Christmas is Here - Brandon Heath

If Christmas songs seem stale, and you wonder if they can ever sound fresh, Brandon Heath and producer Ben Shive answer a resounding “yes!”

Christmas is Here

Artist: Brandon Heath (www.brandonheath.net)

Label: Provident Label Group

Length: 10 tracks/34 minutes

If I could purchase only one Christmas recording this year, it would be Christmas is Here by Brandon Heath. The cover of a smiling, scarf-draped Heath, Christmas album in hand, vinyl record spinning in the foreground, fireplace in the background, all hint of the rich nostalgia that you find here.

This has all that one might want in a seasonal recording: new compositions and classics, humor and inspiration, playfulness and wonder; and not least of all, a talented producer, Ben Shive (Andrew Peterson), who is a master of retro sounds. Shive was at the helm of last year’s standout, Snow Globe by Matt Wertz, on which Heath was a guest.

The opening “The Day after Thanksgiving,” could not be timelier. I need not inform anyone that Christmas started earlier than ever this year. This is a lighthearted plea to wait until after the day for giving thanks.

“The Christmas Song” brings out the crooner in Heath, while “Momma Wouldn’t Lie to Me” has him fronting a swinging fifties sound. One of the last lines is so funny that I won’t reveal it. What would Christmas be without some surprises?

The a cappella “Silent Night” with its background choir of female voices, sounds like a song from an old Hollywood classic, along the lines of White Christmas or The Bishop’s Wife.

The horns and choir on the closing medley “O Come All Ye Faithful/Angels We Have Heard on High” make it stately. I enjoyed the occasional, restrained use of these items and strings.

By far though, my favorite moments are the bluegrass-influenced tracks like, “Go Tell it on the Mountain,” which has never sounded better. The judicious use of Dobro highlights this aspect. The interplay of acoustic sounds in a rural style befits the more spiritually-minded tracks.

This includes “Just a Girl,” a beautiful, imaginative look at the circumstances surrounding Christ’s birth.

If Christmas songs seem stale, and you wonder if they can ever sound fresh, Heath and producer Ben Shive answer a resounding “yes!”

Hope for All the World - Phillips, Craig & Dean

It all revolves around the miracle of a baby that would provide hope for the world.

Hope for All the World

Artist: Phillips, Craig & Dean (www.phillipscraiganddean.com)

Label: Fair Trade

Length: 10 tracks/37 minutes

Perhaps one overlooked highlight of Phillips, Craig & Dean’s career is “Shine on Us,” the closing track to a recording inspired by the devotional My Utmost for His Highest (also the name of the album) by Oswald Chambers. It epitomizes a central feature of the group: three strong male voices praising God in unison. The Utmost track is simple and unadorned, which serves to highlight the worshipful harmonizing. By the way, this older recording is worth having for the quality performances by some of CCM’s most prominent artists at that time.

“God Bless Us” on Hope for all the World, through poetic and poignant lyrics, and an inspirational arrangement comes closest to producing the same kind of stirring emotion as “Shine on Us.” Written by Scott Krippayne and Jeff Peabody, this alone makes the CD worth having. It’s especially meaningful for those who dreams have not been realized. This song brings solace and hope.

Most of the other non-traditional songs are like modern worship anthems that celebrate the birth of Christ. I mean this as a compliment. If you are looking for a mix of Christmas and contemporary forms of adoration, this is worth checking out.

One of the most pleasant surprises is the opening “Born is the King (It’s Christmas),” which has a distinctive Celtic sound. There is a forcefulness and stomp peculiar to new folk and Irish influences.

It shows the subtle variety. “Do You Hear What I Hear?” has an appropriate celestial quality, fitting for a song that makes reference to the night wind, sky and a star. The added hook to “O Come All Ye Faithful” has punch. It’s the same beloved song in new garb.

Producer Nathan Nockels (former member of the husband/wife duo Watermark) succeeds in making traditional songs sound fresh without significantly changing them. Among the supporting musicians is the versatile Gabe Scott, who collaborates with Andrew Peterson.

I suppose you could say that the acoustic/bluegrass medley of “God Rest Ye Merry Gentleman/We Three Kings,” is more rustic than present day, but then again, the old is continually reinvented in music circles, becoming something new. This includes a music box-sounding keyboard.

Though similar to previous worship releases in the group’s CCM heyday, this seems a little removed from it. The music is more sophisticated and varied, which makes Phillips, Craig & Dean sound better than ever.

All of the songs are spiritual with one exception, the closing “Jingle Bells (Duck Mix).” In our day I am not one to begrudge badly needed humor. I can only surmise that someone stumbled across a long lost recording of Donald Duck and company singing this childhood classic. The producer supplied instrumental backing with the utmost of a care. It all revolves around the miracle of a baby that would provide hope for the world.

