of God’s attributes.

In “Worth Staying” Gray discloses what led to stuttering and a failed marriage. In view of people walking out he asks, “Wasn’t I worth staying for?” Walter Winchell said, “A real friend is one who walks in when the rest of the world walks out.”

Gray, however, doesn’t use this occasion to engage in self-pity or blame. He acknowledges the trail of his own wreckage. His answer to the question “is to trust the love I’m hearing in the kind voice of the Lord saying I’m worth staying for.” Christ walks in when others walk out. The music on this fits the context; somewhat somber. Painful self aware songs this compelling don’t come along every day.

The contemporary sounds, Gray’s authenticity and an underlying hope in God’s goodness make this one of the year’s best releases.

Steadfast Love - Grace Worship

Lyrically rich with a touch of classical

Steadfast Love
Grace Worship
Length: 6 songs, 27 minutes
Label: The Fuel Music & Management

Five of six songs on Steadfast Love by Grace Worship feature a male lead and the style of the vocalists coupled with the sound of the band remind me a little of Josh Groban or Steve Green. It does get more adventuresome in places as I hear Celtic rock in the hook on “Hallelujah! Who Shall Part” and strong lead guitar work under-girding the opening title track.

This achieves somewhat of a middle ground between inspirational and contemporary making it different enough to get my attention. It leans toward the former especially after the first two tracks. It might be a little too staid for those who prefer more of a pop/rock sound. Some might not like the orchestrated elements but they enhance rather than detract. It’s like the French horn in “Penny Lane.”

What sets this apart is theologically rich lyrics. My mind immediately thought of the reformed tradition of faith. Located in Peoria, IL, this is part of Grace Presbyterian Church’s (PCA) heritage.

With an abundance of projects that have a Charismatic influence it’s refreshing to find a release with a different emphasis. These songs point to God’s sufficiency as the answer to our fallen condition. No triumphalism here! It all centers on God’s person and what he has done. It’s a relief that acceptance and hope are not based on human performance.

My guess is that many who appreciate modern worship will feel at home with the first two songs, “Steadfast Love” and “Hallelujah Who Shall Part.” The style is similar to popular releases. The songs that follow are a little more classical in nature, a reworking of old texts or new ones that have a similar structure.

Having recently read some of the poetry of George Herbert, I was pleasantly surprised to learn that “The Twenty Third Psalm” is a poem he wrote in 1633. His highly acclaimed work is worth discovering and this gives listeners the rare opportunity to hear his prose set to music.

I like being introduced to hymns that I have never heard before like “Dear Refuge of My Weary Soul,” written by Anne Steel in 1760. Matt Merker added the music in 2014.

The closing “Jesus, Do Not Look On Me” may be a little less accessible because it’s stripped-down and has hymn-like music and lyrics. What I like is that it takes listeners on a journey from guilt and shame to grace. It does so set to the tune of “Largo” by Antonin Dvorak, which is classical in nature and quite memorable.

Overall, this project follows a path similar to what Keith and Kristyn Getty have done, who are in the forefront of adding theological depth to songs and creating new hymns. It takes the best from past and present to create something new.

Michael Dalton

Wild Faith - Patrick Mayberry

Conveying a sense of God’s power and majesty.

Wild Faith
Patrick Mayberry
Label: Centricity Music
Length: 10 songs/42 minutes

Have you heard? Many popular worship songs originate from one of four sources: Bethel in Redding; Hillsong, based in Australia; Passion City Church in Atlanta; and Elevation, a North Carolina congregation that is part of the Southern Baptist Convention. This partially accounts for why so many of these songs are similar. It explains why the theology tends to be alike, in some cases reflecting a Charismatic orientation. Having had some negative impressions of the latter, I’m a little uncomfortable with songs that to some degree emphasize signs and wonders.

I like that Wild Faith by Patrick Mayberry originates from Centricity Music, a label that I appreciate for it’s quality releases. Though the style and sound may have similarities to the aforementioned, the songs are concise, with only one crossing the five minute mark. I also appreciate that the lyrics don’t reflect an unhealthy preoccupation with the supernatural.

This is not to say that there isn’t a note of victory. “Never Stop Singing,” the opener is a celebration!

Neither is it safe. The title song “Wild Faith” is bold and encouraging, a song of revival. It’s an exhortation to get off the sidelines and exercise one’s gifts. I appreciate it for stating that it’s costly. It’s a challenge!

The duet that follows with David Crowder, “Lead On Good Shepherd,” is boisterous roots rock with slide guitar asking God to lead the way. Psalm 23 would seem an unlikely inspiration for such a raw sound but this is a highlight. Crowder fans take note.

The spiritual, “Give Me Jesus,” has been given stanzas to go along with the familiar part, which now serves as a chorus. So it’s structured less like a spiritual and more like a song. The closing “Right Here” has acoustic moments and includes a sax in the background. The latter leaves a brief, exquisite instrumental outro.

It’s been said rightly or wrongly that some popular worship seems effeminate. Maybe part of it is an emphasis on God being described as one’s lover or softer vocals and sounds. This has a definite masculine feel if I can characterize it in these terms. Part of it is a strong male voice that reminds me of Matt Maher. In this context I can’t help thinking of Bono’s quip: “Every man knows he is a sissy compared to Johnny Cash.” Frank Sinatra is another strong male voice. Similarly, even though there are scattered quieter moments, the music is sharp and focused rather than repetitive and dreamy.

It wasn’t that long ago that music with this kind of loudness coupled with sophistication was not technologically available, nor theologically palatable. It has come a long ways from earnest folk imaginings and crude production. In its defense, why shouldn’t thunderous music be an option since the God of glory himself thunders? Thinking this way helps me to appreciate modern worship for what it can be and how it can enhance. It can convey a sense of God’s power that transcends lyrics.

Thinking about the last four songs and the release in general, they convey a sense of God’s majesty through focusing on his attributes. It’s magnificent praise!

This is a studio production that could easily pass for a live recording. This seems to be a common practice, designed to provide more options and greater quality.