Billie Jean - Dr. BLT with Kim McAbee

“Billie Jean” goes alt-country

Billie Jean
Artist: Dr. BLT with Kim McAbee of the Buckaroos (formerly Buck Owens and the Buckaroos)

Billie Jean is one of Michael Jackson’s best-loved songs. The video has over 37 million views on YouTube. The song is found on Jackson’s 1982 Thriller release, which was number one in the US and the UK.

To record such a beloved a song and do it justice is risky and a challenge. I suspect that Dr. BLT chose it as a tribute to Jackson’s legacy. He succeeds admirably in making this his own. Who would have guessed that this could be made into a country song, but the subject matter fits well with this genre.

This classic fares well under the influence of the Bakersfield Sound, and is among Dr. Thiessen’s best work. Though Buck Owens is an influence, the rhythm reminds me of Johnny Cash.

I like being able to hear the lyrics more clearly than on the original. Thiessen’s rugged voice brings out the defiance in the chorus: “Billie Jean is not my lover!” This is balanced by Kim McAbee’s smooth background vocals and harmonizing. This more than meets the remake challenge; it’s like listening to a new song.

The song has been released as mp3 and is on the downloadable edition of the CD, From Buck Owens Blvd to Merle Haggard Drive, which is available at (http://www.drblt.net).

Your Kingdom Come - Matt Papa

Missional holy boldness

Your Kingdom Come
Artist: Matt Papa
Label: Centricity Music
Length: 18 tracks/74:00 minutes

On Your Kingdom Come Matt Papa is bold in every way. He incorporates Scripture to declare who God is and challenge believers. He touches on social justice issues, but goes further in songs like “Here Am I, Send Me,” reminding listeners that acts of compassion are not enough. “The world must hear the Gospel,” he says. “They must hear the name of Jesus. And we, the Church, must surrender all we have and go tell them!” He counts his recent marriage to Lauren, who “has always had a big heart for missions,” as a major influence.

And if you are challenging people to look beyond themselves to a world in need, it doesn’t hurt to have fast and furious guitars adding punch. Whether the speed is fast or mid-tempo, the style brings to mind Delirious, although a few songs are enlivened by a punk influence. Think Relient K leading the song portion of a church service. This is raw and raucous modern worship that can also be melodious. It’s broken-up by a few brief but delightful acoustic songs. The production and execution make this a pleasure provided you can handle sound and lyrics that are aggressive.

Papa’s words challenge. “Where is the Difference” and “Woe to You” are confrontational, somewhat similar in style to Derek Webb and the late Keith Green. “Open Hands,” a song of surrender, which also happens to be the first single, is more along the lines of Jason Gray in content and sound.

If you like modern worship, and you want something that is a little edgier than the norm, this is worth checking out.

Hollywood Worldviews: Watching Films with Wisdom and Discernment (Updated and Expanded) - Brian Godawa

God loves movies

Hollywood Worldviews: Watching Films with Wisdom and Discernment (Updated and Expanded)
Author: Brian Godawa
Publisher: IVP Books
Pages: 261

“God loves movies,” Brian Godawa writes in the first sentence of Hollywood Worldviews. He goes on to explain that, “Movies are visually dramatic stories, and in the Bible the dominant means through which God communicates his truth is visually dramatic stories—not systematic theology, or doctrinal catechism or rational argument.”

Like it or not, “In some ways, television, music and the movies are the modern arena of ideas.” In light of that, Godawa advocates “interacting with the culture” rather than the two extremes of “avoiding it or embracing it.” He favors a middle ground that encourages discernment but avoids reducing movies to just a set of ideas that are good or bad. “My goal,” he writes, “is to help the viewer discern those ideas that drive the story to its destination and see how they influence us to live our lives—to understand the story behind the story. But we must be careful in our discernment not to reduce a movie merely to its worldview, as if knowing the idea is enough to understand it.… It is ‘entering into’ the story where one comes into true contact with that worldview, not through mere rational analysis. This book is not a call to praise or condemn films simply because of their ‘message.’ Rather, by learning to be more aware of worldviews, we will be more equipped to appreciate the finer elements of what is going on in our movie-watching experience.” A good story is something you experience.

