Simple Hymns: Songs of Communion

Classic texts and new songs explore being in Christ.

Simple Hymns: Songs of Communion

Artist: Various

Length: 10 songs/45 minutes

Label: Venture3Media

 Don’t imagine songs about receiving communion from the title of this release. Songs of Communion is about partaking of the union that comes through the cross of Christ. Classic texts and new songs explore being in Christ.

As with the prior releases in this series, this being the fourth, there is minimal accompaniment, and some of the finest writers in Christendom add creative arrangements, alterations and new compositions. The writers include Chris Tomlin, John Hartley, Chris Eaton, Stuart Townend and others.

This opens with “The Wonderful Cross,” a majestic anthem in the world of hymnody, written by Isaac Watts. The powerful verses that make the cross loom large are borne along by simple guitar strumming. Brushed drums are employed here, and percussion is light throughout if used at all.

Some time ago a fragment from “And Can It Be” made it’s way into a modern worship song, which in no way could carry the gravity of the full text. This one doesn’t get covered as often, and fortunately it’s not an abbreviation here. That’s not to say that incorporating elements of hymns is bad when it can add something worthwhile.

I first encountered this Charles Wesley hymn during a sojourn in England, and they knew how to sing it! It originated from their part of the world where it is still sung with gusto. It was unforgettable the way male and female voices were intermingled and then joined in a chapel meeting. Here, where simplicity reigns, it has a new melody, which is probably wise given that the original is not as accessible today. This is bright and cheerful, and even though what I heard at Birmingham Bible Institute was more dynamic, I’m glad to be able to experience the text anew.

“Man of Sorrows” is like a throwback to an earlier time even though it has a contemporary feel. It’s slow, deliberate and quiet with piano backing, which makes it somewhat meditative. This is sung by American Idol alumni, Joanna Beasley. Her vocals are terrific and she also gives a different but lovely feel to “How Deep the Father’s Love For Us.”

“Be Still My Soul” has always been a personal favorite for its lyrical richness. There is wisdom in every line. This version has an interesting contrast. Under-girding the melody is an otherworldly sound, almost like steady, low-sounding feedback. The foreground includes high notes that sound like a toy piano; whatever the instrument it’s an interesting mix. It’s anchored by finger-picking on an acoustic guitar.

For the most part “Nothing But the Blood” is not the traditional hymn. “What can wash away my sin? Nothing but the blood, nothing but the blood. What can make me whole again? Nothing but the blood” becomes the chorus, the stanzas being new.

This track has a strong roots music feel that features David Fitzgerald, a founding member of Iona, the prog rock band. He is also credited as one of the writers. The style is punchy. Fitzgerald sings with a grit that reminds me of Matt Maher.

Another adaptation is Reginald Heber’s “Bread of the World, In Mercy Broken,” which is titled “Broken for Us.” The added bridge breaks in boldly declaring: “Christ has died. Christ has risen. Christ will come again.” It’s repeated a few times and with some variation. I like this succinct summary.

“The Wonder of the Cross,” the only duet, sung by Gabe Wilson and Amy Little, is a tender rendering of a song written by former UK worship leader, Vicky Beeching. The latter came out as gay in a 2014 interview and a book about her experiences came out in 2018. This modern hymn expresses holy desire: “May I never lose the wonder, the wonder of the cross. May I see it like the first time standing as a sinner lost.”

“O Fount of Love,” a new song, has a hymn-like structure and becomes especially noteworthy for its catchy string arrangement that drives the rhythm. Whenever employed the string arrangements on this release are excellent.

Christian singer and author, Kelly Minter, closes with another new song, an understated piano ballad, which brings this to a worshipful end.

It's Christmas - Planetshakers

Planetshakers put their joyful, Christ-centered stamp on Christmas.

It’s Christmas

Planetshakers

Label: Venture3Media (V3M)

Length: 11 songs/41 minutes

One writer remarked that when it comes to Christmas music, he seeks a release done in the artist’s normal style. By that reckoning Planetshakers mostly succeeds on their first Christmas album, It’s Christmas. They deviate from their norm on a few songs but that provides welcome variation. For the most part they make 11 songs including three originals their own.

