A King & His Kindness - Caroline Cobb

A Jesus record to help God’s people remember and rehearse his story

A King & His Kindness
Caroline Cobb
Publisher: Integrity Music
Length: 9 tracks/37 minutes

A King & His Kindness by Caroline Cobb is her Jesus record. If you are familiar with Rich Mullins, you may recall that prior to his untimely death he planned to release a batch of songs about the life of Christ. After his tragic accident friends and fellow musicians completed the The Jesus Record. Cobb accomplishes something similar here in every song.

It’s also fitting that the final song, “Let It Be So with Your Church,” is like a benediction for Christ’s church. Having heard about and coming to know this Savior, now follow in his steps. This encouragement is in harmony with what bible scholar N. T. Wright has envisioned. The community of God is to be characterized by love, sacrifice and service as expressed in the song: “As Jesus bent low to serve in love/So with us let it be.” It’s such a fitting application to a beautiful depiction of the life of Christ spread across the preceding eight songs.

Christ’s gentleness is even expressed through the music. “Who Is This Jesus?” opens to the sound of gentle strumming of stringed instruments, including mandolin for a gorgeous sound. Light pedal steel sounding as if far-off in the distance adds to the lovely texture.

It’s ironic that the songs with little or no percussion, like the aforementioned, carry the most weight. They are quiet but stunning in their impact. Similar to “Jesus …” on The Jesus Record. Ashley Cleveland, the lead singer, is most often associated with rock but here the soft vocals make this ballad all the more powerful.

Count “Jesus, Full of Compassion” in the same category. There is a soft interplay between acoustic guitar and piano. The latter having a slight echo and combined with the sparse setting creating an ethereal background.

Here Cobb identifies with a variety of desperate people whose stories are in the gospels: “I am the outcast leper/Falling helpless to my knees … I am the bleeding woman/Desperate reaching for your robes.” How often as readers do we fail to see ourselves in these stories? We might see ourselves as far removed when we are just as needy, though in different ways. The repeated identification in the song with the lowliest is arresting, helping me to see that like them I’m in need of grace.

This brings me to the wonderful concluding and repeated lines in “Find Rest (Matthew 11)”

All the work is done, it is finished
No, you’re not enough, but it is finished

What a sense of relief comes with the realization that though I will never be enough, what Christ has done on my behalf is more than enough to satisfy my deficiency.

So as not to leave the wrong impression, the songs alternate between a minimalist approach and ones with a full-bodied sound. Either way it’s not morbidly introspective. Some like “Turn the Tables” and “Don’t Want to Miss Your Heart” are mid-tempo and lively. The former is anchored by a joyful piano hook.

The opening “The Year of His Favor (Isaiah 61)” has a gospel-flavored chorus courtesy in part from Resound, a gospel trio. What strikes me too is the drumming on this song. Drummers who don’t overplay are rightly lauded for their restraint. That’s what I thought of when I heard the steady beat here and elsewhere. The same might be said of all the musicians and the production in general. It’s never overdone.

If Rich Mullins was here to express it, I think he would approve of this Jesus record. He would probably want Cobb to join him on a tour highlighting the life of Christ. Artists like Steve Bell, Carolyn Arends and Sandra McCracken would also fit right in. And since Bruce Cockburn was recently found anonymously playing in a worship band, let’s invite him as well.

If you are looking for biblically-rooted songs expressed primarily in straightforward arrangements and organic sounds, don’t miss this one.

First Nations Version: An Indigenous Translation of the New Testament

 

A refreshing, thoughtful translation that helps readers see anew what can become overly familiar.

First Nations Version: An Indigenous Translation of the New Testament
Publisher: IVP
Pages: 481

Those who like to use different translations of the Scriptures, will want to consider getting First Nations Version: An Indigenous Translation of the New Testament. Since receiving it I have used it for the New Testament portions of my Bible reading plan. As of this date, it’s taken me through the book of Romans and 1 & 2 Corinthians. I do recommend it for reading as opposed to study. It’s beneficial to have a more literal translation available as a supplement for study purposes.

The text flows beautifully unlike some literal translations that lack it. The language is earthy; no difficult theological terms to decipher. It feels like I’m listening to a wise Native American storyteller who proclaims the Great Spirit and his ways in easy to understand terms.

