Eye’M All Mixed Up: Remixes - TobyMac

A fascinating mix of sounds adorns an unassuming style

Eye’M All Mixed Up: Remixes

Artist: TobyMac

Label: Forefront Records/Capitol

Length: 11 tracks/43:48 minutes

I never knew booming beats, high tech wizardry and scratchy noises could sound so good. And this is a remix! What must the original sound like?

Normally, I think of a remix as a lesser creation, but hearing Eye’M All Mixed Up by TobyMac has my head swirling. It’s like stepping onto the dance floor and suddenly the lights go down, the music drops, and my senses are dazzled.

I’m out of my natural element, but developing an appreciation for art of the highest caliber, I’m impressed by such a wondrous blend of synthesized and organic sounds. I could never imagine this back when I first heard Jesus music. I’m grateful that a Christian artist could become so relevant to a new generation.

Those accustomed to more conservative fare may not relate, but for the young and those open to appreciating new ways of communicating this is entertaining and meaningful.  

As TobyMac sings, “It’s always been about the music/Hoping God would use it to set some people free.” His combination of truth and grace in an assuming style goes a long way towards that end.

Being a lover of verse, many lines caught my attention. One of the most dramatic is sung over a sublime quick-tempo beat, “I want to lose myself, lose myself to find you (repeats)/I don’t care how it sounds/Burn it all to the ground/Your kingdom I desire” (Lose Myself – Capital Kings Remix). I appreciate the willingness to endure any cost to gain what matters to God.

A powerful autobiographical moment relates to concert performances: “The crowd is calling out/They want the beat to drop/But what we really need is you.” This mature attitude is also reflected in the chorus: “If you want to steal my show/I’ll sit back and watch you go/If you got something to say/Go on and take it away” (Steal My Show – Jack Shocklee Remix). May every servant of Christ have a likeminded humility.

On “Mac Daddy (Tru’s Reality) (Telemitry Remix)” TobyMac gets playful and humorous as he recalls a time when he desperately wanted a Mac computer to begin mixing beats, “I want a Mac/I want a Mac, Daddy/I need a Mac/Them apples don’t grow on trees.” This world could use more lightheartedness in music. I applaud this subtle effort.

One of the most refreshing moments comes right after the opening, high-energy title track, “Cause we all make mistakes sometimes/And we all step across that line/Nothing sweeter than the day we find, we find forgiveness” (Forgiveness – feat. Lecrae, Neon Feather Remix). It resonates because it rings true.

How different the world might be if we started a gentle revolution along these lines by speaking life to those around us. “Speak life, speak life to the deadest darkest night/Speak life, speak life when the sun won’t shine and you don’t why/Look into the eyes of the brokenhearted/Watch them come alive as soon as you speak life” (Speak Life – Telemitry Remix).

I would say more about the music but words fail to convey the creativeness. Advances in technology elevate this to a level that did not exist back in the days when it was mostly organic instrumentation. It’s a little like the leap when Bob Dylan angered his folk music following by going electric. It shows the power of this means when used with restraint and a pop sensibility. It’s a fascinating mix of sounds.

My only disappointment, be it ever so slight, is that two tracks are remixed twice. I favored the first ones over the second ones that come towards the end.

It’s no wonder that TobyMac has met with so much success since his former group DC Talk disbanded. He knows what matters most and it’s obviously not what comes with being a pop star. His faithfulness to calling, as evidenced here, is as inspiring as the music.

Reformation Commentary on Scripture, New Testament III: Luke

Beth Kreitzer provides a female perspective on Luke’s highlight of women.

Reformation Commentary on Scripture, New Testament III: Luke

Editor: Beth Kreitzer

Publisher: IVP Academic (www.ivpress.com)

Pages: 573

I find myself listening for the voice. Not just the voice of the many fine commentators found in Luke, volume III in the Reformation Commentary on Scripture Series, but the voice of the editor, Beth Kreitzer.

Readers have the opportunity to get a feminine perspective on commentary derived from Luke’s gospel, which highlights the role of women. As the general editor, Timothy George, notes, this volume, along with those in the Ancient Christian Commentary Series (a related set), makes a special effort to include the voices of women whenever possible. Part of the challenge lies in the fact that for various reasons few theological and biblical works were published by women in an earlier time period.

