Tuesday, June 5, 2018

Resurrection Letters: Prologue - Andrew Peterson

Friday’s sorrow anticipates Sunday’s joy

Resurrection Letters: Prologue
Artist: Andrew Peterson
Publisher: Andrew Peterson under exclusive license to Centricity Music
Length: 5 songs, 20 minutes

Resurrection Letters: Prologue by Andrew Peterson tarries on Friday on the way to Sunday. As important as the latter in relation to Easter, Friday makes it all meaningful. Without the suffering, there is no resurrection. That’s not to say this recording is dour. God forbid! Joy is deeper than sorrow, and listeners catch glimpses here.

In the Winter 2107 issue of Image, author Joy Kogawa concludes an interview with this thought: “These days the words that mean the most to me and that seem most helpful are Jesus’s words on Good Friday: ‘Father forgive them, for they know not what they do.’ I think the call to forgive and be merciful is Christianity’s best contribution to the conversation among the faiths.”

“Last Words (Tenebrae)” opens with those words of Jesus, Peterson singing a cappella. Banish the thought of the music conveying heaviness. This saunters along with a combination of programming and conventional instrumentation. All the words, sung in rounds, are the last ones spoken by Christ from the cross. They are introduced gradually until you have layer upon layer. Repeated listens make it easier to distinguish phrases that are more in the background or chanted. It’s a tapestry of sound conducive to meditation.

“Well Done Good and Faithful” is set in a minor key. It’s a lament drawn from Psalm 22. The poetic verses, which are hymn-like expressions, are punctuated by two repeated piano notes. It’s as if they are driving home the severity of the situation. It’s sparse, stark and as unyielding as the grave.

It reminds me of the portrait of the suffering servant in Isaiah 53. How fitting that the chorus commends Christ as the good and faithful servant. The suffering servant is the good and faithful one. Contemplating the connection adds richness.

“The Ninth Hour” is a brief keyboard and string-laden interlude bridging these first two tracks to the final ones.

Songs like “Always Good” make me glad that I am still listening to music. It personifies being vulnerable, and the music is beautifully tender. It opens with gentle finger picking, and later when the delicate sounds of a hammer dulcimer are added, the sound is sublime.

Has Peterson ever done a more gorgeous song? It may be his daughter that adds the perfect harmony on the chorus.

When he sings, “Arise, O Lord, and save me/There’s nowhere else to go,” it strips me of my defenses. No pride left. He gives voice to desperation.

Delightful turns of phrase abound.

Can theology be thrilling? I find it so on “God Rested.” Here God’s work and subsequent rest in Creation is linked to Christ’s death and resurrection. What solidifies the link are the words, “It is finished,” which Christ spoke from the cross. Just as God rested from his works on the seventh day, Christ, in a manner of speaking, did the same after that last utterance.

The brief flourish at the end is exhilarating. Rather than spell it out, Peterson closes with an upward flourish that anticipates the climax of history. It’s a wordless rush.

Don’t overlook Prologue on the way to the companion recording, Resurrection Letters, Vol. 1. The former puts the latter in context.

Tuesday, May 1, 2018

Rock Gets Religion - Mark Joseph

Christians making music for the many rather than the few

Rock Gets Religion: The Battle for the Soul of the Devil’s Music
Author: Mark Joseph
Publisher: BP Books (www.wndbooks.com)
Pages: 325

If you have ever wrestled with God, others or yourself about music, Rock Gets Religion by Mark Joseph is helpful. Even if you don’t agree with the author, he covers the main issues.

At the Crossroads by Charlie Peacock and Roaring Lambs by Bob Briner were like forerunners for this volume, which expertly chronicles progress in the visions contained in those earlier works. Music by Christians in the marketplace has come a long ways since the Jesus music era beginning in the late 60s, and the story is still being written. This remarkable volume brings readers up to date and shows where it is heading.

Part of my response is marvel as in “Look What God is Doing” (Scott Wesley Brown):

Look what God is doing
All across the land
See His Spirit moving
Feel His mighty hand

God’s hand may be seen in all of this. I’m glad that followers of Christ are being heard in popular music. Those who might look down on this need to read this with an open mind.

Even though I have followed this subject by reading whatever I could find, I didn’t realize until now just how many Christians are in mainstream music. In my other life as a mild-mannered office worker for a big box retailer, I even hear them on the piped-in music. Most people probably don’t even realize it as they may not be paying attention to the words, but the message is there.

