Todd Recommends...

Together For The Gospel Live
Found this record from Sovereign Grace a couple of weeks ago. Recorded in April 2008, Together For The Gospel Live is a collection of tunes led by Bob Kauflin and over 5,000 pastors.

But this is unlike any live record I've heard in a long, long time.

First of all, it's just Bob Kauflin and piano. No percussion, no additional vocalists on stage. No overdubs. Now a live record with just one person on stage isn't necessarily all that uncommon. But this record has mixed the congregation mics so hot that in almost every song, Bob is overpowered by 5,000 voices singing these hymns. Sure, Bob is great, but for the first time in my life, I'm listening to a live record of the congregation and not the guy on stage.

Secondly, the piano stuff on here is extraordinary. The transitions are effortless and the amount of energy and variety that Kauflin puts into these songs is extremely impressive. This is definitely a record that makes you say, "Man, I wish I could play like that."

Third, the worship leading here is so very good. Bob is excellent. Lots of worship leaders "call out" things in between lines - to cue the band, to change the order, to help the congregation if projection is lagging, etc. But Kauflin often says what's already been sung...instead of predicting what's coming in the next phrase, he's punctuating what's already been said. At first, it's kinda' tricky on the ear, but after awhile, it's a nice effect. His use of scripture and story are so skillfull here. One of the best things that worship leaders can do is listen and learn from other, better people and Kauflin is definitely one of those.

Lastly, the song selection is stellar. Mostly older hymns, but some newer "hymns" fill out the record. There's nothing better than good hymns done well and this record is all that and more.

The Medicine - John Mark McMillan
You may remember McMillan's tune, "Death In His Grave" from a Good Friday video I posted recently.

This is without a doubt my new favorite record. McMillan is writing some of the coolest stuff I've heard in a long time. It's mostly lo-fi Americana stuff and the songwriting is really good. The rocking stuff sounds like Pete Yorn/Springsteen and the slow stuff has all the cool swagger of David Gray or Mat Kearney or even Chris Whitley.

Great acoustic guitar work combined with a nice laid-back production approach don't just support these songs - it makes the tunes come alive! This guy is writing gutsy, honest poetry that swings from outright worship to confessional peeks into broken lives and what happens when redemption finds them.

I can't stop telling people about this record - it's so good. If you dig artsy, roots rock stuff fantastic lyrical precision, "The Medicine" is your record.

RECORD REVIEW

todd vlog ep. 27 - RECORD REVIEW from Todd Wright on Vimeo.

You can get the record HERE.

todd vlog ep. 19

Todd Vlog Ep. 19 - RECORD REVIEW from Todd Wright on Vimeo.

A few things...

1. If you'd like to follow the "almost daily" vlog, go subscribe over at my YouTube channel. Subscriptions are like currency over at YouTube.

2. If you've got a record you love and would like reviewed and shared here on the blog, just send me an email and I'll track down the music and give you my thoughts. (I'd love to also review books, but I'm way too slow!)

3. See that cool "Becoming" shirt? That's publicity, baby. Got a cool shirt of your own? Send me a shirt and I'll wear it on the vlog. (If it fits...XL or XXL should be fine. As long as my belly doesn't show.)

007

Review: Quantum of Solace from Todd Wright on Vimeo.

I Like Books...

Over the past few months, Chris and some my other friends have been recommending Marcus Luttrell's Lone Survivor, an astounding tale about a young Navy Seal's brush with death in the mountains of Afghanistan.

First off, this is an amazing story. Regardless of writing ability or marketing or overall theme, the story itself is worth the time. The book isn't just about Marcus Luttrell, but rather about the brave men who fought alongside him and in multiple cases, saved his life. But the book has a lot of that other stuff working for it.

The book reads pretty fast. Rather than get bogged down in a lot of military jargon, the reader can feel pretty comfortable with any particular terminology that might arise.

I also found Luttrell's mini-rants on the state of the American media to be spot-on. Here's a guy, in the trenches, risking his life day in and day out; and he knows what's up. He knows what's really happening in the streets of a war torn country. He knows what happens when he and his team stare down the barrel of a gun. And he's saying things that more people need to be saying.

I don't think your personal position on the war would prevent you from appreciating what this solider has to say.

If there's anything I didn't dig about the book it would have to be the obvious arrogance. (Luttrell recognizes it, even, but still makes use of it.) The first few chapters are supposed to awe me at the strength, endurance, never die attitude of the U.S. Navy SEALs. And it did. But, I think I would have been just as impressed with maybe fewer paragraphs on "why we're awesome."

The book's got some profanity (if such things concern you,) but it is a fantastic book. A great story, a pretty in-depth look at Pashtun mountain culture and a surprising assessment of American media's influence on military affairs.

To buy the book, click here!

Anybody else read it?

Let's Play Oprah...

Okay....I know a lot you out there are currently reading this.


If you've read it, I'd love to know your thoughts on it. I've got a lot of my own, but I really would like to know what you think.

However, if you're out there and you're not finished with it, we will wait for you.

Just type a comment w/ something like:

"Todd...I'm almost done with the book. Please hold the discussion until I am done."

And I will.

Because here at Todd's Blog, readers are king. Or...kings.

Readers are THE kings.

That doesn't sound right.


Here at Todd's Blog, readers are the kings and queens...of the blog...kinda. But not really.

Wow...this has just turned horrible, hasn't it?

Movie Review (For those who care what I think...HI MOM!)

Indiana Jones and the Kingdom of the Crystal Skull

Kristen and I got the chance to go check out the new Indiana Jones movie on Friday night.

I was nervous...most of the reviews so far have been down on the film, and I really really really hate paying money to see a bad movie.

Let me just say that I loved the movie. It had some problems, but it was great in so many ways that I did not regret the hundreds of dollars I spent to see it.

