Anthems - Todd Ballard

Electric guitar may be anathema in some circles; it serves a higher purpose here.

Anthems

Artist: Todd Ballard (www.toddballard.com)

Label: Independent/Distribution by New Day Christian Distributors

Length: 13 tracks/54:30 minutes

I hope “guitar-hero” doesn’t have negative connotations. That’s what comes to mind when I listen to Anthems by Todd Ballard.

These are not anthems sung by a congregation. They may be adaptable for that purpose, but it does not matter. I relish stumbling across worship that sounds fresh. It comes from an individual that has an obvious passion for guitar rock. It’s even clear from the packaging. It twice depicts him with his axe, once hanging low by his side as he gazes pensively toward the distance. He’s like a gunslinger, firearm at the ready. The inside booklet shows it in action across his torso, his upper body and face not even visible. Electric guitar may be anathema in some circles; it serves a higher purpose here.

If you like rock but find much of modern worship less than satisfying, give this a try. It shows that subtle differences can add new vitality. This is unashamedly guitar-driven -- clean, tight and rugged -- with a little matching grit in the vocals. I could hear a little of John Schlitt (Petra) in the delivery. The lyrics lean toward singer/songwriter, and there is none of the tiresome repetition of phrases.

In contrast to the more aggressive sound, some piano-driven songs, which include strings, are gorgeous. Ballard, with the help of producer Otto Price, does all things well on this recording.

This includes a remake of “Find Me in the River,” the Delirious song. It segues seamlessly into “The One,” making the former like a beautiful prologue ushering one from the barren to the heights.

I would not have guessed that I would be so taken with a recording that had electric guitar in the forefront. Vertically-focused albums often fail to move me, so it took me by surprise when I found myself caught up in worship by the last track, “Psalm 18.” I was led along by a flow of songs that culminated in this magnificent offering of praise. It concludes with a majestic, Dave Bainbridge-like solo. Like Bainbridge, Ballard uses his instrument to glorify God. He shows a mastery that includes the restraint to know what not to play. Such control makes it seem as though his guitar is singing praises.

Anthems is evidence that guitar-driven rock can not only be a vehicle for passionate praise but majestic worship.   

Nothing is Wasted (2-Disc Deluxe Edition) - Elevation Worship

Spontaneous applause of a glorious truth is a moment to savor

Nothing is Wasted (2-Disc Deluxe Edition)

Artist: Elevation Worship (www.elevationworship.com)

Label: Essential Worship/Provident

Tracks: 12 songs each disc plus bonus track “Give Me Faith (Radio Version)”

What a pleasant surprise to discover that “Be Lifted High,” a song introduced at my church a couple of weeks ago is the second song on this CD. It’s a catchy song, whose source is Elevation Worship, a part of Elevation Church in Charlotte, NC.

The songs correspond to Greater, a book written by Steven Furtick, the church’s pastor. The book derives its inspiration from the life of Elisha. The songs are more general touching on discipleship and furthering the kingdom and glory of God. One need not read the book to enjoy the CD.

This is in the style of Hillsong, Passion and Jesus Culture. Think modern rock transitioning at times to quiet interludes then building to a crescendo. Male and female singers alternate on lead vocals. The former get the lion’s share, which is unfortunate given the quality of the female-led songs.

There is an excited charismatic declaration/prayer at the end of “Nothing is Wasted.” Who can fault being enthusiastic in worship? Hopefully, listeners will hear it as just one of many possible expressions. Surely, there is also a place for quiet and even dignified utterances.

A brief scripture reading followed by a prayer comes closer to this in the remake of the classic, “I Have Decided.” Even here, towards the end, the speaker becomes more ecstatic. What I found more enjoyable were moments of spontaneous applause that erupt in reaction to a truth being sung. Most notably, this happens after the end of some lines in “Unchanging God”: “The world will pass away/But the Word of the Lord stands forever.” It’s a moment to savor.

This is one of only two female-led songs. I would have enjoyed more of the tranquility found in their songs and in “I Have Decided.” I wonder if modern worship tries too hard to be relevant instead of just being whatever God wants it to be with all its varied expressions. An infusion of more originality would bring some much-needed uniqueness. It would be exciting if we were leading the culture instead of following it. Following God’s lead regardless of the cost is what “I Have Decided” is all about.

