Behold EP - Plumb

Behold, Plumb’s first Christmas release, colors a little outside the lines.

Behold EP

Artist: Plumb

Label: Plumb Music

Length: 5 songs/16 minutes

Behold, Plumb’s first ever Christmas release is a gift for those who enjoy traditional and religious songs. She also released It’s Christmas Time EP for some pop/holiday fun, which is not part of this review.

Part of my intrigue with Behold is the variation not only in the music styles but in the production within the five songs.

It begins with “O Holy Night,” which starts softly with gentle piano playing and singing. Quiet programmed percussion in the background gives this a more modern feel.

Chains shall he break, for the slave is our brother, And in his name all oppression shall cease

Hearing the above, made me wonder if this has a connection to the Civil War conflict. I discovered that this is the work of Adolphe Adam, a French composer, in 1847. The music was originally part of a French poem. The lines predate the Civil War, but apply to all who have ever been in servitude, whether literal or spiritual. One day this reality will be pervasive when God makes everything right. Slavery and oppression of every kind will be forever abolished.

Light orchestration comes in as the vocal intensity builds to a crescendo. It’s an elegant rendition of a powerful song.

Lacking liner notes, my guess is that the first sounds I hear on “The Christmas Song” are from a xylophone. Though the pairing may seem ill-suited, it actually blends well with the lounge style heard here. What’s striking is the guitar solo, which departs from the jazz sound. The production makes it unusual but not unwelcome.

“‘Behold’ is the angel speaking to us,” Plumb explains in a video, “telling us what you have been anticipating has come. Here is your king.” Advent means to anticipate. This season is about celebrating the fulfillment of Christ’s coming.

The Jewish people were looking for a deliverer, something along the lines of a fearless warrior or mighty king. But God gave a baby, “born in a barn, who was all about love, and that’s exactly what we needed.”

Plumb says it underscores how anticipation can lead to disappointment when expectations are not met. But just as God gave what was truly needed in the form of a child, He can be trusted to provide what is necessary.

When the answers don’t come easily
And when they’re not what we expect
Help us to trust you even then
In our darkest night
Be the brightest light

The song starts with rapid alternating keyboard notes punctuated by piano. It feels wintry. Strings begin a delicate accent. Initially, the percussion is soft. On the second stanza creative programmed percussion brings additional heft. Electric guitar adds subtle texture. It’s a wonder-filled song that could rightly be the highlight of a performance. I appreciate artists like Plumb, who bring us something new each season.

It’s not that I don’t appreciate the classics. Plumb breathes life into “My Favorite Things” with just orchestra backing. The song took on new meaning for me one Christmas while working late in a retail store. That encouragement to remember my favorite things brought me a little cheer. The apostle Paul takes it further in Philippians 4:8, where he encourages thinking about what is true, honorable, just, pure, lovely, commendable, excellent and whatever is worthy of praise. So “when the dog bites, when the bee stings, when I’m feeling sad,” focusing on our blessings, which ultimately come from God can change our outlook. Appreciate Plumb covering a classic that isn’t often remade.

“Silent Night/Away in a Manger” is keyboard-driven and accounts for almost all of the instrumentation in this quiet, relaxed version. The artist who records as Young Oceans provides a male harmony vocal. It’s a lovely ending for a fine release.

Behold the Lamb of God - Andrew Peterson

As timeless as the story

Behold the Lamb of God: The True Tall Tale of the Coming of the Christ

Andrew Peterson

Label: Centricity Music

Length: 12 songs/41 minutes

I wonder if Andrew Peterson considers Behold the Lamb of God as one of his greatest achievements. This Christmas recording first saw the light of day in 2004. A concert of it on DVD followed in 2005. Another version came out in 2009 that in addition to the studio tracks added a live performance. This completely new recording, reunites many of the original artists, and commemorates 20 years of it being on tour.

Perhaps the continued attention reflects Peterson’s estimation of it. “It re-centers me again and again of what got me into this in the first place—which is God loves us so much that he put on flesh and dwelt among us,” Peterson said.

Part of what makes this recording unique is its scope. It tells the story of Christ’s birth from the foreshadowings in the Old Testament to the fulfillments in the New Testament.

This sounds like the definitive edition. I like to think that being road-tested for 20 years contributed to making this even more excellent. The changes are subtle, but enhance it enough to make it worth getting if you have a previous version. This is the one to hear.

