Behold EP - Plumb

Behold, Plumb’s first Christmas release, colors a little outside the lines.

Behold EP

Artist: Plumb

Label: Plumb Music

Length: 5 songs/16 minutes

Behold, Plumb’s first ever Christmas release is a gift for those who enjoy traditional and religious songs. She also released It’s Christmas Time EP for some pop/holiday fun, which is not part of this review.

Part of my intrigue with Behold is the variation not only in the music styles but in the production within the five songs.

It begins with “O Holy Night,” which starts softly with gentle piano playing and singing. Quiet programmed percussion in the background gives this a more modern feel.

Chains shall he break, for the slave is our brother, And in his name all oppression shall cease

Hearing the above, made me wonder if this has a connection to the Civil War conflict. I discovered that this is the work of Adolphe Adam, a French composer, in 1847. The music was originally part of a French poem. The lines predate the Civil War, but apply to all who have ever been in servitude, whether literal or spiritual. One day this reality will be pervasive when God makes everything right. Slavery and oppression of every kind will be forever abolished.

Light orchestration comes in as the vocal intensity builds to a crescendo. It’s an elegant rendition of a powerful song.

Lacking liner notes, my guess is that the first sounds I hear on “The Christmas Song” are from a xylophone. Though the pairing may seem ill-suited, it actually blends well with the lounge style heard here. What’s striking is the guitar solo, which departs from the jazz sound. The production makes it unusual but not unwelcome.

“‘Behold’ is the angel speaking to us,” Plumb explains in a video, “telling us what you have been anticipating has come. Here is your king.” Advent means to anticipate. This season is about celebrating the fulfillment of Christ’s coming.

The Jewish people were looking for a deliverer, something along the lines of a fearless warrior or mighty king. But God gave a baby, “born in a barn, who was all about love, and that’s exactly what we needed.”

Plumb says it underscores how anticipation can lead to disappointment when expectations are not met. But just as God gave what was truly needed in the form of a child, He can be trusted to provide what is necessary.

When the answers don’t come easily
And when they’re not what we expect
Help us to trust you even then
In our darkest night
Be the brightest light

The song starts with rapid alternating keyboard notes punctuated by piano. It feels wintry. Strings begin a delicate accent. Initially, the percussion is soft. On the second stanza creative programmed percussion brings additional heft. Electric guitar adds subtle texture. It’s a wonder-filled song that could rightly be the highlight of a performance. I appreciate artists like Plumb, who bring us something new each season.

It’s not that I don’t appreciate the classics. Plumb breathes life into “My Favorite Things” with just orchestra backing. The song took on new meaning for me one Christmas while working late in a retail store. That encouragement to remember my favorite things brought me a little cheer. The apostle Paul takes it further in Philippians 4:8, where he encourages thinking about what is true, honorable, just, pure, lovely, commendable, excellent and whatever is worthy of praise. So “when the dog bites, when the bee stings, when I’m feeling sad,” focusing on our blessings, which ultimately come from God can change our outlook. Appreciate Plumb covering a classic that isn’t often remade.

“Silent Night/Away in a Manger” is keyboard-driven and accounts for almost all of the instrumentation in this quiet, relaxed version. The artist who records as Young Oceans provides a male harmony vocal. It’s a lovely ending for a fine release.

Behold the Lamb of God - Andrew Peterson

As timeless as the story

Behold the Lamb of God: The True Tall Tale of the Coming of the Christ

Andrew Peterson

Label: Centricity Music

Length: 12 songs/41 minutes

I wonder if Andrew Peterson considers Behold the Lamb of God as one of his greatest achievements. This Christmas recording first saw the light of day in 2004. A concert of it on DVD followed in 2005. Another version came out in 2009 that in addition to the studio tracks added a live performance. This completely new recording, reunites many of the original artists, and commemorates 20 years of it being on tour.

Perhaps the continued attention reflects Peterson’s estimation of it. “It re-centers me again and again of what got me into this in the first place—which is God loves us so much that he put on flesh and dwelt among us,” Peterson said.

Part of what makes this recording unique is its scope. It tells the story of Christ’s birth from the foreshadowings in the Old Testament to the fulfillments in the New Testament.

This sounds like the definitive edition. I like to think that being road-tested for 20 years contributed to making this even more excellent. The changes are subtle, but enhance it enough to make it worth getting if you have a previous version. This is the one to hear.

One of the noteworthy additions is Jess Ray singing lead on “Passover Us,” which originally was sung by Peterson. Ray is a fresh voice that sounds at home here. I like how Peterson alternates with others in singing lead, allowing them to make the material their own.