The thing I think so many people are missing in this movie is the skill of creating images. Think about it - the Indiana Jones franchise was always been pretty outlandish. The Ark of the Covenant melting people into nothing? A secret palace of idol worship underneath a beautiful palace owned by the government? The Holy Grail being guarded for thousands of years by a guy who's still kickin' when Indy shows up?

So, when I read reviewers or hear my friends talk about how goofy this one is, I think they are forgetting...they're all goofy.

But who can forget the images? The giant boulder? What about that pit of snakes in the first one? Or the dude burning the medallion into his palm? Or the monkey eating the poison date? Second film - eating all sorts of weird creatures, a dude getting his heart ripped out and that amazing mine chase. And the third film? Oh man...all the tests that Indy faces to get to the grail?

These movies have created unforgettable images. And The Kingdom of the Crystal Skull does, too. I was worried it would be too much story and not enough action, but I was wrong. And there are definitely some sequences that audiences will not forget for a long, long time.

And the movie does surprise...some may not like the ending, but it certainly one you won't see coming.

I also loved how many laugh-out loud moments there are in this new installment. Indy is just as grouchy as ever but he's backed a really amazing cast of actors.

I do think the climax of the film was overdone. At one point, I was definitely feeling "Okay, okay. I got it! Move on!"

Despite a few problems, the movie is an absolute blast. So go ahead...hire a sitter, buy the large popcorn and sit down to watch a pretty amazing continuation to historic film series.

(If you seen it and want to share your thoughts, please do! No spoilers allowed.)

YIKES...

Here's what Jeffrey Overstreet's thinking about Prince Caspian. I like Overstreet a lot and he's usually right, which doesn't bode well for my Caspian experience.
__________________________
Once upon a time, a great storyteller named C.S. Lewis sat down at the fireside, and children from all over the world gathered there with him.

He went on to tell them the second grand tale of Narnia — Prince Caspian — which was full of imagination. And while it may not have been as memorable and thrilling as his previous story, The Lion, the Witch, and the Wardrobe, it brought back many of their favorite characters. It introduced many more, including the skeptical dwarf Trumpkin, the chivalrous mouse Reepicheep, and even figures from ancient mythology, like Bacchus.

In what seemed a simple, charming children’s tale, Lewis gave shape to great truths about the God of the universe. He demonstrated how faith can open our eyes to the designs of God in the world around us. And he celebrated the powerful ways in which mythology, through all cultures and eras, leads to the true myth at the center.

Then one day, strangers who seemed to mean well appeared at the fireside. Welcomed by one of Professor Lewis’s closest allies, they made a proposition: “We would like to translate your tale into a play, a pageant that will be performed for enormous audiences around the world,” they said. “We will honor you and your work by doing so.”

Professor Lewis puffed on his pipe for a moment. He had met these men before, and he had some good reasons to question their abilities as storytellers. Eventually, he smiled sadly and said, ”Very well, so long as you understand the heart of my story, and respect for whom it was written.”

The visitors seemed to pay fierce attention to the tale that dear Professor Lewis spun, taking copious notes. Then, they stole away into the night.

“Do you suppose we trust them?” Professor Lewis asked, with a twinkle in his eye.

“It’s hard to say,” replied the children. “Are they like the good kings and queens of Narnia, fighting for what is good? Or are they more like the Telemarines, taking over someone else’s property and cutting down the forests for their own advancement?”

“We shall see,” said Professor Lewis. “Watch what they do. You will know them by their choices.”

The visitors went on to build similar fires all over the world, and in the light of those fires, they performed their play. Just as these performers and playwrights had hoped, people came from all around, lured by the dazzling brightness of the fire. The storytellers welcomed everyone, charging them admission of course, and making a fortune from Professor Lewis’s story. And as they collected the money, they began to tell the tale, saying it was “Based on the story by C.S. Lewis.”

Audiences cheered, for the play was spectacular, indeed. The costumes were impressive, the sets quite extravagant, and the special effects were really quite dazzling. It turned out to be a much-revised version of Professor Lewis’s story. And this was no surprise, for the story was never really designed as a compelling play.

But what was surprising, to those few who had heard Lewis’s original tale, was the fact that this whimsical story had been transformed into a story of war, full of long and vivid descriptions of spectacular battles, in which the young heroes bravely pincushioned their enemies with arrows, ran them through with swords, and even beheaded them. Viewers had never seen such lifelike centaurs, such breathtaking griffins, such valiant mice. Nor had they imagined these creatures engaged in such a cacophony of conflict.

To give evidence that this was indeed a tale of Narnia from Professor Lewis, the playwrights included many familiar names, although several prominent characters — especially High King Peter, Queen Susan, Reepicheep, and Trumpkin — bore little resemblance to Lewis’s characters.
But that did not seem to matter, even to many of Lewis’s friends and fans. In fact, so stirring were these scenes of courage that Prince Caspian won many new fans. It even inspired some to go looking for the all-powerful Aslan, the benevolent Authority in Lewis’s tales. (Yes, even in shoddy stories, Aslan’s power can still capture minds and hearts.) This was a happy effect of a rather questionable “adaptation.”

Nevertheless, this play showed that the storytellers had not met Lewis’s challenge. They had either failed to understand the heart of Lewis’s story, or else they did understand it and, disapproving of Lewis’s convictions, actively sought to conceal them. For the play was quite different from Professor Lewis’s original tale in ways that made it more exciting but less meaningful.

High King Peter, while played with passion by William Mosely, was not a very admirable king anymore; he was an egotistical adolescent. This revision certainly added more drama to the play. Peter spoke with venom about attacking the enemies “there, before they attack us here.” This may have been a well-intentioned attempt to critique the Iraq War, echoing the U.S. President’s words so boldly. But it had nothing to do with Professor Lewis’s story. And sure enough, Peter leads the forces of good into a quagmire that costs many noble characters their lives, and the withdrawl of troops is a messy affair. All of this was invented by the playwrights, filling time left open by the deletion of some of Lewis’s chapters.