One of the noteworthy additions is Jess Ray singing lead on “Passover Us,” which originally was sung by Peterson. Ray is a fresh voice that sounds at home here. I like how Peterson alternates with others in singing lead, allowing them to make the material their own.

The chorus of “Passover Us” has some clever wordplay, which gets at the meaning:

Lord, let your judgment Passover us Lord, let your love hover near Don’t let your sweet mercy Passover us Let this blood cover over us here

Another intriguing song is “So Long Moses,” which traces Israel’s desire for a king through Saul, then David, and that would ultimately be satisfied beyond expectation in David’s offspring. The chronology covered is epic. It’s a somber reflection with Beatlesque strings.

Andy Gullahorn takes the lead this time on “It Came to Pass.” Dobro and pedal steel serve to give this a country/bluegrass style and a light feel. It’s an underrated gem about the census making it necessary to travel to one’s birthplace for registration.

“Labor of Love,” sung just as dynamically as before by Jill Phillips, adds realism into what it must have been like for Mary. It wasn’t the neat and tidy affair that more romantic notions tend to leave out.

Instrumentals may not always get their due when compared with their vocal peers. So I want to give a shout-out to the brief but wonderfully crafted, “O Come O Come Emmanuel” and “The Holly and the Ivy with the Next Egg Jig.” There is a reason for the addition of the “Next Egg Jig,” which was not part of the original title. Among other things on this track, I hear mandolin, cello, flute and distinctive Celtic percussion. Hello Irish-sounding music.

These brief interludes are not wasted efforts just taking up space preceding the next vocal track. The intricate playing is gorgeous and not to be overlooked.

The words on the title track are simple and the tempo slow making it a song that could be easily passed-over for more lively fare but that would be a mistake. The classical influence coupled with worshipful reverence make this one of Peterson’s finest compositions. The pace and repetition make this meditative. It highlights the reason why Christ came—“to take away our sins.”

This song is on the same level as Peterson’s “Is He Worthy?” and Michael Card’s “Immanuel.”

If Peterson considered this his most important work, it would not surprise me, not would I argue with him. It’s as timeless as the story.

Immanuel: The Folk Sessions EP - Melanie Penn

Exquisite arrangements and intriguing perspectives on Christ’s birth

Immanuel: The Folk Sessions EP

Melanie Penn (www.melaniepenn.com)

Label: Equally Well Music, LLC

Time: 6 tracks/23:31 minutes

A favorite moment on Immanuel: The Folk Sessions by Melanie Penn comes with just over a minute left on the opening “All Things Are Possible (Gabriel).” It’s a brief interlude where guitar and mandolin trade solos. It’s one of several places on this release where acoustic instruments, including fiddle and piano, provide lovely moments.

These sharp, compressed music interludes are not only indicative of the tight strumming and picking, but enhance the solid songwriting and the pristine vocals. There is no denying that Penn has a soothing voice. Nowhere is this more evident than on the one traditional song, “The First Noel.”

I can imagine snow falling with the gentle playing. The vocals are clear, the pace relaxed, conveying a sense of peace.

Including one carol follows the pattern on the original Immanuel (2017), which I have not had the pleasure of hearing. All of the other tracks on that release, as is the case here, were written from the perspective of the different characters in the story of Christ’s birth.

This contains two new songs, counting the carol. The other new track is written from Simeon’s perspective, “I’ve Seen The Glory.” It comes at the end, and may be the best song on this EP. Drums are a little more prominent, driving a steady rhythm. The melody is strong and the chorus simple but memorable. The rest of the songs found here are a selection from that earlier release made in more of a folk style.

A playful moment comes with the first lines of “Gift Of Love (Angel Chorus),” which coupled with the upbeat music makes it delightfully whimsical:

From on high, gonna break in to tell you
Look up, we got a band in the sky
We’re the angel chorus, with an aching to tell you
The savior of all has arrived

With the quirky rhythm and that “band in the sky” line it comes off as somewhat amusing. The songwriting makes the nativity story consistently appealing and intriguing throughout this release.

I like the use of pedal steel and the stripped-down bridge leading to the chorus on “Great Things (Mary).” This is another song that has a little more percussive punch.

“What Child Is This” is not the popular carol but it does borrow from it placing the question in Joseph’s mind, which seems appropriate. He must have wondered what it all meant.

What other character or perspective would you like to see represented in the future? Penn recently asked for this input on social media. If you have any thoughts after listening to one or both releases you may want to send her a message.

