Monday, November 30, 2020

A Seed, A Sunrise - Caroline Cobb

Cathartic in a time of grief

A Seed, A Sunrise

Caroline Cobb
Label: Independent
Length: 7 songs/32 minutes

The first two songs on A Seed, A Sunrise by Caroline Cobb embody watching and waiting, a pining for Messiah’s coming. The lyrics and the plodding piano notes convey the bleakness of our fallen world on the opening “We Wait For You.” Those looking for popular holiday classics will not find them here. These are originals suffused with biblical references and poetic expression.

The scope is amazing. It’s not just a profound meditation of the first advent. It also looks forward to when Christ will come again. Now more than ever that can be a comfort and hope.

Don’t imagine all of this in a lower key. The third track, “Hallelujah, Christ is Born” breaks the spell of the long dark night of waiting. Cobb gets soulful and there is a joyful-sounding piano solo.

The next track, “Joy (As Far as the Curse is Found)” has an exciting rhythm that continually builds to a wonderful piano hook. You also get some gorgeous mandolin accents. Some of Cobb’s favorite lines from “Joy to the World” and “O, Come All Ye Faithful” are refashioned here.

The sound is that of real instruments, people playing live in the studio. Any electronic enhancement is in the background. The style is in keeping with producer Isaac Wardell’s past credits (Josh Garrels, Sandra McCracken).

Contributors include Tyler Chester (Madi Cunningham, Switchfoot), Andrew Osenga (Andrew Peterson, Caedmon’s Call) gospel trio Resound (Lauren Daigle) and a fourteen-piece string orchestra.

The broad content makes this something that can be enjoyed any time of the year. It is also applicable to this particular time characterized in part by exhaustion. As Episcopal priest Noah Van Niel writes in Plough Quarterly (Autumn 2020), “We long for heaven while we are on earth. We long for peace in a world of war. We long for justice in a world that continually frustrates those aims. We long for God yet meet him only sparingly.… And Saint Augustine once wrote, ‘The whole life of a good Christian is an holy desire,’ because ‘by longing, you are made capable…. God by deferring our hope, stretches our desire; by the desiring, stretches the mind; by stretching, makes it more capacious. Let us desire therefore, brethren, for we shall be filled.’” Holy desire permeates this recording. Prepare to be enlarged!

Some songs express lament in the suffering of waiting, while others offer glimpses of joy in the anticipation of God’s coming. It can be cathartic in this time of grief.

The last three songs bring this full circle. “Lift Up Your Head, Be on the Lookout” is a gentle exhortation to be ready in anticipation of Christ’s coming again, to finish the work he has given us to do. “O Righteous Branch” includes gorgeous steel guitar work. It’s plea, “Come soon.” “There Will Be a Day (Isaiah 2)” is built around simple, repeated piano notes that serve as the foundation for a song about the future millennial kingdom.

The styles are simple but rich musically and spiritually, making this one of the finest offerings of the year.

This is Cobb’s third recording following the Blood + the Breath (2013) and A Home & A Hunger (2017). Like this release they both take a deep dive into Scripture unearthing treasures to remind fellow sojourners of their heritage and calling.

Wednesday, October 28, 2020

Reorder EP - Jason Gray

Falling apart never sounded so good

Reorder EP
Jason Gray
Label: Centricity Music
Length: 7 songs/26 minutes

How many can turn a song about longing for what was into a celebration of what is? Such is the case on “Glory Days” on Reorder, the latest from Jason Gray. It may be the most outstanding track on an EP filled with excellent music and lyrics.

This is the third and final part of a series of recordings, which can be purchased separately or bundled together as Order Disorder Reorder. Even though I have yet to hear the first two, on the basis of this and my knowledge of Gray’s past releases, I recommend getting all three together. One reviewer said that Order Disorder Reorder is Gray’s best album. I believe it! He has always been an above average songwriter and what you find here is among his finest work. It’s amazing how much wisdom he can put in a well-crafted pop song.

In “Glory Days” he writes about falling apart as if it is the best thing that has ever happened:

These are my glory days
Busted and broken, but finally open
Wider than an empty grave
This is the good life now
Found it where I fell down
Shattered in pieces, but thank you Jesus

I want to laugh out loud about these upside down values of Jesus. Hard times have never sounded so good! I don’t wish them on anyone but if your way is difficult trying making this your soundtrack. You just might find hope rising as you hear a refreshing perspective on brokenness.

“Glory Days” has a playful, keyboard-driven, joyous hand clap sound. It might fall like a number of these songs into a slightly indie/alternative pop category.

I hear a distinct progression musically from Gray’s early days. The programmed elements, particularly percussion, have given him a fuller, more sophisticated sound. It also creates a bit of quirkiness, which fits well with the lyrics. The technology is just right, not overwhelming the acoustic.

For those who might like his earlier folk side, the fourth track, “Tethered,” is little more than Gray and an acoustic guitar. It’s a beautiful centerpiece. It seems to reference Psalm 139, highlighting his unbreakable connection with God’s love.

This artist is no stranger to vulnerability and those moments are no less striking on this release. On “Bring it All” he sings, “Look at me up on the stage/You’d never know how I’m so afraid.” He battles with fear again on “Right On Time”:

Lying on the bathroom floor in tears
Praying for a miracle to come and meet me here
I was afraid it was too late

I note that this song as well as the others with the exception of “Tethered” are co-writes with different individuals. I don’t know their involvement but the lyrics fit with what I know of Jason Gray.

Is God ever late? Gray answers in “Right On Time” by singing of pivotal moments.

What about regret? In “Every Moment Belongs” Gray identifies the theme of this release:

I wouldn’t be who I am now
Without the way that its all played out

What comfort! What assurance! What we are now is more important than our past.