Just the other day I heard Blanca singing on “Different Drum,”

So let’s break the mold
Go off the wall
Be in the world, but not of it

This infiltration has become so pervasive that one book cannot tell the whole story. Sufjan Stevens is one artist that I would have liked to have seen included in the profiles. Despite any omissions, I’m amazed by the many artists, a number of them new to me, others ones I recognize, featured here.

This tells their stories. Many of whom them completely bypassed the Christian music industry and experienced some level of notoriety in the world at large. Something only dreamed about in the past is now a reality.

This has been achieved with varying degrees of integrity and success. The author is careful to chronicle failure along with victories. Katy Perry and Miley Cyrus are two of the cautionary tales. Both had a religious upbringing; both shed early confines when they grew older. In each of these two cases, readers not only get their own words but also the perspective of their parents.

If Peacock and Briner supplied the theology and vision, this is rich in illustration. The stories are well-written, insightful and inspiring. It’s hard to put down.

A slight weakness is that it becomes a little repetitive. Like many music critics the author has an unfavorable view of contemporary Christian music (CCM). The criticisms are not unwarranted and have been well-documented in a multitude of sources. I would have preferred fewer reminders of the negative aspects of CCM. They detract from the otherwise excellent analysis. Others, however, may appreciate his point of view.

Probably every artist dreams of being heard by as many people as possible. It’s a valid reason for avoiding the CCM label. However, if some feel they should primarily be making music for other Christians, they should not be judged for not having a wider audience. The Holy Spirit gives different gifts; not everyone has the same ministry. Some callings are more oriented to the Church.

Some artists who happen to be Christian want their music to be accessible more broadly. They should not be judged as worldly for operating in a different sphere. Personal convictions don’t need to be imposed on others. Let everyone be persuaded in their own mind.

This is one of the best and most current resources available on the sometimes tumultuous intersection of faith and music.

It even gave me the opportunity to catch a glimpse of a past favorite’s faith. Among the albums that were played frequently at one friend’s house back in High School was Pretties for You, an early release on Bizarre Records, Frank Zappa’s label. I never imagined back then that my connection to that artist would involve more than music. He writes the foreword for this book. It was a delight to start with Alice Cooper’s brief thoughts. The presence of Christians in popular music is more widespread than many may realize. “Rock” now defies easy categorization.

Saturday, April 21, 2018

The Monk's Record Player - Robert Hudson

Dylan rocked his world! A woman shook his resolve!

The Monk’s Record Player: Thomas Merton, Bob Dylan, and the Perilous Summer of 1966
Author: Robert Hudson
Publisher: William B. Eerdmans Publishing Company (www.eerdmans.com)
Pages: 249

Initially, I may have been put off by the cover of The Monk’s Record Player: Thomas Merton, Bob Dylan, and the Perilous Summer of 1966 by Robert Hudson. The image of a sullen monk with a vinyl record for a halo behind an angular and woolly-haired Bob Dylan did not attract me. Admittedly, I knew next to nothing about Merton, whose books I regularly passed by. Dylan, on the other hand, I knew more about, but had never read a book about him.

I passed on this odd pairing in favor of Reading Paul with the Reformers by Stephen J. Chester, which comes from the same publisher. It is excellent but geared toward academics. It gets technical; a necessary development considering the topics, but it makes for challenging reading.

After finishing it, I was about to get a second chance. The editor of this publication asked if I wanted to review the aforementioned. Why not? I had contemplated reading, Chronicles, Dylan’s story in his own words, which I still might do. This could be a bridge to that work.

Don’t be like me and let the seeming incongruity between the two main subjects deter you. The connections are real. This is scholarly, just like the other Eerdmans’ volume, but much easier to read. To be fair, they are different types of writing. The one is concerned with doctrine and theology whereas this is rich in narrative. Hudson writes with astonishing detail. I am there, observing events as they unfold.

And what a pivotal time that was! Beatles ‘66: The Revolutionary Year by Steve Turner covers the same period. Two recent books covering monumental events. No doubt I will enjoy reading the Turner book if I get the chance.

I’m not sure what people mean when they say writing is lyrical, but I suspect that this approaches it. The author makes each setting elegant. The prose has a lovely flow. If I am to summarize it, perhaps I could give no higher tribute than to say, “I hear music.” This is the memorable line from the movie Green Card. It’s not Dylan that I hear, though this made me want to listen to more of his early work. My heart sings because I’m reading truthful accounts of wrestling with issues that matter.

