No Longer My Own - Cheri Keaggy

Refined faith makes for a mature perspective

No Longer My Own

Artist: Cheri Keaggy (www.cherikeaggy.com)

Label: Independent

Length: 11 tracks/44 minutes

Cheri Keaggy’s faith has been tested since her Charlie Peacock-produced debut, Child of the Father (1994). That opened with the soaring, worshipful “Make My Life an Altar.” Keaggy opens No Longer My Own with questioning, “What would You have me to write/What would you have me to tell the world/What could I possibly say/How can I possibly change the way things are …” The music jogs along with a sober assessment of the pain and evil in the world.

“Overcome” truly speaks to our time, reminding us that God is here and that nothing escapes his notice. There is no need to fear. This is not a naïve view; it’s an honest look informed by the reality of God. It’s this perspective, which you find throughout, that makes this rewarding.

In the next song Keaggy sings, “It was good for me to be afflicted that I might learn your decrees.” This is a line from Psalm 119:71. The lyrics follow the pattern of the psalm by extolling the virtues of Scripture. The shuffling rhythm builds in intensity while Keaggy describes what the Word accomplishes.

Whereas some past efforts could fall into the praise and worship category, this goes deeper with thoughtful musings on a variety of subjects. These songs are not designed for congregational singing and that’s fine because I enjoy the reflections, whether serious or lighthearted.

The most startling is “Be My Sabbath.” “If faith without works is dead, I need to die for a day or a very long weekend.” It’s maximum angst with a gritty sound. It expresses a desire to cease from striving and have God as your source.

This song has the heaviest-sounding guitar work; most tracks are keyboard-driven. My guess is that the majority came into being through the piano. They are mostly mid-tempo songs. I wondered if the guitar playing was her uncle, Phil Keaggy, who makes guest appearances on her releases.

I discovered that he is responsible for the joyful ukulele sounds on “Whatever is True (Phil. 4:8).” It’s the primary instrumentation. In the last stanza she applies the list of attributes from the verse to Christ.

“I Love Your Company” is a beautiful picture of a parent’s love for a child. It made me think of God’s love for His children, how He longs for them to abide. The melody is like a gentle caress.

I hear longing in “Jesus, One and Only.” It’s just Keaggy playing a simple tune on the piano while she intimately expresses her desire for God’s comfort.

This closes with Annie J. Flint’s “He Giveth More Grace,” which leads into part of “I Surrender All.” It includes a uillean pipe, the national bagpipe of Ireland. Some may recognize this hymn from the lines of the first stanza:

                He giveth more grace as our burdens grow greater,

                He sendeth more strength as our labors increase;

                To added afflictions He addeth His mercy,

                To multiplied trials He multiplies peace.

Choices like this are indicative of the maturity found on this release.    

Ancient Christian Texts: Commentary on John (Volume 2) – Cyril of Alexander

Key early text defends the Christian faith

Ancient Christian Texts: Commentary on John (Volume 2) – Cyril of Alexander

Translator and author of introduction: David R. Maxwell

Editor: Joel C. Elowsky

Publisher: IVP Academic

Pages: 394

Cyril of Alexandria’s commentary on John challenges me in a way never intended. As the translator notes in his introduction, “Cyril’s literary style is complex and wordy. His sentences are lengthy, full of interlocking clauses, and his vocabulary can be unusual, even idiosyncratic” (xx). I confess to struggling with the drawn-out ideas.

I recognize that at times I was too tired when I sat down to read. In addition, Cyril wrote this to be a reference. Commentaries like this one are not designed for casual reading.

The translator in his introduction provides helpful advice in how readers can enter Cyril’s world of thought, which covers John 8-21. Volume 1 covers the first seven chapters of the gospel. In short, passive reading is not recommended.

One thought that helps me is that Cyril is engaging in “doctrinal explanation” and “he clearly employs the Gospel of John to refute the arguments of the Arians, Jews and pagans” (xvii). He equips his readers to answer their arguments.

He strongly defends the divinity of Christ and is careful to use precise language, “When we say that the Son and the Father are ‘one,’ we do not confuse the individuals who are numerically distinct, like some who say that the Father and the Son are the same person. Rather, we believe that the Father subsists on his own, and the two come together into one identity of substance” (77). He glorifies God by continually defining the members of the Trinity.

A point of view that differs from more recent reference works is just one aspect that makes this and the related volumes valuable. Cyril frequently looks at a passage from more than one angle, which helps to clarify the possible meanings.