What does that sound like? Much of it is celebration! “Come on let’s celebrate,” the worship leader sings on the title track, with music that matches the invitation. How can listeners not be moved toward that response when they hear such an upbeat take on the season, which includes an extended funky bass solo? “Be of good cheer. Jesus is here,” is a reminder that we have a solid reason for rejoicing. This is the song to play for a festive atmosphere.

Regardless of the style or tempo, the vocals, musicianship, arrangements and production are uniformly excellent throughout. In particular, the keyboard playing and programming stand out.

Expect a slowed-down, hip-hop vibe on “The First Noel,” which includes a rap extolling Christ’s birth. This opens to the sounds of a crackling fire and a keyboard wash, giving the feel of a cold winter’s night.

Perhaps the first surprise comes on “Silent Night,” the fifth track, which starts off with just acoustic guitar accompaniment. It holds to a softer sound with minimal percussion, more of a traditional take.

The next song, “All Glory,” is piano-driven soft jazz. A smooth female lead croons worship on an original song. It’s a gorgeous sonic departure. I’ve never heard such smooth, pleasant worship in this style.

Another diversion, one that is highly elegant, is “The Prayer,” written by David Foster and Carole Bayer Sayer. It’s an orchestrated duet with some of the lyrics in Italian. The male lead sings in a somewhat operatic style, which may be off-putting to some, but I appreciate the humility in the lyrics.

Let this be our prayer
When we lose our way
Lead us to a place
Guide us with your grace
To a place where we’ll be safe

Towards the end it becomes “every child” needs to find a safe place.

The group is back in a groove on the next track, “Light of the World,” which features an effective rap. The two raps on this release are easy to understand and give glory to God, so don’t be dissuaded if you normally shy away from this kind of spoken word.

The closing “O Come All Ye Faithful,” is rousing and joyful, a fitting sendoff.

Planetshakers continue to impress in their ability to fuse new and old sounds in the service of worship, which is often celebratory. I don’t know of any artist in this genre that does such a fine job of mixing electronic pop and R&B. Their creativity and excellence are refreshing.

Being a seasonal release this could get easily overlooked, but that would be a pity because there is light and beauty here that can be enjoyed any time of the year. It’s Christmas can help to chase away any gloom on the horizon, reminding listeners that everything has changed.

It's Christmastime EP - Plumb

Those looking more for cheer and fun, may prefer this over the spiritual companion but both are excellent.

It’s Christmastime EP

Artist: Plumb

Label: Plumb Music

Length: 5 songs/15 minutes

It’s Christmastime EP by Plumb is the playful companion to her Behold EP. Both consist of five songs that mix new with standards. Behold provides the spiritual side whereas It’s Christmastime is holiday fun and nostalgia. Both are excellent! For more on Behold see my separate review.

For those who might be tempted to overlook Christmastime, it is just as satisfying and may be more entertaining than Behold. Like the other it has outstanding production, a variety of instrumentation and styles, and warm sentiments but it may have a slight edge for being so cheery and even humorous.

The one standard, “It’s Beginning to Look a lot like Christmas,” is a duet with Marc Martel, former lead singer of the Canadian band, Downhere, who can probably sound more like Freddie Mercury than anyone on the planet. He had the honor of singing some of the vocal parts for the movie Bohemian Rhapsody. He has also released several Christmas recordings as a solo artist, so I was excited to see his name listed. He sings the first stanza and Plumb does the second before they start to mix and join their voices. Appreciate Plumb covering a classic that does not get remade often.

As is the case on Behold, the middle song, which is the title track is a beautiful centerpiece. I don’t have any liner notes but I assume that just like “Behold” it’s a new song. Nostalgic images abound against a playful melody. It takes off on the chorus through a boy’s choir providing the background. Their voices soar and become more layered with each repetition making it euphoric.

“Another Year Has Gone By” follows and is probably my favorite. I relish the way this starts and sounds throughout. Listeners are treated to a bit of modern sounding doo-wop. Movie producers take note! This is the song to anchor a holiday romance about faithfulness through the years. It’s pure pop pleasure with tender, loving sentiments. It’s the best love song that I have heard in some time. It includes a tasteful guitar solo towards the end.