To be clear, the book is more about Merton than Dylan, but readers get to see Dylan through the real influence that he had on Merton. Thankfully, the author is attune to the spiritual in both of their lives, something that may not be as prominent in the writings of others.

As a writer, I was fascinated to learn of Merton’s development and struggles in becoming a prolific author. This deftly chronicles his works from first to last, and it’s fascinating.

Being single, I was intrigued to read about his emotional affair. It nearly tore him apart! He has this deep longing to be alone with God. On the other hand, he feels the need to be one with others. He feels a deep connection with a woman. How does he resolve his dream of being hermit with finding the love of his life?

You might describe his initial feelings through the Carole King song:

I feel the earth move under my feet
I feel the sky tumbling down
I feel my heart start to trembling
Whenever you’re around

Dylan rocked his world! A woman shook his resolve!

If it was a test of his calling; he felt like he may have failed. Perhaps it appears odd to those who cannot comprehend his reasoning, but Merton came to the conclusion that he could be most one with others when he was alone. God could most unite him to the world in his vocation as a hermit.

A borrowed record player, and Dylan’s earliest albums, were prophetic. They inspired him. Here was someone that articulated not only what he felt but also many others. He became an admirer, even playing some of these records for visitors.

Sadly, he was never able to meet with this fellow seer, but he did get to meet and know a contemporary, Joan Baez. Those details are included along with bits about other famous individuals who make the pilgrimage to his hermitage.

This is not a biography, but it’s hard to imagine a more interesting introduction to Merton. I wasn’t disappointed by what I learned of Dylan. It is a bridge to exploring the writings related to each of them, and in the case of Dylan, listening from a new perspective.

I hear music when I read these words. It’s a little like what the ancients call the song of the Lord. I sense a presence, a joy. It animates my heart. To think, I almost missed reading such well told stories from the mistaken notion that this must be rather fanciful. I would read this again. It’s a keeper; a worthy addition for anyone interested in one or the other.

Thursday, March 22, 2018

Reading Paul with the Reformers - Stephen J. Chester

What did Paul really say?

Reading Paul with the Reformers: Reconciling Old and New Perspectives
Author: Stephen J. Chester
Publisher: William B. Eerdmans Publishing Company (www.eerdmans.com)
Pages: 478

What drew me to Reading Paul with the Reformers by Stephen J. Chester was its selection as winner of the 2018 CT Book Awards in the Biblical Studies Category. Another factor was an ongoing difference of opinion with my mother over how a small segment of Christians interpret the writings of Paul. Critics term the movement ultra- or hyper-dispensationalism, labels rejected by those immersed in these teachings.

I proposed that my mom and I read this book at the same time to better understand Paul. I naively hoped that it might shed some light on the doctrines of this movement.

Though my mom faithfully reads and studies the Bible daily, she would not have the patience to wade through these 478 pages of technical analysis. This is most accessible to the scholar and academic. I felt a little like Billy Graham when he mentioned his difficulty in understanding Karl Barth. Even though I enjoy reading books on doctrine, theology and even bible commentaries, this is challenging.

Also, I should have known better; this book does not begin to address those who believe that only the words of Paul are formative for Christians. That subject lies outside the scope of this book, which does not detract from its relevance to a much larger debate.

The books succeeds admirably in making clear what reformers like Luther, Melancthon and Calvin taught about justification, sanctification and righteousness. It’s a masterful synthesis of thought that serves as the foundation for interaction with the “New Perspective on Paul” (NPP), which isn’t addressed directly until page 321. It shows how much background the author brings to bear on these issues. It’s scholarly exegesis of the highest order.

For those not familiar with the NPP, biblical scholars like like N. T. Wright and Douglas Campbell believe that the reformers were too narrow in their interpretations of Paul. As Alan Van Wyk, a reviewer of Wright’s new biography of Paul puts it, the NPP “is itself a desire for a more authentic Paul. Resisting 19th and 20th century interpretations that distanced him from his Jewish background, these new readings of Paul place him firmly in his late second temple Jewish milieu. N. T. Wright has been an important contributor to this new reading of Paul, and his forthcoming biography, simply titled Paul: A Biography, functions as a comprehensive popular introduction to this work. As Wright insists in the introduction, this biography and the broader body of work of which it is a part reflect Wright’s attempts to figure out what the first-century Paul was actually talking about, what he ‘really said.’”

