Thinking Out Loud

March 27, 2021

Outgunned by Talent and Tech

I was walking through the room we used for coffee and fellowship when I heard it. Lee (or perhaps Leigh) who was a 15-16 year old member of the youth group was sitting at the piano playing the theme song from The Simpsons.

I was the music director. Actually, that’s not true, I was the entire music department. No worship band. No vocal team. Just me. And if you came back the next week, it was me.

The Simpsons theme has an interesting melody and there are some adornments to it which go beyond basic chording. It requires a bit of keyboard competence, whereas my goal with the worship at the church was to keep it singable and engaging, and to use simple chords.

I realized that if this was a sample of his playing, Lee (or perhaps Leigh) was a better pianist than I. But the likelihood of getting him to do something on a Sunday morning was small, and the one time I did get him to do a postlude once. The congregation, instead of heading for the exit in spirited conversation, as they normally did, sat in absolute silence staring, while he turned a shade of red I didn’t know was humanly possible. I think he was traumatized, and he never did do anything else at that church.

Fast forward a few years and I was doing the same thing in another church. Very little talent to draw on, except for Martin, an oboe player. Looking back now, if I had not been juggling so many activities, it would have been nice to write him some actual ‘parts’ for some of the songs, but I was too rushed to consider that.

Again it was me. If you came back the next week it was me. For two-and-a-half years. A recipe for burnout if ever there was one.

Then I found about Dave. He was a classical guitarist. The music he was able to make on his guitar — any guitar really, including a cheap beat-up one that might be laying around — was incredible. It would have added so much to a Sunday morning. But he wasn’t interested in doing anything that would be considered “church music.” Sigh!

There were people with so much talent, so why was I up there, week after week?

These days, I have decided not to try. I’m not so much intimidated by the Lees and the Daves as I am by the technology. Not the simple microphone and mixer stuff, I was after all, the audio technician for a national Christian television show once.

No, I mean the more recent access people have to studio software that allows you to sit in your basement and create multi-layered tracks, add special effects, get friends to do a solo on the bridge and send it to you in an email, and sync the whole thing to a video presentation.

We could only dream of things like that, or pay someone $80 an hour for studio time.

Talk about blogging in your underwear, people can make amazing things under similar conditions. (For the record however, I am wearing shorts and a pullover as I type this.)

Sadly, I didn’t keep up with the tech. A year of virtual choirs has only shown me how much I don’t know, and trying to read tenor and baritone vocal parts (in bass clef) have demonstrated the degree to which my sight reading has atrophied and my vocal range has diminished with respect to high notes or holding notes for a long 12-beat ending.

I tweeted a few days ago something to the effect that today, ‘he who controls the tech controls everything.’ Or she. I no longer feel that I can contribute anything meaningful with respect to instrumentation or vocal harmonies or song selection because I’m a hands-on person who likes to be part of the entire process, and these days, I have to take a back seat to those who are technically more proficient.

And of course, we’re living at a time where all the worship music anyone wants to sing is coming from either Hillsong or Bethel Worship (even the Elevation songs’ publishing is Bethel) and nobody is interested when I talk about a classic hymn, or a metrical Psalm or even a song I heard on YouTube by City Alight. I just don’t have the same passion for what’s being created currently.

If I were parenting a young child, or advising anyone with kids, I would encourage them to get the kid to obtain proficiency on one instrument, but also be spending 25% of their music education time learning all they can about the emerging technology, and how they can take the sounds they produce and build upon them to create things which have heretofore not existed, and get them online to reach people around the world they will never meet in person.

I do sincerely envy those who have mastered the tech. Covid-19 has created a tremendous learning opportunity for those in music ministry, and those skills will still apply long after the masks have been folded and placed in a drawer.

 

 

November 25, 2020

Katy Perry Echoes Her Musical Roots

Filed under: Christianity — Tags: , — paulthinkingoutloud @ 9:49 am

I stopped watching music award shows a few years back. I see the Grammys, Billboard and American Music Association award shows appear in my television listings with a passing nod. But on Monday night, after the NBC Nightly newscast ended and Entertainment Tonight came on, I watched the first five minutes, to see what made news in their world over the weekend. It’s a refreshing contrast to the politics of Nightly.