So for each passage examined, it’s more than a little interesting to get Kreitzer’s views on the assorted comments that follow. Her thoughts provide background and clarify the reformer’s overarching concerns.

She is also not afraid to gently chide them, “The Savior of the World is now present, and all those who hear the good news are saved by their faith in him—including Mary, who, these preachers are at pains to point out, is saved by her faith in her son, not by being his mother” (22).

Her brief articulation of Luke by way of an introduction is excellent. She explains that the majority of comments come from sermons, as they best fit the purpose of this work. The reformers never wavered in preaching the gospel. She also covers major themes, controversies and sources.

Timothy George’s extensive introduction to this series is equally impressive. It’s a joy to start with these two fine summaries.

One of the pleasant surprises is the occasional appearance of an unexpected voice, William Cowper, the author of the hymn, “God Moves in a Mysterious Way.” He was a friend of John Newton, the writer of “Amazing Grace.” It’s not just his spirituality that intrigues, but his lifelong struggle with depression and despair. Yet despite the valleys he descended, the words he wrote, some found here, should resonate with those who wrestle with the complexities of the spiritual life.

His inclusion is representative of many lesser known lights included in this book. There is plenty here from the likes of Calvin and Luther, but the other voices are no less profound.

Their perspectives, as well as the others, are sometimes less common than modern ones. In his thoughts on the healing of Simon Peter’s mother-in-law, Johannes Brenz writes, “He (Christ) came to this poor cottage to show that poverty and sickness are not as neglected and condemned by God as they are by human beings. For in this world there is nothing more abject than poor people, and no one less regarded than those who are sick. But Christ comes to these and shows that of everyone he cares the most for them. Therefore, those who are oppressed with poverty and afflicted by sickness should not faint or be discouraged, neither should they think that because of their poverty and sickness they are rejected by God. But let them be sure that the more they are pressed down with afflictions, the more they are beloved and regarded by God” (107).

Devotional thoughts like these remind me of Matthew Henry, a saintly commentator. His godliness shaped his outlook. To read his words and those found in this volume is like breathing a rarefied air. It’s refreshing!   

A pastoral concern is evident. If modern commentaries lean towards the academic, this is closer to shepherding the flock. Both aspects are necessary, and it’s a good reason to have both kinds. There is wisdom in a multitude of counselors.

Projected volumes in this series will cover the entire Bible. As of this writing there are seven volumes available. This should not be confused with the related series, Ancient Christian Texts and the Ancient Christian Commentary on Scripture. All three are recommended for the early perspective that they offer. They will be a great addition to any theological library, and it helps support this valuable work.

It gives voice to the reformers, who occupy a particular era of church history. They deserve a place at the table just as much as anyone else. Though they have passed on to their eternal rewards, they still speak in these beautifully done volumes. 

Transcending Mysteries - Andrew Greer & Ginny Owens

Getting beyond Jesus versus the God of the Old Testament

Transcending Mysteries: Who is God, and what Does He Want from Us?

Author: Andrew Greer & Ginny Owens

Publisher: Thomas Nelson

Pages: 188

July 20, 1999 marked the release of Without Condition, the debut recording of Ginny Owens on Michael W. Smith’s Rocketown Records. The album contained the disarming piano ballad, “If You Want Me To,” her best known song.

The transparency in that song is evident in this collaboration between Owens and Andrew Greer, another singer/songwriter. The personal stories they tell are captivating. It enables readers to know them in a way not possible through their songs. So if you are a fan of either artist, this is worth reading. Those not familiar with their work need not wonder if they can benefit for God is the focus.

This looks at Old Testament passages to see how He reveals Himself. Is He different from what we know of Him in the New Testament? This is what these two authors take turns exploring.

This investigation reminds me of what fellow recording artist Michael Card has been doing through his writings. Greer and Owens are following in his footsteps by leading readers into Bible study, and in this case, illustrating what it looks like to be in relationship with God.

I cherish their insights. In identifying with the inferiority that Moses felt, Owens, who is blind, writes, “Blindness was a sign of brokenness. Who wants to wear brokenness as a badge for all to notice? Who wants to allow her weakness to be on display? Give me a few more years of life experience, and I am convinced that the weak, broken parts of me have the most potential to encourage and relate to others in the way the put-together me simply cannot” (82-83). This kind of insightful application is representative of what you find throughout.