Without resorting to technical analysis, which I will leave to someone more qualified, my impression is that the meaning is being accurately conveyed. This is not a literal translation, a word for word rendering. It’s closer to what is sometimes called dynamic equivalency, conveying thought for thought done in a style of language that may be familiar to many Native Americans. Again, it’s a little like an elder passing down the history and traditions of a sacred record.

One of the editorial decisions I appreciate is the choice to use the meaning of names when a name is mentioned. Jesus is Creator Sets Free. This is followed by the traditional rendering in parenthesis so that it’s clear who is being indicated. “Father of Many Nations (Abraham)” is an example. Paul is Small Man. He might see that designation as fitting, given that he considered himself the chief of sinners, even persecuting the “sacred family.”

In the Introduction the authors state that “at times reasonably implied statements were added within, above, and below the text…. These added statements are not intended to change the meaning of the text but rather to bring clarity” (xii). These additions are in italics.

Occasionally, as in First Corinthians 11, the editors insert a block of italicized test to provide background. The following example is in relation to a man praying or speaking for the Great Spirit with his head covered, thus bringing shame to his head.

This could be because, in the traditions of the tribes of Wrestles with Creator (Israel), some men would cover their heads and faces when they prayed, being ashamed of their broken ways. So covering their heads and faces would then be a sign of shame. The Chosen One has taken away all shame, so man should not cover their heads in shame when they pray.

Such is the wonder and beauty of the text that one can get immersed in the drama and might think First Nations people are being addressed when Tribal People are mentioned. When Small Man (Paul) speaks of the Tribal People he, of course, is referring to the tribes of Israel. People from Outside Nations are Gentiles, those not part of Israel.

A favorite passage for me and probably many others is the one where Small Man talks about Creator’s strength coming to the fore in our weakness. This is 2 Corinthians 12:9 in the First Nations Version:

“The gift of my great kindness will give you the strength you need,” our Honored Chief said to me. “For the greatness of my power comes to the ones who understand how weak they are.”

So then, I am glad to brag even more about how weak I am, so it can be clearly seen that the power resting on me comes from the Chosen One.

Included in the back is a fascinating glossary of terms. You find, for example, this explanation of why “sin” is translated “bad hearts and broken ways”:

For many of our Native people, the English word sin evokes the memories of boarding school, where “sin” was often the length of our hair, or speaking in our native language, or anything related to our cultures.

This is only the first line of the term but it’s striking in light of the recent discoveries of mass graves at former First Nations boarding schools.

This clear translation allows one to see the Scriptures in a different light. If you have any inclination, don’t hesitate to get what is truly honoring to First Nations people. It’s not just for them, as this will retain a special place in my Bible collection.

Mixtape Vol. 1: Side A - Coby James

 

Warm and fun, “Golden” celebrates God’s love

Mixtape Vol. 1: Side A
Coby James
Label: Centricity Music
Length: 4 songs/14 minutes

On Mixtape Vol. 1: Side A Coby James opens with a fun and happy song. The playful feel to “Golden” is a mixture of expertly woven styles, predominantly R&B and pop. The captivating melody is punctuated by snappy sounds and sunny lyrics about God’s love. I feel better just hearing it. Horns at the end add to the magic.

“Castles” is more pop/rock. One of my favorite moments comes during a bridge that takes its thought from an old hymn:

You’re the rock
Where I stand
All other ground
Is sinking sand

It’s during this declaration that some loud, feedback-laden guitar is mixed in, which is strangely appealing.

Building apart from God is a castle made of sand that ultimately will wash away. Thus, the repeated refrain, “I’m gonna do what God says.”

“Simple” gets personal as the singer wrestles with the drawbacks of fame. Oswald Chambers, the author of My Utmost for His Highest, reckoned that aside from disobedience a refusal to be simple is a source of stumbling. Christians may identify with the longing for the simplicity found in early faith.

This release becomes more personal with each song, the closing “New Roots” being the most intimate of all, reflected in some of the softest moments. It starts with gentle strumming slowly building to a climax where it becomes more dynamic.

I like the reference to family and home in verse 2:

When I miss my mom, miss my dad
Miss my home and the wide open skies
In the mystery, the unseen
I know you will be, be my guide

A pre-chorus consisting of two short lines is beautifully sung in falsetto over a starry-sounding keyboard.

The maker of the stars
Is holding up my heart

It makes for a fitting end. The release begins with fun and ends in worship.

The cover image looks like an old record with ring wear. It shows a giant sunflower surrounded by a sunny, mountainous terrain. I wonder if Centricity will consider making this available on vinyl along with the companion releases?