 


Saturday, September 19, 2020

Reason Deluxe - Unspoken

Feeling the Son after four seasons of winter

Reason Deluxe
Artist: Unspoken
Label: Centricity Music
Length: 12 tracks/40:50 minutes

How is it that so much of what I review seems so applicable to the times? Even when as in this case the original release is pre-COVID. The opening to Revelation Deluxe by Unspoken may speak for many:

This year’s felt like four seasons of winter
And you’d give anything to feel the sun

When you feel like giving up
When you feel like giving in
His love is the reason
To keep on believing

Perhaps it’s the work of the Spirit taking the artist’s work and making it relevant and applicable in a multitude of ways. God uses actions beyond our awareness. When a woman anointed Jesus she had no idea that it was to prepare him for burial.

September marks National Suicide Prevention Awareness Month. With the foundations of our society shaken by cataclysmic events, it’s good to spotlight the help available. The National Suicide Prevention Lifeline is as near as a call to 1-800-273-8255.

It may be a small thing, but I hear lots of encouragement on this release. It’s almost like it was made for such a time as this.

Thankfully, this does not advocate a white-knuckle approach to making life better. It’s more akin to the lovely book title, Try Softer, by Aundi Kolber. The lyrics don’t gloss over the seriousness of our condition; they just point to finding hope in a relationship with God. If it all depends on us we are at the extreme end of the infamous San Francisco 49er doom index. How doomed? Last place finish doomed. Fortunately, Jesus makes reversals possible where the last become first.

For each look at ourselves that the songs provide, we get a corresponding glimpse of the work of Christ. This is a recipe for hope: less seeing inward, more looking at Christ.

The choruses are accessible, anthemic and like an ocean swell of truth. “Just give me Jesus” being one of a number of examples of the crystallizing of desire.

Reason Deluxe has sobering moments. I hope that those of us who are Christians are not so callous as to dismiss the following chorus as cliché and not worthy of serious application:

If we’re gonna be known for something
Let it be love, love, love
Speaking the truth means nothing
Without love, love, love
’Cause no one’s gonna hear us
If we keep throwing stones

 As others have pointed out we have become known more for what we are against. It seems like we are far removed from the sentiment expressed in the old folk song “they’ll know we our Christians by our love.” It’s never too late, however, to become more like the early church that was known for its compassion and charity.

The blend of acoustic and electronic on the original release is near perfection. The extra tracks include a couple of live songs that are more raw and rugged than the mostly R&B leaning sounds. One is a nine minute medley, the other, the blues oriented “Bury the Workman,” has a sound similar to “Wanted Dead or Alive” by Bon Jovi. These live songs definitely show a more rock oriented side of the band.

Another part of the deluxe release is “One Step,” which testifies to overcoming addiction. The three other songs consist of two remixes and an acoustic version of “You’ve Always Been,” which I might favor over the original.

The combination of vulnerable disclosures with biblical truth is powerful. “Mistakes” expresses the desire for God to use our own failures for his glory. If the following is true how can we ever go wrong?

Every wrong turn, it’s true
Led me right hear to you
I may lose my way, nothing’s greater than your grace
Not even my mistakes

The melody is borne along by acoustic guitar, programmed percussion and a lighthearted feel. There is also a sprinkling of high-pitched keys. Whimsical? Yes, a true delight.

This is and “Wasted Time” are such a lovely way to close this release. This is also acoustic, being a gentle homage to God making up for our waywardness and brokenness. What could be better than that?


Tuesday, August 11, 2020

Birmingham Revolution: Martin Luther King Jr's Epic Challenge to the Church - Edward Gilbreath

“Governments … controlled by men are without exception anti-life and anti-Christ.”

Birmingham Revolution: Martin Luther King Jr.’s Epic Challenge to the Church
Author: Edward Gilbreath
Publisher: IVP Books
Pages: 210

In the prologue to Birmingham Revolution, author Edward Gilbreath writes, “There are two race-related facts about our nation’s founding that we cannot get around. First, Native Americans, the original inhabitants of the territory that eventually would become the United States, were usurped from the land by a combination of force and political deceit” (12). This reminds me of something the late singer/songwriter Rich Mullins said in an interview, “I’m very hurt over the determination of the government to destroy life and its not simply over the abortion issue. Anyone who has any awareness at all of Wounded Knee, not only the first Wounded Knee but what happened there, what 20 years ago … You kinda go, there can be no doubt that governments that are controlled by men are without exception anti-life and anti-Christ.”

This startling observation also applies to the second race-related fact. “For the first eight-nine years of its official existence, the United States was a nation whose growth and prosperity was dependent on African and African American slave labor” (13). Sadly, in both cases, it’s not hard to see how the government has been on the wrong side of issues.

Readers like me who are white gain insight into the perspective of an African American author like Gilbreath. His research and judicious use of facts are excellent. He succeeds admirably in giving a succinct, readable account of pivotal events in Alabama and the life of Dr. Martin Luther King Jr., which formed the basis of the Civil Rights movement. If readers are unschooled in these issues or need a refresher course, this is a helpful place to start.

I suppose that it’s difficult for anyone to be completely free of bias, but I don’t detect an agenda. There is no anger or hatred in his voice. He tells the story with wisdom from above that is first pure, then peaceable, gentle, open to reason, full of mercy and good fruits, impartial and sincere (James 3:17). This is helpful in that you could give this book to anyone, and if they are open to truth, they can find it.

The book highlights the importance of Letter from Birmingham Jail, where King writes, “If today’s church does not recapture the sacrificial spirit of the early church, it will lose its authenticity … and be dismissed as an irrelevant social club” (16). Alvin Sanders, and African American who is the executive director of reconciliation in the Evangelical Free Church of America, framed it this way, “In the Letter from Birmingham Jail he (King) put the African American struggle squarely as part of the process of authentic discipleship. He believed the fight for justice was an essential mark of the gospel” (16-17).

Even though this was published in 2013 it speaks to the civil unrest of our day. It was one of several digital books on racism that IVP made available for free in July of 2020.

My eye was on this title. I became familiar with the author through his former association with CT magazine and an encounter over a reflection that I wrote about Jimi Hendrix. Gilbreath volunteered to edit it for another publication. He took my feeble efforts to another level and for that his name should be added. You can find the article here.