It all springs from an examination of God’s character. In considering how an enemy of Judah’s King Hezekiah misrepresents God, Greer writes, “Hezekiah’s challenge is an opportunity to understand how scriptural history reiterates the notion that God does not operate tit for tat. The dictatorial, micromanaging personality often prescribed to the God of the Old Testament by generations of believers who have been scarred by legalistic pasts is simply not present in this passage. God’s sovereignty, His authority or prerogative as Creator of the cosmos, relies solely on His character. God is operating out of His innate qualities, which we are trying to carefully uncover throughout this book” (95).

Passages like this should dispel any notion that you can expect a lightweight read. I was pleasantly surprised by the accessibility and depth of the material. This is helpful for anyone wanting to know what God is like.

Especially meaningful to me as a single person were the stories shared by both authors that touch on relationships. As Owens writes, “I ended up in a relationship that would eventually bring me lots of heartache and regret. The effects would take years to work through” (27). Each author shares some of their personal failings in their ongoing journey toward wholeness. Owens readily identifies with the longing that Hannah felt. They both suffer but gain hope as Owen writes, “From the broken parts of our stories, the best songs emerge” (38). Perhaps only a musician could put it in such beautiful terms.

The challenge the authors present is not just to study the Bible but be in community. “The notion that we are designed to be in communion with each other has been reiterated over and over in my life experiences,” (33) Greer writes. He even sees this in relation to Scripture, “The support of community in valuing and understanding Scripture has been imperative to my spiritual life.… I make a frequent habit of asking friends whom I trust, as people first and as thinkers second, to discourse on a handful of cultural hot topics infiltrating the cross-section of society and church today. What is their take on what Scripture says about each topic? How do they interpret that Scripture in the day-in and day-out of their lives? How are their relationships and their lives directly affected by each topic of conversation?” (175). The objective is to “live well and connect with God even better.”

Most impressive is how others have been there for both authors at their most vulnerable moments. Owens writes, “As we eliminate false gods and re-center our worship on the Eternal, we need trusted community to walk with us, pray for us, and enlighten us with their own faith-building experiences” (169).

The format of this volume is noteworthy for its liberal use of white space and creative way of highlighting key sections and thoughts. The display of The Voice translation, the primary bible text used, makes it easy to read. It’s the first time I have seen it, though it was published in 2012. God is referred to as the “Eternal One.” Reading an unfamiliar translation helps me to see the text anew. Questions for reflection, song lyrics and quotations grace the front and back of each chapter.

This is part of the Refraction book series published by Thomas Nelson. Several other interesting-looking titles are now available at www.refractionbooks.com. The aim is to offer biblical responses to the biggest issues of our time and to respond to those who differ in transparent and respectful ways.

How Can it Be - Lauren Daigle

A voice like Adele and a passion like Misty Edwards make for an impressive debut.

How Can it Be

Artist: Lauren Daigle (www.laurendaigle.com)

Label: Centricity

Length: 12 tracks/50:48 minutes

The voice I hear on Lauren Daigle’s debut, How Can it Be, reminds me of Adele and the International House of Prayer’s, Misty Edwards. Each of them can sound both smoky and delicate. It adds weight in this God-directed release.

Like Edwards, Daigle is a worshipper. She continually addresses the Almighty. These songs have more in common with the intricacies of the Psalms than the sing-a-long variety. Modern worshippers rejoice! This has plenty of substance.

Like Adele, the music is a hybrid of styles creating something new and modern. It’s a triumph of acoustic and synthesized sounds. A number of tracks have a distinctive hip-hop rhythm.

A personal favorite is “Trust in You,” whose title could easily be a theme for the recording. The handclaps bring a smile, as well as the chorus, “When you don’t move the mountains I’m needing you to move/When you don’t part the waters I wish I could walk through/When you don’t give me answers as I cry out to you/I will trust, I will trust, I will trust in you.” I hear an endearing lightness and it’s easy to identify with the thought of life being a battle and more than a little unpredictable.