Judging from this EP, Immanuel (2017) will be worth getting along side of it. I do remember it being critically acclaimed at the time. I’m sorry that I did not get to hear her until now. This is someone to watch for future offerings.

If you read this in early December 2019, Penn is currently touring in support of her Christmas songs. Go to her website and see if she is coming to a location near you. I don’t think you will regret hearing her perform if you get the chance.

Simple Hymns: Songs of Redemption

This wonderfully succeeds in helping a new generation discover the majesty of hymns.

Simple Hymns: Songs of Redemption (www.simplehymns.com)

Artist: Pat Barrett (Housefires), Chris McClarney (Jesus Culture), Leigh Nash (Sixpence None the Richer) and others

Label: Venture3Media (V3M)

Length: 10 tracks/39 minutes

“Amazing Grace (My Chains are Gone)” sung here by Pat Barrett is like a pattern for the rest of Simple Hymns. Chris Tomlin and Louie Giglio added additional lyrics to John Newton’s well-known text. These hymns have similar additions: new words and melodies that enhance rather than diminish. Purists may object but this succeeds in making ancient lines more accessible to listeners today.

The sound might be likened to roots music. Acoustic sounds are the foundation. Guitar strumming and piano playing are like anchors for more electrified accents. Some songs use a limited number of instruments. Piano and cello make for a fitting pensiveness to “Psalm 62.” This is immediately followed by the joyfulness heard in guitar, banjo and other stringed instruments on “Oh, How I love Jesus.” No overproduction here!

Even though traditional interpretations bring back memories and can be a comfort, subtle changes can reinvigorate. “I Surrender All” has a soft programmed clap track and atmospheric guitar that fits the theme. It’s not a style I expected but it works.

“Like a Wideness of the Sea” is written and performed by Anthony Skinner. It draws inspiration from Frederick Faber’s “There’s a Wideness in God’s Mercy,” a hymn which I was introduced to by Rich Mullins. This more fully develops the theme in marvelous ways. The sound, aided by an organ, is relaxed, the tempo calming, yet the message can be pointed: “Oh, we make His love so narrow by the limits of our own/And we magnify His strictness with a zeal He will not own.” It’s easy to mistake this for the ancient hymn but remarkable to discover that this is a new creation.

“This I Know (There is a Fountain)” marries the sublime words of William Cowper’s “There is a Fountain” with a new cheerful melody driven by acoustic guitar and mandolin. Chris Weninegar’s male harmony on the chorus blends with Katie Gustafson's lead vocals. What a comfort to hear the good news delivered so tenderly.

“Psalm 62” written by Aaron Keyes and Stuart Townend, and performed by Keyes, is another new song done in a hymn-like style. Throughout this release a listener may wonder if they are hearing something new or old, when in reality you get both, often on the same song. Whether it be a classic text, lines that mirror that style, or something more contemporary, it seems every effort was made to make it the best possible song. The shackles are off. This reverently breathes new life into timeless words. Some may object to the changes but these songs have the potential to reach a broader audience than if they were limited to traditional melodies and familiar lyrics. That’s not to say that the old hymns are now totally unrecognizable and will soon become dated.

On the other hand, listeners who don’t like the “My Chains are Gone” version of “Amazing Grace” may want to steer clear of this.

I think this first project in the series succeeds wonderfully in helping a new generation discover the majesty of hymns.

Apple/iTunes offers a deluxe version that features videos of every song. Though I have not seen them, they no doubt will add to the experience.

Pilgrim Year - Steve Bell

Pondering stories in the Church calendar year

Pilgrim Year

Author: Steve Bell

Publisher: Novalis (www.novalis.ca)

Canadian Steve Bell brings the same sensibilities found in his music to his writing: truth, wisdom, beauty, maturity, creativity, empathy, compassion and challenge. He writes like a skillful poet (Psalm 45:1). Speaking of poetry, readers will find more than a little here. In addition to Bell’s song lyrics, his friend Malcolm Guite’s poems and thoughts frequently add to the reflections.

For those who struggle with deciphering modern poetry, don’t hesitate to give this a try. Though there is always a degree of mystery, I find Guite and Bell’s prose on the Christian life more accessible than some of what I have read in Image for example, which covers broader subject matter.