And there it was. A Praise and Worship chorus from the past. “As the Deer” by Martin [Marty] Nystrom from 1984 is based on Psalm 42. It is a “scripture song” type of worship composition with the original lyrics borrowed from the King James. The Psalmist is speaking to God, but the song came out before it was de rigeur that all the songs we sing in church be “vertical” in their lyrical orientation.

As the deer panteth for the water
So my soul longs after You
You alone are my hearts desire
And I long to worship You.

Singing the song was Katy Perry. This didn’t come entirely as a surprise. Born Katy Hudson, she is the daughter of a husband and wife pastoral team, and made a Christian music album under that name. I have two copies of the CD in their original shrink-wrap that I’m waiting for the right time to sell, but alas, I digress.

The song was used as an introduction to the song “Only Love.” (What’s the opposite of a coda?)  It’s from her new album Smile and you can hear the original at this link.

Eighty-six thousand, four hundred seconds in a day
I swear lately most of ’em have been a waste
I feel ’em come and go, bury my mistakes
But time just goes on and on in a way

It’s a song of lament, to be sure. The chorus is:

Oh, I’d call my mother and tell her I’m sorry
I never call her back
I’d pour my heart and soul out into a letter
And send it to my dad
Like, oh my God, the time I’ve wasted
Lost in my head
Let me leave this world with the hate behind me
And take the love instead

The song continues. The second verse contains the s-word, but make no mistake, she’s christened this song to be sung at youth group on Friday night, assuming the group is still meeting in person.  You can read the full lyrics here.

The song ends,

…Yeah, give me
Only love, only love
Let me leave this world with the hate behind me
And take the love instead.

In a Facebook group for Praise and Worship leaders to which I belong, Marty Nystrom himself chimed in on Monday:

As I watched the American Music Awards I was baffled that a scripture song would be on the same platform as the other performances. My hope is that this is a small indication that Katy Perry is growing dry in her pursuit of this world’s accolades and thirsting for the refreshing she knew in her youth. Let it be Lord! And let her lead millions to Jesus!

…Lots of today’s top musicians got their musical start in church. I follow a band on YouTube called Pomplamoose. It’s fronted by Nataly Dawn and Jack Conte, the latter known for creating a fundraising platform for artists called Patreon. Nataly recently mentioned getting her start in church music.

About an hour east of where I live is a town called Napanee, where a young Avril Lavigne attended the Christian school. There, she would have been surrounded by Contemporary Christian Music and Modern Worship.

There are many more examples like this in the world of R&B music.

I don’t know what prompted Katy Perry to expose her musical roots on the AMA awards show, but can’t help observe that she’s now a mom, and parenthood does cause a lot of people to think about things they hadn’t considered since childhood. On that, I’ll leave the last word to Marty Nystrom’s interpretation of Psalm 42:

I want You more than gold or silver
Only You can satisfy
You alone are the real joy giver
And the apple of my eye

 


 

October 19, 2020

Be Careful What You Curse

Filed under: Christianity — Tags: , , , , , — paulthinkingoutloud @ 11:49 am

Ed Cash via WAY-FM on YouTube

Early last month I was watching a YouTube mini-concert where radio station WAY-FM invited the members of the band We The Kingdom into the studio for some music and light-hearted fun. (The series of musician visits is called “Songs from a Mug;” you can watch this one here. Jump to 14:00 for the story which follows.)

I didn’t realize that the band is fronted by Ed Cash. If you are a music publishing nerd likes me who reads the fine print credits on the worship slides at church, you’ll recognize his name on a number of popular songs, including co-writing some with Chris Tomlin. (You really should be focusing on the worship, though; not reading the copyrights!) The band also includes a number of his family members.

The subject came up about Tomlin and he told the story of being contacted by him the first time about doing some work — production or composing; I can’t remember — with him and Chris sent him a cassette. (I guess this was quite awhile ago!)

Cash was extremely disappointed as he listened. He wanted to get involved in the music scene in Nashville, but here he was listening to the simple, four-chord, repetitious type of songs that were everything he didn’t like about modern worship. He wanted to be involved in something more sophisticated. In fact, when he first heard, “How Great Is Our God” he laughed out loud.

And then it happened.

He says he really felt God speaking to him — in ways he’s never heard so audibly — these words: “How dare you curse what I have kissed.”

