Where We Were - Kerri Woelke

A slice of Americana from Canada

Where We Were
Artist: Kerri Woelke (www.kerriwoelke.com)
Label: Signpost Music
Length: 14 tracks/50:51 minutes

Singing to a karoke machine in her early years and learning to play guitar in a dorm bathroom were just the beginning for Kerri Woelke. She spent years refining her skills in Canadian bands Dirty Old Hank and Gretchen before switching to a singer/songwriter mode. Today she is an Artist in Development with Canadian indie label Signpost Music. Where We Were, her sophomore CD, follows her self-titled debut. Since September 2008 she has been on tour with Steve Bell.

Students of relationships take note. With a folk, country and roots oriented style of music, Woelke often sings about demise between people and the hope of renewal. “I’ve danced with lots before / but never felt so bruised and sore / is it possible to love like this,” she asks on “Last Dance.” In the next stanza she wonders if “this love we’ve lost” can “be found again.” On “Sweep” we hear her resolve after a breakup. “I’ll just sweep / clean up the mess you made of me.”

But don’t get the wrong impression. This is not all about “suffering here below,” to borrow a phrase from an old hymn. Something magical takes place on “Take a Chance.” Only a woman could write such an inviting and vulnerable song. “Take a chance / take a chance on me,” she sings in a childlike voice. This sounds like something that one of Sufjan Steven’s background singers would make. The music is sparse with exotic instrumentation including a banjitar, which is found on a number of songs. Vibes and a quiet bass clarinet make this the perfect soundtrack for a modern day fairy tale—a show like Pushing Daisies could work this into an episode. This song alone makes the CD worth having.

As she continues with, “This is my little love song out to you / I know you thought we were through / and now I’m left here loving you,” my heart melts, and I bask in the sweetness. Songs like this are the reason why I listen to music. They sweep away the gathering gloom, and suddenly the world seems a brighter place.

No synths, light production, and lots of acoustic instrumentation that meshes well, make for a pleasant, organic sound throughout the CD. Often the tone of her voice and some use of pedal steel guitars give this a light country feel. But there is also blues, gospel, and even a little Johnny Cash influence. I could imagine June Carter or the man in black singing some of these songs.

“What Would it Take” and “Tonight I Am the Wind” lean toward alt-folk and are favorites. On the former she intrigues by asking, “What would it take for me to be / happy in my own skin.” The music is acoustic picking accompanied by a low-sounding distorted guitar, reminding me of Katie Herzig. In the latter song you can hear the solace in her voice, “Any peace that I might find / comes in the valleys where I hide / I pass through landscapes turned to dust / carrying pieces of my past.” Here she sounds like a woman at peace.

I’m partial to her folk side, but the rootsy feel and her strong voice make the entire CD appealing. Nothing but good will come from her continued collaboration with Steve Bell and Signpost.

Devotion - Steve Bell

Singer/songwriter worship with a Taize influence

Devotion
Artist: Steve Bell
Label: Signpost Music
Length: 12 tracks/59:24 minutes

Steve Bell has recorded many inspirational and praise-oriented songs, but Devotion marks the first time that he has created an album for use in worship settings. But unlike his other recordings, Bell has not written any of the songs. Most are by Gord Johnson, whom Bell acknowledges as one of his greatest influences.

Johnson recently started to write simple but elegant songs that were being used in their Winnipeg church. “These contemplative song-prayers have so often gently led us into the presence of the Holy that several of us felt we needed to offer them to the wider worshipping community,” writes Bell in the booklet that comes with the CD.

Don’t get the idea that everything is quiet. The CD opens with “Almighty God,” which explodes with background vocals from Bell and Carolyn Arends and rock that hasn’t been heard in awhile on a Steve Bell record.

The music styles vary. “The Lorica” is as light and catchy as a Celtic reel. “Praise the Father, Praise the Son” has a strong melody and a full-bodied sound. There’s even a gospel and blues-influenced communion song (“Embrace the Mystery”). “Who Condemns You Now” has few words and a sparse sound that includes an English horn.

This is one song that strongly shows the influence of Taize worship on Johnson's writing. Taize music reflects the contemplative nature of an ecumenical and monastic community founded in France by a man known as “Brother Roger.” This style often uses simple phrases from the Psalms or other parts of Scripture, which are repeated as an aid to meditation and prayer. Some lyrics on this release have a little more depth, but they all mirror this style, which is growing in popularity.

Bell dresses the words with acoustic picking and creative musical interludes. Producer Roy Salmond’s ethereal guitars and synth work give some tracks a more ambient sound. One can find similarities with the recent releases of Jeff Johnson, who has also been inspired by Taize worship.

