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.
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