The skeptical Trumpkin of Lewis’s story was deleted and replaced with a different Trumpkin, one who’s not skeptical but temperamental. While he was acted with great skill and depth by the brilliant actor Peter Dinklage, these unnecessary revisions eliminated one of the story’s most meaningful threads.

Susan, in a likeable performance by Anna Popplewell, was revised to become a swordswoman and archer, one so skilled in open war that she would scare Tolkien’s Eowyn from the battlefield. Quite a different character than Lewis’s Susan, who was forbidden to fight. Now, it’s one thing to dislike Professor Lewis’s limitations on his female characters. It’s quite another thing to decide that the way to make a woman respectable is to turn her into a resourceful killer.

And Reepicheep — one of Lewis’s most beloved and noble characters — was reduced to a wisecracking sidekick, more like a character from the Shrek franchise (which makes sense, since the director of this play also directed the first two Shrek movies).

In perhaps their most confounding and dismaying revision, these misguided storytellers deleted the culmination of Lewis’s endeavors to celebrate the sacred threads running through ancient mythology. Characters such as Bacchus, Silenus, and the “riot” of characters united by the truth of Aslan were never given their opportunity to celebrate and affirm that power.
And speaking of Aslan, these storytellers allowed for only a few appearances of Narnia’s greatest character. They’ve reduced one of his most important appearances to a dream sequence, allowing him to be seen in the real world only at the very end when he could provide a convenient rescue.

While this new Prince Caspian was a better crowdpleaser than some of the Harry Potter plays, and the fine work by these actors made it arguably more compelling than the Star Wars prequels, there was very little that could be praised as original. Instead of inventing threads that reinforce and strengthen Lewis’s story, they ripped sections out of the story and patched them with elements that could easily be converted into video games. In fact, some sequences in this second Narnia tale seem to be designed to mimic scenes from other great “second stories,” especially a sequence resembling the march of the Ents at the conclusion to The Lord of the Rings: The Two Towers.

These seemingly endless battle scenes made Prince Caspian more a story about battlefield heroics than an exploration of the “deeper magic” of Narnia. And these battle sequences transgressed the second important concern–they made the story inappropriate for its original audience… young children.

The storytellers, when questioned, talked about how stories told to such large audiences need to be abridged. But Lewis’s story was short to begin with. While the play did succeed in entertaining and pleasing audiences, and while it did not entirely obscure the meaning of Lewis’s story, it should never have been presented under the same title as Lewis’s story. Lewis’s wit, his heart for young adventurers, and the most unique insights of his story lay among the casualties strewn across the battlefields of this violent play. That’s how a G-rated fairy tale became what should have been rated a PG-13 production.

In spite of all of this, the play went on and on. Many critics rightfully praised it for what it did well, and some even rejoiced at how meaningful it was compared to the standard big-budget play.

But most reviewers failed to mention how insubstantial, shallow, and derivative the production was in view of Lewis’s original story. It’s likely that many failed to mention this because they could not be bothered to read a fairy tale writen for children in the first place. Or maybe they had grown too old, and merely forgotten the story they had enjoyed when they were younger.
The playwrights, meanwhile… were they really as sinister as Telemarines? Perhaps. It could be that they sit around a table and discuss how to subvert or downplay “Christian imagery.” But it is also likely that they, for all of their best intentions, were merely lacking in the vision necessary to properly appreciate those original tales.

Whatever the case, their play brought them great wealth and success — by worldly standards. And thus it convinced them and their financiers to go ahead and steal the next story in Lewis’s series, most likely to exploit and transform it by similar means. (And that’s a crying shame, boys and girls, because The Voyage of the Dawn Treader is one of the most imaginative and meaningful of Lewis’s series. All who love dear Puddleglum, say your prayers that he is not spoiled by presumptuous, intrusive imaginations.)

While children all around the world were drawn to the flashier fires, Lewis remained in the woods, beside his humble campfire, happy to share simple, delightful fairy tales with those few children lucky enough to find him there. These wonderful audiences did not need clamorous wars to hold their attention. It was enough for them to have inspiring characters and mysteries deep as the sea.

And so it is today. Most children will miss the quieter, subtler fire, running instead to the bright and roaring fires of a lesser tale with the same title. There, Aslan may show up and inspire them in spite of everything. But some, we can hope, fill find their way to Professor Lewis out there in the woods, find Aslan in all of his glory, and bask in a light more penetrating and beautiful.
____________________
HT: Overstreet

Who's seen it? Agree or disagree?

Review...(A Sea Change)

Passion - God Of This City
Six Steps Records / February 5, 2008

I'll be honest - I've been relatively disappointed in the last few Passion albums. Lately, I've found them just to seem a bit tired, as if I was really hearing the same record over and over.

In addition, I think Passion kinda' got away from actually providing resources that could be used in the local church. That's just opinion, of course, but it had been awhile since anything jumped off the speakers and said, "TODD, PLAY ME IN CHURCH!"

Well, guess what?

I'm here to tell you that Passion is back.

Passion's 2008 God Of This City is really, really good. If you'll allow me, I'd like to share my thoughts song by song. (This may be a long one, kids...)

Track 1 - Let God Arise (Chris Tomlin)
The record opens with what may be Tomlin's most rocking tune from the Made To Worship project. This opener is more evidence that leads me to believe that Tomlin should only release live records from here on out. Chris' studio records are good and they do great on radio, but I think this new record from Passion once again proves that this guy is a master on the live stage. The tune itself is a nice departure for "worship rock," employing more blues emphasis than we're used to hearing from the young adult worship crowd.

Track 2 - You Are God (Charlie Hall)
Charlie Hall's "You Are God" maintains track one's attempt at difference. The nice bounce of this shuffle leads me to believe that this might have even started out as a more country-tinged tune in its early stages. I'm not as nuts about the chorus section, and the drums get a little too progressive for my taste is the bridge.