This CD is likeable, but it succumbs at times to the clichés and the monotony that are too prevalent in this genre. It fails to significantly distinguish itself aside from being a quality recording that comes with studio versions of the same songs with subtle differences. 

Old Light: Songs from my Childhood & Other Gone Worlds - Rayna Gellert

The influence of memory on songs old and new

Old Light: Songs from my Childhood & Other Gone Worlds

Artist: Rayna Gellert (www.raynagellert.com)

Label: StorySound Records

Length: 41:01 minutes

When it comes to murder ballads, I am traversing unfamiliar territory. Sad songs are a different matter. Songs like “Eleanor Rigby” have always resonated. Old Light contains a little of both, which is a reflection of Rayna Gellert’s childhood.

But this is more than just five traditional songs made new. There are five original songs, which touch on the theme of memory.

“The Platform,” caught my attention as I thought of it in terms of someone describing what it feels like to experience Alzheimer’s and/or dementia. The first person account makes it unique: “My writings in the margins/Of all these books that I’ve read/How could all those ideas just fall out of my head.” Original songs like this one have a poetic imagery that is more accessible to me than the traditional ones.

Even so, the craftsmanship on all the songs is a thing of beauty. The gorgeous instrumentation, including the occasional melancholy pedal steel, and the picking of stringed instruments, led by Nathan Salsburg, give this a rustic and rural feel that is ever so welcome.

Salsburg also serves with Gellert as an arranger on every track. This is a wonderful collaboration.

Listening to this CD reminded me of George Harrison’s fondness for The Band. It had something to do with the timeless quality and the organic sound of their songs. Their songs sounded old. Old Light feels even more stripped-down and authentic. The new songs sound old, and the old songs have a newness. Each one is expertly performed. A couple of murder ballads are appropriately ominous.

As faulty as memory may be, I have it on good authority that Gellert is a past performer with Uncle Earl. She is an established fiddle player, but here she makes modest use of that talent, choosing to let the arrangements dictate the instruments.

Her background includes gospel songs, and though this includes a few spiritual references, it would be a treat to hear this group of musicians work their magic on some old hymns.

Michael Card - A Violent Grace: Meeting Christ at the Cross (Book & CD)

Inspiring meditations on the cross of Christ for any time of the year

A Violent Grace: Meeting Christ at the Cross (Book & CD)

Author & Artist: Michael Card

Publisher: IVP Books (www.ivpress.com) & Covenant Artists

Length: 182 pages & 16 tracks/60.08 minutes

Whenever my reading takes me to the crucifixion account, I sense that it will add a wonderful solemnity to my life. I have no fear of it making me morbid. Rather, I imagine it making me more fit for the daily grind. It puts my trials in perspective. As the author of Hebrews writes, “In your struggle against sin you have not yet resisted to the point of shedding your blood” (Heb. 12:4 ESV).

The different glimpses that I get of Christ’s sufferings make A Violent Grace possibly my favorite of Michael Card’s books. Each of the 21 brief chapters focuses on a different aspect of what Christ accomplished through the cross. Each thought on the subject sets up a contrast, beginning with He was born to die, so I could be born to new life.

If you are familiar with Card’s music, you know that his songs are informed by insights gleaned from Scripture. It’s no different with his books. It’s the little details, background information and insightful reflections that make this rewarding.

Reading one chapter a day, I finished the last one on Easter morning, which was entirely appropriate. I want to quickly add, this is worth reading any time of the year, regardless of where we are in the church calendar. Being in touch with these momentous events throughout our days will help us to live in light of them.

Card’s closing thoughts in the last chapter confirm and echo an application made by mature Christians:

Jesus dies a slave’s death on the cross, not so He could somehow ‘lord it over’ His disciples. He suffered to serve. He endured the humiliation because that is what servants do (180).

Obeying. Suffering. Serving. Christ left us an example to follow. A watching world will note this kind of life more than one that asserts itself, finds self-fulfillment, or attains that which is highly esteemed by our culture.

This book is the product of an ongoing relationship with IVP Books, which started with a commentary series on the gospels that is still in process. With every commentary, and with this book, Card has produced a companion CD of music reflecting the book’s theme. The book and CD are separate purchases.