“Gone is the Light” is one example of just how good the result of this influence can be. It’s a haunting reflection on our brokenness and Christ’s suffering. It’s part of a song cycle that is somewhat liturgical. It starts with a view of God’s attributes, which segues into our need for the redemption spoken of in this song. It then shifts to a celebration and nurture of the new life within, followed by the closing “Benediction.”

The cover is a hoot, with Bell looking like a Jewish rabbi chasing his hat that is being blown by the wind. He sees it as a picture of his relationship with God, who he continually pursues but “playfully (maddeningly)” remains just beyond reach.

Devotion is an enhanced CD that contains printable lead sheets and lyrics. This has everything needed to use the material in one’s own setting. The enhancements also include a video of Bell performing “Deep Calls to Deep” with the Edmonton Symphony Orchestra.

Even though I can appreciate contemporary praise and worship, I find this type of music more appealing. It merges Bell’s acoustic singer/songwriter bent with songs that are simple enough to facilitate worship that gets beyond words and music.

Jesus spoke of those who worship in spirit and truth. If the Church has been strong on the truth side, this could help balance the scales by inspiring more worship in spirit.

The originality and creativity on this CD make it one of Bell’s best recordings. Don’t be surprised if it gets a Juno award, the Canadian equivalent to a Grammy.

The New Conspirators: Creating the Future One Mustard Seed at a Time - Tom Sine

Challenged by an imaginative view of what the Church can be

The New Conspirators: Creating the Future One Mustard Seed at a Time
Author: Tom Sine
Publisher: IVP Books
Pages: 304

When I asked to review The New Conspirators by Tom Sine I thought I was getting a critique of the emergent church and its related expressions. I had just finished a book that was extremely critical of reimagining the church, and I thought that I was getting another that might validate or modify the concerns raised in the first book.

I quickly discovered that Tom Sine is not only sympathetic to a new kind of church life but is a key player. This book is like a primer for the emerging, missional, mosaic and monastic movements. He introduces the dominant thoughts of each group and some of the most influential people. Those already immersed in this worldview may not find a lot that is new, but the material is so comprehensive that it is a valuable resource for those on either side of these issues.

This book is well-written, but it is not formulated as a defense of these movements. It does not delve deeply into doctrinal concerns and does not provide an in-depth Biblical basis for what is taking shape.

The focus is on encouraging people to adopt a lifestyle that is consistent with the manifestation of God’s reign here on earth. Sine sees his book as an invitation to a simple but radical lifestyle when he writes, “This book is an invitation to a part of something ‘really, really small,’ a quiet community that is destined to change our lives and God’s world. We will particularly focus on what God is doing through the emergent, missional, mosaic and monastic streams of the church. But we are all invited to the join the creative edge by more fully discovering how God might use our mustard seeds to be a part of this conspiracy of compassion and hope.”

In many ways this is a challenging read. Anyone reading this with an open mind will have to think hard about the repeated call to examine whether our way of doing church and living the Christian life has been shaped more by our consumer culture than we may have realized. It’s ironic that in some areas these new forms of Christian expression seem to be more aware than their critics of how the church and the lives of Christians have been shaped by the world.

There is much here that is praiseworthy. The book is particularly strong in advocating a discipleship that encompasses our entire life rather than just segments of it. The author shows how believers can develop statements of calling to help them live more intentionally. The idea is to live in the reality that God’s new order is here now and breaking into our world.

The author frequently touches on issues of global concern, and it’s amazing how relevant it all is to our current situation. It’s as if he was peeking into the present when he wrote this book. He accurately portrays some of the discouraging challenges that the church and the world face today. It’s probably the most sobering part of the book.

Whether you view these new expressions of the church with suspicion or are an enthusiastic participant, this book is worth reading for the ideas and realities that are presented. Christians must grapple with these concepts and decide which way to go.

Hopefully, those leading these movements will be willing to engage their critics rather than just dismiss them. It’s understandable that they have no desire to go about doing church as usual. But for the sake of truth, being accountable to other members of the body of Christ, and for the sake of those they lead, they should carefully weigh criticisms and be open to dialogue with their opponents.
On the other hand, it would be a mistake for critics to say these new expressions are all wrong. How many of us, and how many of our churches, are all right or all wrong? We might like to think we are right all or most of the time, but pride deceives us when that is our attitude.

Whether these movements are faithful in doctrine and practice to the standards of Scripture will remain a source of debate. How much better it would be if both sides could respectfully speak the truth in love. It shuts down communication when people resort to derogatory comments.