Track 3 - God Of This City (Chris Tomlin)
The title track is amazing. Even at first listen, it didn't seem like a standard Tomlin/Giglio/Reeves offering. There's a real fresh approach to phrasing and melody that we haven't heard from Passion in awhile. Tomlin does a fantastic job leading this one and the band is absolutely stunning in their ability to fuel this epic prayer. Churches all over America will be singing this one in no time. It's that good.

Track 4 - O For A Thousand Tongues (David Crowder Band)
Crowder offers his remake of the old hymn. It's not much different than his Remedy version. I like the dual violin/electric riffing in between the sections and I think the new chorus is really nice. From a congregational perspective, I think it's a bit fast.

Track 5 - Hosanna (Christy Nockels)
Christy Nockels takes on Brooke Fraser's "Hosanna." When all is said and done, I like Brooke's version better, but I'm not sure it matters - the Passion remake is pretty much exactly the same. (I've heard folks express some frustration at Passion's recent infatuation with Hillsong United's catalog...but if doing a cover is what you want to do, "Hosanna" is a pretty good choice.)

Track 6 - Sing, Sing, Sing (Chris Tomlin)
Despite spending a bit too much time on the 1 chord, Tomlin and company go ahead and nail a fun crowd tune. The tune's relatively short, but says some good stuff and has a pretty great melody for one of those "dancing" songs.

Track 7 - Beautiful Jesus (Kristian Stanfill)
I've never found Stanfill's stuff to be that fantastic, but I do think this may be the most accessible of all the tunes on the record. I can see this working quite well in almost any musical setting.

Track 8 - Walk The World (Charlie Hall)
There are times when Charlie Hall is just a little too weird for his own good. I think the techno keys and drum loop get this tune off to a bad start and I don't think the song ever recovers. Didn't dig this one. I can't really follow the lyrical thread too well, but there is a slamming guitar lead, though.

Track 9 - We Shine (Fee)
Okay, I've made a turn on Fee. I've always liked Steve Fee's slower stuff, but never found much enjoyment in the rock stuff. I've heard "We Shine" lots of times, and I've never liked it. Until now...some might find this a stretch, but Fee's offering for this record is probably the first time we've heard a worship artist channel U2-circa Achtung Baby/Zooropa like this. Fun song with some pretty good musicianship.

Track 10 - God Of Our Yesterdays (Matt Redman)
As strange as this may seem, I think Redman brings a real maturity to this record. That's not to say that the rest is immature, but Redman's first offering on the record seems way more dependent on simplicity in lyric and melody and is noticeably free of much trend. "God Of Yesterdays" sounds like the type of song we'll be singing in ten years and never even think of it as old. Timeless song declaring His goodness to the generations...

Track 11 - The Glory Of It All (David Crowder Band)
I've always liked this slow burn of Crowder's. Again, there's not much different from the record version (unless you count thousands of people screaming.) Strangely, I think the screams definitely reinforce the dynamic build of this tune that is sometimes hard to get from the Remedy version.

Track 12 - Shine (Matt Redman)
This may be one of the worst Redman songs ever played on the radio...but it's fantastic here. It might be a tad slower than the radio version, and the presence of a congregation singing along gives these lyrics some real depth. I also love how simple the band takes the verse sections. Redman consistently proves to me that he's in a level all his own. (Drummers are going to love the kick on this song!)

Track 13 - Dancing Generation (Matt Redman)
Anybody who knows me knows I love this tune. I mean, this one might even be better that Todd Wright Band version. Maybe...

Track 14 - Amazing Grace (My Chains Are Gone) (Chris Tomlin et. al)
I'm one of the few folks in America who doesn't normally like Tomlin's version of this song. I'm still not sure about the chorus, but as far as production and arrangement and expert delivery, the record closer is the stuff of legend. I think it shows a hidden gift that Passion team has - the ability to perfectly capture a moment of worship without cluttering it up with a lot of stuff. They don't always pull it off, but I don't think I've heard them it better than this.

If you're a lifelong Passion fan, you've probably already got this and love it. But if you haven't taken time to listen to it, you should. I think you'll find it to have a lot of useable stuff, lots of great moments for personal worship and some great rock and roll.

Todd Recommends...

Through A Screen Darkly (Jeffrey Overstreet)
Regal Books, February 5, 2007

I loved this book!

Essentially, this book highlights some of Overstreet's most influential film experiences, identifies their larger themes and then finds that same theme supported and celebrated in other movies.

In addition to this great collection of redemptive images found in movies, the book also speaks honestly and powerfully about "Christian movies" and "Christian movie critics." Overstreet is respectful, but its clear that he comes at film in a manner quite different from most other religious film organizations. The author talks very honestly about making good choices with regard to what we put before our eyes, but he also has a brain in his head and offers some nice counterpoint to the "hunker-in-the-bunker" mentality of many Christian movie critics.

I also found the book to be a great tool - throughout the work, Overstreet is actually teaching the reader HOW to watch movies; how to open my mind and heart to look for God in films that I might normally just pass over or consider unworthy of my time.

If you love film, I think you'll love Through A Screen Darkly.

TODD RECOMMENDS...

The Glorious Unseen - Tonight The Stars Speak
Released October 23, 2007 / Tooth and Nail Records

As a worship leader, I have a lot of responsibilities. You know, the normal responsibilities every other worship leader has. But for me, one of the most fun aspects of my job is to pass on information about songs and ideas to other worship leaders.

But it's an odd calling - lots of times worship leaders look at me like I'm crazy. Like I didn't get the memo that we're not supposed to work together or share songs or ideas - that I'm somehow breaking some important rule about serving just my church in just my town.

So, if you're weirded out by one worship leader passing resources to another, then you're a loser and you've got severe mental problems. You should leave this site immediately.

Whew! I'm glad they're gone, aren't you?

Look, finding good worship music is hard. A lot of of is cliche-junk that's pitched too high or over-produced or suffocating under the weight of its own pretense. That's worship leaders should work together - finding songs and sharing them.

