Country Faith: 56 Reflections from Today’s Leading Country Music Stars

A coffee table book for the country music fan

Country Faith: 56 Reflections from Today’s Leading Country Music Stars

Compiler: Deborah Evans Price

Publisher: Zondervan

Pages: 128

Early in the twentieth century, F. W. Boreham, an extraordinary communicator, commenced a unique sermon series on alternating Sunday nights titled “Texts That Made History.” These carefully crafted messages extended over the course of 125 Sundays, eventually filling five books. In each one, Boreham expertly traced the impact of Bible verses on historical figures, including famous fictional characters. He identified a verse in each life that animated and enriched their existence.

Now flash forward to today. Country Faith in a remote way could be likened to a relative of that historical series. This book documents the profound influence of Bible verses in the lives of country music stars. From the lesser known to well known artists, including Carrie Underwood, Josh Turner (who also writes the foreword), Wynonna, Charlie Daniels, Billy Ray Cyrus, and Sara Evans, each person provides an abbreviated testimony of the ongoing impact of a particular passage.

Anywhere from one to four paragraphs are framed by a beautiful portrait of the artist and exquisite graphic design. It only takes a minute or two for each reading. Together they function like an evangelistic tract. Give this to a country music fan that may have only a casual interest in the gospel. Leave it out in your home for someone sitting down to relax. The attractive cover invites inquiry.

Sharing the gospel is more than afterthought. The book ends with the complete text of the Gospel of Mark, including a brief introduction.

Due in part to this being a gift book, the writing lacks the depth of a devotional. Those wanting something more than the superficial will need to look elsewhere. Even so, this works well as an evangelistic and/or inspirational tool for those without faith or those looking for some quick refreshment.  

Perhaps this could become a series of its own, with the next volume surveying the testimony of the Bible’s impact on rock stars. With greater detail, such might be a welcome addition.

Michael Dalton

So We Would Know - Treva Blomquist

Treva Blomquist adapts ancient verse to make them sound like folk anthems.

So We Would Know

Artist: Treva Blomquist (www.trevamusic.com)

Label: Independent

Length: 11 tracks/36 minutes

The words in hymns often register a responsive chord. They communicate in language that is not as common. Though this makes them less intelligible to some, for me it’s like finding the pearl of great price. It is worth any sacrifice in initial comprehension to discover the treasure hidden in the field. Their sublime truths are like majestic mountains, often elevating the character of God and the work of Christ.

On So We Would Know Treva Blomquist adapts ancient verse to make them sound like folk anthems. Grace and grit make them more than a little accessible. There are a minimum of players, production and percussion, which is fine by me. It’s little more than Blomquist’s crystalline voice and mostly stringed instruments, giving this a decidedly Americana feel.

Just when I feel like she more than finds her niche on the rousing “Ain’t No Grave” and “Run to Meet My Lord,” both strongly bluegrass, she follows with a beautifully subdued ballad, singing ever so gently. This is the grace following the grit.

“Pass Me Not” is a stunning revelation along the lines of the former. It’s like hearing it for the first time. It’s not just a new arrangement, which she makes use of at times. The serene setting highlights eloquent singing.

These songs are rich in theology that comforts. They provide glimpses of God’s attributes. They give voice to those now dead, who speak again across the divide of years of “Thou Who was Rich” but for our sake became poor that we might experience His riches. The affirmation of who God is reassures that “My Anchor Holds”; it is not tenuous. Christ is “All that I Need.” Oh, “Take Me Savior” to the place “Where Freedom Speaks.”

Live at the Gospel Coalition - Keith & Kristyn Getty

Worship enriched by theology

Live at the Gospel Coalition

Artist: Keith & Kristyn Getty

Label: Getty Music (www.gettymusic.com)

Length: 16 tracks/1 hour 6 minutes

If you appreciate modern worship, but have an affinity for hymns, Live at the Gospel Coalition combines the best of both worlds. The Gettys are among the few that write new songs that can be compared with classic hymnody. “In Christ Alone,” already a modern staple in churches everywhere, is their best known example. It’s included here and is a highpoint.

This and the others are rich in lyrical content that highlight diverse theological themes, some not as common in modern worship. Topics include mission, evangelism, compassion for the afflicted, rejoicing, confession, spiritual warfare, and more.

A smattering of classics: “All Hail the Power of Jesus’ Name,” “When I Survey the Wondrous Cross” and “Holy, Holy, Holy! Lord God Almighty!” are here, but this is mostly new material written by the Gettys in partnership with others, among them Stuart Townend.

If you enjoy Celtic music, this CD will appeal even more. One of the highlights is a short instrumental jig at the end of “All Hail the Power of Jesus’ Name.” Another track has a similar brief interlude. More of the same would have been welcome, but they fit in such a way as not to detract. Uillean pipes, penny whistles, mandolin and banjo take their place alongside the standard musical accompaniment. 

The tone is celebratory throughout, being far from somber. The opening “Christ is Risen, He is Risen Indeed” is triumphant in the best sense, focusing on the believer’s relationship to the risen Christ.

Another highlight is “Life High the Name of Jesus.” Here modern folk and traditional Irish music meet together. The music fuels the spirited delivery. 

The production brings Kristyn Getty’s lovely voice slightly forward to lead a congregation that sings loudly, only occasionally slowing down for quieter moments. 

Produced by worship veteran Ed Cash, this is decidedly contemporary. Even so, some of the classics are sung a cappella, which makes them sound traditional.

This release is part of what is known as The Gospel Coalition, a network of evangelical churches in North America, all committed to reforming faith and ministry practices along the lines of Scripture. The CD booklet includes inspirational thoughts from the likes of Tim Keller, John Piper, Alistair Begg and others. The mature, sound theology they espouse is illustrated in these songs. 

Christmas is Here - Brandon Heath

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

Christmas is Here

Artist: Brandon Heath (www.brandonheath.net)

Label: Provident Label Group

Length: 10 tracks/34 minutes

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

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

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

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

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

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

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

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

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

Hope for All the World - Phillips, Craig & Dean

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

Hope for All the World

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

Label: Fair Trade

Length: 10 tracks/37 minutes

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

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

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

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

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

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

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

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

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

Matthew: The Penultimate Question - Michael Card

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

Matthew: The Penultimate Question

Artist: Michael Card (www.michaelcard.com)

Label: Covenant Artists

Length: 9 songs/34 minutes

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

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

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

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

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

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

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

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

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

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

Christmas - Julie Meyer

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

Christmas

Artist: Julie Meyer

Label: Forerunner Music (www.forerunnermusic.com)

Length: 12 tracks/49 minutes

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

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

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

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

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

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

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

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