The chorus of “Passover Us” has some clever wordplay, which gets at the meaning:

Lord, let your judgment Passover us Lord, let your love hover near Don’t let your sweet mercy Passover us Let this blood cover over us here

Another intriguing song is “So Long Moses,” which traces Israel’s desire for a king through Saul, then David, and that would ultimately be satisfied beyond expectation in David’s offspring. The chronology covered is epic. It’s a somber reflection with Beatlesque strings.

Andy Gullahorn takes the lead this time on “It Came to Pass.” Dobro and pedal steel serve to give this a country/bluegrass style and a light feel. It’s an underrated gem about the census making it necessary to travel to one’s birthplace for registration.

“Labor of Love,” sung just as dynamically as before by Jill Phillips, adds realism into what it must have been like for Mary. It wasn’t the neat and tidy affair that more romantic notions tend to leave out.

Instrumentals may not always get their due when compared with their vocal peers. So I want to give a shout-out to the brief but wonderfully crafted, “O Come O Come Emmanuel” and “The Holly and the Ivy with the Next Egg Jig.” There is a reason for the addition of the “Next Egg Jig,” which was not part of the original title. Among other things on this track, I hear mandolin, cello, flute and distinctive Celtic percussion. Hello Irish-sounding music.

These brief interludes are not wasted efforts just taking up space preceding the next vocal track. The intricate playing is gorgeous and not to be overlooked.

The words on the title track are simple and the tempo slow making it a song that could be easily passed-over for more lively fare but that would be a mistake. The classical influence coupled with worshipful reverence make this one of Peterson’s finest compositions. The pace and repetition make this meditative. It highlights the reason why Christ came—“to take away our sins.”

This song is on the same level as Peterson’s “Is He Worthy?” and Michael Card’s “Immanuel.”

If Peterson considered this his most important work, it would not surprise me, not would I argue with him. It’s as timeless as the story.

Immanuel: The Folk Sessions EP - Melanie Penn

Exquisite arrangements and intriguing perspectives on Christ’s birth

Immanuel: The Folk Sessions EP

Melanie Penn (www.melaniepenn.com)

Label: Equally Well Music, LLC

Time: 6 tracks/23:31 minutes

A favorite moment on Immanuel: The Folk Sessions by Melanie Penn comes with just over a minute left on the opening “All Things Are Possible (Gabriel).” It’s a brief interlude where guitar and mandolin trade solos. It’s one of several places on this release where acoustic instruments, including fiddle and piano, provide lovely moments.

These sharp, compressed music interludes are not only indicative of the tight strumming and picking, but enhance the solid songwriting and the pristine vocals. There is no denying that Penn has a soothing voice. Nowhere is this more evident than on the one traditional song, “The First Noel.”

I can imagine snow falling with the gentle playing. The vocals are clear, the pace relaxed, conveying a sense of peace.

Including one carol follows the pattern on the original Immanuel (2017), which I have not had the pleasure of hearing. All of the other tracks on that release, as is the case here, were written from the perspective of the different characters in the story of Christ’s birth.

This contains two new songs, counting the carol. The other new track is written from Simeon’s perspective, “I’ve Seen The Glory.” It comes at the end, and may be the best song on this EP. Drums are a little more prominent, driving a steady rhythm. The melody is strong and the chorus simple but memorable. The rest of the songs found here are a selection from that earlier release made in more of a folk style.

A playful moment comes with the first lines of “Gift Of Love (Angel Chorus),” which coupled with the upbeat music makes it delightfully whimsical:

From on high, gonna break in to tell you
Look up, we got a band in the sky
We’re the angel chorus, with an aching to tell you
The savior of all has arrived

With the quirky rhythm and that “band in the sky” line it comes off as somewhat amusing. The songwriting makes the nativity story consistently appealing and intriguing throughout this release.

I like the use of pedal steel and the stripped-down bridge leading to the chorus on “Great Things (Mary).” This is another song that has a little more percussive punch.

“What Child Is This” is not the popular carol but it does borrow from it placing the question in Joseph’s mind, which seems appropriate. He must have wondered what it all meant.

What other character or perspective would you like to see represented in the future? Penn recently asked for this input on social media. If you have any thoughts after listening to one or both releases you may want to send her a message.

Judging from this EP, Immanuel (2017) will be worth getting along side of it. I do remember it being critically acclaimed at the time. I’m sorry that I did not get to hear her until now. This is someone to watch for future offerings.

If you read this in early December 2019, Penn is currently touring in support of her Christmas songs. Go to her website and see if she is coming to a location near you. I don’t think you will regret hearing her perform if you get the chance.