Tonight The Stars Speak is a record you need to hear. Produced by Steve Hindalong and Marc Byrd (very sharp producers,) The Glorious Unseen's 2007 release is a mid-tempo and mellow batch of tunes that simply stick. Let's break it down.

Songwriting
Mostly congregational, occasionally conversational, these songs have solid lyrics and melodies that are somehow unobtrusive, yet infectious. To put in practical terms, imagine a collection of Hillsong United's best big, mid-tempo tunes. Every song on Tonight The Stars Speak is epic. There aren't many rockers, but I'd guess that 6 or 7 songs could be instantly implemented into most praise team situations.

Production/Arrangement
Hindalong's fingerprints are all over this record. There's probably not another worship record out there with such brilliant use of synth and drone notes. (Hindalong is known for his skillfull pairing of synth and ambient electric guitar in modern rock arrangements.) It remains to be seen if these songs would work without the synth/keys. They aren't hard parts, but they are strongly connected to the songs, "making" many of the tracks. Finding the right patches and tones for both synth and electric guitar might prove a challenge, but I think most of the songs would hold up. Toward the end of the record, vocals get a little predictable and tired, but I think the songs would stand up with more normal, everyday vocals.

Target
In my opinion, Tonight The Stars Speak is probably aimed at a few different groups. I think college worship teams would dig these songs. The ethereal nature, lyrical phrasing and lengthy arrangements just seem to lend themselves to those sort of extended worship settings. Secondly, I think more charismatic churches would benefit from these songs. It's a shame that so many charsmatic churches of late have been locked into a certain brand of music. ...Stars Speak is big enough and new enough to breathe some life into those churches getting a little tired of the same 'ol thing. I also think the third benefit of this record is just for pure listening pleasure. I've been really enjoying this record at night, in the car, any time where I just want to kick back and have something nice and smooth playing in the background.

If you're looking to listen to something a bit experimental, way epic and fresh-sounding, give The Glorious Unseen a try.

CONCERT REVIEW...

Andy Gullahorn, 2/24/08
ComChurch / College Station, TX

Krist and I dropped off the kids and left Lufkin a little after 4. I wanted to listen to non-stop Gullahorn on the way, but Krist said she wanted to be surprised by the songs and didn't want to listen to Andy's whole catalog. So, she powered on the radio and we listened to some country and then some 106.9 out of Houston. (The Point!)

Closer to Bryan/CS, I finally got control of the iPod and managed to play some of Andy's "Room to Breathe" record. We got to College Station about 6, ate dinner and then set out to find Ross' church. (Not the easiest place in the world to locate, but we made it just in time.)

The concert was fantastic. Most of you know I'm a freak about setlists - asking most of my friends to remember each and every song from concerts you go to. I forgot to bring something to write with, so here's what I can remember of the set, in no particular order.

1. Nobody Wants To Work
2. Roast Beef
3. Holy Flakes
4. Desperate Man
5. Alright Here
6. That Guy
7. If I Were
8. (New song he co-wrote w/ Jason Gray)
9. Give Me Grace
10. Never Let Me Down
11. Wrecking Ball (Jill Phillips tune)
12. How Precious Life Is

It was a fantastic show - one of those rare opportunities to see someone so at home and in control of his craft sharing stories and songs from his life and family. The only complaint is that he didn't do Green Hills Mall, More Of A Man, or Beginning Of The End...but the show was so good, I didn't even mind. (I'll tell you this...Wrecking Ball is awesome. That one's going in the iPod, gang.)

ALBUM REVIEW

Lenny Kravitz - It's Time For A Love Revolution
Released February 5, 2008 / Virgin Records


I used to be a Lenny Kravitz fan. And I mean old-school. As in the long-dreads, red bell-bottom jump suit and records recorded all analog when everybody was running headlong into the digital medium.

Then, Lenny got hip.

I was excited at first. He was getting radio play. Folks were realizing that he was cool, which I liked. But then, he lost me. His stuff got too loopy and synthed-out. I like loops and synths, just not from a dude who had always reminded of some long-lost funk/rock hero.

Well, the old Lenny is back. And while it remains to be seen if Lenny's return to raw rock and roll will be met with joy or sadness, for me it's been an amazing thing to listen to. Here's what I think of the record.

PRODUCTION QUALITY
This doesn't sound glossy. It doesn't auto-tuned or chopped up or even digital for that matter. I'm sure that it's, in fact, all of those things, but it doesn't sound like it. Drums sound like drums normally sound - they're even a little flat in places, sounding much more real and organic that something that's compressed and effected like crazy. Gear heads don't like it, but it sounds like a band-in-a-room and I dig that. Lenny's vocals are nice and warm, but still human. There's even a few lines that probably could have been done again or better, but the record keeps these lines because they actually DO sound more emotive, more honest.



GROOVE
This is what Lenny lost, in my opinion, when he "American Woman" and all that stuff started coming out. Love Revolution has that amazing quality that all good groove records have - that underneath the instrumentation, there's the thing that you can't really hear, can't really count, but you can FEEL. There's so much space on this record, so much groove...there's really no other word for it. My guess is that's the product of the brilliant interplay of seasoned musicians - again, I'm not sure if it's Lenny and crew all in the studio at once, but it sure sounds like it. (In fact, if they locked into groove like this while seperately tracking, I might just give up music.)



SONGWRITING
Lenny Kravitz is a hippie. We all know this. If you ever listend to Lenny's older stuff, you know he's never been one to shy away from spiritual themes. He sings quite a bit about God and love and grace, but I think this most recent work is his most spiritual to date. It's not a Christian record, and I know Lenny's theology is pretty weird, but I do think it's important to listen to records that are able to sneak in references to Christian salvation and God's character through the mainstream. I don't care how big a star he is...somebody had to greenlight this record at some point. I think believers ought to seek this stuff out - why did this record make it and other's don't? What do songs like this really do to the culture?