I will never forget that kindness, and it was a wonderful surprise to find a fellow believer who could appreciate Hendrix.

It’s hard to believe that we as a people and nation can be so cruel and callous. The events described in this book actually happened. I wonder how King would react to what we see today. Gilbreath would be a good one to ask. Some of his response might come from these pages. This is an excellent resource to remind us of where our nation has been and how we might proceed in the future. Let’s continually come down on the side of life, the way Christ has shown. It was said of him, “A bruised reed he will not break, and a smoldering wick he will not quench, until he brings justice to victory” (Matthew 12:21).

Monday, July 20, 2020

Him - Perry LaHaie

God did not design us for suffocating spaces but for running in the fields.

Him
Perry LaHaie
Label: Independent release
Length: 9 songs/39 minutes

 If the follower of Christ is not careful, the hardships in life can lead us to turn inward. Our perspective shrinks. Instead of glorious liberty, there is confinement. In place of broad ground, we may feel precarious on a narrow patch. As Sandra McCracken writes in a recent CT column, “God did not design us for suffocating spaces.… We are made to run in the fields …”

It’s this expansive vision that animates the classic hymns in Him by Perry LaHaie. It does so by judiciously adding words and music that broadens their meaning. They don’t become so different that they are unrecognizable. They retain their essential elements but become grander in scope.

The electric instrumentation is pivotal. Some of the guitar chords are stretched out creating an expansive sound. It’s not heavy but this will be a stretch for those who favor traditional interpretations.

LaHaie succeeds admirably in updating these hymns in a way that makes them more like songs. It’s not unlike what some others have done recently. If you’re not a purist and can handle light rock, this is worth exploring. I’m grateful that artists like LaHaie are willing to creatively engage with ancient texts, adding to them or even creating new compositions that carry on this tradition.

The opening “Cast Yourself In” is an original written by LaHaie. This majestic anthem sets the stage, calling listeners to cast themselves into the river of God “that flows to the nations.” The nations! This is a key theme. These songs go beyond personal piety. The world is in view.  

Even the following classic, retitled “Amazing Grace (Send Me)” has outreach in mind:

Amazing grace, compels me now, to share this love so free
So those not told will finally hear, so that the blind will see
The pris’ner be set free

The foundation is the traditional arrangement finger-picked on electric guitar.

“O Mystery of Mysteries,” another written by LaHaie and family members, could pass for an obscure hymn. It has that kind of structure and tells the “story of God” from the incarnation to Christ’s return to establish his kingdom.

“The Solid Rock” has never sounded so powerful. The added chorus soars on the back of modern rock. I am an advocate for purchasing albums rather than individual songs, but if I could only have one from this release, this is it.

“There is a Fountain” has a driving rhythm, “like a steam locomotive, rollin’ down the track.” Once again the evangelistic element is introduced, “This river will rush on till every nation sings the song.” The river! The nations! This life encompasses the world.

The guitar on the closing “O Come O Come Emmanuel” creates a soundscape of lament. But this adaptation becomes more than pining for Christ’s advent.

But how long until you come again, bring evil’s final end, and justice finally wins?
How long till heaven comes to stay, and all nations shout your praise, when not yet will be no more?

The subdued tone on the keyboard driven “God is Working His Purpose Out” is mesmerizing. I like the subdued tone. Towards the end the message is striking:

So, spend your life to work His work, to speed the king’s decree
To usher in the nations praise, the reign of the prince of peace
Pour out your life to hasten the time, the time that will surely be
When the earth will be filled with the glory of God as the waters cover the sea

This is the thrust of the release. It’s a counterpoint to all that drives us inward. It beckons toward that broad place where we run in the fields.


Tuesday, June 23, 2020

Selah EP - Tori Harper

The beauty of unrealized service

Selah EP
Tori Harper
Label: Awaken Saint Records and The Fuel Music
Length: 4 tracks/16 minutes

On Selah Tori Harper sounds utterly broken when she sings the chorus of “The Wreck,”

Where are you Lord? Where are your Lord?
In the middle of the mess
Lord show me how, to live faith out
In the middle of the wreck
In the middle of the wreck

I can hear the sadness. Those who are questioning and grieving might find comfort in it being voiced with a haunting keyboard-driven melody.

In reflecting on his latest book, God and the Pandemic, Bible scholar N. T. Wright sees lament as a suitable response to grief. In naming her release Selah, might Harper be pondering losses and pouring out her heart to God?

It’s what she does from the opening lines:

I’ve made a mess of things,
And broken my own heart
What’s left of me,
Is wounded and scarred
And lesser things, wouldn’t leave such a mark
But I believe, there’s hope in the dark

Like many of the Psalms in the Bible, it grieves but leaves room for hope. 

I find it fascinating that in living faithfully, we can be unaware of how God might use our service. A woman in Scripture was criticized by others for anointing Jesus with expensive perfume, but Christ said, “she has done it to prepare me for burial” (Matthew 26:12b). In making this recording Harper probably never imagined its relevance in expressing grief and hope during tumultuous times.

It doesn’t hurt that like Harper’s voice, the music on this EP is soothing. It’s consistently keyboard-driven and embellished with a seamless mix of organic and synthesized sounds. 

Often the intensity builds to a crescendo that ends with quiet sparse notes. Their is a judicious use of strings that lends an elegance and dignity. This is ornate pop. 

In “Resurrect” Harper argues from the greater to the lesser as is found in Scripture:

If you can walk on water
If you can make the blind see
If you can raise from the ashes
You can resurrect me

In the next line I hear the joy of discovery in her voice, “And I’ve tried to find how to get the life but you’ve been here all along.” It reminds me of A. W. Tozer’s thought that we often ask God to do what he has already done. We may feel abandoned but God is with us.

The buoyant melody is a delight, so that even though lament is present, there is also praise. Like the Psalms these tracks run the gamut of emotions. Each one is addressed to God, providing an opportunity to worship in different ways.