Side A has a pop focus, Side B highlights acoustic guitar skills, and Side C explores a more experimental side.

This 19-year-old from a small town outside of Raleigh, NC considers himself a student of John Mayer. Guitar is his instrument of choice, which he uses to write and produce his own music.

Live from Decatur City - North Point Worship

Arena-sized anthems from an Atlanta-based ministry

Live from Decatur City
North Point Worship
Publishers: North Point Music/Centricity Music
Length: 6 tracks/26 minutes

It’s no secret that in person worship is more dynamic than listening to a recording or viewing a broadcast. This is not to discourage those who participate through an online experience or by listening to a release such as this. As powerful as a recording may be, it’s better to be there.

One of the things that I appreciate about the ministry, which this group springs from, is there concern for the safety and well-being of their people. They seek to do what is best regardless of what others think.

Despite this being live there was no audience in order to avoid unnecessary risk. Being there was not an option, so Live from Decatur City by North Point Worship is the next best thing. There is no crowd noise but listeners will otherwise be unaware that there is no congregation. It sounds like a live recording.

Without this document I would not have been able to hear the soulful “Anchor of Peace,” my favorite song. Whereas the other tracks have the familiar pop/rock that you hear in some weekend services, Lauren Lee proclaims the good news through a gospel sound. It starts dramatically with a steady, powerful drumbeat before being joined by smooth R&B and a choir of voices.

I like how the transition from the previous track is seamless. There is no break between songs on this recording. Each flows effortlessly into the next.

“Goodness of God” is a beautiful duet featuring Heath Balltzglier and Emily Harrison. Throughout this release there is a balance of male and female leads.

Initially, the acoustic is prominent with some lovely keyboard sounds. Towards the end it breaks into a refrain: “Your goodness is running after, it’s running after me” which is most likely drawn from Psalm 23:6, “Surely goodness and mercy shall follow me …”. Goodness is personified as not just following but running after the object of its desire.

The lightning-fast, intricate opening guitar riffs on “Abundantly More” create excitement. This is a fitting lead single. As on other moments found on this EP, the sound is large enough to be comfortable in the biggest spaces. Yet, at the same time, there is an intimacy reflected in quieter moments. Listeners who appreciate anthem-like songs will be at home here.

The cover image of a stained-glass window is excellent. It’s highly appropriate for a worship recording, even one like this that is thoroughly part of the present.

North Point Worship is part of North Point Ministries, founded in 1995. Andy Stanley is the senior pastor. He is a well-known leader, and the son of Charles Stanley, a longtime and well-respected pastor and Bible teacher.

Holy Week , Vol. 1 EP - Middle River Hymnal

Duo translates the many colors of hymns into rural magic.

Holy Week, Vol. 1 EP
Middle River Hymnal
Label: Gospel Song Records
Length: 5 songs/23 minutes

If you record music, you know something about peak levels. When the recording levels go too much into the red, there is distortion. Initially, it’s what unsettled me about the acoustic guitar on the opening “Great is Thy Faithfulness.” The high notes sound a little fuzzy, like they are bleeding into the red. I suspect this might be intentional, as this recording has a loose, raw feel; maybe a little like a garage band except it’s not heavy. Whatever the intention, it’s far removed from being sterile, polished and overproduced.

This rural magic works to the advantage of “Jesus, I My Cross Have Taken,” the next track, which I had never heard before. I like it when hymn recordings introduce old and maybe seldom covered songs that are new to me. I imagine that this captivating melody is original since it sounds so lively and has a strong hook. How can I not like it when it includes banjo playing?

Plus, Diaz sounds a little like Michael Stipe of R.E.M.. If you ever wanted to hear someone like Stipe singing a hymn, check this out. Don’t laugh, it can happen. Steve Winwood does a beautiful rendition of “Now the Green Blade Riseth” (see https://www.youtube.com/watch?v=vpU01KQIUJM).

The verses are packed with spiritual riches. It’s so dense with truth and wisdom that I’m discovering more on each listen. Talk about treasure in a field where one gives all to make a purchase. This is worth having just for this track alone.

By the way, the rustic sound, which you hear throughout this release is better known as Americana. Whatever you call it, the music is anchored by the warm tones of acoustic guitar and piano, augmented by bass and drums, and the occasional other instrument, including some brass in the background.