For some reason, I haven’t been able to get that phrase, as I remembered it after listening to the WAY-FM interview, “Do not curse what I have kissed” out of my mind. I think it applies to so many areas of Christian endeavor. How many things that we think are beneath us are things that God uses nonetheless?

Think about it.

August 28, 2020

Do Christian Musicians Carry the Same Influence As They Once Did?

Tonight is a pretty big deal. Compassion, World Vision and Food for the Hungry are combining to present “Unite to Fight Poverty,” a two-hour music saturated fundraiser streaming live on YouTube, Facebook, PureFlix, and Daystar, with the audio portion also heard on The Message channel on Sirius Radio. It starts at 8:30 PM Eastern, 7:30 Central.

I love that these organizations are joining forces for the event, and that so many musicians are cooperating. I hope they do well financially. And I hope that Contemporary Christian Music fans are excited to see their favorite artists, especially in light of the lack of concert activity over the past six months.

But I’m wondering if those same artists carry the same weight, or influence as they did in days of yore? The barometer of Christian music’s popularity was always sales charts based on the number of physical product units sold. With the single now replacing the album as the quantifier of popularity — as things were in the early 1960s — and downloading available from multiple platforms, it’s really hard to tell if the impact of a given artist or group is the same. People may be downloading millions of copies of a single, but with a much higher financial outlay, one’s commitment to an artist when measured in sales of the full album was perhaps more meaningful.

Anecdotally, I spend two days a week working at a Christian bookstore. And Compact Disc sales right now are dead. Really dead. I don’t see us ordering new releases beyond September 1st. Even the elderly “Gaither” customers have abandoned the CD. They all spent their retirement money on new cars, and those vehicles didn’t come CD-player equipped.

So I hope the concert does well tonight, but I think that, moving forward, those Christian relief and development agencies might have to tweak the model and develop a new paradigm beyond reliance on CCM artists.

August 18, 2020

Worship Composes Who Piggyback on Classic Hymns Create Copyright Confusion

My wife uploaded a church service video which included her congregation singing, “It Is Well with My Soul.” Although the song wasn’t annotated, the YouTube bots scanned the video and recognize the lyrics and tune and immediately informed her that the entire video would be banned in one European country, which raises the specter of more blocking to follow.

While she was staring at her screen in disbelief, I went to Wikipedia on my screen; a source I find offering increased reliability at a time when general search results can be misleading.

True enough, the song pretty much has to be in public domain, considering it is listed as first published in 1876.

But the page also noted a 2011 edition “with a new added bridge composed by Reuben Morgan and Ben Fielding.” I am willing to bet that is part of the problem. The new bridge would qualify them to claim a copyright, even though my wife has never heard it and didn’t use it at all.

You and I and she understand that. YouTube does not. When she went to file a ‘dispute’ on the blocking, the dispute itself was blocked by YouTube. The company acts as sheriff, judge and jury…

…Piggybacking on existing hymns is nothing new. I wrote about this in April, 2017:

The first time I heard a bridge added to a traditional hymn was the addition of Wonderful Cross to When I Survey. I don’t know if I took to it the very first day, but I certainly grew to like it quickly, and as a worship leader, I’ve since used the Wonderful Cross section with the hymn Lead Me To Calvary, where it also works well.

Modern worship music has been greatly influenced by popular songs. Whereas a hymn generally just has either stanzas, or follows a verse-and-chorus format; modern worship will use introductions, bridges, codas, etc., and is often more prone to key changes.

Amazing Grace is another example. My Chains are Gone is certainly a suitable addition, I don’t challenge the musical or lyrical integrity of it by itself, or its fit with the time-honored verses that precede it.

To make the bridge stand out — or I prefer to say break out — musically, some of the chord changes in When I Survey or Amazing Grace are made more minimalist so that the declaration in the bridge introduces a powerful, triumphant transition. “Oh, the Wonderful Cross!” “My chains are gone, I’ve been set free!”

If I had a similar idea a few years ago, I would have positioned my finished work as a medley, not a new arrangement, but the chord changes necessitate the piece to be considered a re-write. And the original composers aren’t around to protest.