“I Am Yours” has allusions to Psalm 46 and perhaps unknowingly to Psalm 29. “Let the waters rise I will stand as the oceans roar/Let the earth shake beneath/Let the mountains fall/You are God over the storm/And I am yours.” This is unshakeable confidence framed in majesty. No matter what may come, “The LORD sits enthroned over the flood; the LORD sits enthroned as king forever” (Psalm 29:10). Though our world be shaken, “God is our refuge and strength, a very present help in trouble” (Psalm 46:1). Daigle’s voice makes this regal, fitting for a King that presides over all.

She can make a chorus epic, but the last two tracks offer a change of pace. They have minimal production and are primarily acoustic. They convey tranquility as Daigle exhibits a softer side. Whether singing softly or at the top of her lungs, a passion for worship is evident. Her focus is God.

The closing “Once and For All” is just Daigle accompanied by piano. She starts off soulfully and becomes increasingly earnest, “Oh let this be where I die/My Lord with thee, crucified/Be lifted high as my kingdoms fall/Once and for all/Once and for all.” It brings to mind what Dietrich Bonhoeffer wrote, “When Christ calls a man, he bids him come and die.”

One of my favorite thoughts from Scripture highlights our need: “We all stumble in many ways” (James 3:2). As Robert Robinson wrote in a hymn, “Prone to wander, Lord, I feel it, Prone to leave the God I love; Here’s my heart, O take and seal it, Seal it for Thy courts above.” It’s why I like the line, “Be lifted high as my kingdoms fall.” Live enough years and it’s not hard to see the wreckage. Our kingdoms fall. Our best efforts fall short. Thankfully, it’s not about our performance. It’s all about the God who continually gives grace to the undeserving.

I can imagine “Once and For All” closing a concert. The most appropriate response might be silence rather than applause. Hearing it makes me feel like the psalmist David when he writes, “I have calmed and quieted my soul, like a weaned child with its mother; like a weaned child is my soul within me” (Psalm 131: 2).

“Oh Lord, I lay it down/Help me to lay it down,” Daigle sings. It strikes a responsive chord within. My attention is no longer on the singer and song. 

The Radical Disciple - John Stott

What does it mean to follow Jesus?

The Radical Disciple: Some Neglected Aspects of our Calling

Author: John Stott

Publisher: IVP Books (www.ivpress.com)

Pages: 142

“Radical” in relation to the Christian life has seemingly become more popular in recent years. I have not read the books that touch on this in one form or another but have read with interest the reviews. Some point out where the authors miss the mark even if some ideas have merit and serve as a needed corrective to Christianity here in the West.

Having read a number of John Stott books, I did not have any misgivings about reading The Radical Disciple. I trust him. I greatly appreciate the succinct Biblical wisdom that he imparts on whatever topic he examines. He is a masterful teacher that unfortunately is not as well known as those on the bestseller lists.

His work has a timeless quality because he stays close to Scripture and avoids fads. He makes the truth seem utterly reasonable and void of controversy. For instance, this has a chapter on creation care, which can be a controversial subject. Stott’s main thought is that taking care of the earth is a matter of stewardship and an expression of love for God. How can a reasonable person find fault?

Stott is not radical in a left or right sense. His way of being radical in relation to the environment or any other subject is to apply scriptural principles. He may be too basic for those wrestling with complexities, but I applaud his ability to inspire readers to do what lies before them. Our problems are more often a failure of the will than a lack of knowledge. As G. K. Chesterton has written, “Christianity has not been tried and found wanting; it has been found difficult and not tried.”

The subjects (nonconformity, Christlikeness and maturity) in the first part of the book may seem obvious, but lovers of the truth, and perhaps even inquirers, will appreciate the well-rounded presentation. Again, these areas are neglected not because they are unknown but not achieved.

The latter chapters, beginning with “Creation Care,” are where the material becomes more diverse and more challenging. “Dependence” and “Death” towards the end are worth the price of admission. Stott is at his most profound as he reflects on his own state of dependence and nearness to the grave at age 88. These are literally the last words from his pen; he did not make the leap to computers.