One example is the beginning of John 9, where the disciples asked Jesus who sinned, the man born blind or his parents. The answer, of course, is that neither of them sinned. In explaining the passage, Cyril makes reference to an Old Testament passage that refers to God visiting “the sins of the fathers upon the children to the third and fourth generation.” He then describes the distorted view of some, who thought of God as bearing grudges and being severely wrathful. He suggests what it might mean for God to visit sins upon the third and fourth generations. In the end he justifies his view that the meaning of this passage does not contradict the idea of God being long-suffering and abundant in mercy.

The way Cyril uses Scripture to interpret Scripture and his tendency like others at that time to “interpret a given text in light of the overall sweep of God’s salvation” (xxii) is something to watch and enjoy. The latter differs from the emphasis today of discovering the original intent by looking at surrounding verses and historical context. Cyril does not ignore this; for him it’s step toward the goal of defining how a passage fits into the oikonomia, the technical term used for God’s plan of redemption. He repeatedly uses this word, which shows the centrality of it to his exposition.

This makes 12 volumes in the Ancient Christian Texts series, with five more projected. The related Ancient Christian Commentary on Scripture, differs in that you have multiple sources in one volume. Here you get a key early text that shaped the thought of Christians.

Blanca

I find it enriching to listen to music that communicates from a cultural context different than my own. 

Blanca

Artist: Blanca (www.officialblanca.com)

Label: Word

Length: 14 tracks/48:35 minutes

In the wake of recent events, I want to find solidarity with African Americans. One small way I can do that is gaining a greater appreciation for their music.

Looking back I had little influence toward the work of black artists. What I heard was on the radio or the occasional Supremes record played by my dad. As I reached the record-buying age, my first purchases were Jan & Dean, The Beach Boys and The Beatles. Most of the sounds that surrounded me were pop and then later rock. Maybe I naturally gravitated towards this, and not having family and friends into Motown and R&B, left me listening to mainly white artists. Whatever the reason, I can see that I was impoverished by not exploring other styles.

Imagine the void in our culture without the music of African Americans: no Hendrix, no Robert Johnson, no Miles Davis, no Aretha, no Michael Jackson, no Sister Rosetta Tharpe, no Ethel Waters (who else could have immortalized “His Eye is on the Sparrow”), no B. B. King, no Stevie Wonder, no Whitney, no Smokey Robinson (“The Tears of a Clown” is a classic), no Reverend Gary Davis, and I could name many more. Not only the black community, but our world would be the poorer without the Negro spirituals.

How can the haters hate a race that has helped bring humanity together through its music? In this sphere alone they have shined like a light from heaven.

Perhaps unknowingly and in a small way, African American artists have done what professor and author, Jeremy Begbie envisions as a role of Christian art, “Christian art, I believe, whatever else it evokes, will surely have a dimension of promise about it, a flavor of hope” (Image No. 85, p. 55). 

Now unless I’m mistaken, Puerto Rican-born, Blanca, shares this ethnic origin. If I’m wrong, there goes my introduction, even though it’s something that I have wanted to say. It should now be obvious that racial violence and injustice remain a problem.

From 2003-2013 Blanca was a member of Group 1 Crew, a Christian hip hop group. On this, her first full-length release, she branches-out from that base, fusing electronic and organic elements with urban and pop styles, tending toward one or the other on different songs.

Interestingly, “Sunshine” has a wonderful Caribbean rhythm, made all the more sunny by the happy sound of steel drums in the background. Is this the island influence? Perhaps more importantly, it is the flavor of hope. The theological concepts in her music provide that added dimension of promise.

Similarly, “Echo” adds euphoric notes on the stanzas. Listen closely for those sounds of joy. We need all the encouragement we can get.

Two of the more urban-sounding songs feature guest appearances by Lecrae and Tedashii giving rapid-fire raps.

Some tracks deal with identity and affirmation; others are discipleship-oriented, advocating surrender and obedience in relation to God. Blanca is not coy about sharing her faith.

This is a fine debut (not counting an EP released earlier this year) that stands on the shoulders of artists, some previously mentioned, who have given us some of the best music this world has ever heard.

I find it enriching to listen to music that communicates from a cultural context different than my own. We can learn to hear what may be foreign to us and become part of a conversation. It involves effort to get out of one’s comfort zone, but the reward can be greater understanding and communication. It’s detrimental when we dehumanize those who are different. Engaging with releases like this enhance my ability to dialogue.