Matthew: The Penultimate Question - Michael Card

In a world where the visual holds sway, Card remains word-oriented, concerned more with substance than style.

Matthew: The Penultimate Question

Artist: Michael Card (www.michaelcard.com)

Label: Covenant Artists

Length: 9 songs/34 minutes

Leave it to cerebral Michael Card to title his latest recording, Matthew: The Penultimate Question. For the group of Christ’s followers addressed in Matthew’s gospel, the penultimate (the next to the most significant question) as stated by Card, is “Who Am I?” The ultimate question is “Who is Jesus?”

“This is Who You Are” beautifully answers the former while being carried by a gorgeous piano melody. Listeners may see themselves in the opening lines: “Misunderstood and undefined, a stranger to myself / Incarnate contradiction, I am poverty and wealth / I can believe and disbelieve / I can bless and damn / I’m dying in the darkness / Of not knowing who I am.” This is classic Card in every sense.

The chorus puts attributes drawn from the Beatitudes into positive affirmation: “You possess the kingdom / You’re the sorrowful, the meek / The gentle starving ones / Who are the strongest when you’re weak.”

It’s these scholarly but devotional ruminations, which highlight themes in Matthew’s gospel that make me a lifetime admirer of Card’s work. In a world where the visual holds sway, Card remains word-oriented, concerned more with substance than style.

The production is a model of restraint. Those looking for something that rocks might be disappointed. Simple and uncluttered instrumentation leave room for words to breathe.

Once again Card demonstrates that we are better together. Our work can be more than just the sum of individuals. Like the loaves and fishes freely offered, God can multiply our combined talents.

It’s indicative of Card’s humility that he shares the spotlight with friends that include Phil Keaggy, Ashley Cleveland, Steve Green, Kirk Whalum and John Catchings. These contributions expand on Card’s talents and become highlights. A fine example is the blues/gospel hybrid, “Go Find Out What This Means,” where Card and Cleveland trade lines. I surrender. Let me learn what it means to show mercy.

From the man who gave the Church a modern classic, “Immanuel,” comes three successive takes on the incarnation. It shows his continuing fascination with the subject and the Christocentric focus of his theology.

Speaking of theology, this CD is a companion to Matthew: The Gospel of Identity, the third of a projected four commentaries, each on a different gospel. The series is worth having for its readability and quick summation of pertinent points. A companion CD is available for each commentary. Next year (2014) will see the release of the final volume covering the Gospel of John. It’s no small testament to the grace of God and his commitment to community that Card has produced at least one CD and commentary in each of the last three years.

Card’s music has somewhat mellowed from the days of his bigger production CCM releases. Recent offerings, including this one, reflect a more mature style. They are not lacking in any way. Rather, they may enjoy greater longevity than earlier titles, being less dependent on passing fashion.

Christmas - Julie Meyer

“Please Remember Me” is like a Christmas card written to family when Meyer was far from the home environment that she knew as a child.

Christmas

Artist: Julie Meyer

Label: Forerunner Music (www.forerunnermusic.com)

Length: 12 tracks/49 minutes

Christmas by Julie Meyer should appeal to a broad spectrum of people. It not only involves family and friends; it will appeal to the same. This is one for everyone.

Simplicity is part of the attraction. It does not try to be trendy. It’s mostly straightforward but does not lack creativity in arrangements or instrumentation.

It is mainly acoustic. Percussion is light, but the sound is full. “O Come, O Come, Emmanuel,” a duet with David Bryner, and “Go Tell it on the Mountain,” benefit from a bluegrass style. The former has a slightly quicker pace making it seem less mournful. It’s also punctuated by Dobro, giving it a slight otherworld quality.

An a capella version of “Little Drummer Boy” soars at the end through an improvised gospel finale. Jaye Thomas and The Cry are featured. 

This recording might not exist if Meyer had not written an original back in 1990. “Please Remember Me” is like a Christmas card written to family when Meyer was far from the home environment that she knew as a child. This bittersweet, piano-driven song sounds like a modern classic, along the lines of “Tennessee Christmas.” It’s my favorite, but I also enjoyed the two other original songs. Each succeeds in conveying warmth and depth.

That’s what you get throughout this release. All but the instrumental closing track have a spiritual core that fits Forerunner Music’s motto, “Music that magnifies Jesus.”

Even “Have Yourself a Merry Christmas,” the aforementioned instrumental is not out of place. All you hear is acoustic guitar, which is like a thread woven into all the tracks. Other organic sounds, including choirs and strings, create a rich tapestry.