So it was only a couple years back when someone more cynical than me — yes, it’s possible — suggested that perhaps the motivation for doing this was financial. Then it was more than one person. Freshly re-minted songs that were formerly public domain can be performed with mechanical royalties (album and print music sales) and performance royalties (concerts, radio, television and even CCLI playlists your church submits) flowing to the composer. Nice work if you can get it…

…But I was reminded of this in a new way on the weekend, when I encountered a song with a very unique title — No One Every Cared for Me Like Jesus — a title I would have considered hands-off, since the original is so iconic, but had none the less been assumed by former Bethel Worship leader Steffany Gretzinger. I can’t be convinced that this title similarity is a coincidence.

You’re allowed to be skeptical of my conclusion, but truly the title is somewhat unique. Clearly, the composers had this in the back of their minds. It’s the question of how much of this was intentional where we’re allowed to disagree.

I found myself experiencing an emotional response to this title borrowing that I was not expecting. These guys are creative types; couldn’t they have found something else to act as their motif? No, I think they wanted to catch a ride with the original hymn.

For that reason I hesitated to include it here, but for those of you who want to do an After-and-Before comparison here it is. The similarity of the mood and tone of this and the original.

For those with a sacred music memory longer than the last 12 months, I want to leave you with the original, in a tasteful arrangement by Sandy Patti. In my view, this version will always have the last word.


Postscript: In searching for a hymnbook image of “No One Ever Cared…” I found one which indicated the song as public domain, and one that indicated it as ©1932 by The Rodeheaver Company; the same company that filed a copyright claim against another song my wife uploaded, In The Garden. That hymn was well past its sell-by date in terms of legalities, but Rodeheaver apparently renewed the copyright. Why not? There’s gold in them there hills.

 

July 22, 2020

New Music

Filed under: Christianity — Tags: , , — paulthinkingoutloud @ 7:22 am

It’s been many months since we did Wednesday Connect, and I would like to think that a few of you miss the ♫ New Music ♫ featured links.  Since we don’t have a column of news we can embed the videos today. (Let me know how this works on various devices, and if any songs are blocked in your region.)

This is primarily contemporary and or modern worship. Suggestions from Spiritual Sounding Board Sunday Gathering, Life 100.3 in Canada, Praise Charts, CCLI UK, New Release Today. Songs available wherever you buy music.













Still here at the bottom of the list? Looking for more new tunes? Check out the Fresh channel at 96Five in Australia.

May 18, 2020

‘Worship Leader’ Should Never Have Been Made a Paid Position

Today we have a guest post in which I agreed to allow the author to remain anonymous. Agree or disagree? Comments are invited. (Where the author responds, it might appear in the comments as a forwarded email under my name.)

The other day, a Facebook user on a worship music user group (there are several out there) posted a rather long-winded, tritely worded and somewhat repetitive rant on how modern worship music songs are getting longer and longer. The writer had, with quite deliberate irony, was illustrating (cleverly, some thought) how it may be a problem. In the rant, they had cited some worship song on YouTube from a prominent ‘song-mill’ that was about 15 minutes in length.

The irony was apparently quite lost on most, as I couldn’t help notice that it wasn’t long after the post that the majority of the post’s readers came at the writer with knives, daggers and claws out! I watched as the comments began to mount, one atop the other, calling him/her out as a ‘Karen’ (slang for a privileged white woman in her middle age who also happens to possess a cheesy bobbed haircut) and slagging him/her for such a negative post.

I think the writer had had enough of the responsive negativity, because when I went to comment, the post had been pulled.

I feel for this person, as I too am a worship leader who has been watching popular Christian worship music shift toward longer and leaner (light on originality and variation) songs, seemingly in attempts to foster a true ‘worship experience’ for attendees, esp. in the larger churches and gatherings. (If you’re reading this in the COVID-19 era ca. 2020, it’s even further irony that none of the above-noted protracted worship services can even be considered or thought of as reasonable for online church services as most social gatherings are suspended or restricted.)

Because ‘the times, they are a changing’ (showing my age much?) my team and I were ‘passed over’ for worship leadership in our former church when the pastor decided to go with this new model, figuring it would attract the younger generation. Hymns and songs older than 10 years? Out. Long ‘basking sessions’ of post-rock style worship with choruses that repeat over and over again til eye-rolling commences in even some of the young in attendance?  In.

But the post questioning the present state of Christian worship music and the visceral reactions from several worship leaders forced me to remember something.

Being a worship leader (particularly in the U.S.) for very many, especially in the very large mega-churches, is a paying gig.

