Glory Pt 2 EP - Planetshakers

Starts as the musical equivalent to the Fast & Furious

Glory Pt 2 EP
Artist: Planetshakers
Label: Venture3Media (V3M)
Length: 4 songs/25 minutes

Glory Pt 2 EP starts off as the musical equivalent to the Fast & Furious media franchise.

I’m gonna shout it out
I won’t be silent or quiet
I’m gonna let it out
For You I’m giving
All, all, all, all

The above words and music from the opening “Living Louder” highlight a neglected side of praise. This is loud, bold and intentional. Defiant praise!

The pace does not slacken on “So Good,” which follows. Towards the end the worship leader even exhorts the bass and drum players to praise the Lord with their instruments. Their intricate solos are the highlight, and the momentum never wanes.

At first I thought that the “Encounter Song,” clocking in at over 10 minutes, might be too long and repetitive. Some may find that to be the case, but on repeated listens I kept making new discoveries. Led by female voices and melodious keyboards it now strikes me as meditative and soothing, no longer seeming so long.

The music flows and ebbs like the changes in the tides.

I’m pushing through the crowd
’Cause Lord I need you now
Jesus I’m desperate
For a touch from heaven

These words remind me of the woman in Scripture that had the issue of blood. “And there was a woman who had had a discharge of blood for twelve years, and who had suffered much under many physicians, and had spent all that she had, and was no better but rather grew worse. She had heard the reports about Jesus and came behind him in the crowd and touched his garment” (Mark 5:25-27 ESV).

In her desperation she pushed through the crowd to touch Jesus and was made whole. I would not be surprised to learn that the songwriter was inspired by this incident. It aptly illustrates the longing that characterizes the song.

The only music heard in the first part of “All” is a chord progression on electric guitar. Subtle textures on this instrument are added later on followed by a brief but explosive solo. This musician is certainly accomplished.

During the bridge I delight in hearing what sounds like a tin whistle in the background.

Female vocals are once again in the forefront. Unfortunately, well worn phrases detract somewhat from the mesmerizing sound. Even though it’s a common challenge in this genre I hope for better from this talented group.

This EP may not quite achieve the same heights as some of their previous work but it’s certainly close. I don’t think fans will be disappointed. There is much to commend it.

Let the Ground Rest - Chris Renzema

“Your love is like springtime.”

Let the Ground Rest

Artist: Chris Renzema

Label: Centricity Music

Length: 10 songs/40 minutes

“Springtime” is such an appropriate opening for Let the Ground Rest by Chris Renzema. Not only does it coincide with the current calendar season, but it offers hope for what ills the world “’cause death is dead and gone with the winter.” That may seem like wishful thinking in light of the news but even now “We will sing a new song … Reaching towards the light/Your love is like springtime.”

Despite the brokenness in the world, Renzema has reason to hope. “I want to believe that your love makes everything better,” he sings on “Better.”

On “17,” an age when he saw in just two shades, he wonders what the person he was would think of who he is now. Was he wiser then? He does not shy away from honest evaluation. Those who condemn themselves over failure will appreciate the resolve expressed here. Since I like to surprise, I won’t reveal it. You have to hear it!

I found it difficult to compare him to another artist but he reminds me of Jason Gray. Overall, I might describe this as thoughtful lyrics with an acoustic base and a touch of indie and alt rock sensibility.

The rustic sound of the piano stood out to me. The production is excellent providing a warm, rural sound. Synthesized elements are more in the background.

Authenticity is more than a buzzword. It includes not hiding the true self. The lyrics seem genuine and often self-revealing, which has been a primary source of attraction.

“Maybe this is the End” makes me smile. When Renzema sings “surely this is the end” I can’t help but think about the current predicament. But so the reader won’t be tempted to think he is a purveyor of doom, he quickly adds, “for the end is just another door.” This is a perspective that I need. Singing against an indie rock background, it’s a panacea and downright ebullient.

The first part of the opening stanza is just acoustic guitar and drums. The second stanza is even wilder with just bass and drums and a slightly different rhythm.

“I never saw it coming …,” he sings. We often don’t!

“You’re everything … and already more.” Why does it take a crisis to reveal it?

Clearly a favorite, recommended against the stay-at-home blues. It’s not really the end.

Jesus said, “Truly I say to you, unless you turn and become like children, you will never enter the kingdom of heaven” (Matthew 18:3 ESV). It is essential! Oh, to be able to look back and say with Dylan, “I was so much older then, I’m younger than that now.”

Renzema poetically extols to piano accompaniment some of the attendant wonders of childhood. What a tragedy when we allow life to make us “older than our God.” “You are forever young Bright Morning Star,” he sings on “Older Than Our God (Forever Young).” “Love is always new! … How can anyone stay old in Love’s presence?” asks Hadewijch, a thirteen century woman from Belgium.

“Keep me as a child,” Renzema tenderly asks. “Teach me, dear Lord, to have ... a child’s love,” Bryan Duncan sings in agreement. It’s the conversion that you need Jesus says.

Far from fear Martin Luther once exhibited a holy disdain for the devil. I hear an echo of that on “Steal Back Your Joy.” “Go on steal back your joy. The destroyer’s plans are all that are being destroyed,” Renzema sings. “If the thief comes to steal your flame, go on take it back again.” The only music you hear is a finger-picking folk style on acoustic guitar.

