Last week marked the release of an album I’ve been impatiently awaiting: Josh Garrels’ new LP, Chrysaline. To be honest, I was kind of apprehensive. I wondered how this new record would fare next to Josh’s last two releases, Home, and its Christmas counterpart, The Light Came Down. These two records had, in many ways, raised the bar for Josh’s music. What would he do next? I’ve been (virtually) spinning this new record over the past week, while chasing late-summer sunsets. Now, though I hadn’t planned to, I’m writing down some of my musings on Chrysaline: a record which has taken me by joyful surprise.
A Gift
Anchor for My Soul
Invocation
Closer Than a Brother
Faith, Hope & Love
Consecration
Butterfly
Praise Him
What a Friend
Perfect Love
The Banner
Follow
Don’t Be Afraid
Take, Eat
Evangeline
Chrysaline feels like its name: a renewal, an awakening. If I were to sum up what’s happening sonically, I might look to the cover artwork as a visual reflection. There are flourishes of brilliant color accented by a dark and dense backdrop. Like the artwork, the songs have a kind of symmetry. A balance and appropriation to the sounds; each element tasteful and in a fitting place.
The production on every song is top notch; just what I would expect from a Garrels record. There are some amazing moments. Josh is stretching his vocals in new ways and I am loving it! In short, it is a beautiful record.
Yet for all of Chrysaline’s beauty, its opening words paint a not-so-pretty picture:
“Every mouth is like an open grave / No one searches for Your face / There are none righteous ones among / All of us have gone astray”
But the darkness of humanity’s rebellion against its Maker is soon pierced through by brilliant light:
“But You came and gave Yourself away / You are, the only one there is / Only by Your blood can we be saved / Oh Lord, this is a gift, from You”
The second verse builds in musical and lyrical momentum:
“Those who dwell in dark will see the light / Perfect love has found a way / To be the just and justifier of / Those who call Your name by faith…”
Then the name is uttered in a desperate, piercing cry:
“…Jesus!”
It’s a stunning opening track musically, and also for its message. There can be no theme more moving to me than the the gospel of Jesus Christ. One might say Chrysaline is, essentially, a musical celebration of the gospel.
This record is unique among Josh’s discography for its lyrical genre. It is comprised entirely of psalms and hymns. Sacred songs. Josh draws from old and modern writers of the church in songs like “Consecration” and “Perfect Love,” the former a hymn text written in 1874 by poetess Frances Havergal, and the latter by modern hymnist Wesley Eader. Josh makes contributions of his own with songs such as “Closer than a Brother,” “Anchor of My Soul,” and “The Banner.” But Chrysaline is unique: it’s not a hymns album, and it doesn’t fit the mold of modern “worship” music. It’s something new.
In some ways Chrysaline reminds me of Josh’s 2011 release, Love & War & the Sea In Between (my introduction to his music). Chrysaline, like Love & War, runs over one hour in playing time, yet is diverse and engaging—and I don’t mind an epically long album if it engages me! Like Love & War, Chrysaline is rich in scriptural themes and imagery, only showing further theological maturity. Chrysaline’s scriptural depth is a refreshing thing. There was this time I was grooving to “Butterfly” (from which the name "Chrysaline” comes), when a Bible study jumped out of the second verse:
“I’m a worm not a man / Take me to the garden / Bury me inside my skin / Lord make me whole again”
Beautiful imagery. It’s right out of Psalm 22, David’s prophetic lament fulfilled by Christ on the cross. Jesus was that crimson worm, “marred beyond human semblance,” making a way for us—if we are willing to take part in his death, and to be buried (in the garden tomb) with him—to one day share in his glorious resurrection.
There’s strength in simplicity, sometimes. I love the simple yet profound prayer that is “Invocation.” I was struck by that same glorious simplicity in “What a Friend”:
“What a friend we have in Jesus / What a friend we have in Jesus / What a friend”
“Greater love has no man / Than he who lays down his life for a friend”
Listening through the album, I hear elements from a kaleidoscope of musical cultures: South American (“Consecration”), African (“Praise Him”), Middle-Eastern and Indian (“Invocation”), even East Asian (“Closer Than a Brother”). There’s Americana (“Perfect Love”) and of course, the soul is still strong!