This wonderfully exudes the spirit of the season. It’s another winner from Forerunner Music, the label for the International House of Prayer. I have enjoyed all of their recent releases, but none as much as this. This is worth having just for “Please Remember Me,” but each track is lovingly crafted. This soothes while creating an atmosphere of worship.

God of Every Story - Laura Story

God is faithful to every Story and each one that trusts in Him

God of Every Story

Artist: Laura Story (www.laurastory.com)

Label: FAIRTRADE

Length: 11 tracks/41 minutes

If it’s the life that prays, the same thought has relevance to worship. Though clichéd, “worship is a lifestyle” tells the truth that worship is expressed in how one lives. Part of it is valuing God above all else, as Laura Story puts it on God of Every Story, “Now I find that the comforts of this heart are not in things / or in the joys that this life brings / but just to be the very workmanship of God / to know He’s with me / to know He’s for me.” An attitude such as this is adoration.

Story first gained notoriety through the song, “Indescribable,” on her first solo release by the same name. Chris Tomlin made the song popular on his album Arriving. Her fourth release, Blessings (2012), won Dove awards for Pop/Contemporary Recorded Song of the Year, Pop/Contemporary Recorded Album of the Year, and Song of the Year for “Blessings.”

On this her fifth recording Story continues to build on the style of “Indescribable.” Some tracks, particularly the more rousing ones, might be used in congregational settings. More intriguing are the confessional singer/songwriter reflections, of which there are plenty. One of my favorite disclosures is found on “I Can Just Be Me,” “I’ve been feeling like a failure trying to be braver than I can ever be / it’s just not me.”

Similarly, on “Grace,” Story sings, “At times I may grow weak and feel a bit discouraged / knowing that someone somewhere can do a better job.” I applaud this transparency and vulnerability.  

The title track is structured like a country song, and could even pass for one, with introductory tales of woe that lead to a personal event in Story’s life. God is faithful to each Story, she and her husband, and now a baby girl. This track and the opening, “There is a Kingdom,” are accented by mandolin, which adds a wonderful touch. 

It’s easy to be numb to the desperation voiced by others. But when hardships come, you can suddenly feel like you are living a similar reality. It’s no longer just letters on a page or words in a song. At such times, the opening lines of “Keeper of the Stars” can be like a buttress against a wave of trial, “Against all hope in hope I believe / You, O Lord, are faithful / You are good and You are able / When it seems impossible to me / Your promises are all true / What You say I know You will do.”

Those who favor energetic modern worship may find this overly introspective with too many piano-driven ballads. The last four tracks are all pensive. While some may not like this, Story is at her best on the two songs with the least production. “Who but Jesus” is structured like an ancient hymn. Each line magnifies the glories of Christ. Piano and strings accompany Story’s elegant vocals.

The closing “He Will Not Let Go” is a lovely benediction. A stark musical landscape is the perfect setting for a brokenness that has a sublime trust in God. 

One Way Love: Inexhaustible Grace for an Exhausted World - Tullian Tchividjian

Billy Graham’s grandson offers rest for the weary.

One Way Love: Inexhaustible Grace for an Exhausted World

Author: Tullian Tchividjian

Publisher: David C. Cook

Pages: 240

Until now I had never read Tullian Tchividjian, but I knew he wrote books about grace. I also knew that he was the grandson of Billy Graham. Plus, I learned that he succeeded the late D. James Kennedy as pastor of the Coral Ridge Presbyterian Church (PCA). These factors, and an endorsement from Max Lucado urging people to read One Way Love, led me to gladly download the book when given the opportunity.

Tchividjian knows his subject. Like Franklin Graham, he was a rebel growing-up. It was not until after marrying that he came to Christ, not that the former caused the latter. Throughout the book he uses his prodigal past, both good and bad experiences, to illustrate his points. He references the graciousness of friends and family like Billy and Ruth Graham when he was still estranged from Christ. He also illustrates the inadequacy of law and condemnation as agents of change.

With so many competent books on grace, do we need another? The author’s premise is that the world, and even the Church, suffers from exhaustion. “The good news of God’s inexhaustible grace for an exhausted world has never been more urgent,” he writes.

The underlying problem is a culture that equates worth with performance. “What I see more than anything else is an unquestioning embrace of performancism in all sectors of life. Performancism is the mindset that equates our identity and value directly to our performance and accomplishments. Performancism casts achievement not as something we do or don’t do but as something we are or aren’t,” Tchividjian writes. Examples are not hard to come by. Most jobs emphasize the quantative or the qualitative. In such an environment, subjective measures are easily overlooked or dismissed. It becomes a numbers game, and the only way to succeed is to get better results. Those who produce have value. Is it any wonder that so many feel exhausted?