I was surprised to discover that A Violent Grace CD is a live recording. I imagined Card reworking a number of his songs on the cross in the studio. This does include a number of Card’s past songs, but here they have a timeless quality because the only accompaniment is Card on piano (occasionally guitar) a choir and strings. I see the wisdom of letting lyric and melody be heard in a pristine setting. There’s no production that will date this anytime soon.   

This resurrects such Card classics as “Know by the Scars,” “Why,” “This Must be the Lamb,” and “Love Crucified Arose.” This also includes the hymn “O Sacred Head” as well as some new material.

Each track is meticulously arranged and performed with the attention to detail characteristic of Card. The depth in the lyrics and softer sounds make this ideal for considering again what Christ did in dying and rising from the grave.

The subject matter along with the beauty and excellence might provide solace for those who are afflicted. I find the “Death of a Son,” a mournful lament that includes cello, strangely comforting. Christ’s agony gives meaning to our own suffering. As much pain as we might experience, Christ’s triumph means that it is not the end. Suffering and death do not have the last word.

Love crucified arose
And the grave became a place of hope
For the heart that sin and sorrow broke
Is beating once again

Michael Dalton

Shake Heaven - Montell Jordan and Victory World Music

Multi-cultural worship at its finest

Shake Heaven

Artist: Montell Jordan and Victory World Music

Label: Victory World Music (www.victoryworldmusic.com)

Length: CD (13 tracks/66.17 minutes) & DVD (18 tracks/100 minutes plus bonus tracks)

A variety of music styles enrich this worship experience. In particular, this makes me appreciate the influence of African Americans. Here it takes the form of distinctly urban sounds, smooth R&B and hip-hop. It is especially evident on the opening songs led by Montell Jordan.

This applies to the CD and DVD, which vary in performers, content and song order. The CD contains studio versions of the tracks found on the concert DVD. In addition, the DVD includes introductions, a dramatic testimony, an interview with Montell Jordan and additional songs not found on the CD.

The DVD is the main feature, offering a more immersive experience. The Shake Heaven CD was previously released separately.

The concert, which was recorded on 11/11/11, also reveals a charismatic influence. Jordan announces that someone in the audience will be healed and encourages everyone to be expectant. It also includes an impassioned prayer on “Usable” and a spoken word segment extolling the wonder of a holiness that makes us whole. Jordan makes it clear that this is more than a concert; it’s a sincere desire to worship God in everything, and this succeeds admirably.

There is hardly a misstep. The performances and production are nearly flawless. This may not get as much attention as more popular releases by other artists, but the quality here is as good or better. The variety makes this unique. This ranges from the aforementioned African American influence to pop, rock, folk and even classical.

It’s also great to see different races performing together, each contributing to the whole, including Rachel Lampa, who makes a couple of guest appearances on the DVD. It makes me want to see the inclusion of other cultural influences. Native American immediately comes to mind, but no need to stop there.

Perhaps the peak of this performance is “You Are” featuring Chris August on the studio version and Christian Lewis on the DVD. The latter’s performance is especially electrifying. The winsome rhythm and creative lyrics extol what it means to be in relationship with God. It’s the ultimate feel-good song, but it’s not inward-looking. Like all of these wonderful expressions, the gaze is on God.    

VeggieTales: The Little House that Stood (The Parable of the Wise and Foolish Builders) DVD

What can compete with a trio of well-dressed pigs and a narrator that sounds like a famous actor?

VeggieTales: The Little House that Stood (The Parable of the Wise and Foolish Builders) DVD

Big Idea (www.veggietales.com)

Length: Approximately 49 minutes

Something similar to Once Upon a Time, the hit TV show, takes place on the latest VeggieTales DVD. Fairy tale characters are creatively imagined in new ways and settings. Larry the cucumber (dressed in ginger bread) meets Mother Goose. Bob the tomato becomes Humpty Dumpty. The cast of VeggieTales take on the role of storybook characters.

They do so to illustrate two parables: one from Matthew 7:24-27 (the wise and foolish builders) and Luke 10:27-37 (the Good Samaritan). Hopefully, this alleviates any concern that in a mad dash to bring fairy tales to life, VeggieTales has lost their Sunday morning values. Grace and truth win! Plus you get a healthy dose of humor. Unusual characters and stories are just the means to get the attention of little ones (and the young in heart).   