In “Let the Ground Rest” Renzema points out, “God he made four seasons and only one spring.” Why expect a perpetual summer? God has reasons for letting the ground rest. The different seasons produce the maturity that he desires.

The music is earthy: basic instruments without a lot of embellishment. It’s a fitting finale.

Hopefully, these words give you a glimpse of an artist in awe of God. I think we are fortunate that it often comes dressed in the garb of roots music. Salt of the earth sentiments join with organic sounds for a timeless snapshot.

Prior to this Centricity Music debut, Renzema released I’ll Be the Branches, an independent recording. Now based in Nashville, he comes from Grand Rapids, MI.

Go - John Schlitt

A remedy for the times

GO

Artist: John Schlitt

Label: 4K Records

Length: 11 songs/44 minutes

Keep moving. Bob Dylan said it was a key to health. On GO, the latest solo release by John Schlitt, he sings along the same lines:

Go
No time to stop
Just take your shot
Keep movin’ on

Everyone has something to give. Even in a time of isolation, we can move forward by praying, reading, writing, giving, etc. One thing I learned in retail, there is always something to do.

It’s a pleasure to hear an album that is so straightforward both musically and lyrically. Encouragement abounds, which should come as no surprise to those who have followed Schlitt’s career. He aims to help Christians experience all that God has for them. The sound is similar to his former bands, Head East and Petra.

You might never know that Schlitt has been singing for more than four decades. His voice is strong, and he uses it in the best possible ways.

“Where is the truth,” he sings on “Fake News.” Heavy music gives a feeling of doom and gloom. He decries, “Phony experts … holding us hostage to the fake news.” He points to something more trustworthy: “our faith, a sacred treasure/a strength we must defend.” It echoes the exhortation found in Scripture, “Guard the treasure entrusted to you, with the help of the Holy Spirit who dwells in us” (2 Timothy 1:14 Berean Study Bible).

On the bright side is “Find a Way,” my personal favorite. Strong acoustic strumming. A solid hand-clap following the kick of a bass drum. Allusions to a shared journey to heaven, “All aboard will ride together/And we will make our great escape/Like a dream of love in Camelot/I’ll remember you this way.” Soaring harmonies on the chorus are euphoric.

The supporting cast on this release provides a fresh take on a classic rock sound. This is predominantly guitar-driven with some interesting variations.

“Go” has a world music influence, similar to some of Robert Plant’s solo work. “Feel It” is fast-paced rock n’ roll. “Where Would I Be” is Motown inspired complete with gospel singers and horns. “Fighting the Fight” is power pop with vulnerability.

This is a mature work from a seasoned artist.

Paid It All EP - Justin Rizzo

The electro pop worship on the first two songs is a delight.

Paid It All EP

Artist: Justin Rizzo

Label: Spotlight Music Group

Length: 4 songs/20 minutes

God’s relentless pursuit is the theme of the opening “Love Won’t Stop,” a rich blend of electronic and programmed energy. The chorus erupts in celebration, “Your love won’t stop/Your love will not give up/Relentlessly you pursue me.” This is true despite any lack of awareness. Music and lyric combine in a joyful ode to God’s faithfulness. His love continues regardless of circumstance and even failure on our part.

I like the opening electronic rush that starts a cascade of programmed percussion on “You Are My Treasure.” Each unique beat lays a foundation for the exquisite wash of sound that follows.

It includes one of my favorite lines, “I’m hanging on every word, every word you say,” just before breaking into a calming chorus, “I’ve never known a love like this before/So alive in the glory of you Lord/You are, you are, you are my treasure.” Since I tend to treasure other things, it’s a beautiful reminder of the most real and lasting treasure.

Rizzo sings this in a higher key; it might even be characterized as falsetto. That along with mesmerizing sound make it gorgeous.

Finally, in a bridge Rizzo repeats in a raised multi-voice, “Jesus you are all I want!” Another highlight on my favorite track.

Even though these first two tracks may be like a prelude to the two versions of the title track that follow, I find them more interesting because they lean toward electronic pop. I don’t mean to take anything away from “Paid It All.” It’s more worship oriented and will be the preference for corporate gatherings.

The ballad format that builds to a climax is overly familiar to me, and I am partial to what is outside the norm, along the lines of the first two tracks.

Nevertheless, my favorite line in the title track is, “If I had to bring payment for all of the error of my ways, I’d live and die in those chains. Thank you for all that you’ve done.” The song also makes effective use of the word “Hallelujah,” which seems to have fallen out of use in recent years.

Originally this was two songs written by Caleb Andrews, a friend of Rizzo. When the latter heard them both he immediately wanted to combine the best parts. He enjoys using it because it enables congregations to declare the finished work of Christ.

“Paid It All (Acoustic Version)” retains some electric instrumentation but in general is more stripped-down. Both versions are well done but I may favor this quieter one.

Rizzo currently lives in Kansas City, MO where he serves as a worship leader and in several other roles. He has recorded five solo albums and been featured on a number of compilations. He has traveled the world leading and teaching about worship. He has also produced musicals and films through his own production company.

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.