The group is an indie duo consisting of Josh Diaz and Laura Creel. After collaborating for years in their local church they signed with Gospel Song Records in 2020 with the intention of reconstructing their worship experience through the “richness of hymns.” Whereas contemporary songs tend to be on the nose, “Hymns use so many more colors to try and describe the indescribable,” explains Diaz. They succeed in translating these colors into vibrant sound.

This includes the spirituals “Give Me Jesus” and “Were You There,” both sung by Creel with Diaz harmonizing. They cover them well, given the sparsity of words and simple framework. That’s not to take anything away from the profound meditation in two songs that are worth knowing. They also provide a wonderful quieter contrast to the more animated hymns that precede them.

It seems like “How Great Thou Art” is more often than not done with music that is more on the traditional or southern gospel side, not that there is anything wrong with that. It’s just a pleasure to hear it anew with finger-picking on the guitar. It’s not overly dramatic, favoring a less is more approach, which adds to its appeal.

Don’t limit this to passion week. Listen at any time. I will enjoy hearing more from this duo if I have the opportunity. Long live hymns and spiritual songs!

Worshiping with the Reformers - Karin Maag

Displaying a masterful synthesis of research Karin Maag provides glimpses into what worship looked like during the reformed age. The focus is not on the contributions of women but it is an excellent choice for anyone wanting to read a female author who makes a valuable historical offering.

Worshiping with the Reformers
Karin Maag
Publisher: IVP Academic
Pages: 234

March is Women’s History Month, set aside to learn of, remember and commemorate the important contributions of women in American history. Worshiping with the Reformers by Karin Maag may not directly correlate but this volume is a valuable account of worship practices in the time of the reformers.

Today readers receive encouragement to engage with books written by women and ethnic minorities to gain a different perspective from the plethora of writings by white males. It’s a legitimate concept as one can no doubt benefit from divergent viewpoints. It reminds me of F. W. Boreham’s encouragement, “I do suggest that a man should be incessantly forcing his mind along new lines, familiarizing himself with unfamiliar themes, pushing his keel into new seas and exploring worlds on which his eyes have never before gazed.”

Do you normally read books by men? Read some written by women. If your reading tends towards those who share your ethnic origin, enjoy the writings of someone from a different race.

Doing this to cross it off a checklist or to fulfill a self-imposed quota is futile if we just go through the motions. Approaching it, however, with a sense of inquisitiveness can expand our horizons. If a reader is looking to read a female author, this book is an excellent choice. Not interested in historic worship practices during the reformation period, all the more reason to push yourself along a different line. You may find it enriching.

Maag, a PhD from the University of St. Andrews, is professor and director of the H. Henry Meeter Center for Calvin Studies at Calvin University. Don’t let these academic qualifications scare you. The books is filled with highly accessible accounts of people and institutions navigating a tumultuous time. It’s fascinating and a joy to read. You don’t have to be an academic, just a learner.

You also don’t have to be of the reformed faith to find this interesting. This covers the practices of a multitude of groups during the reformation period. Catholics, Lutherans, Anglicans, Reformed and Anabaptists are the main representatives. Expect to read quotations from luminaries like John Calvin and Martin Luther but thankfully we get to hear from lesser known voices and publications. The author’s research and skill is evident from the depth of content and the organization. Using words as her building material, readers get to follow her creation of a historical edifice that is a wonder to behold.

I can’t help thinking that this makes an excellent companion to the Reformation Commentary on Scripture series. Neither is dependent on the other, but this definitely complements the former. It even matches the series in terms of the images and color on the cover. Logos Bible Software should add this resource to their inventory since they include the commentary series. I can’t imagine a better pairing.

What adds to the richness is the secondary aspect: “Although the primary focus of this book is on the practice of worship, most of the chapters include some background on the theological approach adopted by Reformation-era church leaders on various topics.” So it’s not just what but why.

The chapter headings reveal the main topics: Going to Church, At Church, Preaching, Prayer, Baptism, Communion, The Visual Arts and Music and Worship Outside Church.

In walking us through the subject matter Maag points out that even in a particular group, nothing was set in stone. Variation existed. There was “flexibility and diversity.” Even with the best intentions it’s difficult if not impossible to achieve uniform practice.

The purpose in examining the differences is to help ministers and lay people today “think more deeply about various aspects of worship practice.” Why did some incorporate icons and others reject them? Why did some hold to set prayers while others favored extemporaneous expression?

One of the surprises is the role of government. This is one of the big divides between then and now. In various ways governments regulated the practice of worship, even mandating attendance. Officials were looking at what was best for society, seeing people more as groups rather than individuals.