Fans of hip hop will hear a familiar rhythm in “Hiding Place.” Whereas the strings on “Closer Than” bear a classical influence. Its whimsical nature making it a fitting close.

This is the twenty-one-year-old’s second EP. Seasons debuted in 2018, generating several charting singles. In addition to co-writing with Cindy Morgan, Mia Fieldes and others, she has sung background vocals for Chris Tomlin and Tenth Avenue North.

Saturday, June 13, 2020

Braveheart Worship - Sheila Walsh



Two friends and early collaborators reunite on an excellent remake.

Braveheart Worship
Sheila Walsh
Label: Venture3Media
Length: 11 songs/49 minutes

Having been a longtime fan of Sheila Walsh I am delighted to discover that the closing track of Braveheart reunites her on a duet with her friend and early producer Cliff Richard. Their first duet was a song called “Drifting” from Walsh’s 1983 UK release of the same name. The album was released in the US as War of Love (1983) but lacks the duet. We were robbed! I guess variations between UK and US releases didn’t stop with The Beatles.

Cliff Richard is not as well known in the US as he is in the rest of the world but his over five decade career includes 300 million albums sold. I first came to know of him through participating in Billy Graham’s 1984 Mission England outreach in Birmingham, England. Cliff Richard was a special guest. I’ll never forget being in the overflow crowd outside Villa Park watching on a giant screen as he sang “The Only Way Out,” a single released in 1982.

Richard may be best known in this country for the pop songs “We Don’t Talk Anymore” and “Devil Woman.” He also appeared and sang in some of Billy Graham’s early movies. Since learning more of him through his music and biography I appreciate how he navigates Christian faith with fame in the pop world. Sir Cliff is a gracious gentleman.

To find Walsh and Richard remaking “It is Well with My Soul” is to witness the reunion of two friends who “through many dangers, toils and snares … have already come.” This adaptation includes new words and melodies that make it come alive. It does not matter if one is familiar with the original. It’s like a new song, and makes the album worth having for this alone.

What’s refreshing is that Walsh takes a similar approach in the style and sound of the rest of the tracks, which comprise her first full-length in eight years. All but the hymn remake are new, done in the studio but could pass for being live but for the absence of crowd noise. Walsh leads the singing but much of the time is joined in harmony with other voices.

I have not heard her more recent prior releases on the Women of Faith label but my guess is that this is the most contemporary that Walsh has sounded for some time. Hints of this are reflected on the cover which shows Walsh and her collaborators in black and leather. Album covers can be revealing. It’s not so different that she loses the Women of Faith crowd. I appreciate the artistry.

Past producer, John Hartley, is back layering the background with soothing washes of sound. His excellent work is recognizable. In addition to working with Walsh in the past, he produced Heaven & Earth: A Tapestry of Worship (1999) that brought together some popular female artists.

“A Thousand Hallelujahs” is the perfect opener, cheerful with some Celtic accents. I would have enjoyed more of the latter. It does not seem to be as evident in the remainder.

“Love Changes Everything,” the following song is surprising in that Walsh is heard only in the background, if at all. I suspect that it is Jonathan and Rebecca Hart who take the lead as they are part of the worship team that travels with Walsh. I give her credit for letting her collaborators shine.

The lyrics in “Behold Him” point the broken to wholeness:
For every heart that just won’t heal
Behold him
In all the emptiness we feel
Behold him
For every heart that’s on the floor
For shadowed hopes and closing doors
And every moment we fall short
Behold him

Walsh’s heart of compassion finds expression in lyrics like this which you find throughout. It’s comfort in a trying time.

Being the author of over 17 books, writing may have inadvertently eclipsed singing. It’s been said of John and Charles Wesley that we remember their hymns more than their numerous writings. There may be something to this, and I hope it will serve as an encouragement for Walsh to continue in music. I will never forget her excellent cover of “Love is the Answer” and “Angels with Dirty Faces” on Say So (1988). I even vaguely remember being moved by a video of Walsh singing, “It’s All for You,” that I think was from a Billy Graham Crusade broadcast.

Walsh’s singing and writing are like the investor diversifying their assets. God may use both or one and not the other in a particular situation.

It may be too much to hope for more collaborations with Cliff Richard, but it would be an automatic buy for me. I admire them both and it’s so lovely to hear them singing together again almost 40 years later.

Monday, May 18, 2020

When Narcissism Comes to Church - Chuck DeGroat

“I love you more than your mask” (Rich Mullins).

When Narcissism Comes to Church: Healing Your Community from Emotional and Spiritual Abuse
Author: Chuck DeGroat
Publisher: InterVarsity Press
Pages: 192

In the foreword to When Narcissism Comes to Church Richard Mouw writes, “I was struck by how often news reports and casual conversations include the word narcissistic” (1). I have even used the term without knowing much about it, which is why I wanted to read this book. Author Chuck DeGroat offers much-needed wisdom, drawn from a background of pastoring, therapy and theology. Scholarly yet applicable to everyday life, it is a valuable resource for the church and the academic world.

Rather than taking an us versus them mentality, DeGroat writes, “My hope is that this book will invite each of us to ask how we participate in narcissistic systems while providing clear resources for those traumatized by narcissistic relationships, particularly in the church” (4). This approach reminds me of the quote from Alexander Solzhenitsyn, “The line separating good and evil passes not through states, nor between classes, nor between political parties eitherbut right through every human heartand through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained.”

This book helped me realize how complex this issue can be. Learning that this behavior falls on a scale that ranges from normal to toxic confirms that labels are tossed around too freely.

The author advocates leaving the labeling to the experts. That’s not to say the average person cannot recognize traits that may be part of a diagnosis. The author, however, encourages self-examination, while not mitigating the real damage done by others. It’s this combination of analysis and a balanced perspective that makes this more than a self-help book.