With that end in mind, Godawa educates the reader about the various elements of story, including the worldviews that shape them. Fundamental principles are reinforced with examples from different films, which makes this an excellent resource. There is a wealth of scholarly analysis covering several hundred films that can easily be found by using the index in the back. Practical exercises follow each section.

This book is written for the general public, but it also serves as a mini-course in philosophy covering the predominant worldviews of our time—existentialism, postmodernism, romanticism, monism, evolution, humanism and neo-paganism. The author is an expert at not only highlighting these ideas in films, but also in his knowledge of the many movies that he examines.

Seeing how pervasive and sometimes subtle these worldviews are made me wonder if I want to keep watching. After all, many of these ideas are antagonistic to a Biblical perspective, which can be a rarity in film. Sex, violence and profanity are frequent reasons cited for avoiding movies. However, early on the author addresses this issue showing that context is all-important.

Though some may fail to appreciate the distinction, offensive items may be a little more palatable if they are necessary to the story versus being an excess of the filmmaker. “The key,” as Godawa writes, “is to ask some questions: Is this an educational approach to exposing evil? What are the context and consequences of the vice portrayed? Is it dehumanizing or humanizing? Does the movie celebrate evil, or does it ultimately condemn it? Is the sin displayed as an end in itself, or is it a part of the bigger picture that leads to redemption? Does the movie go overboard in detail, or is some detail necessary to emphasize the seriousness of our behavior?” We must also remember that no work of art, no sermon or anything in this life is perfect. Everyone and everything suffers from our fallen state. We are continually exposed to a mixture of truth and error.

Thankfully, this author is one that believes that growing in discernment does not have to take away from the benefits of watching a movie. We are better served when we understand what is being communicated through a film, but Godawa wants us to hear what is being said through movies. “Let them challenge us, allow them to help us see the world through different eyes, let them help us experience human existence in ways that we haven’t before. By entering into the story, we can experience a part of human existence and truth that we cannot reduce to abstract ideas or philosophy.” Movies are an artform and to the degree that they reflect truth, they transcend their format and enrich our lives. Godawa wants Christians to embrace the truth found in movies while being informed by a Biblical worldview.

The Real Thing - pureNRG

Real talent, great support and growing maturity

The Real Thing
Artist: pureNRG (http://www.purenrgonline.com/)
Label: Fervent Records
Length: 13 tracks/41:00 minutes

Even though Jesus is that real thing they sing about, in another sense, pureNRG is becoming the real thing. Since signing with Fervent Records in 2007, the group has now released five albums when you count this one, which may be their best yet. They have a polished pop sound courtesy of producer Rob Hawkins, who also plays a slew of instruments, and vocal producer Mark Hammond. Both have done an outstanding job.

Though this is similar to what they have done before, you can hear a growing maturity in their style and lyrics. It doesn’t hurt that they chose “Live to Worship,” a song that Scott Krippayne helped write, and “Sweet Jesus,” which includes Matthew West in the credits. Both of these songs plus “Overwhelmed” move the group into modern worship territory.

A little added heft in the guitar tracks is evident on songs like the catchy “Radio,” which affirms that individually and together we can change the world. “Savior” flirts with an urban groove before it gives way to a bright chorus where they seek to introduce the listener to Jesus. “Cover of a Magazine” is a song that needed to be written. It recognizes that none of us can measure up to the artificial perfection that we find on those glossy covers.

The CD also includes three sing-a-long tracks at the end. These songs have been stripped of some of the vocal tracks so that anyone can join in.

This group is on track in fulfilling their clearly defined mission statement, which you could summarize as being a Godly influence and positive role models for their generation.

Love’s All Around You - Devyn

West Texas singer seeks to inspire

Love’s All Around You
Artist: Devyn (myspace.com/missdevynrocks)
Label: Independent
Length: 3 tracks/11:55 minutes

Love’s All Around You by Devyn is the three-song debut from this West Texas pop singer. But she is not a newcomer. At only 18 months—yes, before she was out of the infant stage—family folklore has it that she could sing a pitch-perfect rendition of “He Touched Me,” the Bill Gaither classic.

It didn’t take long for Devyn and those around her to recognize that this was her calling. But with any calling, challenges and adversity are inevitable. As adolescence set in, Devyn suffered from debilitating anxiety and depression. She found herself in dark places as she also battled sever migraines. She finally emerged from her wilderness experience after praying with her parents. As the old hymn put it, she took her burdens to the Lord and left them there.