The Challenge of Jesus - N. T. Wright

Wright makes the quest for the historical Jesus a matter of discipleship

The Challenge of Jesus: Rediscovering Who Jesus Was and Is

Author: N. T. Wright

Publisher: IVP Books

Pages: 204

Each time I read N. T. Wright I am the better for it, and The Challenge of Jesus is no exception. This dives deeply into the quest to discover the historical Jesus. In a field that is often marked by liberal scholarship, it’s refreshing to read someone who takes the subject seriously while avoiding much of the confusion and errors.

For those new to the subject, this is a fine introduction. I trust Wright even if I don’t always agree. He brings a depth of scholarship and wisdom to each subject that he engages. If nothing else, his applications at the end make this worthwhile. I never imagined that I would be promoting the work of someone in the Anglican faith, but Wright thrills me with his breadth of analysis, an evangelical heart and an all-encompassing vision.

Early in my Christian life, a church I formerly attended frequently referenced the proverb, “Where there is no prophetic vision the people cast off restraint …” (Proverbs 29:18 ESV). We heard it as “Where there is no vision, the people perish.” No danger of that here. If I had a complete collection of Wright’s works, something I would relish, I would be well-served. I would not be casting about to find some larger narrative to make sense of life.

Wright is consistent is asserting that God’s plan has always been to save the world through Israel. The birth, death and resurrection of Jesus Christ are the fulfillment of that intention. It’s not just a matter of personal salvation. It’s much bigger. It includes the eventual redeeming of all creation. In the meantime, it groans with us as we long to be part of the ultimate manifestation of the kingdom of God.

Some may be tempted to think that thoughts and studies like this have no practical value. Wright answers: “If church leaders themselves spent more time studying and teaching Jesus and the Gospels, a good many of the other things we worry about in day-to-day church life would be seen in their proper light” (31).

Wright never advocates engaging in “abstract dogmatics to the detriment of our engagement with the world, but that we should discover more and more of who Jesus was and is, precisely in order to be equipped to engage with the world that he came to save. And this is a task for the whole church, especially those appointed to leadership and teaching roles within it” (31).

I commend his attitude: “I regard the continuing historical quest for Jesus as a necessary part of ongoing Christian discipleship. I doubt very much if in the present age we shall ever get to the point where we know all there is to know and understand about Jesus, who he was, what he said and what he did, and what he meant by it all” (15). Wright sees this as the leading means to exploring God himself.

He goes on to examine what Jesus meant when he said the kingdom of God is at hand. “First, he believed that God had purposed from the beginning to address and deal with the problems within his creation through Israel…. Israel was to be the means through which the world would be saved” (35).

Wright then explains that the works and words of Jesus “make the point that the return from exile was happening in and through his own work” (42). Christ “was doing what the prophets always warned: he was judging Israel for her idolatry and simultaneously calling into being a new people, a renewed Israel, a returned-from-exile people of God” (41).

The author then turns his attention to what it means to become the new people that inhabit the kingdom coming into being. What Jesus did in relation to the key symbols of Israel—Sabbath, nation and land, and temple—play into what God was calling His people to be.

Would a Jew in the time of Jesus have any concept of a crucified Messiah? How did Jesus think of himself and his role? Wright briefly looks at these issues but saves the best for last.

Probably even more than the scholarship, I enjoy when Wright gets practical because he advocates creativity. It’s not just preaching; it’s enacting the saving message of the gospel in every sphere of life. He tells us: “You are called, prayerfully, to discern where in your discipline the human project is showing signs of exile and humbly and boldly to act symbolically in ways that declare that the powers have been defeated, that the kingdom has come in Jesus the Jewish Messiah, that the new way of being human has been unveiled, and to be prepared to tell the story that explains what these symbols are all about. And in all this you are to declare, in symbol and praxis, in story and articulate answers to questions, that Jesus is Lord and Caesar is not; that Jesus is Lord and Marx, Freud and Nietzsche are not; that Jesus is Lord and neither modernity nor postmodernity is. When Paul spoke of the gospel, he was not talking primarily about a system of salvation but about the announcement, in symbol and word, that Jesus is the true Lord of the world, the true light of the world” (187).

Sometimes, for whatever reasons, our horizons begin to shrink. Our vision can die. It’s for this reason I appreciate the expansive views that Wright offers.

Don’t misunderstand. He’s not advocating triumphalism. “It’s a matter of sharing and bearing the pain and puzzlement of the world so that the crucified love of God in Christ may be brought to bear healingly upon the world …” (189). Our means must always be cross-shaped. Suffering love is the order of the day.

There is so much more than can be conveyed through what I have written. This is a valuable resource in the search for the historical Jesus.