If you'd like to hear some stellar, old-school songwriting recorded in a very brave and honest way and learn some groove chops while you're at it, Love Revolution is the record for you.

REVIEW...

Matthew Smith - All I Owe
Released November 7, 2006 / Detuned Radio Records

Some of you will know Matthew Smith from his work with the RUF in Nashville and his work as writer, arranger, producer and singer on the Indelible Grace records that RUF puts out.

Smith's big deal is hymns: recording ones we know, finding ones we don't and occasionally putting his own musical spin on them. For what it's worth, Smith has quite a reputation for treating hymns with respect, messing with them very little, but rather presenting them as fresh sounds for those unfamiliar (or even apathetic.)

Let's take a look at the record. Smith excels at mid-tempo folk rock. Among the solid acoustic/electric/drum/bass combination appear banjos and dobros and nice organ touches. In addition, there are some cool percussion and synth additions that give the record some uniqueness.

SONGWRITING
You might think a dude doing hymns wouldn't need to do much songwriting, but you'd be wrong. On some of the more rare selections, Smith has written new melodies or arrangements; and on the hymns we all know and love, he's added some nice musical interludes in between verses. The challenge with hymn remakes is always one of dynamics. (i.e., how do you build a tune dynamically when it's the same four verses back-to-back?) Matthew Smith has written some beautiful arrangements for many of these tunes.

PRODUCTION
Production value on the record is good. It's certainly not as glossy as your typical pop project, but it's produced well. The record is creative from song to song without being so artistic that it loses consistency. I like the different acoustic guitar textures and the occasional use of more ethereal synth tones. Smith's vocals vary. His parts sit very nice in some tunes yet feel a little dry in others. There doesn't seem to be a lot of post-production on vocals which can sometimes make the lead and backing vocals seem a little 1-dimensional.

ACCESSIBILITY
The record is extremely accessible for worship teams. I like that the special instrumentation (banjo and the like) come in small bursts and don't every "carry" a song. Most any team w/ guitar, bass, drums and piano could make these songs happen. Highlights include Come Thou Fount of Every Blessing is great, complete with a beautiful, short musical interlude in-between verses. I also loved Jesus I Am Resting and His Love Can Never Fail. Smith has done a great job picking songs that are rich with theology and couched in organic musical stylings. I also think the record gives worship leaders more than just the benefit of some new songs. Working these into your sets will encourage you to dig into the history of these songs. Think what your crowd would do when you step up and say, "Hey, we're gonna' do a song from 1784, okay?" These songs are easy to sing, fun to play and are filled with a level of poetry we don't see too often in worship these days.

If you'd like to know more about Matthew Smith and his music, go here.

Ben Cantelon - Daylight Breaks Through
Survivor Records, released July 2007

Got this record from David Runnels; I am learning that David Runnels is very "connected," always getting records before anybody else, hearing secret movie/book info, stuff like that. Could he be in the Geek Mafia?

As best as I can tell, Ben Cantelon is the new worship leader/image of Soul Survivor, the English "youth church" pastored by Mike Pilavachi that made Matt Redman and Tim Hughes the mega-stars they are today.

Canadian-born Cantelon does a great job of capturing/almost-imitating the decidedly "British" sound of his predecessors Hughes and Redman. The guy's no slouch as a writer. He co-wrote Hughes' "Happy Day," one of the strongest tunes on Tim's "Holding Nothing Back" project. Here's the rundown, although a little different than previous reviews.