After hearing “Butterfly,” my brother made comment on its sound, saying it felt like a natural fit for Josh’s vocal style. I agree: Josh is more in his element now than ever!
The soul / R&B on this record is absolutely groovy. “The Banner,” for instance, is a beautiful and memorable track, and one of my favorites. It feels like it might have been produced in a time machine. Organ, layered vocals, lush strings, even a blazing electric guitar solo at the end. It’s Jesus Music resurrected! It even fades out at the end in true 80s fashion. “Follow” is another pretty song from the same creative vein. Why be current when you can be timeless?
There’s also some really brilliant programming on this record. A couple of highlights for me: the swelling, brooding bass on “Closer Than a Brother,” and the shimmering keys at the end of “Anchor for My Soul.” The programming doesn’t overwhelm. It’s tasteful, and it sort of fills in and melds the other musical elements together.
In “Praise Him,” Josh revisits the experimentation of “Always,” the maverick track off of Home. “Praise Him” is another highlight for me. The drums and choir vocals give a lucid energy to the song. The words of the last verse, I feel, are timely:
“Let all pray / And stay awake / My Lord, He won’t delay / So I keep that oil on the flame / This darkness will soon fade away / Then I will see Him face to face / And I will // Praise Him…”
As the record comes to a close it slows pace with two softer songs, and I want to pay special attention to them.
“Don’t Be Afraid” is my favorite song off of Chrysaline, at least for now. It was the one which instantly connected with me. It has a reflective and nostalgic sound and I love the rich, resonating harmonies. It sits in just the right spot on the track list. It’s a song of admonishment and encouragement from one believer to another. For some reason this song just really grabs me. I love it.
Then comes “Take, Eat” and the soaring, resounding vocals of the previous track become intimate and soft. The words are brought into focus as Josh sings them slowly, yet with grace:
“Take, eat / This is My body / Broken for your healing / This is My blood / Shed for remission / And forgiveness of your sin”
“Do this to remember what I’ve done for you / Do this to remember Me”
That the songs on this record continually bring me back to the cross, and the love of the Savior for me, is a precious, precious thing—I can never hear of that enough.
Then “Evangeline” closes the record with an explosion of color. It’s an exuberant orchestral piece, giving occasion to reflect, and to rejoice. We’ve been given so much in our dear Savior, Jesus. If you listen really carefully at the very end of the song, you’ll hear the voices of the Garrels family, and little Poppy Evangeline Garrels—she sounds adorable!
I’m grateful for Chrysaline. I’m grateful for people like Josh who let the gospel continue to break them and reshape them—and remake them. What comes out is something they can’t take credit for, because it points to the amazing grace of God. Thank you, Josh, for your willingness to be a vessel. Continue to be weak that Christ would be strong in you.
“Let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual songs, with thankfulness in your hearts to God.” (Colossians 3:16, ESV)
In closing, I would like to recommend Josh Garrels’ Chrysaline. I may, in fact, have found my album of the year!
It was with high expectation and emotion that I began my first listen-through of Michael Card’s latest record, To the Kindness of God…
I discovered the music of Michael Card when I was six years old. It was on my father’s CD rack, a compilation album called Joy in the Journey. I remember listening through that CD and being enchanted by the songs. It was the beginning of my adventure with this awestruck troubadour, encountering with him the wonders of God’s Word. Michael has a gift for songwriting: a unique way of weaving the truth and beauty of Scripture into a song. But Michael has given us more than individual songs. He has given us albums; a discography covering nearly the entire Bible, Old and New Testaments. Concept albums, in which the songs are able to tell a greater story collectively, than each could on its own. The beauty of a concept album is that it can approach the subject organically, from multiple angles, taking time to explore and develop an idea.