As has been said, illustrations are like windows to let the light in, “through them the truth shines.” If the use of such is an art, Stott is one of the masters. He is not overindulgent but like an enlightened disciple who brings forth treasure out of the entire range of human experience. In talking about becoming more personal in “Dependence,” he quotes the late Dr. Paul Tournier, “We have given things priority over persons, we have built a civilization based on things rather than on persons. Old people are discounted because they are purely and simply persons, whose only value is as persons and not as producers any more” (108). This striking truth seems to be lost in a society filled with distractions and a disposable mentality.

The last part of the preceding leads to Stott’s point, “When we are old, … we have the time and qualifications necessary to a true ministry of personal relationships” (108-109). This is but a sample of the borrowed insights, in addition to Stott’s own, that fill every page.

At the end of “Death” Stott summarizes how life comes through death in salvation, discipleship, mission, persecution, martyrdom and mortality: “a death to sin through identification with Christ, a death to self as we follow Christ, a death to ambition in crosscultural mission, a death to security in the experience of persecution and one of martyrdom, and a death to this world as we prepare for our final destiny” (133). We must die to live. “And we will be willing to die only when we see the glories of the life to which death leads” (133).

What is a Christian classic? Does it have to be more than 50 years old? I hope not for this must come close if not in that category.

Stott died not long after this writing. His farewell is not a bad place to start if you are unfamiliar with him and/or the Christian faith.

Tyndale Old Testament Commentaries: Psalms - Tremper Longman III

What do the Psalms mean?

Tyndale Old Testament Commentaries (Volumes 15-16): Psalms

Author: Tremper Longman III

Publisher: IVP Academic (www.ivpress.com)

Pages: 479

It caught me by surprise! Someone I knew to be a Christian for many years spoke about The Psalms in the bible as though they were a riddle that needed to be solved. “What do they mean?”

In hindsight it’s not so startling. What does a New Testament believer make of verses like, “Blessed shall he be who takes your little ones and dashes them against the rock!” (Psalm 137:9).

Similarly, Christians today may balk at using swords in worship: “Let the high praises of God be in their throats and two-edged swords in their hands, to execute vengeance on the nations and punishments on the peoples, to bind their kings with chains and their nobles with fetters of iron, to execute on them the judgment written! This is the honor for all his godly ones. Praise the Lord!” (Psalm 149:5-9). The typical modern worship service looks tame in comparison.

After reading some of the psalms, a non-Christian friend was somewhat shocked by the irreverent expressions. I guess he figured the bible contained only pious sentiments, not people expressing grief, turmoil and complaint as you find in this Hebrew poetry. So what does it all mean?

This complete revision of the original two volume set (now one book) in the Tyndale Old Testament Commentary series goes a long way towards answering that question. In trying to provide an update that conforms to modern standards, the format is updated “to reflect a key emphasis from linguistics, which is that texts communicate in larger blocks rather than in shorter segments such as individual verses” (8).

The upside is a concise analysis of texts that are naturally grouped together as a unit. The downside, if there is one; readers don’t get exposition of every verse. On occasion users may want more insight and will need to turn elsewhere. Buyers should keep in mind this is not an exhaustive commentary. What you get is careful and structured exegesis of blocks of thought with a few highlights of individual verses.

It all starts with a Context section that provides the background for each psalm. The Comment section features standard commentary. The concluding Meaning section focuses on key theological themes and seeks to relate them to New Testament understandings of Scripture.

One praiseworthy aspect: the author consistently is careful to avoid inserting New Testament revelation into the Old Testament meaning of a passage. For example, the understanding of the afterlife is not nearly as developed in the Old as in the New. When the author of Psalm 17:15 writes, “As for me, I shall behold your face in righteousness; when I awake, I shall be satisfied with your likeness,” the original meaning is not exactly clear. Longman points out that there is no prior reference to sleep in this passage. Even so, he surmises, “Whatever the meaning in its Old Testament context, the light of the more robust teaching on the afterlife given in the New Testament allows us to read it in that fuller sense” (110).

This commitment to letting words be defined by their context is what makes this a valuable resource for study. It’s essential to determining meaning. This succeeds admirably in this regard.

The author further adds value by reiterating common styles and themes. In his opening remarks on Psalm 77 Longman writes, “The psalmist informs his hearers that he turned to God for help. His distress is unspecified, as is typical in the Psalms, allowing later worshippers to use this prayer as a template for their own addresses to God in the midst of similar, though not identical, troubles” (286). Here and elsewhere the author makes the point that the psalms omit references to specific historical events so that they can be used by anyone facing like circumstances. It underscores that these words can be prayed today.