You're The Light
Music: Spacey ambient keyboard intro, delay electric and four-on-the-floor intro almost make this another failed "worship-as-U2" moment, but the chorus completely changes the feel. Arrangement skillfully mixes trendy verse and bridge sections with fantastic straight-ahead rocking choruses. Fantastic melody work and great 2nd vocal ad-lib part. Vocals sounds strangely similiar to United stuff.
Lyrics: With the exception of just a few lines, "You're The Light" stays focused and is clearly followed throughout. No major prose breakthroughs here, but good songwriting nonetheless. Accessibility: Bands playing at a slightly above average skill level can pull this tune off. Melodies are great but might present problems for male vocalists. (Background vocal is somewhere in the stratsophere, too.)
Overall: Song manages to take a relatively common style (delay, four on floor, etc.) and turn it into something very refreshing. Perfect album opener and a great song that can easily stand on its own.
Love Came Down
Music: Again, Canelton surprises! Track 2 opens with a nice fluid one chord movement that sounds pretty predictable. (Everybody knows what's gonna' happen when a track starts on acoustic, right?) However, when drums, bass and electric enter the tune, it takes on a whole new feel, almost Americana (without the steel!) Choruses are nice and driving, showcasing what kind of power is really possible when guitarists focus on rocking all down-strums. Chord progression is pretty simple, which works nice for the tune as it promises to be a quick-learner. Song has also features a great female backing vocal.
Lyrics: I wish the lyrics were a little more focused. There's all good stuff here, and nothing that feels "wrong" about the tune. In fact, it works great as a "lift-God-high" tune, I just wish it were a bit more linear.
Accessibility: Totally playable. I can't foresee any arrangement, performance difficulties here. Overall: The simple approach to the tune is its greatest asset. I hope more churches can hear and learn this tune. It's easy to play, fun to sing and provides a new "sort" of song into most church catalog.
Celebrate
Music: Remember how I said Canelton helped to write "Happy Day" with Tim Hughes. You can hear it in "Celebration." I love the presence of acoustic in this very joyous track. In fact, it reminds me of some those early Soul Survivor recordings. Those early records weren't mixed well, but I always liked the prominence of acoustic on songs like these. Song has great, full arrangement a very cool electric part.
Lyrics: The great thing about a song called "Celebrate" is that it can be a four-minute list of all God's goodness and still be totally cool. Cantelon doesn't quite go with the list-style, but it's still a broad tune of God's goodness and what that prompts within his kids.
Accessibility: This tune is all about the drums for me; if the song's gonna' cause any problems for a praise team, it's gonna' happen with drums. The fast tempo, driving hat and snare stuff could present problems for lesser-skilled drummers, but shouldn't bug guys and gals who've been drumming for awhile.
Overall: I personally believe that fast worship songs are among the hardest songs to write. A writer wants to have fun, inspire movement and joy without being trite or overly derivative. "Celebrate" is a great example of a well-written....well...celebration song!
You Are
Music: Love the driving acoustic/piano intro combined with a nice chimey "music box" riff. Verse 1 and Verse 2 are two different octaves, which is cool, but I'm not sure how that would play in most local churches. I also like the subtlety of this tune. It gets big, to be sure, but not too big. I also enjoyed the Mega-Super-Quiet-Bridge. It's a song-approach best done by Tim Hughes and it works here too. Some bands might like to play up the slight syncopated ending a bit more. It's done nicely on this record, but somebody's bound to want to go Coldplay on this tune.
Lyrics: This tune definitely falls into the long list of love style of song. (As mentioned in the previous song recap.) However, the song is still pretty centered, so the tune works well...in other words, Cantelon is singing a list, but it's a pretty well-written one.
Accessibility: Personally, the only problem for most of us would be the octave change. That's easy enough to fix, though.
Overall: Very fresh tune, great mid-tempo tune that would allow a song set to go in any direction.
Worthy
Music: Hammond and what sounds to be alternately tuned acoustic-electric kick off this mellow tune. Loved the minor-chord verse and the end-line lift. As far as musical creativity goes, "Worthy" is the standout track. Soft-sung lyrics and a nice intuitive melody give this song a nice color. In all honesty, I think this tune sounds like something the Cowboy Junkies might write. (And that's cool, friends.)
Lyrics: Song stays pretty focused on the idea of redemption, uses mostly cross imagery. I wasn't crazy about the inclusion of "first and last" line in the chorus - feels a little disjointed from the rest of the tune. Second verse moves into a different approach to "Worthy" that I didn't quite get, but that's just me.
Accessibility: This tune sounds easy enough to pull off. Keyboardists in live settings might have their hands full, though. The record has at least 3 keys tracks - Hammond, electric piano/rhodes and the aforementioned "music box." (Wait - I just heard a synthy voice pad!) Make it 4! Overall: This tune may be better for personal listening. For churches cool with the very artistic "mellow" song, complete with raspy vocal lines, this tune is perfect.
Never Let Me Go
Music: Built on a nice guitar picking pattern, the tune stays pretty mellow. Even when drums, bass and piano come in, it's still nice. The melody is pretty high, but is excellent nonetheless...the worship leader in me can definitely hear a crowd of people singing this one on a Sunday morning. Lyrics: First verse to chorus works well together. The second verse strays a bit. I'd probably opt to do the first verse again rather than take on the additional thematic direciton. Love the bridge section, a new melody built around the "strength for today and bright hope tomorrow" we all know and love.
Accessibility: This tune is one of those great pieces that can played by almost any team and still sound fantastic. Here, Ben shows some of the gifts that we see in the music of Redman and Hughes - ultimate accessibility.
Overall: The only thing that hurts the song is the thematic push in 2nd verse, which may not bother anybody but me. The melody might be too high for some crowds, but younger audiences will enjoy the higher register shout-singing.
Remain
Music: The last track on the record falls somewhere in between The Cranberries and Jason Morant, a fantastic mellow song with some subtle power. If Christian radio got ahold of this track, it might just make Cantelon a star. It's a nice modern pop tune that grooves on top of a nice clean electric guitar pattern. Nice keyboard touches add some ambience to the loop-like drums section. The chorus opens up nicely, almost orchestral...
Lyrics: Probably the strongest lyrical focus on the record. Cantelon and crew are crystal clear in their communication here.
Accessibility: Again, any praise team worth its salt could do this one. Has some fun parts for drums and keys.
Overall: For me, the standout track on the record because it captures the essence of the anthem that Soul Survior tends to gravitate toward without forsaking Cantelon's own singer-songwriter vibe.
--------------------------------------------------------------------------------------------- Records like this are great because they're so fresh. Up until my pal handed me this CD, I had never heard of Ben Cantelon, and I'd assume the same for many of you. Grab a copy of "Daylight Breaks Through" and enjoy digging into a remarkably mellow and meaningful worship release.

Review

Paul Baloche - Our God Saves
Integrity's Hosanna! Music, releases September 18

Integrity Music's poster-boy Paul Baloche is back with a brand new album of 13 worship tunes. "Our God Saves" comes in relative proximity to Baloche's "A Greater Song." Historically, Paul's releases have been pretty spaced out, but not this year. "Our God Saves" is an amazing collection of songs that, while staying true to what makes Baloche's tunes so powerful, ventures into new territory with regard to melody and song structure.

It sounds as if Integrity allowed Baloche to take a similiar approach to this record as with "Greater Song" - the record sounds like a mix of studio tracking with live sessions. The new record is excellent and reclaims some of Baloche's previously renowned ability for hooky, immediately listenable tunes. "Greater Song" was an excellent record, but personally, those songs took awhile to connect. I ended up loving that record, but it didn't grab me right at first. "Our God Saves" will grab you, slap you a few times, sit you in a chair and fill the room with pure joy and adoration.

1. Our God Saves
This Brenton Brown/Baloche opener kicks off with an engaging drop-D electric guitar with a slight touch of delay along with a kick-drum pounding out "4 on the floor." Who doesn't like dropped D, right? The opening track is a slow-burn, building to a bigness but exploring a more straight ahead, jangly style of playing that's seems new for Baloche. Lyrically, the song goes a couple of different directions, which I wasn't crazy about. Perhaps its "opening" nature will allow it to work without being hurt by it's rather random lyrical approach. Where the song struggles with linearity, it sails with melody. Paul and Brenton have managed to take a song built with pretty much the same 4 chords and still make it interesting. I think a lot of churches will gravitate to this tune, although I think it's odd Americana-meets-U2 flavor might present problems for groups who are used to songs that rock easily. This one doesn't, but it's still a strong piece.