The dedication that I see within these pages is a challenge to my own apathy. The varied expressions lead to considering today’s practices. This window into the past informs the present and has the potential to shape our future. In this time of steadily declining church attendance this can purify the heart to worship anew.

 

Recognition - Carolyn Arends

Delighting in surprising turns reminiscent of her friend Rich Mullins

Recognition
Carolyn Arends
Label: 2B Records
Length: 12 tracks/51 minutes

There is a lyrical turn on “Let Love Lead You Home” that reminds me of something that Rich Mullins might write. Carolyn Arends and Mullins toured before his passing, and Arends similarity in style is rewarding. This song from Recognition, her latest album, is about a chaplain that sits with the dying.

She listens when there are no words
And helps with the goodbye-ing
And when they ask her how to die
She says she’s never tried it

I appreciate the surprise, honesty and even comedy in that last line.

Humor also serves “Memento Mori” where she has a dream about family and friends reflecting on her passing.

She really tried her best
We guess it was how she was wired
To work so hard and be so tired
Maybe now that she’s expired
She can finally get some rest

The phrase “Memento Mori” puzzled me until I realized that it’s Latin for “Remember that you must die.” If that sounds heavy, know that it’s offset by whimsical lyrics and a perky rhythm. Plus, the male background vocals reiterating in robotic fashion the chorus are an amusing contrast.

I marvel at how Arends handles weighty issues in such an endearing and thoughtful manner. It may be challenging but there is hope.

“God’s Speed” probably resonates more deeply than any other song. It’s a little like hearing Jesus say, “Come to me, all who labor and are heavy laden, and I will give you rest” (Matt. 11:28 ESV). On the chorus she sings:

No more chasing the wind
Led the Spirit lead
Till we slow down
To God’s speed

Every time I listen I feel a sense of relief. To top it off, it’s done in an R&B style with horns and background vocals by The McCrary Sisters, who truly shine in giving it a gospel influence.

The McCrary Sisters also grace the opening “Becoming Human.” This is an excellent intro: lively with hand-claps and the subversive thought that becoming human is hard, nearly impossible apart from God.

“Without Music” featuring Amy Grant is another outstanding collaboration. Thankfully, this is more duet than just providing harmony and background vocals. It’s a wonderful testament to the necessity and appeal of music, so relevant to our times. Take the last full stanza as an example:

So I guess this is my song for all the ones
Who keep singing as the world comes undone
Like a broken hallelujah, their melodies soar
Till the world’s not quite so broken anymore

The melody has a methodical, thoughtful bent, adding to the poignancy.

Pedal steel adds to the sobriety on “Pool of Tears.” If only we could remember that “Everyone sits by their own pool of tears.” What empathy it might engender, which leads to the surprise turn on the latter part of the chorus:

But when nothing will work
And everything hurts
What if we tried some compassion?

The melody of “Maladjusted” is mesmerizing and lingers, calling to mind Martin Luther King’s haunting message, “there are certain things in our nation and in the world (about) which I am proud to be maladjusted and which I hope all men of good-will will be maladjusted …”. As the song declares, when “what we call normal is a disaster,” the status quo needs to be rejected.

“Gather Me” intimately expresses from a female perspective what the act of holding can do for a woman’s psychological well-being. I have never heard it expressed so eloquently. The male harmony vocal is just right as it is so often on this release.

Arends reminds me of Twila Paris on “To Cry for You,” a ballad grieving the loss of someone close, and “All Flame,” a passionate desire to be one. Given the style and substance of each, it’s not hard to imagine Paris singing these songs. The overall sound is similar enough that it made me think of her.

The opening lines of “After This (Bonus Track)” carry such weight, “We have never in our lifetime/Known a shadow like this one.” Violin, which is prominent, expresses collective grief. I hear lament, but ultimately hope, “’Cause after this, the sun will be shining.”

Longtime collaborators like Spencer Capier and Roy Salmond are here, which is what makes this roots music sound so warm and rich. The latter shares the producer credit with Arends.

Despite Arends becoming a skilled author, speaker and leader, I am glad that she is still enriching listeners through music. I think Mullins once reminded people that the Wesley brothers are remembered more for their hymns than their sermons. Cecil Frances Alexander, author of “There Is a Green Hill Far Away,” believed that the faith was best taught through hymns, so she used simple words to express the truths of Scripture. In her own way Arends is following in her footsteps. 