Initially, I may have been disappointed because it can get technical. It’s more academic than self-help, but it strikes a reasonable balance between the two. The clinical influence makes the book more valuable because it can serve as a diagnostic tool. The church needs this kind of resource to point people in the right directions. It makes it clear that those who have been wounded need therapy, not a self-help book. As I have read and heard here and elsewhere, it’s wise not to try and go it alone.

This goes a long way towards defining and outlining treatment approaches. In the beginning, the author cites Christopher Lasch’s definition of narcissism: the “longing to be freed from longing” (4). It’s a desire to be free from the constraint of human limitations. This longing to be superhuman wreaks havoc on relationships.

It is a passion that makes the narcissist less than human. “The masks meant to protect ourselves and ease the ache of longing become the only faces we know” (4).

What surprised me is the author’s contention that shame is an underlying factor. Those with Narcissistic Personality Disorder (NPD) lose touch with their true feelings in the attempt to hide their shame and pain.

Since shame is no longer well understood in our culture, it might help to think of it in terms of feelings of inadequacy, continually falling short. Thinking that we don’t measure up. This enables me to understand it better and see why it would lead to putting on false fronts. The person is ashamed and seeks to hide their true selves, wishing to be what they project.

Just as you find individuals like this in the realms of government, business, education and all spheres of life, the church is not immune. Those of us within can bear witness to what Christian psychologist Diane Langberg says of the narcissist, “He has many gifts but the gift of humility” (15). Sadly, humility probably gets overlooked when hiring leaders. Henri Nouwen writes, “The long painful history of the church is the history of people ever and again tempted to choose power over love, control over the cross, being a leader over being led” (18).

I think of the promotion that I received for The Pastor of Kilsyth, a short biography of W. H. Burns. “In our celebrity-driven age (from which the evangelical church is far from exempt), this is exactly the kind of life we need to study. We need to be reminded of the beauty, dignity and ultimately the glory of humble, obscure Christian service” (Matthew 10:42). This is the antithesis of many but not all narcissists. For as the author explores in this book, it comes in many forms.

DeGroat sees hiddenness as a factor in why this trait is found in the church. Church leaders can struggle with secrecy as much as anyone and in some cases there is no real accountability. Plus, increasingly churches look for charismatic individuals that can do what a CEO does for a business. With such demands is it any wonder that we find narcissists among us?

Understanding narcissism is the subject of chapter two. The author takes a different look at the myth of Narcissus, traditionally seen as a tale of excessive love. In this interpretation, “it’s a story of being stuck, immobilized, fixed in a death dance”(28). Healthy self-love would have enabled a moving on to get true needs met.

Aside from being warned against self-love, I gather that clinging to a false image will keep one from knowing the true self and moving on to maturity. As the Psalmist tells us, “Behold you delight in truth in the inward being, and you teach me wisdom in the secret heart” (Psalm 51:6). God desires truth in our hearts, and he bestows what he intends by giving wisdom. I appreciate that the Scriptures encourage realistic appraisal, not thinking too high of ourselves (see Romans 12:3). Nor should we think too little of ourselves, another form of narcissism.

So if I understand correctly, Narcissus was immobilized by his desire to obtain something illusory. He was stuck in unreality, not able to embrace imperfection and limitation, which would make him vulnerable.

Narcissists avoid vulnerability. They project a front to protect themselves, but in so doing they lose the capacity for intimacy.

The third chapter uses the Enneagram to identify nine masks or personas associated with narcissistic behavior. The author writes, “To my knowledge, no one has made a clear connection between the Enneagram and personality disorders before. However, having worked with and taught the Enneagram for more than fifteen years, I think the connections I make are worthwhile and helpful additions to conversations on both narcissism and the Enneagram” (48). Those familiar with Enneagram will appreciate this analysis, and those like me who have little or no knowledge of it should still be able to glean insight. Each chapter including this one has a list of additional resources.

The book goes on to explore the many facets of this subject. It’s a fitting textbook but also points the way toward healing and transformation. Most impressive for me is the balance and maturity. A book like this could have easily devolved into finger pointing. Instead we must examine ourselves and the systems that we help perpetuate.

It’s ironic that in looking for love and well-being, we put on masks in our hope of obtaining it. I appreciate the attitude that Rich Mullins sings about in his song “Peace”:

Though we’re strangers, still I love you
I love you more than your mask

Can we ever know peace without discarding our masks? Can we know love as God intends it apart from revealing our true selves?



Monday, May 11, 2020

Glory Pt 2 EP - Planetshakers

Starts as the musical equivalent to the Fast & Furious

Glory Pt 2 EP
Artist: Planetshakers
Label: Venture3Media (V3M)
Length: 4 songs/25 minutes

Glory Pt 2 EP starts off as the musical equivalent to the Fast & Furious media franchise.

I’m gonna shout it out
I won’t be silent or quiet
I’m gonna let it out
For You I’m giving
All, all, all, all

The above words and music from the opening “Living Louder” highlight a neglected side of praise. This is loud, bold and intentional. Defiant praise!

The pace does not slacken on “So Good,” which follows. Towards the end the worship leader even exhorts the bass and drum players to praise the Lord with their instruments. Their intricate solos are the highlight, and the momentum never wanes.

At first I thought that the “Encounter Song,” clocking in at over 10 minutes, might be too long and repetitive. Some may find that to be the case, but on repeated listens I kept making new discoveries. Led by female voices and melodious keyboards it now strikes me as meditative and soothing, no longer seeming so long.

The music flows and ebbs like the changes in the tides.

I’m pushing through the crowd
’Cause Lord I need you now
Jesus I’m desperate
For a touch from heaven

These words remind me of the woman in Scripture that had the issue of blood. “And there was a woman who had had a discharge of blood for twelve years, and who had suffered much under many physicians, and had spent all that she had, and was no better but rather grew worse. She had heard the reports about Jesus and came behind him in the crowd and touched his garment” (Mark 5:25-27 ESV).

In her desperation she pushed through the crowd to touch Jesus and was made whole. I would not be surprised to learn that the songwriter was inspired by this incident. It aptly illustrates the longing that characterizes the song.

