Heaven on Earth - Planetshakers

R&B stands out

Heaven on Earth

Artist: Planetshakers

Publisher: Venture3Media (V3M)

Length: 1 hour 24 minutes

Can a music style like EDM be used in praise and worship? Heaven on Earth by Planetshakers answers a resounding yes and shows how effective it can be.

EDM (Electronic Dance Music) is employed in varying degrees on several tracks. This may be challenging to those who are more inclined to the pop/rock style of modern worship. Nevertheless, the performance is excellent and provides contrast with the other styles. I still marvel that years ago these sounds didn’t even exist. Improvements in technology have not only made them possible but make them fascinating.

What makes this release worthwhile for me, however, is “Electric Atmosphere,” a live recording of a different sort. This is an outstanding example of making joyful sounds. It’s R&B worship at its best. The bass pops. The guitars are so tightly clipped that it’s almost like you could use them to cut hair or maybe a lawn.

The atmosphere is charged with the sound of the crowd periodically repeating “hey” and “ho” as if they are batting the words back and forth with every outburst. What a hoot!

A similar winning combination surfaces on “The Greatest,” another live cut, with the audience proclaiming, “You are the greatest!” I truly enjoy this R&B vibe.

“Move out of My Way” comes in two versions. What surprises me is how well they do the heavy metal version, a studio track. The first version is a combination of several genres done live. I find a little humor in the get out of my way so that I can lift up praise thought. The songwriter is declaring an intention in the strongest possible terms. The call and response is delightfully sassy.

For those who might prefer worship anthems that start quiet and ebb and flow between peaks and valleys, there are four live tracks that are each about eight minutes or longer. I like the change from the EDM sound, but they tend to be a little too familiar and repetitious.

This release is actually the culmination of a trilogy. It includes songs previously released in parts one and two, plus five additional songs released from part three. Part three was released the same day as this one.

Ten of the songs are also captured on video, which is part of the CD/DVD package. Nine of the fifteen songs on the digital release are live.

The radio single of the title track closes the digital release and is absent from the physical CD. The album version is the third song.

Planetshakers is a global movement based in Australia led by pastors Russell and Sam Evans. They launched Planetshakers church in 2004, which now has over 14,000 members in Australia making it one of the nation’s fastest growing churches. Currently, there are four global campuses including one in Austin, TX.

Why Should the Devil have all the Good Music? - Gregory Alan Thornbury

Provoking radical fidelity

Why Should the Devil have all the Good Music?

Larry Norman and the Perils of Christian Rock

Author: Gregory Alan Thornbury

Publisher: Convergent Books

Pages: 292

Imagine being given unlimited access to the papers and archives of an artist that you have listened to for many years. One of the fascinations of Why should the Devil Have All the Good Music? is what Gregory Alan Thornbury chooses to include. So much could be said! Then there is the challenge of what to make of it. The peaks! The valleys!

After watching the documentary Fallen Angel: The Outlaw Larry Norman, where Norman gets “shot down,” I was crestfallen. Even here, the reminders of indiscretions resurrected those dark feelings that like ghosts haunt me once again. Nevertheless, I am thankful to get an alternative view to Norman’s life, one that feels more balanced.

If that is not reason enough to read this, the writing is superb; the thought incisive. The Norman estate made the right choice in opening the vault to this author. So much of the history of Jesus Music is here, which makes this essential reading for any interested in the intersection of faith and rock. It’s utterly fascinating.

Even though some of Norman’s dreams and visions were never fully realized, it’s a pleasure to behold his more noble ambitions. If as some say, God gives credit for right aspirations, Norman must have gained commendation. Despite the ways that he fell short, as we all do, his goals pointed him toward praiseworthy ends. It’s something that I needed to see in light of Fallen Angel.

In Another Land was my introduction to Norman’s recordings. By the time that I made my way to So Long Ago the Garden, I was still new to the Christian faith, having more zeal than knowledge. After the straightforwardness of Another Land, I was perplexed by Garden. Why so few overt Christian references? Reading about the background and aftermath of this release enables me to see that Norman was badly misunderstood and judged. It make me think of the quotation on the back of the dust jacket, “I was both happy and unhappy to have Larry Norman’s earthly arc fully explained. How the hell did he survive all that?” (Black Francis, songwriter and lead singer of Pixies). I am grateful for the explanations, but sorry that I was among those who questioned Norman’s judgment on this controversial release.

An insight from Norman sheds light on what is a long time coming among Christians:

Music is a powerful language, but most Christian music is not art. . . . It never relies on—in fact it seems to be ignorant of—allegory, symbolism, metaphor, inner-rhyme, play-on-word, surrealism, and many of the other poetry born elements of music that have made it the highly celebrated art form it has become (98-99).