The Church is not immune. The number of souls saved, people visited, and attendance in classes and services can become measures of success. The urgency of the times, the work to be done, a plethora of programs and activities, and exhortations to get involved are enough to tire anyone. Some take pride in their desire to wear out rather than rust out. Whatever happened to the rest associated with faith and grace?

The author’s definition of grace comes from Paul Zahl, “Grace is love that seeks you out when you have nothing to give in return. Grace is love coming at you that has nothing to do with you. Grace is being loved when you are unloveable…. The cliché definition of grace is ‘unconditonal love.’ It is a true cliché, for it is a good description of the thing….” Let me summarize with another cliché, “no two ways about it!” This is one way love.

Tchividjian sounds a similar note in acknowledging the influence of Brennan Manning, who said, “My message unchanged for more than fifty years is this: ‘God loves you unconditionally, as you are and not as you should be, because nobody is as they should be.’”

Like Manning, Tchividjian’s understanding of God’s one way love and all its implications is not just another teaching. It’s a life message, which is one reason why this could become the best book on grace you might ever read.

He more than answers the objections to grace. He argues that the problem is not too much grace. More often, it’s a low view of law that can lead us to believe that once we are saved, we can now measure up on our own. No, we never get beyond the need for grace, no matter how mature we become or how far we progress. If we must merit what Christ accomplished for us, we rob the gospel of its liberating element.

The following lines are like cold waters to a thirsty soul (good news), “The Gospel of Jesus Christ announces that because Jesus was strong for you, you are free to be weak. Because Jesus won for you, you’re free to lose. Because Jesus was Someone, you’re free to be no one. Because Jesus was extraordinary, you’re free to be ordinary. Because Jesus succeeded for you, you’re free to fail.” These thoughts bring an inner sigh of relief. The daily grind makes me feel my need for Christ.

Whether you beat yourself down for the slightest infraction, or are supremely confident, there is no substitute for the message of grace. We all fall short, and we always will. What God has done in Christ is all that we will ever need. It answers every failure and condemnation.  

The Glorious Unfolding - Steven Curtis Chapman

Millions of records sold and numerous awards can’t compare with Chapman’s advocacy for orphans and this wistful, elegant recording.

The Glorious Unfolding

Artist: Steven Curtis Chapman (www.stevencurtischapman.com)

Label: Reunion Records

Length: 12 tracks/48 minutes

To hear Steven Curtis Chapman tell it, “We will never move on from our family’s story. We carry with us our sadness and loss of Maria.” Chapman refers to the accidental death on May 21, 2008, of their five-year-old adopted daughter from China. Though they still struggle, a thought shared by one of Chapman’s favorite authors, Oswald Chambers, comes to mind: “Out of the wreck I rise.” As Chambers writes, “God does not keep His child immune from trouble; He promises, ‘I will be with him in trouble . . .’ (Psalm 91:15). . . . Some extraordinary thing happens to someone who holds on to the love of God when the odds are totally against him. Logic is silenced in the face of each of these things which come against him.” Chapman has hung on to the grace of God, making “out of the wreck I rise” a reality in his own life.

This is his first studio album of all-original material in seven years. What stands-out is a hopeful outlook. This is buoyant right from the opening title track, which serves to highlight the theme of eagerly waiting the fulfillment of God’s promises. It’s believing “that for those who love God all things work together for good” (Romans 8:28 ESV) despite apparent contradiction.   

Musically, this follows the direction taken in the last few outings. The electric takes a back seat to acoustic instrumentation. Chapman retains his signature sound but continues to somewhat embody new folk made popular by artists like Mumford & Sons. It fits this Paducah, Kentucky native well and even includes Andy Leftwich from Ricky Skaggs’ band, playing fiddle on some tracks. This artfully blends the programmed with the organic in melodies that alternate between driving and tender.

One pleasant surprise is the closing, “Feet of Jesus,” with its hymn-like stanzas, ethereal background and Celtic vibe. It’s a fitting benediction, an encouragement to lay our heavy burdens down.

“Take Another Step” is a direct influence from Oswald Chambers, who counseled when facing uncertainty, “trust God and do the next thing.”

Chapman gets boisterous on “Love Take Me Over.” Rugged claps and stomps are the background for his plea, “God, please take all of me/And fill me up with Your Love … Love, fill up all of my space and/Love, stand right here in my place.” This exudes the joy in surrender.

This sometimes wistful look at the present and future is elegant. Chapman has sold millions of records and has more awards than anyone in Christian music, but none of it surpasses his recent output, which includes this fine recording.