This book is worth reading just to get Chester’s critique of Wright and those who are similar-minded. Wright is such a brilliant theologian that it’s easy to agree with his reasoning when you haven’t read any differing opinions.

The NPP see the reformers as narrowing salvation truths to something contractual that focuses on the forgiveness of sins and one’s standing; whereas Wright is more concerned with the community aspects, one’s place in the family of Abraham. Wright has more of a covenant view.

The author acknowledges what the new perspective adds but he is not afraid to point out where they detract. He admits that the reformers may have neglected some of the broader aspects but throughout the volume convincingly defends their views against misrepresentation.

What it comes down to is that both old and new perspectives deserve a seat at the table. Their different emphases do not have to be taken as mutually exclusive. Both sides bring needed correction to the other.

The book includes a glossary of medieval and reformation figures, a bibliography, and indexes of authors, subjects, and scripture and other ancient texts.

I do not want to discourage non-academics from giving this a try. Reading scholarly material can increase the capacity for understanding and provide wisdom. The fine points matter.

This is essential for those who wrestle with the seemingly opposing views of these two perspectives. It’s an excellent resource.

I will have to wait for a scholarly analysis of hyper-dispensationalism. It has not received the attention given the NPP. I would welcome the opportunity to talk to someone like the author about this extreme form of dispensationalism. Did Paul preach a different gospel than the other disciples? Are his teachings different from those of Jesus? How do we reconcile apparent discrepancies? Were the teachings of Jesus for the lost sheep of the house of Israel; whereas Paul was entrusted with the revelation of the gospel of grace, making his teachings the new standard for all those who believe by faith?

It’s easy to get lost in the minutiae of doctrinal differences. We can succumb to weariness and think why bother? As in the case of hyper-dispensationalists, who tend to be divisive, incorrect teaching is misleading and produces bad fruit.

So I appreciate books like this. The author is extremely knowledgeable, balanced and charitable in his assessments. Even for those who might disagree with some of the conclusions, it’s worth joining the conversation.

Thursday, March 15, 2018

A Million Lights - Michael W. Smith

The Michael W. Smith album I didn’t know that I wanted

A Million Lights
Artist: Michael W. Smith
Label: Rocketown Records
Length: 13 songs/50 minutes

I have had more fun listening to A Million Lights by Michael W. Smith than any of his other recordings. It’s the blend of electronic and acoustic that delights and fascinates.

One moment it sounds like EDM (electronic dance music), the next I hear organic instrumentation. So expect this unexpected hybrid.

Surprises often happen on a bridge. In “Love Always Wins” suddenly you hear the gentle chords of an acoustic guitar. In “Crashing Waves” it’s the sound of a church organ. That might seem like a turnoff but this retro sound fits perfectly.

Smith accomplishes what can sometimes allude established artists, who seek to remain relevant. Musically and lyrically this speaks in the language of today.

It’s not just the EDM influence heard on many of the tracks. He frequently references the discord and division in our society and engaging those who are different. A cynic might dismiss it all as being too simplistic.

I think of the apostle Paul’s words, “Love bears all things, believes all things, hopes all things, endures all things” (1 Cor. 13:7). Love has a healthy curiosity that seeks to understand the other. It builds a bridge instead of a wall. It crosses lines, sometimes self-imposed, to reach out. So I like it when Smith sings, “Bring me into the conversation … I just want to talk to you.”

So not only would I regard this as among Smith’s best work, it’s like an antidote; gentle persuasion towards making the bitter waters sweet. Listening increases hope.

In need of a personal resurrection? Try “Crashing Waves,” which sounds as powerful as its title. The forceful singing and music reminds me of some of the most passionate moments on his Worship (2001) release. The striking imagery adds to it all:

Somebody hid the sun / In the midnight of suffering / My tears are falling down / And crashing like waves / Somebody stole the day / And took your light from me / I’ll never be the same / Roll this stone away

This song seems so fitting as Easter approaches on the calendar. Initially, it made me think of the day when for a time the sun refused to shine. It was the midnight of suffering for the Son of Man, as he cried out, feeling forsaken.

Please be aware that this is not one of Smith’s worship releases. It’s a studio project of pop though at times it crosses over to include adoration. Instead for the first time in his career he has released two albums in a week, the second being Surrendered, a live worship recording, which I won’t comment on here as I have yet to hear it.