As a new Christian, uneducated about the world of art, I had no concept of the elements described by Norman. Fortunately, over the years there has been more instruction on theology and the arts. Otherwise, like the proclamation of the gospel, how can we know unless someone tells us?

This book does not try to reconcile the contradictions—something only God can do. It’s aim, like Norman’s ministry, is to provoke an encounter leading to radical obedience. Curiosity, superficial engagement and maintaining the status quo are insufficient. Norman was aiming at an authentic following of Jesus.

Perhaps Norman’s life is a reminder that we dare not miss this pursuit. What we get right or wrong is of little consequence in comparison. The world needs to see more of Jesus in the life of his followers.

I think Norman will be pleased if the totality of his life inspires toward this end. So if you read this book and/or listen to Norman’s recordings, think about what it means for Jesus to be the way, the truth and the life.

Rebel for God - Eddie DeGarmo

Not all rock bios are equal.

Rebel for God: Faith, Business, and Rock ‘n’ Roll

Author: Eddie DeGarmo

Publisher: Salem Books (www.salembooks.com)

Pages: 352

Not all rock bios are created equal. They are shaped by the perspective of the author. They choose what to include. It somewhat reflects their viewpoint and values.

The debauchery in some accounts leaves me crestfallen. I prefer stories like Rebel for God by Eddie DeGarmo that have more of an element of redemption. The focus is more on what is good, right and acceptable (See Philippians 4:8). I have witnessed more than enough of the sordid. Give me a godly perspective, which is typically absent from the rock biography.

I recognize, too, that not everyone is a reader. Some just care about the music. They don’t want their concert videos interrupted by talking heads. They are not interested as much in the life or the context as the songs. If they wanted a reason why they should care, I suggest that it could lead to a richer experience. A song, an album, might become more meaningful. I recommend this for the skeptical. It’s easy to read, fun and informative.

The author chronicles the entire history of DeGarmo and Key (D&K later on, but used hereafter to represent both time periods), including the making of each album. You don’t have to be a fan but you might become one after reading an account that becomes more captivating as it progresses.

It is also an insider’s guide to the music industry but more than that it’s about living life well. This is not something typically found in the average rock star book.

It was surprising to learn of the early connection with Stephen Lawhead, the celebrated author, whose Celtic works have inspired Jeff Johnson and Brian Dunning to create music that serves as a soundtrack.

Lawhead helped to launch the band’s career and was their first manager.

Another fascinating contact early on was Pat Boone, who signed them to their first recording contract on his Lamb and Lion label. Boone identifies himself as the lamb; partner Mike Curb is the lion.

Scattered throughout the narratives are principles that DeGarmo learned through the ups and downs of his career. The “four-year commitment principle” is especially notable, “I told countless young artists they should make a commitment to their dream for a period of years. When we started we chose to commit for four years; I told them they could choose how long they would give it, but it needed to be at least three years. During that period of time they should give it everything they had … At the end of the time period, if they still couldn’t support themselves and their families if they had them, they should give it up” (90). Wise counsel like this makes the book especially helpful for anyone in the industry. DeGarmo was not only a recording artist but became a music publisher, producer, promoter and eventually the president of the largest gospel and Christian music publisher in the world.

Readers might also enjoy DeGarmo’s sense of playfulness and humor. The commitment principle chapter includes the author’s own Elvis sighting where he exchanges knowing glances with the king.

Sadly, one of the challenges for the band was a steady stream of criticism from other Christians. Often it had to do with opposition to the music styles associated with rock music. Is it compatible with a Christian message? What would Jesus think?

Fortunately, the band learned to respond graciously to attacks, “We knew better than to get into a public rock ‘n’ roll justification debate with these folks. We politely asked them to pray for us and then reminded them ‘God loves you’” … (116).

It didn’t make sense to play any other type of music. They grew up listening to rock. God used the controversy and subsequent publicity to get their music out there. It gave them greater prominence.

One of the most poignant moments came after agreeing to tour with Amy Grant. At the time it was a stretch for both artists and their fans. DeGarmo writes, “Sure, there was a certain amount of culture blending and boundary pushing, but no one expected the kind of outrageous and vocal criticism Amy received from some of her fans. It was downright mean-spirited at times” (181).

The culmination came at the Christian Music Seminar in Estes Park, Colorado, the last show of their tour. D&K had never been invited previously as they were perceived as being too extreme and on the fringe. They rocked “Beautiful Music,” the first song. “At the end (of it), though, there was absolutely no applause,” DeGarmo writes. “You could hear a pin drop. All I could see was a large room full of people with their arms crossed … Amy began to cry” (182).