So why was this particular concept album such a big deal for me? Word has it that To the Kindness of God may be Michael Card’s last album. Listening through it felt like a goodbye of sorts. But if this is Michael’s last album, it definitely makes for a grand end to an era. There is grandness in its soft yet sweeping musical landscape, and in its lyrical theme, hesed: an untranslatable word denoting the inexpressible kindness of God. A theme that spans all of Scripture and in fact, all of history.
A word on hesed (kheh'·sed): it appears in the Hebrew Scriptures nearly 250 times, mostly in the Psalms. In English it’s often translated mercy or lovingkindness, yet these words fall short. King David, in Psalm 23, described hesed as a mercy that would follow him all the days of his life. A mercy that would never let go. Hesed is used in Psalm 136 in the recounting of Israel’s exodus. The phrase “His love endures forever” is chanted over and over again. The Christian Standard Bible translates hesed in that passage as faithful love. Elsewhere, I’ve also seen loyal love.
In To the Kindness of God, the listener is drawn, song by song, into the glorious story of hesed: how God’s matchless might has been revealed in his transformative, covenant love toward his broken creation. Can there be a more epic theme on which to write an album?
Come as You Are
Hymn to the Kindness of God
The Shelter of the Shadow
That Kind of Love
When Dinah Held My Hand / Jesus Is on the Mainline
Gomer’s Song
This Is My Father’s World
I Will Be Kind
Why Not Change the World
The album opens with ascending piano chords, and an invitation: “Come, come as you are, Broken and scarred…” There’s a quiet boldness in Michael’s voice. “…Surrender your fear, It is safe, there is comfort here.” The instrumentation embodies the call. The refrain gives the purpose in the call: “For the LORD is good, And his love is everlasting… Won’t you come?”
A simple message, yet deeply profound. This is what Michael has been approaching in his songwriting for all these years. Hesed is the heart of “El Shaddai.” The power behind the prayer, “Jesus Let Us Come to Know You.” The object of “Joy in the Journey.” This album is the culmination of decades of study in Scripture.
* * *
"Come as You Are" is followed by "Hymn to the Kindness of God." In this delicate piece, Michael seeks to express the inexpressible. Attribute after luminous attribute is named, filling out the nature of hesed. The nature of God. "Relentless tenderness, Hope of humankind."
There's a graceful wind and string arrangement (real instruments!) blending with voice and piano. It hearkens back to orchestration on early work such as The Final Word and The Beginning. Beautiful and, for me, nostalgic.
“Who you truly are, we hardly can believe; You know what we are, yet you refuse to leave.” Read the Scriptures and you will be confronted by a God whose goodness and love are so much purer than ours that he may seem, at times, too good to be true. Or maybe as Andrew Peterson says, “too good not to be true.”
* * *
“LORD, please show me your glory.” What a request! What was Moses thinking when he asked it? But there’s a desperation in his plea. To know God in a closer way, he disregards the danger. “The Shelter of the Shadow” recalls the history of hesed, starting before history: “From before the beginning Was a Word that was living…” Next is recounted the event portrayed in the book of Exodus; God revealing his glory to Moses on the mountain in the wilderness. A grand and soaring orchestral and chamber choir arrangement accompanies. Fitting for the events being portrayed…
“The LORD descended in the cloud and stood with Moses there, and proclaimed the name of the LORD. The LORD passed before him and proclaimed, ‘The LORD, the LORD, a God merciful and gracious, slow to anger, and abounding in hesed—steadfast love and faithfulness.’” (Exodus 34:5-6, ESV)
That shadowy cleft: what peril, and yet, what safety. For God’s glory was shown through his kindness. And that was just the beginning of God’s revelation…
“And the Word became flesh and dwelt among us, and we have seen his glory, glory as of the only Son from the Father, full of grace and truth… For from his fullness we have all received, grace upon grace. For the law was given through Moses; grace and truth came through Jesus Christ.” (John 1:14, 16-17, ESV)
* * *
“That Kind of Love” is by singer-songwriter Pierce Pettis. It’s a beautiful song, musically and lyrically, and a natural fit among the other songs on the album. The lyrics are capturing. Michael’s voice is clear and bright.