The only music heard in the first part of “All” is a chord progression on electric guitar. Subtle textures on this instrument are added later on followed by a brief but explosive solo. This musician is certainly accomplished.

During the bridge I delight in hearing what sounds like a tin whistle in the background.

Female vocals are once again in the forefront. Unfortunately, well worn phrases detract somewhat from the mesmerizing sound. Even though it’s a common challenge in this genre I hope for better from this talented group.

This EP may not quite achieve the same heights as some of their previous work but it’s certainly close. I don’t think fans will be disappointed. There is much to commend it.


Friday, April 24, 2020

Let the Ground Rest - Chris Renzema



“Your love is like springtime.”

Let the Ground Rest
Artist: Chris Renzema
Label: Centricity Music
Length: 10 songs/40 minutes

“Springtime” is such an appropriate opening for Let the Ground Rest by Chris Renzema. Not only does it coincide with the current calendar season, but it offers hope for what ills the world “’cause death is dead and gone with the winter.” That may seem like wishful thinking in light of the news but even now “We will sing a new song … Reaching towards the light/Your love is like springtime.”

Despite the brokenness in the world, Renzema has reason to hope. “I want to believe that your love makes everything better,” he sings on “Better.”

On “17,” an age when he saw in just two shades, he wonders what the person he was would think of who he is now. Was he wiser then? He does not shy away from honest evaluation. Those who condemn themselves over failure will appreciate the resolve expressed here. Since I like to surprise, I won’t reveal it. You have to hear it!

I found it difficult to compare him to another artist but he reminds me of Jason Gray. Overall, I might describe this as thoughtful lyrics with an acoustic base and a touch of indie and alt rock sensibility.

The rustic sound of the piano stood out to me. The production is excellent providing a warm, rural sound. Synthesized elements are more in the background.

Authenticity is more than a buzzword. It includes not hiding the true self. The lyrics seem genuine and often self-revealing, which has been a primary source of attraction.

“Maybe this is the End” makes me smile. When Renzema sings “surely this is the end” I can’t help but think about the current predicament. But so the reader won’t be tempted to think he is a purveyor of doom, he quickly adds, “for the end is just another door.” This is a perspective that I need. Singing against an indie rock background, it’s a panacea and downright ebullient.

The first part of the opening stanza is just acoustic guitar and drums. The second stanza is even wilder with just bass and drums and a slightly different rhythm.

“I never saw it coming …,” he sings. We often don’t!

“You’re everything … and already more.” Why does it take a crisis to reveal it?

Clearly a favorite, recommended against the stay-at-home blues. It’s not really the end.

Jesus said, “Truly I say to you, unless you turn and become like children, you will never enter the kingdom of heaven” (Matthew 18:3 ESV). It is essential! Oh, to be able to look back and say with Dylan, “I was so much older then, I’m younger than that now.”

Renzema poetically extols to piano accompaniment some of the attendant wonders of childhood. What a tragedy when we allow life to make us “older than our God.” “You are forever young Bright Morning Star,” he sings on “Older Than Our God (Forever Young).” “Love is always new! … How can anyone stay old in Love’s presence?” asks Hadewijch, a thirteen century woman from Belgium.

“Keep me as a child,” Renzema tenderly asks. “Teach me, dear Lord, to have ... a child’s love,” Bryan Duncan sings in agreement. It’s the conversion that you need Jesus says.

Far from fear Martin Luther once exhibited a holy disdain for the devil. I hear an echo of that on “Steal Back Your Joy.” “Go on steal back your joy. The destroyer’s plans are all that are being destroyed,” Renzema sings. “If the thief comes to steal your flame, go on take it back again.” The only music you hear is a finger-picking folk style on acoustic guitar.

In “Let the Ground Rest” Renzema points out, “God he made four seasons and only one spring.” Why expect a perpetual summer? God has reasons for letting the ground rest. The different seasons produce the maturity that he desires.

The music is earthy: basic instruments without a lot of embellishment. It’s a fitting finale.

Hopefully, these words give you a glimpse of an artist in awe of God. I think we are fortunate that it often comes dressed in the garb of roots music. Salt of the earth sentiments join with organic sounds for a timeless snapshot.

Prior to this Centricity Music debut, Renzema released I’ll Be the Branches, an independent recording. Now based in Nashville, he comes from Grand Rapids, MI.



Monday, April 6, 2020

Go - John Schlitt



A remedy for the times

GO
Artist: John Schlitt
Label: 4K Records
Length: 11 songs/44 minutes

Keep moving. Bob Dylan said it was a key to health. On GO, the latest solo release by John Schlitt, he sings along the same lines:
Go
No time to stop
Just take your shot
Keep movin’ on

Everyone has something to give. Even in a time of isolation, we can move forward by praying, reading, writing, giving, etc. One thing I learned in retail, there is always something to do.

It’s a pleasure to hear an album that is so straightforward both musically and lyrically. Encouragement abounds, which should come as no surprise to those who have followed Schlitt’s career. He aims to help Christians experience all that God has for them. The sound is similar to his former bands, Head East and Petra.

You might never know that Schlitt has been singing for more than four decades. His voice is strong, and he uses it in the best possible ways.

“Where is the truth,” he sings on “Fake News.” Heavy music gives a feeling of doom and gloom. He decries, “Phony experts … holding us hostage to the fake news.” He points to something more trustworthy: “our faith, a sacred treasure/a strength we must defend.” It echoes the exhortation found in Scripture, “Guard the treasure entrusted to you, with the help of the Holy Spirit who dwells in us” (2 Timothy 1:14 Berean Study Bible).

On the bright side is “Find a Way,” my personal favorite. Strong acoustic strumming. A solid hand-clap following the kick of a bass drum. Allusions to a shared journey to heaven, “All aboard will ride together/And we will make our great escape/Like a dream of love in Camelot/I’ll remember you this way.” Soaring harmonies on the chorus are euphoric.