She poured out her heart explaining that she wanted to make a difference in the lives of young people. Energetic music was a language they understood.

This story reminds me of what one musician conveyed when I asked about something I did not understand. He encouraged me to trust the artist when something is questionable but not clearly wrong.

When I was young in the faith I recall writing a letter to a prominent Jesus music artist, questioning the content on one of their albums. I recognize now that because his choices didn’t make sense to me, I assumed that they were wrong. I was the one in error. If I had given the benefit of the doubt I might have been able to enjoy that record at the time. If we only realized how little we know, it might make us more hesitant to criticize.

Some of the most meaningful words were the hardest to write for the author. It wasn’t the specifics but the reminder that difficulties with others sometimes have no explanation. In such times one comfort is knowing that Christ himself went through similar perplexity and even betrayal. What pain compares to having a friend turn against us?

Barbara Bush said, “Never lose sight of the fact that the most important yardstick of your success will be how you treat other people—your family, friends, and coworkers, and even strangers you meet along the way.” What I like about the author is that he writes charitably about conflicts and disagreements. I appreciate his honesty and humility. His treatment of others is one of his greatest successes.

Let me add in closing that D&K’s commitment to evangelism throughout their career is admirable. They were uncompromising even when it cost them personally. Many thousands of people came to Christ through their ministry. Well done!

Resurrection Letters, Vol. 1 - Andrew Peterson

Crafting nine diverse songs related to the Resurrection is no small feat.

Resurrection Letters, Vol. 1

Artist: Andrew Peterson (www.andrew-peterson.com)

Label: Centricity Music

Length: 9 songs/39 minutes

“His Heart Beats” is a dramatic open to Resurrection Letters, Vol. 1 by Andrew Peterson. The song is about the moment when Christ came alive. The underlying percussion mimics a heartbeat. The rhythm relentlessly propels the song forward. The electric guitar work has an otherworldly sound. Similarly, the hammer dulcimer sounds more like a sitar. The words are sung with a hushed insistence.

On the verge of proclaiming Christ’s victory over the grave, Peterson references the ancient hymn, “So crown him the Lord of life/crown him the Lord of love/crown him the Lord of all.” It’s an interlude of worship, as the music suddenly resolves from its urgency.

The next track, “Risen Indeed,” is as poetic as the first track is exhilarating.

And so the winter dies with a blast of icy wind

Like a mournful cry, it’s giving up the ghost again

Another sheet of snow melts away to gold and green

Look at Peter go, he’s racing to the tomb to see.

Peterson is a wordsmith of the highest order. He is skilled in combining theology and sound in vibrant ways; it’s not at all wooden. It helps too when you have a first-class producer and performer like Ben Shive at the helm.

The chorus of “Remember Me” is like a mesmerizing chant. In contrast, the verses are backed by a hip-hop rhythm led by the sound of a snare drum. Peterson fires off the lines in a steady rap. I don’t think he has ever done anything like this. Its uniqueness in this collection is immediately appealing.

The music of “I’ve Seen Too Much” is indicative of the roots music sound heard on several tracks. Unlike those who profess the faith but now deny it, I cannot go back. I’ve seen too much of the reality. The faith once delivered, with all its mystery and perplexity, remains the best explanation for this present life.

“Remember and Proclaim” is a communion song that expertly captures the double application of this rite. The cheery rhythm and lead guitar work make for a joyful sound.

“Maybe Next Year” appears to have been inspired in part by a trip to the Western Wall and the phrase “next year in Jerusalem,” the last words in the traditional Passover. Believers in Messiah look forward to his return, when they will meet in the New Jerusalem. Andrew Osenga’s guitars are prominent, heralding this long-held desire.

“Is He Worthy?” may be the finest, most worshipful composition that Peterson has ever done. It is in a liturgical style. Peterson asks a series of questions whose answers are self-evident. They address the mood of our times. A choir responds to each call in the affirmative. The chorus exalts Christ as the only one worthy; there is no other. It’s a reminder to continually look from ourselves to Christ. The first brings despair; the other hope.

I sent the YouTube video to my 81, soon to be 82, year old mother, who became elated. Immediately, she asked for a copy and more by the “new guy.” For those who have not found what they are looking for in Christian artists, Peterson is one of many making valid art. He has been around for years making music worthy of the Name. As on the closing “All Things Together,” he gives glory to God for all that Christ has done and is doing. Truly, all things are held together by the risen and exalted Christ.

Be sure to check out Resurrection Letters: Prologue, which I have reviewed separately and is a companion to this recording. Buy it as one one package if available. Otherwise get both. Prologue is smaller, but just as good if not better, and an important introduction to this work.

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.

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.

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.

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 19^th and 20^th 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.

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.