2. Kingdom of God
This minor-chord rocker is outstanding. Come on, it's a worship song that cries that God is "training these hands for war / showing me how to fight" set against a musical backdrop that sounds like a musical bed for a final climatic fight-seen in a movie. (As a matter of fact, when I brought the CD home and popped into the CD player, my daughter and I danced around the room as my son immediately staged some sort of imaginary fight in the living room.) It's an epic tune, complete with a large "Hey!" and some great guitar voicings. Here we get some melody variation that is a complete surprise but perfectly designed for this aggressive tune. The open hi-hat/wah solo section is pretty tasty, too. Churches with skilled electric players are gonna' dig this song. Come on, give that shredder a little of the spotlight, worship leaders!

3. Rock of Ages Will Stand
Mandolin, acoustic guitar and a nice comping bass line accompany this modern take on "Rock of Ages." Essentially, Paul takes the lyrics of the old hymn and sings them with a new, but simple melody. The chorus section is nice, not too wordy...it might sound a bit too sparse for my taste, but I would imagine that it's awesome with a congregation singing along. Thematically, the song is perfect. Baloche sticks with his original idea and each line supports it.

4. Beyond Us (Only True God)
Nice augmented acoustic chords and big drums make this anthemic 6/8 tune the new hymn for 2008. Led by female vocal, the tune is awesome. The melody is tricky in the verses; it can be done, but worship leaders should be prepared for this one to take awhile to catch on congregationally. Another thing working for this tune is the fact that it's a worship song about the Trinity. There aren't a lot of those around, and this one would be perfect for any service focusing on themes of God's nature and identity.

5. Prayer
This isn't a song, but rather a passionate prayer from what sounds like a Sunday morning service at Paul's church. Paul's band builds perfectly, using synth and electric swells to transition from this corporate cry into the standout track on the record, "Hallelujah To My King."

6. Hallelujah To My King
A Brown/Baloche collaboration that could (and should) replace "Open the Eyes of My Heart" as The Baloche Song Every Church Knows. I'm not kidding here - Baloche and Brown have outdone themselves. Great hook in the introduction, fantastic melody and a chorus that must be shouted. If anointing can truly be captured on a CD, this is where it happens. The lyrics on this one are pretty broad, but I don't care. It's an awesome song.

7. I Cling To The Cross
Matt Redman and Paul teamed up to write this one and sing it together. Here we see a new approach to song form. It's essentially a one-chorus song with a "bridge" section performed just once. The extended spontaneous singing toward the end of the track is well done, not overplayed, but honest. Personally, I love the idea of songs about the cross. I think it's something we've lost as hymns have slowly disappeared from our catalogs. Lyrics are perfect here - simple and centered on Christ's sacrifice as our only hope of redemption.

8. You Gave Your Life Away
Led by electric guitar (w/ quite a recognizable tone: think Snow Patrol) and Rhodes, the song is a simple tune with a nice repeating "You gave, You gave Your life away." I like that the tune never gets "big." Electric guitar, Rhodes, Hammond along with a little crowd mic and the song is a nice break in the overall production value on the record. My only problem is that the tune comes after we've heard quite a few songs saying the same things. It's a great song, maybe not the most original idea. I'm not considering this as necessarily a bad thing, as a given church may find this tune so much more applicable than other tunes.

9. Praise
I find it funny that Baloche, a dude from the East Coast, ended up in East Texas and digs country music. On "Praise," he finally nails it. I think he captures just enough country-shuffle to fit his style to make this song work. I can see congregations where I live getting all up in this song. I'm not nuts about the creation-theme as the song starts. The 2nd verse is way better, but when all is said and done, folks are going to remember the sliding melody of the chorus, the nice Nashville guitar and the large "WE WILL WAIT ON YOU!"

10. The Way
"The Way" was one of the most creative songs on Paul's "God of Wonders" live record, but never really got the justice it deserves. It gets a makeover on the record and is aided by the wailing vocals on Mr. Lincoln Brewster and his smoldering lead-work. I think this tune is one of the most original takes on the concept of seeing God in our everyday lives.

11. God Most High
Co-writer Glen Packiam takes a verse on the tune, and while Packiam's voice lacks a little of Paul's luster, the tune is a nice, orchestral pop worship tune. The tune sounds really "modern," the overall minor-begun chorus and the drum and orchestra work. Not sure how this one will play in the local church; might be too big for most of us. But it's fun to listen to!

12. How Great Thou Art
I can't help think that this must have started out as a jam. I love the song's Keith Urban-feel and was most impressed with where Paul and the band place their energy. Rather than exploding on the chorus, the song remains nice and consistent until the end of every chorus where it takes off with a nice two-chord change. (Also a very "country" move, now that I think of it.) Yes, there's plenty of Edge-like electric work. Sorry, I'm a sucker for the U2 stuff, guys. I know, I know - it's old hat. My blog, my review! Delay is awesome!

13. Great Redeemer
This piano ballad might just be too complex for congregational use. I like the Beatles influence. (Is that a Rickenbacker I hear?) This is probably my least favorite on the record, but for what its worth, it sounds totally at home in a culture that's embracing piano-pop again.

14. Your Love Come Down
I don't know if Paul Baloche is trying to become a CCM pop star with this tune, but it might happen regardless. This bluesy, loop-filled rocker is a completley produced "studio" work. It's a blast to listen to, although I'm not sure it would work in a church. (Not my church, at least!)

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Here's my theory: long-time Baloche fans are going to listen to the record and think, "Holy cow, this guy actually keeps getting better!" New listeners are going to find interesting songs that appeal to a number of musical preferences without sounding trite.

And churches are going to be blessed by these tunes.

You need this record.

BLAKE hooked me up. Haven't listened through it, yet. Will post my thoughts soon as I can.