“It can’t be kept unto itself, It spreads its joy, it casts its spell, Till no one’s safe this side of Hell—That kind of love." The last lines of the song brought the message close to home for me: “So how can anyone deny That kind of love, Knowing every heart is measured by That kind of love…”
“He has told you, O man, what is good; and what does the Lord require of you but to do justice, and to love hesed—mercy, and to walk humbly with your God?” (Micah 6:8, ESV) “…O may we be remembered by That kind of love.”
* * *
Not often will Michael share a personal story in one of his songs, but “When Dinah Held My Hand” is quite personal. Listening to it, I felt like I was right there. It’s an important song because it addresses the issues of pain and evil. It does so looking through the lens of God’s kindness. The God who showed kindness to Moses and the people of Israel is still in the business of kindness. A banjo and a fiddle start out this simple story-in-song: “She was haloed ‘round in kindness, I was nervous and alone…”
Here, hesed takes on flesh and bone, and the kindness of God is seen on a common face. I’ve known people who shine that way. When with them, I felt safe. Ofttimes, the sweetest and kindest people are those who have gone through deep suffering. Instead of the hurt hardening them, by God’s grace, it makes them kinder, more able to comfort and help others who are hurting. Here we see the art of God’s providence: it will take what evil intends for a destructive end, and make something beautiful.
“She reached across three hundred years of suffering and pain, She reached across the great divide of the color of our skins; When she reached across that empty pew, then I understood, That all the hate that meant to harm, The Lord had used for good.”
At the close of the book of Genesis, Joseph says to his brothers, “You meant evil against me, but God meant it for good” (Genesis 50:20, ESV; emphasis added). What a comfort it is, that the Lord is working all things for the good of those who love him. Whether Joseph’s slavery, or the slavery of African Americans, no evil or injustice of man can thwart God’s good intentions.
“Life is made of moments we don’t always understand, Sometimes the meaning isn’t clear, there’s no specific plan; Each moment has been set in place before the world began, Like the time that Sunday morning, when Dinah held my hand.”
“Jesus Is on the Mainline” makes for a perfect outro to Michael’s story. Three instruments—a bluesy piano, a bass guitar and a tambourine — back up the vivacious singing of an African American choir! I love the diversity in the choirs featured in the album; international, like God’s hesed which reaches out to all mankind.
* * *
“Gomer’s Song” is from Michael’s Ancient Faith Trilogy, but it’s found a new and fitting home on this record. Gomer is graceless. Even her name sounds unattractive. But is this not the story of every Christian? Where would any of us be if not for the love that called us out of our shame and darkness? Hosea’s love for his unlovable wife is one of the clearest illustrations of God’s love for his rebellious people. Gomer’s story is my story. “Gomer’s Song” is my song.
* * *
“This Is My Father’s World” highlights yet another important facet of God’s hesed. Look around you. The trees, the animals, the blood in your veins—all creation tells of a sovereign, loving and faithful Father. “This is my Father’s world: He shines in all that’s fair; In the rustling grass I hear Him pass; He speaks to me everywhere.”
Those beautiful words are by Maltbie D. Babcock. Many who love this hymn have never heard of the hymn writer. Still fewer know of his tragic end by suicide. I don’t know what darkness brought Maltbie Babcock to take his life, but this I know: No dark demonic power can overshadow the covenant kindness God has for his children.
Michael introduces a couple small yet meaningful changes to this classic hymn text. I first heard Michael sing his version of “This Is My Father’s World” at a concert a few years ago. I was moved by the profound tenderness he had brought to the song. “This is my Father’s world, Why should my heart be sad? He is just and kind, he’s love defined, His grace all the hope that I have.”