In a recent Twitter post, Ginny Owens, another singer/songwriter wrote, “Each of us has the powerful gift of story. Whether we choose to tell our stories through music or conversation, we must tell them, knowing that, in doing so, the ‘teller’ and the ‘hearer’ will both be changed.” This applies to the stories that have been entrusted to the Church. Bell writes,

The Church tells and retells her sacred stories year after year, much as a mother to her children who ask for the same stories night after night. And like any good child’s tale, they continue to reward well into adulthood. Each time we rehearse and reharrow these stories, we unearth something new precisely because there is so much more to receive, but also because our capacity to receive has deepened (from the Introduction).

It’s not just that the Church needs to tell its stories, it needs to be continually reminded of them. Following the church calendar helps the Church to repeat the gospel and the related stories to itself. Individual members never get beyond the need for the application of the good news in their own lives.

Bell comes from a Baptist background, which would seem to make him an unlikely guide but this in particular enables him to gently lead others into the riches that he has found. For those like myself and Bell who have not been part of traditions that follow the calendar year, this is an excellent introduction.

Bell does not consider himself an expert but a continual learner. Even so, the same depth found in his music, is evident here. There is something for everyone no matter what stage of development they find themselves.

The content consists of seven small easy-to-read books, each one covering a different season beginning with Advent and ending with Ordinary Time. This is not a daily devotional with a reading for each day of the year. There are readings for some days when it coincides with a particular day remembering an important event or person. There is a reading, for example, on February 14^th to celebrate The Feast of Saint Valentine.

When researching for the Advent season Bell made a remarkable discovery:

I was surprised at the themes present in the ancient writings. Traditionally, Advent was not the giddy season of festive parties and garish décor we have come to know. The more rooted Advent tradition was a preparation for the return of Christ, not a mere preparation for Christmas celebrations. Indeed, there was an element of festive joy, but it was also a sober season (almost Lent-ish) that began with sustained attention to our deepest longings and the assumptions, valid or vain, which those longings might indicate. It was a time of penitent reflection about the many inordinate attachments and affections we have given ourselves to – those ill-discerned commitments that prevent us from fully attaching to Christ (16-17).

The attention paid through remembering is helpful in recognizing inordinate attachments and affections so that pilgrims like Bell and his readers can trod better paths, becoming more attune to the working of the Spirit. The focus on different aspects of the Christian life is one of the rewards.

I like that the Christmas book celebrates 12 days instead of one. Again, this doesn’t mean there are readings for 12 dates on the calendar. There may be a few more but some have no particular day. The prolonged celebration is an illustration of how following the calendar can make the season more enriching. The readings here and elsewhere are a delight not a burden.

A highlight is the author’s expertise in providing poetry and songs, as well as quotations, to fit the content. The readings end with a poem, often by Guite, and/or song lyrics from Bell with a link for listening to the song. A two-disc companion CD can be purchased along with the boxed set. The seven volumes are also available individually.

As a long time listener of Bell’s music, reading his reflections and how they relate to specific compositions gave me greater insight into what he sings about. If you like Bell’s music, this is worth getting. Those not familiar with his music should find that it complements his prose. These products reward repeated reading and listening.

As I write this is the season of Ordinary Time, the longest part of the calendar. This is where I started, and one of my joys was finding chapters on Clare of Assisi and Saint Francis, who are remembered on August 11^th and October 4^th respectively. Now is a good time to purchase this series before the onset of Advent, which begins the new calendar year. Readers who start in Ordinary Time as I did will most likely enjoy it as a welcoming introduction to the series.

Roar From Zion - Paul Wilbur

Saying more in a different way; still relevant after all these years.

Roar From Zion

Artist: Paul Wilbur (https://www.wilburministries.com/)

Label: Venture3Media

Length: 14 tracks/1 hour 12 minutes

Roar From Zion by Paul Wilbur opens with a stately voice narrating Scriptures that outline Israel’s history and future against a backdrop of strings. It’s a stirring intro to this live performance at The Pavilion in Jerusalem recorded on the 70^th anniversary of the rebirth of the nation of Israel.

It’s hard to imagine a more dynamic start to the thunderous praise in the title track. It is a powerful invitation for God to act. The roar of the crowd adds an element of excitement.

Immediately apparent is a Middle Eastern influence that combines the ancient with the latest in technology. It’s apparent on the stringed instruments that include something that sounds like a sitar and the prominence of congas.

This also features the sounds of the Nashville String Machine with orchestrations by Paul Mills. Some may have an aversion to strings but they enhance rather than detract throughout this recording.