Above it All - Phillips Craig & Dean

Nothing but open road; this is what hope feels like

Above it All

Artist: Phillips Craig & Dean

Label: Fairtrade Services

Length: 10 tracks/39:27 minutes

On a recent trip I went to bed feeling utterly discouraged. I woke the next morning with “Come as You Are” going through my mind, one of ten songs from Above it All by Phillips Craig & Dean.

The melody and words conveyed a sense of God’s presence and comfort:

Come as you are
As you are
with your heart wide open
And broken
Come as you are
With your wounds and your scars

I appreciate the encouragement to come in my brokenness. It implies acceptance despite failure, which broadens my outlook.

Grace and hope are themes in this recording. The opening, “What Hope Feels Like,” puts it like this:

It's nothing but open road
Now that I'm not alone
I'm saying hello to life
This is what hope feels like

The open road is a picture of no obstacles and progress on the journey. Not being alone, having Christ in one’s life, leads to a brighter day.

I'm learning to live again
I'm learning to love again
I'm learning to dream again
It's like I've been born again

Those with more sophisticates tastes can easily find fault with praise-band worship styles, but I recognize that it can add power to the lyrics. It can be like the sound of rushing waters. After my dark night of the soul, the strong melody and the words of “Come as You Are,” reminded me that God was with me. I could begin again. That very morning my scheduled reading included: “Come to me, all who labor and are heavy laden, and I will give you rest” (Matt. 11:28). If I can only keep coming no matter what happens, I will find rest.

Phillips Craig & Dean are among the artists that rose to prominence with the surge in modern forms of worship. Some of their greatest moments have come when they harmonize on power choruses and moving, ballad-like expressions of devotion. “Shine on Us” from My Utmost for His Highest and “Let My Words be Few” from the album of the same name are examples of the latter.

These quieter expressions don’t seem as popular today. The sound here mostly thunders, particularly on the choruses, and the producer has done an excellent job of adding EDM elements to modernize without significantly changing the group’s style. “Let it be Known” goes the farthest toward EDM, and it works. I never would have expected this from Phillips Craig & Dean, but I give them credit for wanting to stay relevant musically.  

These slight deviations interest me the most. Two of my favorite examples are “Hope Has a Name” and “Voices from the Other Side,” back to back tracks. They feature a beautiful interplay of acoustic instrumentation, restrained vocals, and even some storytelling. It left me wanting more, but I realize that many may prefer the more forceful songs. I like them too, but I also appreciate the more acoustic and organic moments, revealing another side of worship.

This consistently sounds a triumphant note. So if you are feeling a bit broken, come as you are. Listen and feel your horizon expand as hope comes alive.

Duck Commander: Devotions for Kids - Korie Robertson & Chrys Howard

I don’t know much about Duck Dynasty, but I recognize a worthwhile devotional.

Duck Commander: Devotions for Kids

Authors: Robertson, Korie & Chrys Howard

Publisher: Tommy Nelson

Pages: 223

Before reading Duck Commander: Devotions for Kids I knew little more about the Robertsons, the stars of Duck Dynasty, than I did about the Kardashians. Thanks to this book I have a new respect for the former. I don’t know much about duck hunting, but I know an excellent devotional when I read one.

It uses concepts and language that a child can understand. Each devotion starts with a simple story from the Robertson family. Sometimes humorous, but always attention-getting, they lead to basic thoughts about a verse of Scripture.

The first one is a favorite: “Pleasant words are like a honeycomb. They make a person happy and healthy” (Proverbs 16:24). This and most of the other passages are taken from the International Children’s Bible.

The verse above precedes the thought, “You have the power to change someone’s day just by the words you use” (16). The concluding idea sums up the focus, “When you use your words to build someone up, that is using your voice to make God happy” (16).

Each section includes a short prayer and ideas for application. The title, “Words to Waterproof,” is drawn from the latter. “There are special sprays that will waterproof your boots so rain will roll right off them. Using kind words helps to waterproof the people you love, causing other unkind words to roll right off them. You will be like a kindness umbrella, covering your friends and brothers and sisters with love!” A profound thought for any age group; this is representative of the well-written and creative exposition of Biblical truth.

You don’t have to know about the Robertsons or their show to benefit. I have not seen a single episode, but reading this showed me how serious they are about their faith. There is nothing controversial here, just solid, insightful thoughts about putting the Bible into practice.

During the course of reading this I had a discouraging morning at work one day. As I sat in my car on a break, I decided to read the next devotional. It just happened to be “Handling Disappointments.” I read the verse, “Give all your worries to him, because he cares for you” (1 Peter 5:7).