When Smith’s first album, The Michael W. Smith Project (1983), was released, production like this did not exist. Bryan Todd, Kyle Lee and Smith, who is a co-producer, deserve credit for making this sound so enjoyable.

A Million Lights opening title track imagines the stars worshiping God. If they had a language it might sound like the mysterious noises that you hear at the beginning, and which pop up in other forms later on.

Don’t think that it’s all wildly different. It’s still the same voice, though varied at times by programming. Plus, some of the tracks toward the end are more acoustic.

“Hey Love” is a piano and strings duet with Jordin Sparks that reunites Smith with his longtime songwriting partner, Wayne Kirkpatrick. It’s a beautiful ballad with a touch of melancholy as it contemplates the empty nest syndrome.

Shortly afterwards its followed by “Forgive,” another introspective track written with Wes King. I would have enjoyed hearing him play on it, but he may have retired from session work. Regardless, I’m glad for the depth that he brings to these lyrics.

This is followed by another big name collaboration, none other than Cindy Morgan on “Who You Are.” For those who might not know, Smith normally composes the music to lyrics supplied by others.

You hear his keyboard work throughout, and the melodies are captivating. In addition to praise and worship, Smith excels in pop craft, and it is evident here. It sounds fresh to me. It’s the Michael W. Smith album I didn’t know that I wanted.

Tuesday, November 14, 2017

The Legacy - Michael Phillips

Passing on a vision of life with God

The Legacy (Secrets of the Shetlands, Book 3)
Author: Michael Phillips (www.fatheroftheinklings.com)
Publisher: Bethany House Publishers (www.bethanyhouse.com)
Pages: 451

I normally would not think of starting with the last book in a three volume series. I hesitated, wondering if I should seek to acquire the first. I received a review copy, and instead of seeking to acquire the first two books, I decided to start with what was provided. Now that I have finished it, I don’t feel like I have lost out by not starting at the beginning. Like any volume in a series, it should be written well enough to stand alone. The Legacy by Michael Phillips does not disappoint in that regard, nor on other levels.

Phillips and his wife Judy spend time each year in Scotland. So Phillips writes with meticulous detail about life in the fictitious Whales Reef set in the Shetland Islands, right down to the foods, plants and customs. J. R. Tolkien has been rightly lauded for creating such a fully-realized alternate world in The Lord of the Rings. Although this series is not fantasy, I applaud Phillips for doing something similar in creating such a true-to-life story in modern and pre-modern settings.

This tale flips back and forth between the beginning of the twenty-first century and the early to mid twentieth century. The time periods are tied together by the stories of two families and their ancestors: one in America and the other in the Shetlands. At times the continual back and forth was hard for me to follow, but I think it’s more of a challenge for me than a problem on the part of the author. It’s all well done, and the chapter headings make the time and place clear. Plus, the chapters are short in length, which makes for easier reading. As I have said before, Phillips is an excellent writer. I enjoy reading his books just for the writing alone, but fortunately he offers much more than that.

You get two grand, sweeping love stories, which develop slowly, but are ultimately worthwhile, especially towards the end. If you like rich character development, you find it here. I was captivated by the villain that readers meet towards the end.

In a time when even the best of our race can seem sullied just by being in this world, we meet honorable characters facing real-life situations. Don’t believe that fiction is just escapist entertainment and has nothing to offer.

This book highlights what really matters: themes of family, love and most importantly, passing on a spiritual legacy. The inheritance of land, as important as that may be, is symbolic of something deeper, as Phillips writes of the father of one of the main characters:

For him the land was life. It was a legacy that had been passed down to him and that was his responsibility to love and protect and pass along to his descendants with the same devotion. It is what he called the Deuteronomy legacy. The land was a biblical symbol for something deepera permanent family legacy that can only be passed down from fathers to their sons and daughters (359).

That legacy is “the spiritual vision of life with God.”

This thought is bolstered by the interest the author shows in Quaker spirituality. The first reference highly esteems it:

Among America’s Christian denominations, Quakers had always been at the vanguard of progressive thinking. Had it not been his own ancestor, Quaker John Woolman, who had awakened the American conscience against slavery fully a century before the Civil War? Quakers, too, were socially ahead of their time in respect of women and their standing in the world (26).

A little further on we find two Quaker literary references. The first pertains to Hannah Whithall Smith’s autobiography. The second is her book A Christian’s Secret of a Happy Life, regarded as a Christian classic.