The supporting cast on this release provides a fresh take on a classic rock sound. This is predominantly guitar-driven with some interesting variations.

“Go” has a world music influence, similar to some of Robert Plant’s solo work. “Feel It” is fast-paced rock n’ roll. “Where Would I Be” is Motown inspired complete with gospel singers and horns. “Fighting the Fight” is power pop with vulnerability.

This is a mature work from a seasoned artist.

Wednesday, March 25, 2020

Paid It All EP - Justin Rizzo



The electro pop worship on the first two songs is a delight.

Paid It All EP
Artist: Justin Rizzo
Label: Spotlight Music Group
Length: 4 songs/20 minutes

God’s relentless pursuit is the theme of the opening “Love Won’t Stop,” a rich blend of electronic and programmed energy. The chorus erupts in celebration, “Your love won’t stop/Your love will not give up/Relentlessly you pursue me.” This is true despite any lack of awareness. Music and lyric combine in a joyful ode to God’s faithfulness. His love continues regardless of circumstance and even failure on our part.

I like the opening electronic rush that starts a cascade of programmed percussion on “You Are My Treasure.” Each unique beat lays a foundation for the exquisite wash of sound that follows.

It includes one of my favorite lines, “I’m hanging on every word, every word you say,” just before breaking into a calming chorus, “I’ve never known a love like this before/So alive in the glory of you Lord/You are, you are, you are my treasure.” Since I tend to treasure other things, it’s a beautiful reminder of the most real and lasting treasure.

Rizzo sings this in a higher key; it might even be characterized as falsetto. That along with mesmerizing sound make it gorgeous.

Finally, in a bridge Rizzo repeats in a raised multi-voice, “Jesus you are all I want!” Another highlight on my favorite track.

Even though these first two tracks may be like a prelude to the two versions of the title track that follow, I find them more interesting because they lean toward electronic pop. I don’t mean to take anything away from “Paid It All.” It’s more worship oriented and will be the preference for corporate gatherings.

The ballad format that builds to a climax is overly familiar to me, and I am partial to what is outside the norm, along the lines of the first two tracks.

Nevertheless, my favorite line in the title track is, “If I had to bring payment for all of the error of my ways, I’d live and die in those chains. Thank you for all that you’ve done.” The song also makes effective use of the word “Hallelujah,” which seems to have fallen out of use in recent years.

Originally this was two songs written by Caleb Andrews, a friend of Rizzo. When the latter heard them both he immediately wanted to combine the best parts. He enjoys using it because it enables congregations to declare the finished work of Christ.

“Paid It All (Acoustic Version)” retains some electric instrumentation but in general is more stripped-down. Both versions are well done but I may favor this quieter one.

Rizzo currently lives in Kansas City, MO where he serves as a worship leader and in several other roles. He has recorded five solo albums and been featured on a number of compilations. He has traveled the world leading and teaching about worship. He has also produced musicals and films through his own production company.


Saturday, February 15, 2020

Simple Hymns: Songs of Communion



Classic texts and new songs explore being in Christ.

Simple Hymns: Songs of Communion
Artist: Various
Length: 10 songs/45 minutes
Label: Venture3Media

 Don’t imagine songs about receiving communion from the title of this release. Songs of Communion is about partaking of the union that comes through the cross of Christ. Classic texts and new songs explore being in Christ.

As with the prior releases in this series, this being the fourth, there is minimal accompaniment, and some of the finest writers in Christendom add creative arrangements, alterations and new compositions. The writers include Chris Tomlin, John Hartley, Chris Eaton, Stuart Townend and others.

This opens with “The Wonderful Cross,” a majestic anthem in the world of hymnody, written by Isaac Watts. The powerful verses that make the cross loom large are borne along by simple guitar strumming. Brushed drums are employed here, and percussion is light throughout if used at all.

Some time ago a fragment from “And Can It Be” made it’s way into a modern worship song, which in no way could carry the gravity of the full text. This one doesn’t get covered as often, and fortunately it’s not an abbreviation here. That’s not to say that incorporating elements of hymns is bad when it can add something worthwhile.

I first encountered this Charles Wesley hymn during a sojourn in England, and they knew how to sing it! It originated from their part of the world where it is still sung with gusto. It was unforgettable the way male and female voices were intermingled and then joined in a chapel meeting. Here, where simplicity reigns, it has a new melody, which is probably wise given that the original is not as accessible today. This is bright and cheerful, and even though what I heard at Birmingham Bible Institute was more dynamic, I’m glad to be able to experience the text anew.

“Man of Sorrows” is like a throwback to an earlier time even though it has a contemporary feel. It’s slow, deliberate and quiet with piano backing, which makes it somewhat meditative. This is sung by American Idol alumni, Joanna Beasley. Her vocals are terrific and she also gives a different but lovely feel to “How Deep the Father’s Love For Us.”

“Be Still My Soul” has always been a personal favorite for its lyrical richness. There is wisdom in every line. This version has an interesting contrast. Under-girding the melody is an otherworldly sound, almost like steady, low-sounding feedback. The foreground includes high notes that sound like a toy piano; whatever the instrument it’s an interesting mix. It’s anchored by finger-picking on an acoustic guitar.

For the most part “Nothing But the Blood” is not the traditional hymn. “What can wash away my sin? Nothing but the blood, nothing but the blood. What can make me whole again? Nothing but the blood” becomes the chorus, the stanzas being new.

This track has a strong roots music feel that features David Fitzgerald, a founding member of Iona, the prog rock band. He is also credited as one of the writers. The style is punchy. Fitzgerald sings with a grit that reminds me of Matt Maher.

Another adaptation is Reginald Heber’s “Bread of the World, In Mercy Broken,” which is titled “Broken for Us.” The added bridge breaks in boldly declaring: “Christ has died. Christ has risen. Christ will come again.” It’s repeated a few times and with some variation. I like this succinct summary.