Broken hallelujahs soar through these songs. Those who hear and take heed become more whole and the world becomes a better place, not quite as impoverished.

Wouldn't You Love to Know? - Steve Bell

As David Dark would say, “There are so many ways to love God.” Wouldn’t You Love to Know? is one of them.

Wouldn’t You Love to Know?
Steve Bell
Label: Signpost Music
Length: 12 songs/39 minutes

The title track to Steve Bell’s Wouldn’t You Love To Know? must be the most intriguing opening to any album that he has ever done. He asks a series of probing questions, “If you have to love the truth just to know that it is true/Wouldn’t you love to know?” Wisdom in the form of riddles.

Compelling roots music provides the setting. Hear the joy of a claw-hammer banjo mixing with violin and mandolin. This is not a new nor unwelcome direction for Bell. He continues a trajectory that brings out his best. Here a multitude of string instruments and organic sounds combine with poetic imagery to create wonder in a world that feels its absence.

Look no further than the gentle interplay of acoustic guitar and ukulele on “In Praise of Decay,” which is pure beauty. Bell teams with poet Malcolm Guite in offering an unconventional take:

Perhaps it’s not so bad that things decay
That ocean breakers ebb and flow away
That light ascends than settles at the ending of the day
That beating hearts can stop and start again

He strains in earnestness in praise of new beginnings.

“In Memoriam” looks back at his recently deceased father, Alfred Clement Bell (1936-2019). Listeners hear of his father’s varied influence marked by the refrain, “I loved him all the more for it.” It’s an endearing tribute that is not afraid to reveal imperfection.

I like the early memory, which reminded me of one of my dad’s influences:

We’d sit for hours and listen
To the Tijuana Brass

The lyrics for “A Heartbeat Away” are written by Bell and Diane Pops. It’s intended to be a companion to Am I Safe? Exploring Fear and Anxiety with Children. Every challenge to one’s well-being is countered by the refrain, “Think of me standing by you.” There is no small measure of comfort here, even for adults.

Before I knew about the book, I thought in terms of God standing next to me in every scary circumstance. It reminds me of what the apostle Paul said when he felt forsaken, “the Lord stood with me.” When I am afraid I can tell myself, “Father, you stand with me.” Though parents may forsake, falter and fail God is an ever present companion.

The music is easy listening in the best sense, soothing but artistic. It communicates tenderness and compassion. Listen and experience shalom.

“The Home of our God” opens and closes in the style of a Salvation Army band: voices and brass marshaled together giving it a regal feel. It’s a welcome classical influence, reminding me of the majestic moments of Handel’s Messiah. Okay, maybe not that dramatic. I just like the way the voices and horns are arrayed, and to think that when I was younger I used to be adverse to them. Every judicious use on this release adds rather than subtracts.

In between the stately beginning and ending, the song becomes an unusual mix of rural and non-stringed instrumentation. Dobro, brass and a euphonium join together. It’s like a warm embrace as Bell reflects on the blessings of being in God’s house.

Malcolm Guite’s poetic rumination on our times comprises the lyrics of “Because We Hunkered Down,” a sobering but hopeful assessment. “Spring will unlock our hearts and set us free.” I truly appreciate songs like this that provide perspective on current crises. With its descriptive title it hardly needs explanation. Just putting our shared experience into words is like a healing balm.

The female vocals found throughout the release, whether it’s trading lines or just harmonizing, is an excellent compliment to Bell. It’s another aspect of the overall rich production. Producer Murray Pulver, an ongoing collaborator, deserves credit for making this an aural delight.

The final two tracks are brief but serve as a fitting conclusion. They bear some resemblance to the Taize style of worship, where simple phrases often drawn from Scripture are repeated making them conducive to meditation and prayer.

The lyrics of “Together” are by Kathleen Norris. Readers might recognize the name of this celebrated author. This and “Do Not Judge” feature dobro and the latter also includes mandolin. These kinds of instruments are like the banjo for me. I like hearing these sounds and this album provides numerous opportunities.

Musically, “Do Not Judge” is a lively bit of folk and the words a welcome reminder. “Together” is a slow, soft benediction, the perfect exit, even though listeners might not want this to end.

Get this on vinyl if you listen to records. It’s the closest to what the artist intends for you to hear and supports someone making a difference.

The Theology of Jeremiah - John Goldingay

First testament enthusiasm is contagious.