I delight in the literary references sprinkled throughout these pages. Of course, Phillips would be remiss, if he did not make some mention of the beloved Scotsman, George MacDonald. He and C. S. Lewis have been his mentors in writing and the spiritual life.

Being a book lover, I appreciate the thought that passing on one’s books can be part of sharing one’s faith with future generations. We can be enriched by the writings of those who have gone before.

Having authored more than seventy books, Phillips is at the top of his craft. His maturity makes me hope for even more books to come. His vision of life with God is helpful and instructive.

Check out the website (link provided after author’s name at beginning of review) to find fiction and nonfiction that you might enjoy reading. 

Thursday, November 2, 2017

The Porter's Gate Volume 1 - A Live Worship Record

“A light that beckons world-weary strangers to come in and find rest.”

The Porter’s Gate Volume 1: Work Songs
A “sacred arts collective” (www.Portersgateworship.com)
Label: The Porter's Gate
Length: 13 tracks/52 minutes

The Porter’s Gate Volume 1: Work Songs connects worship with vocation, “who we are to be in this world” as recording artist Audrey Assad sees it.

In Christian circles it’s been said that worship isn’t just what happens on Sunday morning. We worship not just with voices but our lives. The 13 “modern hymns” on this release imagine what that looks like.

The Porter’s Gate is a collective of artists from diverse backgrounds seeking to build a community that invites conversation and collaboration. The hope is to become a welcoming presence in an inhospitable world. Founder and producer, Isaac Wardell, believes hospitality can impact the culture more than any other belief and practice of the church.

“Little Things with Great Love” featuring Madison Cunningham is a surprising opener in its stark beauty. It sounds like the resurrection of an ancient hymn:
In the garden of our Savior, no flower grows unseen
His kindness rains like water on every humble seed
No simple act of mercy escapes his watchful eye
For there is One who loves me
His hand is over mine

I could not find a songwriting credit but see that it is included on Evergreen, the Audrey Assad release scheduled for early 2018. Assad is on three tracks but not on this one.

This track is evidence that music is more than notes played. It’s also the silence in between, which in this case gives this a haunting quality. Strings add a classical presence.

“Wood and Nails,” which pairs Assad with Josh Garrels is also available as a single on Noisetrade. Though this release is all about serving others, I take delight in the work done on our behalf, highlighted in the first two lines of the chorus:
The work was done with nothing but
Wood and nails in Your scar-borne hands.

The first sounds on this memorable song are solitary piano notes, gentle strumming and Assad’s voice. Garrels joins in on the second stanza.

In a time when the world can feel like a dreary, overcast day, we could use more joyful songs. “Father, Let Your Kingdom Come” blows the clouds away. It’s a lively, gospel-flavored romp featuring Urban Doxology and friends. Urban Doxology is a group of artists dedicated to racial reconciliation and urban ministry in Richmond, Virginia’s Church Hall neighborhood, which is being renovated. Their soulful voices also enliven “Establish the Work of Our Hands,” another track with a delightful gospel influence.
How do I describe what I hear on “We Labor Unto Glory” sung by Liz Vice? It sounds like a Carrie Newcomer song. It’s a mixture of folk, pop and African American spiritual.

“Christ Has No Body Now But Yours” is Josh Garrels reverential adaptation of the famous Teresa of Avila quotation. The sound of a church organ stands out. The simple lines, which contain no additional thoughts, are repeated throughout with the sound swelling at the end with a congregation of voices.

Isaac Wardell co-founded Bifrost Arts and is the director of worship arts at Trinity Presbyterian in Charlottesville, VA. Readers familiar with the three unique Bifrost Arts recordings will find that the production and styles here are similar. It’s stripped-down, organic, and on the mellower side with thoughtful lyrics.

The promotional materials convey an image of the hoped-for welcome intended here: “The Porter’s Gate seeks to provide an environment in which artists can reimagine the vocation behind their gifts and create music that sets a light at the door of our churches, a light that beckons world-weary strangers to come in and find rest.” Thanks to projects like this and many others there has never been a better time for those who appreciate expressions of praise and worship.

Resurrection Letters: Prologue - Andrew Peterson

Friday’s sorrow anticipates Sunday’s joy Resurrection Letters: Prologue Artist: Andrew Peterson Publisher: Andrew Peterson u...