It might help if we look for what’s good and right in each other’s words. I wasn’t looking to find fault, and I discovered truth worth considering.

Billy: The Early Years (Official Motion Picture Soundtrack)

Surprises abound on this tribute to Billy Graham’s early years

Billy: The Early Years (Official Motion Picture Soundtrack)
Artist: Various
Label: Essential
Length: 12 tracks/37:04 minutes

You might imagine that the soundtrack for a movie about one of the greatest evangelists that has ever lived would be full of inspirational songs from popular CCM artists. If you thought that way, you are in for a big surprise. Billy: The Early Years is dominated by country artists—including many that I was not familiar with or had never heard of—performing mostly stripped-down acoustic songs. Except for the last three tracks, which are hymns, creative original songs dominate this release. The sparse production gives both the hymns and the new songs a fresh sound.

The only CCM-sounding song is “Amazing Love” by Michael W. Smith and Melinda Doolittle. This is a decent song, but it doesn’t fit the style of the rest of the release. Another curious addition is “In Dreams” by the legendary Roy Orbison. This is not as good as some of his songs like “Pretty Woman,” which have become popular in recent years. It’s one of three love songs.

The love songs pay tribute to Graham’s early relationship with his wife Ruth. Her own words about what she wanted in a husband are featured in “Ruth’s Prayer,” sung by Patty Griffin.

Other songs wistfully look toward heaven as in “Over the Next Hill,” a strong duet between Brooks & Dun and Mac Powell of Third Day.

Josh Turner could pass for a young George Beverly Shea on “Almost Persuaded,” the bittersweet hymn about being close to salvation but still being lost. Turner sings the song with great dignity.

“Just As I Am” starts with a choir of voices that rise above stringed instruments. Sierra Hull adds her voice midway through and at the end she alone is left singing. It’s an effective technique that wonderfully reinvigorates this hymn, which has been used to close so many Billy Graham Crusades.

Brad Paisley does an excellent instrumental guitar version of “What a Friend We Have in Jesus.”

I can’t help thinking that the Graham family would be pleased with the artistry and dignity found on each of these tracks. I like the clear annunciation of words and the sparse acoustic instrumentation.

It’s a shame that the movie has not done well. It may mean that fewer people will give this CD a chance.

I had low expectations before hearing it, but this CD was a pleasant surprise.

A New Hallelujah - Michael W. Smith

Singing praise to God can be exciting and inspiring

A New Hallelujah
Artist: Michael W. Smith (www.michaelwsmith.com)
Label: Reunion Records
Length: 15 tracks/69:07 minutes

You could say that A New Hallelujah (2008) stems from the release of Worship (2001), which became the fastest-selling album in Christian retail—eventually achieving platinum certification along with Worship DVD (2002). But Michael W. Smith’s (MWS) engagement with worship started long before this. Do you remember, or have you heard, “Great is the Lord,” from his debut recording Michael W. Smith Project (1983)? It was sung in churches across the land.

MWS has always had a heart for worship, but now more than ever it is being fully expressed. With this, his third praise and worship recording—Worship Again (2002) his second—Michael returns to what must be one of his reasons for being.

MWS may be too mainstream for sophisticated tastes, but he brings a dynamic and energy that wins many people over. He has the ability to make worship exciting and inspiring. He demonstrates that there’s no reason why singing praise to God needs to be dull.

The dramatic opening instrumental that starts with what sounds like a ticking time-bomb and machine-like drumming, reminiscent of the opening ceremony in this past summer’s Olympics, create a sense of anticipation. It leads right into “Prepare Ye the Way,” a song that builds in intensity toward an explosive chorus.

Two excellent songs performed with the Uganda’s African Children’s Choir follow. It shows a little of the variety in styles found here, which includes atmospheric rock, African, gospel, piano balladry, choir and congregational singing, and additional special guest performances. The latter includes, Coalo Zomorano, who sings in Spanish, and local crowd favorite, Israel Houghton, worship leader of Joel Osteen’s Lakewood Church, where this event was recorded.

The duet between MWS and Israel Houghton on “Help is on the Way,” is a standout gospel song that communicates comfort. Another highlight is the vibrant choir and congregational singing heard throughout the recording.

One drawback, and it’s characteristic of this genre, is the prolonged repetition on some songs of choruses and simple phrases. I would have enjoyed hearing the verses of “Healing Rain” and “Majesty.”

Some who prefer mostly anthem-like songs may not appreciate the more quiet and subtle moments, but this balances out the triumphant and celebratory nature of the event. You get both praise and worship. The tender “Deep in Love with You” balances the majesty of “Mighty to Save.”