Now I’m well aware that in the New Testament the itinerant or local preacher was paid for his pastoring (and ancient documents like the Didache back that up) but are we supposed to continue in this present millennia with the Jewish traditions of the Levite tribe for that which should really be volunteer work? Didn’t the apostle Paul – a roaming preacher of the Gospel – also have a regular job to cover his expenses to set an example and to never give the church a reason to say, ‘Well, if he weren’t getting paid, he’d not be teaching this newfangled doctrine!’ Yet, he affirmed that the ‘ox shouldn’t be muzzled while treading out the grain’ as well. But worship leaders? Where does it affirm in Scripture that worship leaders are to be paid for their singing/playing songs in a church?

I strongly feel that because many worship leaders are being paid (sometimes ridiculous amounts – I have a chart someone made somewhere that shows their average salaries), they are beholding to their craft, their worth and probably feel impelled to stretch out their song-playing – make the worship ‘experience’ a huge thing in order to justify or validate their salaries or church’s budget.

And maybe this is why Christian music now is so redundant, repetitive and long-winded in character. It was quite interesting to see how some of the folks who blasted the Facebook writer for questioning song-lengths and incessant stanza repetitions ran to Psalm 136, because it clearly shows the repeated phrase ‘His love endures forever’ and which, of course, justifies their 10-20 minute song audience-winder-uppers. The thing is, I can read/recite that particular Psalm in about 2 minutes flat reading aloud at an easy pace!

Another defense tossed about was, “You gotta go with the Spirit. If the Spirit moves, you gotta keep on going.” I am looking for a reference that occurred in the later days of the early church that shows that song-worship went for extended lengths of time. Nope – found nothing. The disciples prayed while awaiting Pentecost. I’m sure they sang songs too, but prayer was the big thing going on and that was BEFORE the Spirit moved on them in a special anointing. Afterward? I see a lot of ministry and amazing signs and wonders at their hands, but no protracted singing sessions, except maybe for Paul and Silas in their jail cell. |(I guess if your hands and legs are bound and you can’t serve the Lord in any other way, you’d be apt to sing a lot too to both praise God in your difficult circumstances and to keep yourself from going mad from the isolation. But it’s worth noting that their songs we’re being heard by their fellow prisoners who were not saved Christians.)

Another justification many Facebook Worship leader group members came up with for their hyper-extended worship songs and praise sessions was, “Well, buddy, you won’t like heaven then – cause you’ll be worshipping God all the time there!”

“Well, okay then”, I would have retorted had I the chance, “let’s work toward not spending more time in service to the suffering and poor or attending to the needs of our families while living on this often demanding earthly plain and just dance before the throne 24/7 right now.” Nope nope… that’s not what worship is. Romans 12:1-2 tells us what real worship is. Songs, hymns and spiritual songs are to be integral to our lives in Christ, but the whole worship scene … tainted by cash-in-hand paid-for-performance worship leaders who have too much invested in their own net worth.

Lastly, with paid worship leaders, another serious issue can arise: the salaried worship leader will oft be inclined to do whatever he or she can to protect his or her gig. When this factor is in play it affords little opportunity for incoming talent from within the local church (or from churches elsewhere) to be utilized in the church for worship leading. The salaried individual holds all the cards, can get possessive or even jealous and feels threatened by abilities that rival his own. And what’s worse, the rival doesn’t want to be a burden to the church by getting paid for their musical offerings. What a racket!

Maybe Luther (if it was him who said it) was right when he said, “The devil fell from heaven and ended up in the choir loft.”


Image sourced uncredited at Worship War Weariness in 2014; the artist may be Dan Nuckols.


Related article: Becky Goes to Church (June 2018)

April 20, 2020

Author’s ‘All Inclusive’ Church Actually Favors One Approach Above the Others

For the past twelve years, most of the books I’ve reviewed here have either been popular titles or books which went on to become bestsellers. I generally don’t consider anything that isn’t going to end up on my personal bookshelf, which is currently quite crowded.

About a year ago I realized that I needed to go a little deeper in my personal reading and kept eyeing titles which all had one thing in common: InterVarsity Press (IVP). Book reviewers get their copies for free and no amount of pestering people at IVP would produce results, so just before the lockdown, I decided to bite the bullet and for the first time pay for copies of books to read and review and chose four titles.