Is it possible to hear maturity in a voice? Veteran artists like Wilbur, now 68, can sound more vulnerable with age. I’m not highlighting weakness but the gentleness that comes with wisdom. Perhaps the song that comes closest to conveying it is “Days of Elijah 2018.” This is a remake of one of his most popular songs. From what I remember of the original this is more acoustic. It sounds more mature. Understating it adds to its power. This also applies to “Adonai 2018,” another excellent remake of one of Wilbur’s better known songs.

Wilbur started out in Harvest, an early Jesus music group whose first two albums, Harvest (1979) and Morning Sun (1981) include Wilbur. After leaving he recorded two albums with Israel’s Hope before beginning his solo career in 1991.

All of his experience and skill come together on “Your Love is Far Better,” which beautifully draws Scripture together with a more melancholy sound that fits with desiring God. It includes a gorgeous violin interlude.

Hardly a somber affair on the whole, among many upbeat moments, one of my favorites comes on “It is Good to Praise the Lord.” Shortly after you think the song has ended, Wilbur says, “I’m not done yet.” Praising God on string instruments follows; quick solos on bass, violin and guitar. It highlights the virtuosity of the musicians.

If this wasn’t a Hebrew influenced recording, I would think “The King is Coming” is reggae. It has a rhythm that is common to both.

By the way, some songs alternate between English and Hebrew lyrics, which makes this more interesting. The names of God, like Yahweh and Adonai, are rendered from the Hebrew.

If you enjoy Messianic worship, or even if you not familiar with it, there is plenty to appreciate here. Some of the tracks would be right at home in modern worship recordings. The Hebrew styling is not always prominent.

Indicative of Wilbur’s humility is allowing younger voices to take the lead on some tracks in the last half of the recording. These songs in particular are less traditional but the Jewish influence is still there.

I’m not familiar with most of Wilbur’s work but from the sound of this, my guess is that this is one of his finest recordings. It’s a wonderful convergence of old and new sounds and styles.

Jefferson Airplane and Hot Tuna bass player, Jack Casady, age 75, recently remarked, “I think that as you grow older, you’ve got more to say and in a different way.” Paul Wilbur proves that to be true on this release.

The Roof: The Beatles' Final Concert - Ken Mansfield

From the cavern, to fool on the hill, and then finally the roof

The Roof: The Beatles’ Final Concert

Author: Ken Mansfield (The Man in the White Coat)

Publisher: Post Hill Press (www.posthillpress.com)

Pages: 195

On the debut double LP Loosen Up Naturally by the Sons of Champlin, Bill Champlin sings, “I got one thing to say to the Fool on the Hill / You’re gonna feel funny on a rooftop.” While that may be true for the environmentally conscious, the rooftop in this story becomes the setting that rekindles a little of the magic that produced a meteoric rise from the Cavern Club to the most revered stages.

It is now 50 years since the Beatles last live performance, which is the subject of Ken Mansfield’s latest book, The Roof. The timing of this release could not be better. This year witnessed the announcement that famed filmmaker, Peter Jackson, has been given access to 55 hours of never-released footage of the band’s 1969 studio sessions, which led to the Let It Be recording. The original Let It Be movie reportedly will be made available some time after a new film directed by Jackson is released.

The Roof is a wonderful guide for those who want to enjoy that last performance and what led to it. The author was the US manager of Apple Records and the man in the white coat pictured in the background as the Fab Four give their all on a cold London day. What a terrific cover! It alone makes this worth having for the collector, but the contents make it all the more meaningful.

Mansfield writes to convey a feel; not just communicate facts. He writes for casual fans and Beatles experts by providing intimate details of his experiences with the group and those surrounding them while conveying impressions as a friend and confidant.

If new revelations of significant magnitude are all a reader seeks, they may be disappointed. Much of the preliminary writing is conveying background essential to imparting what that time was like. Mansfield accomplishes his stated intent of establishing the setting, including the historical climate, providing background on the building itself, the inner workings of Capitol and Apple, and some of the dynamics between the chief players. What makes the book special is that this is an eyewitness providing observation, not just someone sharing research.

It all leads to the roof, but I appreciate asides like this: “The day I was invited into the Let It Be sessions at Apple was second only to the concert on the roof when it comes to experiencing Rock ‘n’ Roll history in the making…. I was blown away by being one of only two people in the studio besides the Beatles and Yoko—not the lobby, not the lounge, not the control room with the production/engineering team, but sitting on the floor in the actual recording studio while the four Beatles were recording live…. The other person in the room that day was my friend Billy Preston” (70).