This album arrived on the heels of a profound event in my life. In January of this year, my wife gave birth to our first child, a girl. Almost overnight, my understanding of God as Father—as my Father—was transformed. I now see how little I understood dependence, and how far I have to go to be broken of my pride and self-reliance. I see more clearly the pure joy it is to be a child of God, and to rest in his love. The other day we were going for a walk—my wife, our daughter and I. As I was looking up at the sky and the trees overhead, all at once, a thought entered my mind: “this is my Father’s world. My Father.” And it astounded me.
Again I must mention orchestration: the strings on this song are breathtakingly beautiful, like a towering cathedral forest of fir trees. I sense dedication and passion behind its arrangement.
* * *
“I can’t explain the mystery, Before I called, you answered me, And showed so great a love That set me free.”
As the album comes to a close, the mood becomes one of reflection. God has shown me kindness. Given his own precious Son, for me. What now? In the stillness, this kindness compels a response. “I Will Be Kind” is that response.
“So now I come and ask of you, To speak the word, to tell me true: In light of all you’ve done, what should I do?” The question is asked, and the response is given. It comes from Jesus’ sermon on the mount, and specifically his instruction to God’s children, on how they are to react to evil.
“You have heard that it was said, ‘An eye for an eye and a tooth for a tooth.’ But I say to you, Do not resist the one who is evil. But if anyone slaps you on the right cheek, turn to him the other also. And if anyone would sue you and take your tunic, let him have your cloak as well. And if anyone forces you to go one mile, go with him two miles. Give to the one who begs from you, and do not refuse the one who would borrow from you.” (Matthew 5:38-42, ESV)
My first reaction to Jesus’ words is to recoil. To give up all my rights, to basically let my enemy run all over me—it seems too much to ask. But this song, “I Will Be Kind,” has helped me better understand the heart behind Jesus’ words.
“I’ll forgive as I’ve been forgiven, I will love my enemies, I’ll be gracious to the ungrateful, That’s the grace you gave to me.”
Christ has set the example for loving my enemies, in loving me while I was his enemy. He loved the unlovable. He died for the unlovable. The greatest act of kindness. This is what it all comes down to. This is hesed. How can I not love as I've been loved? I must love my enemies.
To the proud and selfish heart, Jesus’ way is utterly abhorrent. But when that heart is broken by the love of Jesus, it gladly lays down all its rights. It becomes a conduit of his love. I will “turn the other cheek.” Jesus did first, and he did it for me.
“I gave my back to those who strike, and my cheeks to those who pull out the beard; I hid not my face from disgrace and spitting.” (Isaiah 50:6, ESV)
* * *
To the Kindness of God goes out with a paradox of a song. A light and cheerful melody carries these weighty words: “Why not change the world? Why not set it free? Why not let the change Begin with you and me?”
And so the album ends like it began: with an invitation. We’ve come full circle, and the one invited is now extending the invitation to those around him. A chord modulation, then a choir picks up where Michael left off—a Korean choir! Their voices are warm and so beautiful. “…Why not change the world, Why not make a start?”
* * *
To the Kindness of God is a joy to listen to; lyrically and musically, it’s insightful and refreshing. Just over 30 minutes, this album is short yet so rich in meaning. Truly, if not for the kindness of God, I do not know that I could bear to live. How I long to know it more!
“Who is a God like you, pardoning iniquity and passing over transgression for the remnant of his inheritance? He does not retain his anger forever, because he delights in steadfast love. He will again have compassion on us; he will tread our iniquities underfoot. You will cast all our sins into the depths of the sea. You will show faithfulness to Jacob and steadfast love to Abraham, as you have sworn to our fathers from the days of old.” (Micah 7:18-20, ESV)
* * *
Michael Card's new record, To the Kindness of God, can be found here: http://store.michaelcard.com/preorderhesedcd.aspx
And here’s where you can find Michael’s accompanying book, Inexpressible: Hesed and the Mystery of God's Lovingkindness (which I have now begun reading!): http://store.michaelcard.com/preorderhesedbook.aspx
And Michael, thank you. Here’s hoping for more music…
Yotam Silberstein may not be known as a jazz veteran yet, but he is certainly a master of his craft. Yesterday saw me moving to the music from his new album, Future Memories. The album releases tomorrow, and I want to share my thoughts about this wonderful collection of songs.