The story followed. Sadie wanted to be a cheerleader, but when she didn’t make the team, she became discouraged. Discouragement is common to all, but “What we don’t have to do is stay disappointed” (126).

I kept reading, “When something disappoints you, learn to get over it quickly” (126). It was just what I needed. I left my car feeling a little lighter than when I started my break. I was better prepared to return to the trenches of working retail, an environment that I sometimes liken to controlled chaos.

The application section for this theme references the expression, “turn lemons into lemonade.” It then instructs, “Make some fresh-squeezed lemonade to remind yourself to turn ‘sour’ days into happy days” (127).

The book succeeds in providing activities like this one that serve to get a child interacting with family, friends and others, the outdoors, and in general, the world at large. Actually doing something related to what we read reinforces it.

This covers a wide range of subjects, including an emphasis on sharing Jesus with others. So much of what a child needs to live a well-rounded Christian life is here.

Holli Conger, the illustrator, makes the graphics and colors eye-catching. I’m glad that the human figures represent the diversity of skin shades in our world.  

I learned more about the Robertson family through the engaging stories, but of course, this is not the focus. The Robertson’s experiences point to Jesus and the Word. The emphasis here is helping children get closer to God and others. This is an admirable effort that works well toward that end.

Reborn - Finding Favour

Rural sounds and storytelling among the highlights on first full length

Reborn

Artist: Finding Favour

Label: Gotee Records

Length: 11 tracks/40:42 minutes

Just learning that Toby McKeehan (aka tobyMac) is a co-executive producer and that this is on Gotee Records, the label he cofounded in 1994, is enough to interest me in Reborn, the first full album by Finding Favour.

Don’t expect this to sound like tobyMac’s music. Casey Brown is the producer, and the opening “Refuge” is a soaring worship anthem along the lines of Phil Wickham. The sound and style also remind me of Coldplay. I’m thinking, This is a pop/rock/worship band.

Though this Vidalia, GA band formed in 2005 may be that in part, I’m glad there is more. I appreciate variety; I don’t want to hear the same song over the course of an album. They could have easily done that on the remainder of this release.

The next song, “I’ll Find You,” has an energetic hook that sounds a little like an Irish reel and includes a shouted “hey!” It may be a small departure from the first song but that is just the beginning.

Song number three takes me back to my classic rock days. “Cast My Cares,” turns on power chords similar to what you hear on “Baba O’Riley” by The Who. It makes the forceful delivery of the chorus all the more powerful. This is not a sweet “cast your cares” song. I like those, but this is a declaration. It’s a resolve not to be anxious. This is also the first single.

“Feels like the First Time,” song four, is a joyous ode to marriage. One reason for this is the prominent banjo playing and the lighthearted sentiments. This erases any thought that this is just another praise and worship band.  

The fifth song, “Be Like You,” is sentimental but not overly sweet. It could easily chart on country radio. It expresses desire for God’s help in anticipation of the birth of a baby girl.

It’s becoming apparent that I hear a welcome Mumford & Sons influence. It’s a full sound complemented by acoustic and rural accents.

The title track, the sixth song, has a brief hammer dulcimer prelude. How I wish that had remained more prominent in the mix. The song celebrates new life in Christ. It reverts to a pop/rock sound; not unwelcome with its fullness, but I would like to hear what it could be with the dulcimer not being buried and more acoustic highlights. Calling tobyMac! I want a remix.

Track seven, “Tiny Town,” celebrates hometown roots. Again, this has a strong country influence. Like songs four and five, it engages in storytelling, which I find desirable and is not typically found on praise and worship recordings.

The next song, “Till Your Kingdom Comes,” mines Mumford & Sons territory with spirited singing and prominent handclaps. This is the kind of welcome variation that the worship genre needs and is becoming more prevalent.

Track nine, “On the Water,” is a favorite for its vulnerability. Here walking on the water is a metaphor for risk in the Christian life. It’s sometimes scary. I appreciate the unadorned electric guitar playing in the first part. The instrumentation is beautiful throughout and the production more sparse, a plus in my outlook.

“Hallelujah One More Time” is modern worship but sounds a little too common.

The closing, “Say Amen (Reprise),” ends in an appealing subdued style. This is a revamp of the song that was released as the band’s second single in 2014. The lyrics would fit well in an African-American setting, but the style is more country than gospel.

This is easy to like; a welcome relief from one style of worship. I appreciate the variation.