There is a little more depth and creativity than what you find on the two previous releases. You get flashes of MWS’s ingenuity with arrangements and keyboards. It’s always been an asset, but perhaps not as evident on the other two releases. If I had to choose between his trilogy of worship recordings, this would be my pick. Some of the songs are not as strong, but this is more artistic.

This is worth seeing as well as hearing. The DVD is scheduled for release on March 17, 2009.

Christmas Offerings DVD - Third Day

More than a Christmas concert

Christmas Offerings DVD
Artist: Third Day
Label: Provident Label Group
Length: 1 hour 13:36 minutes

Third Day continues to impress on Christmas Offerings DVD. Earlier this year they released Revelation, one of their best recordings. The same excellence found on that CD is featured on this DVD.

This offers a fine collection of songs ranging from Christmas classics, a few originals and some of the band’s signature songs. The latter includes wonderful versions of “King of Glory,” “Show Me Your Glory,” “Your Love, Oh Lord,” “God of Wonders,” and a rousing finale of “Creed,” written by Rich Mullins. These songs broaden the appeal, making this something that could be watched any time of the year.

Nevertheless, the Christmas element is prominent. Lead singer Mac Powell frequently encourages the audience to sing along in what the band hopes will be a worship experience. Even so, the music is what makes this a first-class Christmas DVD.

Third Day’s God-directed lyrics are accompanied by a pop/rock sound that is especially engaging on this DVD. They do remarkably strong versions of Christmas songs in their own style. The six-piece band performs against a starry backdrop with lighting and images that evoke the season.

Among my favorite moments are introductions from guitarist Brad Avery and bass player Tai Anderson. Anderson affirms that bass players can do more than generate throbbing sounds.

It all starts with an extremely well-done intro consisting of concert clips mixed with shots of band members off stage. This 2007 concert was filmed at Fellowship of the Woodlands in The Woodlands, Texas.

During the performance Mac Powell states that Third Day never had plans for a Christmas concert, but they were pleased with the results. Those who see this will also appreciate what they have done. Third Day has given us a gift worthy of the season.

Resurrection Letters, Vol. II - Andrew Peterson

An inspired work that further develops Peterson’s worshipful side

Resurrection Letters, Vol. II
Artist: Andrew Peterson (www.andrew-peterson.com)
Label: Centricity Records
Length: 11 tracks/42:49 minutes

Resurrection Letters, Vol. II by Andrew Peterson may be his most inspired work. If The Far Country (2005) had more of a rock edge, this is more acoustic. If Appendix A: Bootlegs and B-Sides (2006) was raw, this is more polished. The songs that deal more directly with the resurrection theme are some of most fully-developed tracks that Peterson has done. Strings add to their elegance.

This release also furthers Peterson’s worshipful side. “Invisible God” reminds me of Rich Mullins’ “The Color Green.” Peterson strings together a series of images from nature set against a haunting background. Whereas “The Color Green” has more driving force, this is quietly beautiful.

What makes “Hosanna” striking is the context. Peterson’s descriptions of depravity highlight the meaning of the word, which means “save us.” The cry does not come from a heart enamored with its own goodness.

“All You Ever Need” compares the blood of Jesus to host of obscure Biblical metaphors: the widow’s ore, the leper’s river (Jordan) and Elijah’s fire. It’s also enough to fill up every jar. At last, some fresh pictures worthy of such a lofty theme.

The song that pursues like the man it is named after is “Hosea.” This is one of Peterson’s finest songs, demonstrating that he is one of Christian music’s best songwriters. This is sung from the perspective of the prophet Hosea’s wayward wife, who is never mentioned by name. She tells the story of how her husband’s steadfast love turns her heart of stone to a rose.

Hosea’s humanity is poignantly depicted when his wife recalls how he came to her “like a silver moon with the saddest smile I ever knew.” It’s a small reflection of the strength of God’s love, which never wavers. It’s an exquisite depiction of grace.

For those who love honesty and humility—the two go hand in hand—there is “The Good Confession.” It’s a reminder that those in the spotlight struggle with the same temptations and sins common to all. It’s safe to say that this will never be the theme song for the positive confession movement. What makes it endearing is its playful candor.

This CD is so likeable that you may want to get Volume I. Alas, Volume II is Andrew being his usual creative self. It says that these songs deal with the reality of the resurrection in everyday life rather than the event itself. At the moment, Volume I is only in the planning stages. It’s hard to imagine a prequel eclipsing this, but Peterson has the gifting and ability to pull it off. This is one artist whose entire catalog is worth checking out.