1. Future Memories
2. Matcha
3. Wind on the Lake
4. Impedimento
5. Intro to Night Walk
6. Night Walk
7. Capricho Donga
8. A Picture of Yafo
9. Capricho de Espanha
10. Choro Negro
Release date: March 1st, 2019
Label: jazz&people
Producer: Yotam Silberstein
A classical guitar opens the album and the title track, “Future Memories.” It’s a beautiful and provoking piece. It sets the tone for the entire album. There’s a gravity throughout, even in the livelier moments. But it still doesn’t keep me from dancing!
I first discovered Yotam’s music in 2016 during his previous release The Village. It was an explosion that came out of nowhere and rocked my world (or perhaps jazzed it). I instantly fell in love with that record and it’s become one of my frequently played albums. When I heard he was working on a new record, I knew it was going to be amazing, but how amazing I didn’t realize. Future Memories is mind-blowing. Delightful like The Village, yet there’s richer colors and a deeper confidence. There’s growth.
When I listen to Future Memories, I hear some jazz standard, a bit of Brubeck. It’s also experimental; Metheny-ish, but not to the point of abstraction that makes me zone out. That’s one thing I love about Yotam’s music, it’s always going — taking time to soak it all in, but always going! Several of the tracks run for seven minutes, though it feels more like three, they’re so engaging! Future Memories, like The Village, is world-influenced. You can especially hear this in “Impendimento,” “Capricho Espahna” and “Caricho Donga.” For me, “Impedimento” is an easy song to really get into. It was one of the first to grab me, and I keep going back to it. I love the Brazilian rhythm; it evokes nostalgia, taking me back to when I was little, and the way my father would play his guitar along with his Brazilian records and tapes.
Future Memories features Glenn Zaleski on piano and Fender Rhodes, Vitor Gonçalves on accordion and piano, and Daniel Dor on drums and percussions. Dor is merciless on the drums, and I love Gonçalves’ accordion (I believe it’s a button accordion); it really adds character, especially on “Impedimento”! Another highlight on “Impedimento” is the SOLID (yes, SOLID) bass, played by John Patitucci. I was excited about Patitucci’s involvement on this record. He is a gifted bassist (one of the best) and an outspoken follower of Christ. I love his work. I grew up hearing (and still listen to!) a song he wrote called “O Magnify the Lord,” which was recorded by the late Roby Duke. Future Memories features Patitucci’s bass work throughout, and several amazing solos, played on both the electric and upright basses. Perhaps most notable is the haunting intro to “Night Walk,” given a track all its own.
The majority of these songs were written by Silberstein himself. There’s a strength to his songwriting that makes listening such a joy. Take “A Picture of Yafo” for example: an immersive piece with a reflective spirit. Yafo (a.k.a. Jaffa) is a port city near Tel Aviv, Israel. Perhaps, in this song, Yotam is remembering his younger years in Tel Aviv, where he was born and raised. Listen and you’ll hear Yotam singing! His soft voice follows the melody he’s playing on the guitar and communicates a subtle nostalgia. At least two of the songs feature Silberstein’s vocals. “Caricho Donga” (by Hamilton de Holanda) is another of my favorites. It’s got a strong melody. In “Wind on the Lake,” another of Yotam’s compositions, I sense tenderness.
I feel that, start to finish, Future Memories is a perfect expression of jazz. It’s now #1 on my list of jazz records. Besides all this — my two-month-old daughter really seems to be enjoying it. If that's not compelling evidence, I don’t know what is!
Future Memories closes with the enchanting “Choro Negro” (by Paulinho da Viola); a duet with Silberstein on guitar and Gonçalves at the piano. With delicate touch and coordination, guitar and piano intertwine in a breathtaking dance, drawing the listener in, then vanishing into silence. And here, in the silence, I reflect, and am grateful...