He goes on to mention the well-known paradox: “The idea was to have ‘live’ takes. Looking back, I find it ironic that the album from these sessions, which was issued more than one year later was anything but ‘live.’ It wasn’t until the Apple-approved, McCartney-mandated do over Let It Be … Naked CD arrived more than 30 years later that the intended ‘bare bones’ approach to the music was finally heard” (71).

Immediately I wanted to hear the Naked version, which is available on YouTube. The difference is especially noticeable on “The Long and Winding Road” and “Across the Universe.” Also, this includes “Don’t Let Me Down”; not found on the original Let It Be.

Being in the studio made a lasting impression, “I never realized how good the Beatles were until I was in the Apple basement studio, watching them play their instruments and seeing their creative process unfold before me” (71). He was especially impressed with Ringo’s restraint, his ability to play just the right thing in service of the song.

Mansfield invited Brent Stoker, a contributing editor to Mansfield’s first two Beatle books, to write the chapter, “Taking It To The Roof,” which gets into the intricacies of the songs performed that day. Speaking of the “One After 909” he writes, “The entire band cooks on this one. It was mighty cold up there, and they did it all in one take! Remarkable!” (127).

He mentions that George Harrison’s “For You Blue” would have been a perfect fit in the set list, and John Lennon’s Hofer Hawaiian lap guitar used on the song in the film is visible in rooftop photos but was never called in to action that day. He speculates as to why.He acknowledges that “Billy Preston’s spirited playing on a Fender Rhodes suitcase piano adds so much light and life to the proceedings” (128).

It’s sobering that of the select few that made it to the roof many are no longer with us. Whether still living or deceased they shared a special moment that bonded them forever. Throughout the book Mansfield reminisces about this bond with both groups as he connects again with some who are still living. Their stories are fascinating.

In particular, I enjoyed reading about Billy Preston and Mal Evans, the gentle giant. The latter met a tragic end. It is still so painful that the author had to use an earlier writing of the events to include here.

And in the end it’s Mansfield’s faith that enables him to put everything into perspective. In the epilogue he returns to the roof where he surveys his journey. He summarily writes, “I finally became a man today because I realize it is all about just being His child” (182).

Experiences are transitory. Friends come and go. Life is fragile. God can use all that transpires to bring people to the place where they realize that their relationship to Him is what matters most.

To The One - UPPERROOM

First full length from the creators of “Surrounded (Fight My Battles)”

To The One

Artist: UPPERROOM

Label: Independent

Length: One hour, five minutes

To The One by UPPERROOM reminds me of what C. S. Lewis wrote in The Lion, The Witch and the Wardrobe:

“Aslan is a lion⸺the Lion, the great Lion." "Ooh" said Susan. "I'd thought he was a man. Is he-quite safe? I shall feel rather nervous about meeting a lion"..."Safe?" said Mr Beaver ..."Who said anything about safe? 'Course he isn't safe. But he's good. He's the King, I tell you.”

Those who favor conservative, quiet worship might be nervous about listening to this. Is it safe? It’s not safe if you want to avoid guitars that roar, bass that pounds and drums that herald.

Moments of spontaneity are found throughout this live recording, mostly at the end of songs or as a brief interlude. Sometimes they fall flat but it’s part of being a less polished, less tame experience.

This is not to say that it’s all wild and loud. It’s modern rock applied in a worship setting. Crescendos are balanced by quieter moments. Songs ebb and flow for five minutes and upwards. It does make for some repetition that can be a little monotonous. The opening track at over 10 minutes is a prime example.

There is, however, some depth to the lyrics, which are intimate expressions that are traceable to this collective’s prayer room. Though they are not necessarily the best songs on this release, I give them credit for touching on themes that may not be addressed as often like gratitude, the Holy Spirit and healing.

The promotional material boasts that “Surrounded (Fight My Battles)” includes new verses. Michael W. Smith includes the song on his new live recording, Awaken: The Surrounded Experience. It’s a highlight with verses that reference Psalm 23 while making connections with New Testament practices. It’s beautifully sung here by a female lead.

One application I make is that being in Christ is the foundation on which we take our stand. Scripture makes it clear that we don’t fight as those in the world do. Our weapons are spiritual, even praise and worship. It’s thoughts like this combined with captivating music that make this appealing.