I must admit that “I Want a Hippopotamus for Christmas” is my least favorite. It’s insistent with music matching the attitude, but it’s all in fun. It’s quite the romp, which seems fitting for a song about wanting a hippo. The sentiments are quite practical. No going down the chimney, just bring it in through the front door. I can imagine Larry the cucumber of VeggieTales singing this except for the fact that hippos are vegetarians, which might make him wary.

These two EPs earn their place among the best new releases of the season. Listeners can be enriched whenever there is a need for some goodwill and cheer.

Behold EP - Plumb

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

Behold EP

Artist: Plumb

Label: Plumb Music

Length: 5 songs/16 minutes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Behold the Lamb of God - Andrew Peterson

As timeless as the story

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

Andrew Peterson

Label: Centricity Music

Length: 12 songs/41 minutes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Immanuel: The Folk Sessions EP - Melanie Penn

Exquisite arrangements and intriguing perspectives on Christ’s birth

Immanuel: The Folk Sessions EP

Melanie Penn (www.melaniepenn.com)

Label: Equally Well Music, LLC

Time: 6 tracks/23:31 minutes

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

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

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

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

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

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

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

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

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

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

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

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

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

Simple Hymns: Songs of Redemption

This wonderfully succeeds in helping a new generation discover the majesty of hymns.

Simple Hymns: Songs of Redemption (www.simplehymns.com)

Artist: Pat Barrett (Housefires), Chris McClarney (Jesus Culture), Leigh Nash (Sixpence None the Richer) and others

Label: Venture3Media (V3M)

Length: 10 tracks/39 minutes

“Amazing Grace (My Chains are Gone)” sung here by Pat Barrett is like a pattern for the rest of Simple Hymns. Chris Tomlin and Louie Giglio added additional lyrics to John Newton’s well-known text. These hymns have similar additions: new words and melodies that enhance rather than diminish. Purists may object but this succeeds in making ancient lines more accessible to listeners today.

The sound might be likened to roots music. Acoustic sounds are the foundation. Guitar strumming and piano playing are like anchors for more electrified accents. Some songs use a limited number of instruments. Piano and cello make for a fitting pensiveness to “Psalm 62.” This is immediately followed by the joyfulness heard in guitar, banjo and other stringed instruments on “Oh, How I love Jesus.” No overproduction here!

Even though traditional interpretations bring back memories and can be a comfort, subtle changes can reinvigorate. “I Surrender All” has a soft programmed clap track and atmospheric guitar that fits the theme. It’s not a style I expected but it works.

“Like a Wideness of the Sea” is written and performed by Anthony Skinner. It draws inspiration from Frederick Faber’s “There’s a Wideness in God’s Mercy,” a hymn which I was introduced to by Rich Mullins. This more fully develops the theme in marvelous ways. The sound, aided by an organ, is relaxed, the tempo calming, yet the message can be pointed: “Oh, we make His love so narrow by the limits of our own/And we magnify His strictness with a zeal He will not own.” It’s easy to mistake this for the ancient hymn but remarkable to discover that this is a new creation.

“This I Know (There is a Fountain)” marries the sublime words of William Cowper’s “There is a Fountain” with a new cheerful melody driven by acoustic guitar and mandolin. Chris Weninegar’s male harmony on the chorus blends with Katie Gustafson's lead vocals. What a comfort to hear the good news delivered so tenderly.

“Psalm 62” written by Aaron Keyes and Stuart Townend, and performed by Keyes, is another new song done in a hymn-like style. Throughout this release a listener may wonder if they are hearing something new or old, when in reality you get both, often on the same song. Whether it be a classic text, lines that mirror that style, or something more contemporary, it seems every effort was made to make it the best possible song. The shackles are off. This reverently breathes new life into timeless words. Some may object to the changes but these songs have the potential to reach a broader audience than if they were limited to traditional melodies and familiar lyrics. That’s not to say that the old hymns are now totally unrecognizable and will soon become dated.

On the other hand, listeners who don’t like the “My Chains are Gone” version of “Amazing Grace” may want to steer clear of this.

I think this first project in the series succeeds wonderfully in helping a new generation discover the majesty of hymns.

Apple/iTunes offers a deluxe version that features videos of every song. Though I have not seen them, they no doubt will add to the experience.