Thank you, Yotam. Your gift of music has blessed me. And in my gratitude I must bless the Giver of your gift. Highest praise and honor be to God — Father, Spirit, Son; the Author of life and beauty, and music. From him all blessings flow!
Future Memories releases tomorrow! iTunes gives a release date of March 15; pre-order it there today for $6.99 (WHAAAT‽). Also, here are some more buying / streaming options. And here is a video with Yotam and friends talking about the record; check it out!
Four years ago today, I started this blog. The blog’s name came from the first track of The Cymbal Crashing Clouds, a full-length solo record by Nashville songwriter and producer Ben Shive. I didn’t know it at the time, but the day I created Listen! was Ben Shive’s birthday! And so I think it would be neat and even appropriate to write today about one of my favorite albums.
1. Listen!
2. EGBDF
3. Sorry, But I'm Yours
4. Someone Is Asking
5. The Fall
6. Shooting the Moon
7. She's Invincible
8. The Fire Pit
9. Your Secret Smile
10. A Last Time for Everything
I remember when The Cymbal Crashing Clouds was released. It was late Summer / early Autumn of 2011, around this time of year seven years ago. I remember that time in my life to be a blur. I was learning a lot. A lot about the gospel. A lot about God. His Holiness, His love. A love so profound that it would chase me to the ends of the world. I was realizing, too, that I was a very weak and needy person (I guess I’m still realizing that).
I had known of Ben Shive as a writer and producer (Andrew Peterson, Sara Groves) for a while, but had only just discovered his solo work on The Ill-Tempered Klavier, his 2008 release. I loved what I heard there and hoped for more. I remember the weeks leading up to the release of The Cymbal Crashing Clouds. I remember the expectation I felt. I remember my jaw dropping as I heard snippets of the record. In fact, I don’t remember a time where I was more keenly anticipating the release of a record. And my expectations were met and exceeded the night I got the album and listened through it for the first time. I felt then — and feel it even stronger now — The Cymbal Crashing Clouds is a quintessential record.
“Listen!” is the first track on the record (the song this blog is named after!). It opens with dueling train whistles. The train whistles actually sound throughout, as the song’s base (and um, it’s genius…). A shimmering opener, “Listen!” sets the tone for the rest of the record. Vibrant and strong. Brilliant in lyric and composition. The song tells of an encounter with the grandeur of God. It is inspired by Scripture, like many of the songs on CCC. I’ve written more about this song in another post.
THE LYRICS
OK, let me tell you about Ben Shive’s lyric writing. It is stunning. Wonderful. Captivating. The Cymbal Crashing Clouds is a thematic album, where unconscious, inanimate objects speak eternal truths. A train, a bust of Beethoven, a Nintendo console, the Fall leaves, and a fire pit are just a few of the characters. And they all tell of the God who stepped into our sin-broken world, to bring us truth and grace.
There’s a trend in songs coming out of the church; it’s a trend that’s been gaining traction for the last decade or so. Vagueness. And along with that, irrelevance. Because most of the time, the writers of these songs aren’t even sure what they’re writing about. In CCC I’m not hearing vagueness. Instead, it seems the more I listen, that each song has a message that is intentionally hiding behind a story, an image, a character. This is the way of a parable. But to those looking for truth, the meaning will find them. That’s the beauty of a parable.
For instance, “EGBDF” is a song about Ben’s struggle as a boy to please his piano teacher, only to get fired in the end. And how later on, music came alive for him in a surprising way upon discovering his father’s record collection. That’s the basic drift of the song, and it’s already a great song. But when you find out that the frowning Beethoven bust in the piano teacher’s living room is symbolic of Moses, and the frown of God’s holy law on our imperfection, the song opens to a new dimension, and so beautifully describes the gospel and the work of grace in the heart. I really like the metaphor the second verse makes to describe what God’s holiness requires of us, and how we fall far short:
Mrs. H was unimpressed
Though I had practiced religiously
Never mind that I was practicing
To master Super Mario 3
And soon she put my memory behind her
And fired me with the biting reminder that
Every good boy does fine
Ben has the ability to paint with his words. Every time I hear “Someone is Asking,” I clearly, vividly see the scene the lyrics are portraying, and I wish the scene could transform into a watercolor painting. But I don’t know if a painting would do justice to the imagery this song creates in my mind. Added to that, the song is a brilliant sweeping celebration of Christ and his love for the church. I’m wowed every time I hear it. Also, I love that it’s pretty much a modern jazz standard.