In the main feature, the Three Little Pigs, looking and sounding like high-rolling hipsters, come to Cabbageville looking to build houses. Even the narrator, who sounds like actor Billy Crystal, has suave sophistication. It all leads to the question: will the pigs be taken in by appearances, or will each of them make a wise choice when it comes to selecting a builder? There are three builders, but only one who knows the importance of a strong foundation. This is an excellent adaptation of the story told by Jesus.

The Good Egg of Gooseville, also included, is full of witty rhymes, lots of fairy tale characters and takes aim at being selfish and uncaring. The importance of sharing and being helpful are clear, making this more of an application than a retelling of the parable of the Good Samaritan.

It made me think more of Proverbs 18:1, “Whoever isolates himself seeks his own desire, he breaks out against all sound judgment” (ESV). The mayor of Gooseville, Humpty, played by Bob, just wants to be left alone. He doesn’t want to be bothered with the problems of Little Bo Peep, Old Mother Hubbard and Jack Be Nimble (a role made for Larry). You could say he is headed for a fall. As a better known proverb puts it: “Pride goes before destruction, and a haughty spirit before a fall” (Proverbs 16:18 ESV). When Humpty finally escapes to his dream vacation, it turns out to be as hollow as the life he has lived. This has its moments, even if does not quite live up to the main attraction. What can compete with a trio of well-dressed pigs and a narrator that sounds like a famous actor?

In between the two episodes is a new silly song, “Happy Tooth Day!”

This is worth having for The Little House that Stood, which is classic VeggieTales. The many storybook characters that inhabit The Good Egg of Gooseville, make it an appropriate fit with the former. Together they help viewers discover that vegetables can make you smile, even laugh. I’m glad someone imagined  waltzing with potatoes.

The Quest for the Trinity - Stephen R. Holmes

A rich survey of the doctrine of the Trinity

The Quest for the Trinity: The Doctrine of God in Scripture, History and Modernity

Author: Stephen R. Holmes

Publisher: IVP Academic (www.ivpacademic.com)

Pages: 231

In The Quest for the Trinity Stephen R. Holmes argues that recent scholarship on the Trinity departs from traditional understandings. After a brief analysis of current thought, he starts with how the Bible has been read, how it should be read, and how patristic exegesis is different than our own. This period is analyzed in detail because it is crucial to the formation of the doctrine of the Trinity. From there Holmes moves to fourth century debates on the relationship between Father, Son and Spirit.

Holmes looks at Augustine and the West before reviewing anti-Trinitarianism around 1700. The nineteenth-century roots of the twentieth-century revival of the doctrine are examined, before the book closes with another glance at recent writers viewed in light of all that has been considered.

Technical terms and doctrinal fine points make for challenging reading of a book intended for upper-level undergraduates. It is most readily absorbed by sustained concentration; it’s not bedtime reading.

It would be an excellent textbook on the history of the doctrine of the Trinity. Christ spoke with authority, and on this subject, the author does the same. His breadth of understanding is evident, enabling him to guide readers through the labyrinth of history and debate.

What this lacks in readability is made up for in content. Christ bid his disciples to cast into the deep for a catch. What I like about this is that I can return to it knowing that I will be fishing in the depths for those treasures of knowledge and wisdom which ultimately come from Christ.

Holmes does not resort to attacks in critiquing those championing a revival of the doctrine. It’s more like laying a straight stick next to a crooked one so that you can see the difference.

In the process, one begins to see this lofty teaching more clearly. In speaking of the challenge faced by Gregory of Nyssa, the author writes, “Gregory’s great need, then, was to defend simultaneously three things: the core conception of deity as one, simple and undivided: the basic binary metaphysical distinction between Creator and creation which therefore does not admit any degrees of deity; and the exegetical and liturgical imperative to confess that the Father, Son and Holy Spirit are each real and distinguishable, and each properly named God” (106-107).

In particular, I appreciated the often-repeated emphasis on the simplicity of the divine nature, even if paradoxically, our ability to articulate it and comprehend it will always fall short. Even so, in a summary statement at the end, Holmes does an admirable job of defining the indefinable:

The divine nature is simple, incomposite, and ineffable. It is also unrepeatable, and so, in crude and inexact terms ‘one’ (199).

Even in these brief quotations, one can see the complex language. It is a banquet for scholars but a challenge to digest for the average Christian. However, those hearing the call to come up higher will find the means here. God rewards the smallest of steps.