This in turn freed me up from the restriction of having to focus on recently-published titles, so I reached back to 2017 for Evangelical, Sacramental & Pentecostal: Why the Church Should Be All Three by Gordon T. Smith (IVP Academic). I tend to select books I know ahead of time I am going to review positively and this one had three things going for it:

  1. The writer is Canadian. Gotta support the home team, right?
  2. It was published by IVP, where I was once a warehouse manager for their Canadian operation.
  3. The writer is from my denomination: The Christian and Missionary Alliance.

In other words, this can’t miss. Or so I thought.

However, as I progressed through the book’s scant 133 pages of actual text (at a $18.00 US list, or a whopping $23.99 Canadian) I found the premise of the book wearing increasingly thin.

On a personal level I’ve admired churches which can not only blend worship with ancient and modern, but can blend the somewhat relaxed form of contemporary Evangelicalism with some more deliberate acknowledgements of liturgical forms such as more than one scripture reading, or call and response readings, etc. That my wife does this each week in an otherwise Evangelical church just confirms my bias.

Right there I had a problem. I was reading the title of the book as though it said, ‘Evangelical, Liturgical, Pentecostal…’ whereas the author is contending for a hardcore sacramental inclusion even though Evangelicals and Charismatics no more teach a sacramental approach than they confer sainthood on pillars of the church. (Tangentially: I think there’s a case to be made for Evangelicals having a sacrament of preaching, but that’s outside the scope of this article.) As I got deeper and deeper, it appeared that Gordon Smith not only sees a local church being influenced by all three ecclesiastic streams, but importing bulk-sized elements of each into their worship routine. (To fully do this justice, I believe you’re looking at a 2-hour worship service.)

I am confident there are churches out there who have successfully followed this model though the book offered absolutely nothing in the way of case studies or positive anecdotal accounts. However, the Apostle Paul’s words notwithstanding, I think that in trying to be “all things to all people” a church might miss out on their unique calling, especially in an urban situation which already offers a broad selection of churches.

The book is arranged in six, easy-to-follow chapters. In the first three shorter chapters, Smith looks at the themes of abiding in Christ, the grace of God, and the significance of the ascension; as they are found in John’s Gospel, the Luke-Acts narratives, and the writings of two key figures, Calvin and Wesley.

Chapters four through six are the meat of the book, looking at the principles of Evangelicalism, Sacramental liturgy, and Pentecostal/Charismatic movement.

In examining what it means to be Evangelical, there is already an emphasis on the importance of Baptism and the Eucharist (Communion). In the Sacramental section, I saw this bias more clearly and when he declared that The Lord’s Supper is something that can only be practiced under the “authority” and “administration” of the church — and remember I’m reading this during the Covid-19 lockdown where we’ve all had to exercise all manner of grace on this matter — I wrote in the margin, “He just lost me.” (p 80)

Not at all fearing that Communion could run the risk of being a postscript to a worship service, Smith insists that it must occur after the sermon and feeling he needs to state this despite widespread agreement, that the words of institution must be read each time. (Personal Rant: Pastors, please do the more seasoned believers in your church a favor and at least vary the Bible translations used in the I Cor. 11 reading.) He also appears somewhat opposed to including any type of teaching on the meaning of the sacrament with the terse dismissal, “We certainly do not need a second sermon and we do not need an extended explanation of the meaning of these symbols.” (p 91) As in, never? He also seems to confuse the liturgical approach of more liberal churches with those who are truly Christ-focused, suggesting, but not overtly stating, that the passages in the Lectionary are simply pretext for the pastor to express a personal opinion. It’s a rather sweeping generalization.

The final chapter on the Pentecostal principle is where Smith shows himself to be least comfortable. At least nine times he begins a paragraph or a sentence with “And yet…” his personal equivalent to ‘On the other hand…’ not unlike a politician writhing on the stage in an attempt to satisfy all his constituents.

He suggests there might be Pentecostal churches where no preaching or communion are present. (p 105) and while I concede such events occasionally occur, they are clearly the exception, not the rule. He believes in an experience of the Spirit that is felt and acknowledges the possibility of God’s Spirit moving in our services spontaneously, and in the prayer for healing of the sick — this is consistent with Christian and Missionary Alliance history and doctrine — but is clearly unwilling to give this section of the book the wholehearted endorsement he gives to Evangelical and Sacramental emphasis, even going so far as to state, “We are not truly pentecostal, in other words, unless we are sacramental.” (p 116)

In a short concluding chapter the book loses all academic pretense and moves to the ranting of a grumpy old uncle.