Thankfully, that trying time is now a distant memory. She is back in the bright light of some high profile performances, which include opening a sold out coliseum show for Phillips, Craig & Dean. She shared a home church date with Trent Monk (of acoustic rockers Monk & Neagle).

It’s what makes the opening song, “How Great Your Are,” so fitting. This guitar-driven pop song affirms God goodness and gives Him praise. The ballad-like “Next Chapter” explores choices made in hard places and their subsequent consequences. Regardless of what we have done or where we have been, it’s never too late to turn the page. This is a song whose style fits with pop or country. Devyn has the voice to sing either style equally well.

The title song is an energetic finale that recognizes that pain is temporary and life is good. It could be autobiographical, even though all the songs are written and produced by Michael and Ron Morales. One minor drawback is the synthesized production on this song. A remix that provides a more organic sound would make this better.

Lyrically, there are no overt references to Christian faith, which is intentional so that the songs will appeal to a wider audience. It makes different interpretations possible, but Christians will have no trouble reading between the lines.

Devyn’s purpose, however, is clear, “I just want to glorify Him and move other people to do the same when they listen to my music, and even if they have different beliefs, I want them to walk away inspired.” This is a good start toward that end.

No Place Left to Fall - Bill Champlin

Champlin cuts loose on smokin’ R&B recording

No Place Left to Fall
Artist: Bill Champlin
Label: DreamMakers Music
Length: 13 tracks/68:15 minutes plus a documentary DVD containing over one hour of content

Bill Champlin may be the best known unknown artist. Until recently, I did not know that he was the singer on “Look Away,” the 1988 song recorded by Chicago that topped the Billboard Hot 100 for two weeks. I also just discovered that he sang on “Lead Me On,” the title track on one of Amy Grant’s best recordings. For years I followed the Sons of Champlin—one of the best unknown groups—, but lost track of Champlin once the Sons began to wane. This was before Champlin joined Chicago in 1981, becoming an integral part of the band.

He has now left Chicago (August 2009) to devote himself to his solo career. He has released a series of recordings in the past, but No Place Left to Fall is his first in more than 10 years. One might assume this to be an extension of his work with the Sons and Chicago, but that assessment misses the mark.

There are some similarities; the voice is the same and at times the sound borrows from both groups, but what sets this apart is the R&B backbone heard throughout. Having been influenced at an early age by Lou Rawls and James Brown, Champlin is a soul man at heart. That makes this work closer to the Sons than Chicago, though there are obvious pop influences. That is especially true on the title track, which could easily follow “Look Away” to the top of the charts. Chicago has done an acoustic version of “Look Away” in concert, which has now been retired by the band. A new acoustic version is part of this CD.

You can’t help being reminded of Chicago on “Never Been Afraid,” which includes Chicago’s former lead singer, Peter Cetera. The song is a duet featuring Champlin and Michael English. The two join Cetera on background vocals, creating an all star trio.

With the exception of “Stone Cold Hollywood,” which has outstanding horns courtesy of Sante Fe and the Fat City Horns, the brass associated with Chicago and the Sons is left behind for simmering, smoldering R&B with nods to rock and pop. One of the highlights is Champlin’s organ and keyboard playing. He’s been doing this for more than 40 years and his organ solo on the opening “Total Control” and the funky, jamming intro on “Tuggin’ On Your Sleeve,” is hot. Whenever I hear great art like this, the world suddenly seems alive with possibilities and becomes a brighter place.

The musicianship is stellar, and the music is not hidden under a bushel of clutter or distortion; the notes shine with a crispness and clarity such as I rarely hear. Major kudos to the producers (Bill Champlin and Mark Eddinger) and Jason Corsaro and Mark Eddinger for making these mixes such a delight to hear.

Lest you fail to appreciate what you are hearing, the CD comes with a DVD that includes a brief overview of each song. I so appreciated Champlin’s humility on the personal vignettes. He even has a few words to say about Dylan and The Beatles. There is a bonus for Sons’ fans: a live 12-minute version of “Gold Mine,” recorded in Las Vegas.