If you have ever struggled with this kind of prose, this book is worth it just for the introductory section on the different types of language and subjects in the book of Psalms. As someone who seeks to better understand poetry, I find it helpful.

This volume reflects an academic approach, so if you are looking for the inspirational, get this along with something like A Treasury of David by C. H. Spurgeon. As much as I might like the latter, if I could only have one commentary on the Psalms, I would not go wrong with this one. It quickly puts me in touch with the relevant historical background and provides central meanings. This is an excellent place to start on the road to discovering, “What does it all mean?”

Uncountable Stars - Joanne Hogg

Wrestling towards rest and the wonder of the Kingfisher

Uncountable Stars

Artist: Joanne Hogg (www.joannehogg.com)

Label: Independent

Duration: 13 tracks/51:40 minutes

Inspiration from the created order is immediately evident on Uncountable Stars by Joanne Hogg. Turquoise, turquoise everywhere! “A blaze of turquoise, between the greens/and the browns/All hidden from the sky.” The cover has an artful depiction of the Kingfisher in flight, fish in beak and turquoise all over its tiny frame. A part of its glorious wingspan is shown on the back cover. A kaleidoscope image adorns the CD label. Alternating pages in the CD booklet have a turquoise background. This wondrous winged creature even has a song named after it.

“Kingfisher” captures the sentiment of someone reveling in the beauty of nature. “And here I lie/The meadow grasses swaying over my head.” It’s a picture of the rest of faith, a ceasing from striving and enjoying all that God has made. A pastor once said that joy is a mark of maturity. Being able to enjoy inward rest is also characteristic of growth in grace.

This particular track introduces a new element in Hogg’s sound—a muted trumpet, also heard on “Lay Down,” a song that takes its inspiration from Psalm 23. Here and throughout Hogg distinguishes herself from Iona, the progressive Celtic rock powerhouse that she fronts. I like Iona and Hogg’s previous solo work, but this sounds a little different, which appeals to me. It’s the sound of Hogg branching out, exploring some new arrangements and themes.

“Mountain of Debris” is an intriguing example. I’ve repeatedly listened to gain greater understanding of the intended meaning. It begins with Hogg surveying the life forms (including human) that are sustained by a massive garbage heap. She asks, “Do you see mercy, do you see love/Why don’t you come closer and take a look.” Is she seeing God’s goodness and kindness in a situation where many might be tempted to turn away? “There’s something there for everyone, from the greatest to the least.” She comes to see it as an opportunity to express mercy, “God, won’t You send Your angels to clean up such a mess/You say … Come with me, roll your sleeves up/and we’ll heal the brokenness.”

Even though many of these tracks encourage and convey trust in God, Hogg continues wrestling on “River of Tears.” It could describe so many of the war-torn areas in our world. “And so the children learn/The history of the fight/Who to love and hate/Each believing they are right.” In the midst of her heartache Hogg asks, “How can I come to you and rest/When all the world’s in such a mess.” Even without an answer, she feels her burden lifting, her fears dissipating, as God washes her in the river of her tears.

Glimpses of Hogg’s mystical side are heard on “Come Away,” adopted from the Song of Solomon and “My True Love,” which is in the same vein. These somewhat meandering keyboard ballads may not satisfy those who prefer a more structured rhythm and a complementary beat. There is, however, a richness that can inspire toward greater intimacy with God. It’s the Song set to music.

I relish the guitar strumming and earthy sound of “Rest.” It reminds me of the simple but sublimely organic sounds of The Band. It also may be the closest thing to a Celtic sound.

The words “uncountable stars” come from “Out Here,” written by Carole McGlashan. Much of the inspiration comes from the glorious outdoors. The chorus transitions into a gorgeous musical interlude of a familiar lullaby. I will keep the title a surprise for the benefit of those who may purchase this release.  

Frank Van Essen of Iona on violin leads the way in this segment. Van Essen on violin and viola and Gwyneth Reid on cello play on a number of tracks and it’s always beautiful.

Even though some of Hogg’s previous work may initially be more accessible, I might prefer this for its depth. It rewards repeated and careful listening.