The Theology of Jeremiah: The Book, the Man, the Message
John Goldingay
Publisher: IVP Academic
Pages: 151

If nothing else, John Goldingay deserves credit for writing a book titled, Do We Need the New Testament? Letting the Old Testament Speak for Itself (2015). Though I have never read it, I like how the title flips the script, where it’s the new instead of the old that is in question.

Solidifying his esteem for these ancient writings Goldingay authored The First Testament: A New Translation (2018), which I have been using for my daily readings in that part of the Bible. The aim is to give readers a sense of the Hebrew. I like the challenge of it not being easier to read or understand.

Perhaps a little of this philosophy transfers to The Theology of Jeremiah, which includes his translation. He likens the writings to a “collection of blogposts” more than a book. It’s helpful to keep this in mind in relation to the organization of the “scroll”, his word for the book of Jeremiah.

The scroll is not a linear progression of events. The author has a forthcoming commentary, The Book of Jeremiah, coming later this year, which most likely will analyze the material line by line, going from start to finish. The way the scroll was written, however, makes it like a series of different scenes. Goldingay skips back and forth like a movie that alternates between past and present to show how it fits together.

It’s an expert synthesis of the major themes and theology, drawing from the various parts. To use the author’s analogy, it’s to provide a view of the forest from the trees. It’s to explain why the forest might seem to be full of examples of the same trees.

Being the scholar that he is Goldingay draws from rather than reads into the text. Application is helpful, but first of all it’s important to grasp meaning, which is the focus in this book. There is only a judicious use of application.

Part one analyzes Jeremiah’s person, scroll, story and theme. Each theme emerges from consecutive chapters, which include outlines. Jeremiah 11-13, for example, focuses on the “covenant” between Yahweh and Israel. Illustrative of his care in exegesis, Goldingay uses the word “pledge” instead of covenant. Pledge has some overlap with the word translated covenant “but isn’t the same.” “The pledge meant their listening to what he said and acting on it” (35).

It’s something that God imposed on Israel, and yet there are two sides to it. Judah benefited from the relationship in return for surrendering its independence. One of the initial benefits was God getting Israel out of Egypt. Another, “Israel benefited again because Yahweh took them into Canaan, a country with so much land for sheep and goats it seemed to be flowing with milk, and so much land for orchards it seemed to be flowing with syrup that was to be made from the fruit of the trees (traditionally, translations speak of the land flowing with honey, but fruit syrup is the sweetness the word usually denotes” (36). I appreciate this small incidental that sheds light on a familiar phrase.

In what initially could raise eyebrows Goldingay goes on to say that “it might be misleading to say that Yahweh was liberating Israel from Egypt. He wasn’t granting their freedom … Yahweh was actually removing them from service to one master so that they entered the service of another master” (36). Unfortunately, too often God’s people have to learn the hard way that it’s much better to serve God than some other master.

Near the end of this section readers find a distinction that can be easily overlooked. “Was Yahweh’s pledge conditional? … Putting the question this way causes more problems that it solves (as it does in human relationships). Yahweh’s grace and commitment were not conditional, but they did require a response of commitment, otherwise the relationship wouldn’t work. Or we could say that Yahweh’s promises were unconditioned but they were conditional” (37). This is a good example of the nuance that Goldingay continually applies to the text.

Towards the end of the second section, which deals with Jeremiah’s theology, the author surprises. In acknowledging the difficult of defining a prophet, he makes reference to this ministry continuing “recurrently” in the church over the centuries. It’s not clear what he means but it made me wonder if he believes that there are people who function as prophets today.

Some circles in Christianity do recognize people as prophets. They are seen as part of the five fold ministry referenced in Ephesians 4:11.

He does offer a little clarification when he composes questions to ask “prophets or purported prophets today.” In one of his best applications from the life and ministry of Jeremiah, he sets a high standard, one that might leave most weighed in the balance and found wanting.

Lastly, I appreciate how Goldingay highlights apparent contradictions, only to show how they hold together and can be respected despite the tension. In relation to the destruction of Judah, “Did Yahweh intend total destruction and then have a change of mind? Would the order of the chapters rather imply that he intended incomplete destruction, then changed his mind in favor of total destruction, then changed his mind again and didn’t do it” (131).

The author points out that at times Jeremiah appears to be hyperbolic. “In between some of the qualified threats, Jeremiah has already observed to Yahweh, ‘you finished them off’ (Jer 5:3), though he goes on, ‘but they refused to accept discipline,’ which indicates that they still existed and that Jeremiah was being hyperbolic” (131).