This is a solid effort, and I know from communicating with Champlin, that he is already collecting songs for his next solo outing. For fans of the Sons, this is the next best thing to a new Sons’ recording. If you like R&B, this is your chance to hear Champlin cut loose on the music that is part of his being.

Justification: God’s Plan & Paul’s Vision - N. T. Wright

Jump into a conversation on justification and God’s righteousness

Justification: God’s Plan & Paul’s Vision
Author: N. T. Wright
Publisher: IVP Academic
Pages: 279

Many years ago, a Charismatic friend of mine said that he would never read a book by someone who was not baptized in the Holy Spirit. It was a sincere conviction, one I have thought of, when I realize how much enrichment I might have missed had I adopted his stance.

This is the first book I have read by N. T. Wright, Bishop of Durham, Church of England (or Anglican church). Unless you have a keen interest in literature, you may not know that he has become well known in the Christian literary world for his many books and articles. If you are evangelical, and have wondered if anything good can be found in the Anglican church, you need to read N. T. Wright.

I thoroughly enjoyed the depth of scholarship and the masterly exposition of Scripture found in this book. I have heard evangelicals lament the seeming indifference today to doctrinal precision, but I found it here, even though some might disagree with Wright’s conclusions.

This book is part of a conversation between the author and John Piper, the pastor of Bethlehem Baptist Church in Minneapolis. It’s a rebuttal to Piper’s book, The Future of Justification: A Response to N. T. Wright. With the publication of these two books, the debated has gone beyond academic circles to the public arena.

Not having read Piper’s book, my knowledge of his views on this subject comes from Wright’s book. Wright is irenic and charitable toward his opponent (if I can call him that), and I don’t get the impression that Piper’s views are misrepresented. This is a civil debate, and as it says in Proverbs 18:17 (ESV), “The one who states his case first seems right, until the other comes and examines him.” I find Wright’s views convincing, but this book may elicit another response from Piper and shed even more light on the whole subject, which would serve us all well.

As I followed Wright’s exposition and logic, I realized how inadequate my own study has been and the teaching that I have received. One might be tempted to think that only scholars can accurately interpret the Bible. But Wright comes to my aid on that point, noting, “The many-sidedness of Scripture, the grace and power of the Holy Spirit, and God’s mercy in answering the preacher’s prayers regularly enable genuine understanding, real insight into the love and mercy and purposes of God, to leap across the barriers put up by our faulty and partial understandings.” He goes on to acknowledge that, “We all live within the incomplete hermeneutical spiral, and should relish the challenges this presents rather than bemoan the limitations it places upon us.” This spirit of humility is found throughout the book.

One key difference between the two men is their understanding of what is meant by God’s righteousness. Piper sees it as God’s concern for God’s own glory, which Wright counters as implying that “God’s primary concern returns, as it were, to himself.” In Wright’s view, “ ‘God’s righteousness’ is regularly invoked in Scripture … when his concern is going out to those in need, particularly to his covenant people.”

This is where Wright’s analysis gets expansive and, in my view, thrilling. The way he tells it, God has always had a single plan to save the world through Israel. He “always intended to call into being a single family for Abraham.” Israel’s unfaithfulness created an obstacle to the fulfillment of this promise. But the apostle Paul tells us that through the faithfulness of the Messiah, God’s plan of providing a family for Abraham is realized. In other words, “the believing-in-the-Messiah people” are “the new reality to which ethnic Israel pointed forward but to which, outside the Messiah, they could not attain.”

Wright’s all-encompassing view of justification brings new relevance to passages like Romans 9-11 and others that deal with the law and Israel. Don’t think for a moment that this is replacement theology, the view that the church replaces Israel. On the contrary, in the second part of the book Wright examines every New Testament passage that deals with justification. He succeeds admirable in weaving the many verses into a coherent narrative of the “single-plan-through-Israel-for-the-world” realized through the faithfulness of the Messiah. If evangelicals sometimes don’t know what to do with Israel, they will find help here. God’s plan remains unchanged. Jews and Gentiles make up that single family promised to Abraham.

One interesting difference between the two men involves the commonly taught idea of imputation, where, as in Piper’s view, Christ’s perfect righteousness and punishment are counted as ours. With Wright, God declares righteous those who are in Christ, but the result is a change in status rather than a transfer of substance.

Regardless of where a person might stand on these issues, this debate is worth following. This book is essential reading on the subject.