Even the lectern has been replaced by the bistro table and bar stool, while the equivalent of the sermon has become a more casual chat, downplaying the authority of the Scriptures in an attempt to make the Word more accessible. As often as not, the communion table which for my upbringing was always viewed an important item of furniture even when not being used, has been removed. And now what is front and center — with the pulpit and the communion table gone — is, I say this without any exaggeration, the drum set. (p 127-128)

In the margin of my copy, I have written, “Yikes!” …

…So perhaps I misspoke earlier. There is an example in the book of a church doing all three — being Evangelical, Liturgical and Charismatic — and it exists in the author’s mind. He pictures it vividly complete with a “baptismal pool” at the back of the church and not the front, and banners hanging from the walls. This is the author’s personal Walden and it might have been better served if the title reflected this — or more truthfully using must instead of should in the existing subtitle — instead of suggesting something being more widely and gently advocated.

 

 

 

 

April 4, 2020

Songs for Good Friday | Songs for Communion

For the past decade, I’ve linked to or included songs at Thinking Out Loud and Christianity 201 which are cross-focused, appropriate for a Communion Service (Eucharist) or Good Friday. There are also a number of songs we’ve done individually or as part of a worship team. I’ve never attempted to gather them all in one place.

These are not the top songs which come to mind for many of you, but ones which I thought might be lesser known, or are more lyrically rich. There are a number by UK artists, and I feel the lyrical depth we get from songwriters there exceeds the output we see from writers in Nashville. I have however included a few you should recognize.

This is the first time I’ve embedded a playlist — not a single video — so to keep it playing you either need to keep this blog page open, or click the YouTube icon to transfer the action directly to YouTube. Right now there are 21 songs, so if you want to have this playing in the background, you should be good for 90+ minutes.

Again, these are not “Easter songs.” A few of them move to the resurrection, but the idea was to focus on the arrest, trial, scourging, suffering and crucifixion of Jesus.

If the player does not open properly here is the link.

September 12, 2019

The Importance of Cross Pollination in Worship

John Severns photo, Public Domain

The late Robert Webber will be remembered for encouraging worship leaders along the lines of “Ancient-Future” worship, but churches which are determined not to reach back to the hymns of past centuries might do well to at least heed the principle.

This week we discovered a new song being sung at a church we once visited, while the people were receiving communion. The song immediately resonated with us. After the service had played out, I found the proper title, the original recording artists, and some videos online.

I would teach this song in a heartbeat. It probably fits more into the “Modern Hymns” movement than it does “Modern Worship” but it had enough to offer to have been closing in on 3 million views online.

But then last night, we listened to it again, and followed up by clicking on another song from the same worship team.

Same key. Same rhythm. Same lead vocalist. Same lexical set.

By the latter, I mean that in some faith streams, there is a pressure to say certain things and to say them the same way. Each song is supposed to encapsulate not part, of all of the Gospel™.

We listened to a third song.

Same thing.

At this point, I turned to Mrs. W. and announced, “They’re plagiarizing their own music.”

Truly, it was partly that. It was partially an attempt to copy a style made popular by a particular husband-and-wife couple who are also leaders in this same sub-genre of worship. As the late Larry Norman once said comparing the present state of the arts to the Rennaissance, “Christianity is in an imitative mode.” We find things that are working elsewhere while 90% of the creative possibilities lie under-utilized if not undiscovered.

So to return to Dr. Webber, I think I would still teach the first song because it would form part of a set drawn from a larger catalog of available worship.

But if your church worship is all Hillsong, or all Bethel, or all Elevation, then it’s possibly not a healthy mix. In fact, if the trip back to the hymn area is too long a road to travel, I would suggest at least periodically looking to what you were doing ten years ago, and also occasionally revisiting the founding worship streams for the present movement, such as the original Maranatha! Music, Vineyard and Hosanna Integrity compositions.

There’s a value in cross-pollination.

It was getting late, and part way through the third song, my wife said, “I’m bored. I’m leaving now.” Each one of the songs was beautiful and lyrically rich, but as we would say to the kids at the dessert buffet, “You can only choose one.” We’d only heard three songs and we were starting to O.D. on this particular style.

For some reason, three songs from this worship family was two too many.

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