Also, “If people turn, then Yahweh can pardon and devastation can be averted (Jer 36:3). If there is no turning and devastation happens, there can be compassion and pardon” (Jer 30:18, 31:34, 33:8). This kind of analysis shows restraint. I appreciate someone who avoids reconciling competing scenarios to achieve what might be an artificial resolve.

It’s why I like reading Goldingay and would read any of his books. He may not always be right but shows himself trustworthy.

Say It - Jordan Feliz

Say it with boldness and grace!

Say It
Jordan Feliz
Label: Centricity Music
Length: 13 songs/44 minutes

Say It by Jordan Feliz opens beautifully with a gospel choir, organ and hand claps uniting on the refrain, “We know, He’s coming back (we know, we know).” What a glorious start!

With the birth of Jesus music in the sixties, songs about the second coming of Christ were common. That trend seemed to fall out of favor some time ago. It’s refreshing to immediately find such a dynamic opening track on that subject. I can’t help feeling more hopeful ever time I hear it. It speaks to our time in the musical language of today, “When the world gets complicated/We gonna keep on celebrating, ’cause we know (yeah, we know)/Jesus is coming back, Jesus is coming back.” Strings jump for joy, pause, and leap again. It’s bold in an R&B/gospel context.

It reminds me of the lament of a late friend who suffered from mental illness. He came to faith in the Jesus movement, and once confided that he was discouraged about how seldom people spoke about the second coming and spiritual things in general. He was starving for fellowship.

If he was still here, I would want him to hear this song. He was a fan of Feliz’s early hit, “The River.”

“Next to Me” is driven by a thumping bass line accented by rock flourishes. “You put the “X” on my faded map,” Feliz sings, in apparent reference to the old phrase “X” marks the spot. “Draw me a line back to where you’re at;” not stated as a request but as something that God does. In other words, God marks the spot and reveals the way back.

“Wounds” is another fitting song for a time when so many have experienced some form of abuse. It’s a gentle piano ballad where the speaker asks, “Would you believe me if I said you’re not beyond repair?/Would you believe me if I told you that I’ve been right there?” The singer offers himself as proof that “His love heals wounds.” I can’t help thinking that many who have suffered from sexual predators may find comfort and encouragement in this song.

Just thinking about these first three tracks, you find themes of revival, repentance and restoration. Great companions and a beautiful way to start an album.

“Glorify” is bold with a strong gospel chorus and the sound of what might be a Hammond B3 organ. It’s what musicians like Steve Winwood and Bill Champlin play so well. Two extra versions of this track are included, one with Lecrae and Hulvey testifying in rap. The other features Toby Mac and Terrian. Each is a little different but anchored by the same powerful chorus.

I appreciate the confession in the “Real Me.”

I love me when I’m not me
I love me when I’m not me
Photoshop when I’m ugly
Autotune when I sing off key

Feliz is surely not alone in valuing his ideal self rather than the real one, which God sees and loves. The sentiments fit perfectly with an off-kilter rhythm driven by the percussion. Anyone struggling with a sense of failure might find comfort here.

“Only Love” is a song of deliverance that rocks with a picturesque opening line, “It’s a prison break/From the dark days I’ve wandered and waited.” I normally prefer the modern reference to the Spirit but like how the old English translation sounds in this line: “Heard the sound of walls coming down/I know it what the Holy Ghost.”

C. S. Lewis wrote, “If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we were made for another world.” That thought is enshrined in “Another World.” It’s an atmospheric mid-tempo longing for heaven.

I appreciate the bridge to the chorus on the title track.

I don’t mean to stress nobody out
But I won’t stand by and do nothin’
I don’t mean to bring nobody down

I hear a graciousness that is inviting. How we need more of it in our day. It’s more explanation than apology. “For Christ’s love compels us” (2 Corinthians 5:14a), the apostle Paul writes. Jeremiah says, “If I say, ‘I will not mention him, or speak any more in his name,’ than there is a burning fire in my bones, and I am weary of holding it in, and I cannot” (Jeremiah 20:9 ESV). Jordan Feliz application, “Say it!”

Aaron Cole’s rap blends seamlessly with the other vocals. The R&B resolve and voices blending on the high notes of the chorus make it seem resplendent with light.

No desire to offend, “just had to say it … If the name of Jesus ain’t lifted up, then who needs us.”