Another personal favorite is “Washed,” an anthem with a simple, steady rhythm that boldly declares, “I am washed by the blood of the lamb.” Appropriately the guitars are anything but passive on the chorus. It’s a celebration of a prodigal being made clean. The Lamb who is also a Lion makes the difference. Is He safe? No, but He is good. He makes it as though one had never sinned!

This has a loose slightly Charismatic feel, which may appeal to those who like something more fluid.

The technical prowess is evident in the instrumentation. In particular, I enjoy the guitar work but all of the playing is competent and well-produced. You can clearly hear the audience participating and responding with enthusiasm, which makes it more exciting.

I put this in the forefront of modern worship recordings even though I favor something less given to excess. Even though it might not be safe for some like me, it is benevolent in heart like the object of its worship. It’s worth checking out for those who like something on the edges of the frontier.

UPPERROOM is a church founded in 2010 in the creative Design District of Dallas. More than 100 vocalists, songwriters and musicians are involved in leading worship three times a day, six days a week. This is their first full length release, which follows their Moments (2018) EP.

The First Testament - John Goldingay (Translator)

When words become too familiar they can lose their impact

The First Testament: A New Translation

Translator: John Goldingay

Publisher: IVP Academic

Pages: 924

For some odd reason I have always remembered a family member mockingly repeating my mother’s pronunciation of the word Yisrael. My mom must have learned this from someone like Zola Levitt, who being Jewish had insight into the original languages of the Old Testament.

If my mom were to read The First Testament by John Goldingay she might be pleasantly reminded of what she learned long ago and feel a slight sense of vindication. Yisrael is the translation throughout. Jerusalem becomes Yerushalaim. Judah is Yehudah. If I understand the author correctly, it is because he is translating from the original languages rather than a subsequent rendering in Latin, Greek, or some other language.

It makes some terms quite unfamiliar: Egypt is Misrayim. Personal names become less recognizable. Mosheh for Moses. Yaaqob for Jacob. Occasional brackets contain clarification. Continued reading helps to form associations between the new and familiar readings. When I come to come to Pelishtites I know it is referring to the Philistines.

Some readers might appreciate that instead of LORD for God’s personal name, Yahweh is used. Instead of LORD of hosts, we get Yahweh of Armies.

I like how instead of “fear,” which can represent more than one word in the original language, Goldingay uses “for you who are in awe of my name ...” (Malachi 4:2).

As with any new translation there may be questionable choices. The “supernatural man” for “man of God” is a curiosity. “Smart” instead of “wise”? “Dimwits” instead of “fools”? Other questions may arise but this leans more towards word for word instead of sentence by sentence, and does not attempt to smooth over difficulties. Its aim is to bring readers in closer proximity to the original autographs.

I like the arresting nature of it all! When the words become too familiar they can lose their impact. It becomes too easy to gloss over something that we have read many times before. This is a definite aid for study; for contrast with other translations.

There is an introduction to each Bible book providing insight into God’s purposes in light of the texts. Though brilliant in its presentation, the one in Genesis gives pause. Goldingay suggests the events should be taken as more than “simply historical.” It’s important to read the context of his comments but he casts doubt on some of the literalness, “Noah putting specimens of every animal species into a giant box in which they survive a worldwide flood? Lot’s wife turned into a column of salt?” Whether right or wrong, hopefully readers will not be dissuaded from giving this resource a try. No translation is perfect. It’s probably indisputable to say the same about one’s theology.

The First Testament! Old has negative connotations. Goldingay writes, “The ‘New Testament’ did not regard the ‘Old Testament’ as ‘old’ in the sense of antiquated or out-of-date; hence my referring to it as the First Testament rather than the Old Testament” (xi). I applaud the name change. The author goes on to say that despite these texts being a living resource for Jesus and the New Testament writers in understanding God and all of his ways, “Christians don’t read them very much.”

God forbid! They may be eclipsed in glory but are still glorious. They look forward; the other looks back. Both reveal Messiah, providing a complete picture. The Church would be impoverished if we had one and not the other.

The First Testament is never more beautiful than in the Psalms. It is fitting that it shines brightest in these inspired expressions of Hebrew poetry.

I use Logos Bible Software and have access to many different versions of the Bible but none quite like this. I submitted a suggestion that they consider publishing this book in their format. Reading and consulting a variety of translations is instructive and helpful. This is a worthy addition to any library.