“The Wonder of the Cross,” the only duet, sung by Gabe Wilson and Amy Little, is a tender rendering of a song written by former UK worship leader, Vicky Beeching. The latter came out as gay in a 2014 interview and a book about her experiences came out in 2018. This modern hymn expresses holy desire: “May I never lose the wonder, the wonder of the cross. May I see it like the first time standing as a sinner lost.”

“O Fount of Love,” a new song, has a hymn-like structure and becomes especially noteworthy for its catchy string arrangement that drives the rhythm. Whenever employed the string arrangements on this release are excellent.

Christian singer and author, Kelly Minter, closes with another new song, an understated piano ballad, which brings this to a worshipful end.




Saturday, January 11, 2020

It's Christmas - Planetshakers



Planetshakers put their joyful, Christ-centered stamp on Christmas.

It’s Christmas
Planetshakers
Label: Venture3Media (V3M)
Length: 11 songs/41 minutes

One writer remarked that when it comes to Christmas music, he seeks a release done in the artist’s normal style. By that reckoning Planetshakers mostly succeeds on their first Christmas album, It’s Christmas. They deviate from their norm on a few songs but that provides welcome variation. For the most part they make 11 songs including three originals their own.

What does that sound like? Much of it is celebration! “Come on let’s celebrate,” the worship leader sings on the title track, with music that matches the invitation. How can listeners not be moved toward that response when they hear such an upbeat take on the season, which includes an extended funky bass solo? “Be of good cheer. Jesus is here,” is a reminder that we have a solid reason for rejoicing. This is the song to play for a festive atmosphere.

Regardless of the style or tempo, the vocals, musicianship, arrangements and production are uniformly excellent throughout. In particular, the keyboard playing and programming stand out.

Expect a slowed-down, hip-hop vibe on “The First Noel,” which includes a rap extolling Christ’s birth. This opens to the sounds of a crackling fire and a keyboard wash, giving the feel of a cold winter’s night.

Perhaps the first surprise comes on “Silent Night,” the fifth track, which starts off with just acoustic guitar accompaniment. It holds to a softer sound with minimal percussion, more of a traditional take.

The next song, “All Glory,” is piano-driven soft jazz. A smooth female lead croons worship on an original song. It’s a gorgeous sonic departure. I’ve never heard such smooth, pleasant worship in this style.

Another diversion, one that is highly elegant, is “The Prayer,” written by David Foster and Carole Bayer Sayer. It’s an orchestrated duet with some of the lyrics in Italian. The male lead sings in a somewhat operatic style, which may be off-putting to some, but I appreciate the humility in the lyrics.
Let this be our prayer
When we lose our way
Lead us to a place
Guide us with your grace
To a place where we’ll be safe

Towards the end it becomes “every child” needs to find a safe place.

The group is back in a groove on the next track, “Light of the World,” which features an effective rap. The two raps on this release are easy to understand and give glory to God, so don’t be dissuaded if you normally shy away from this kind of spoken word.

The closing “O Come All Ye Faithful,” is rousing and joyful, a fitting sendoff.

Planetshakers continue to impress in their ability to fuse new and old sounds in the service of worship, which is often celebratory. I don’t know of any artist in this genre that does such a fine job of mixing electronic pop and R&B. Their creativity and excellence are refreshing.

Being a seasonal release this could get easily overlooked, but that would be a pity because there is light and beauty here that can be enjoyed any time of the year. It’s Christmas can help to chase away any gloom on the horizon, reminding listeners that everything has changed.

Saturday, January 4, 2020

It's Christmastime EP - Plumb



Those looking more for cheer and fun, may prefer this over the spiritual companion but both are excellent.

It’s Christmastime EP
Artist: Plumb
Label: Plumb Music
Length: 5 songs/15 minutes

It’s Christmastime EP by Plumb is the playful companion to her Behold EP. Both consist of five songs that mix new with standards. Behold provides the spiritual side whereas It’s Christmastime is holiday fun and nostalgia. Both are excellent! For more on Behold see my separate review.

For those who might be tempted to overlook Christmastime, it is just as satisfying and may be more entertaining than Behold. Like the other it has outstanding production, a variety of instrumentation and styles, and warm sentiments but it may have a slight edge for being so cheery and even humorous.

The one standard, “It’s Beginning to Look a lot like Christmas,” is a duet with Marc Martel, former lead singer of the Canadian band, Downhere, who can probably sound more like Freddie Mercury than anyone on the planet. He had the honor of singing some of the vocal parts for the movie Bohemian Rhapsody. He has also released several Christmas recordings as a solo artist, so I was excited to see his name listed. He sings the first stanza and Plumb does the second before they start to mix and join their voices. Appreciate Plumb covering a classic that does not get remade often.

As is the case on Behold, the middle song, which is the title track is a beautiful centerpiece. I don’t have any liner notes but I assume that just like “Behold” it’s a new song. Nostalgic images abound against a playful melody. It takes off on the chorus through a boy’s choir providing the background. Their voices soar and become more layered with each repetition making it euphoric.

Another Year Has Gone By” follows and is probably my favorite. I relish the way this starts and sounds throughout. Listeners are treated to a bit of modern sounding doo-wop. Movie producers take note! This is the song to anchor a holiday romance about faithfulness through the years. It’s pure pop pleasure with tender, loving sentiments. It’s the best love song that I have heard in some time. It includes a tasteful guitar solo towards the end.

I must admit that “I Want a Hippopotamus for Christmas” is my least favorite. It’s insistent with music matching the attitude, but it’s all in fun. It’s quite the romp, which seems fitting for a song about wanting a hippo. The sentiments are quite practical. No going down the chimney, just bring it in through the front door. I can imagine Larry the cucumber of VeggieTales singing this except for the fact that hippos are vegetarians, which might make him wary.

These two EPs earn their place among the best new releases of the season. Listeners can be enriched whenever there is a need for some goodwill and cheer.


Land of the Living - Jason Gray

  Gray’s authenticity and hope make this one of the year’s best. Land of the Living Jason Gray Label: Centricity Music Length: 12 son...