The more I listen to these songs, the more I realize the mastery behind their writing. I feel like there’s much more to them than my dull mind can grasp. “A Last Time for Everything” is a heartbreaking and glorious song that Ben wrote for his friend Emmet, who was dying of cancer. Hymn-like, it alludes to the finished work of Christ on our behalf. Ben got to sing it for Emmet before he died.
You're gonna wake up soon
In your lonely room
To the sound of a singing bird
Throw the curtain back
To find your bag's already packed
And the cab is at the curb
Then like a bad dream
Unreal in the morning light
So will the world seem
When you see it in the mirror for the last time
THE MUSIC
The music of The Cymbal Crashing Clouds is diverse. It draws from pop, rock, jazz, and soul traditions. It’s nostalgic. It reminds me in a way of the sound of Fleet Foxes, who have at times limited their instrumentation and style to a certain musical era or “world,” you might say. And it seems Ben has done a similar thing: set creative rules to go by in his delivery and production of CCC. This almost seems harder to do than trying to sound “modern” and “hip.” But Ben does this in such a natural way. And somehow, the constraining only broadens the creative horizon of the record! There are unapologetic references to the Beatles and the Beach Boys throughout the album — both musically and lyrically. “Your Secret Smile” is about Brian Wilson and the story of an unfinished record called Smile. It wasn’t until listening to the Smile sessions afterward, that I realized how much of an influence those songs were on Ben Shive’s music.
One thing that Ben gets a lot of requests for is his orchestral arrangement, and there are amazing string arrangements throughout this record. I’m a sucker for seventies-swelling string whimsy, so the string section toward the end of “Listen!” always gets me!! Every track on the album is so well choreographed. The interwoven strings, I would say, are the “cherry on top.”
Looking back, I feel like the reception of this record was not what it should have been; it’s a bit disappointing. And it mystifies me. What happened to The Cymbal Crashing Clouds? Why was it not more eagerly received and appreciated? Especially by the church, where eyes and ears are said to be opened to true beauty. Was it its musical “indieness”? Its lyrical intricacy? Or perhaps it was the owl-man on the front, I don’t know. But I do know there’s good news in these songs, and beauty for those who have ears to hear.
Yesterday I was driving through town and listening to “The Fall” —
The summer sun, once young and wild,
Is a little wiser and his eyes are tired;
He nods his head mid-afternoon
And then he’s off to bed.
So while the days are ripe and sweet
We heap them up in baskets at our feet
And do our best to use them well,
Cause they won’t last.
Leaves are turning everywhere; the days are getting shorter. It’s a beautiful time of year. Yesterday, Ben Shive’s “The Fall” reminded me of something I believe God is telling us through this season: That the year is coming to a close, and so are our lives. The year speeds by, and ends with a sigh, just like a lifetime. O Lord, teach us to number our days. By the way, “The Fall” is one of the most brilliant songs of all time…
Since its release in 2011, The Cymbal Crashing Clouds has probably become my most played album. I always get something new from it. Every time. And it’s plain fun to listen to as well. This album has become the soundtrack for many precious memories in my life. Every time I hear it, I’m filled with gratitude for this collection of songs and for Ben Shive, in opening up and letting us hear them. And I’m still hoping that Ben lets us hear more, because I know there’s more…
As the needle deciphered the song from the vinyl,
I went stumbling down halls ever spiraling–
Drawn to the center, the strings all ascending,
A long chord decaying, a song in a circle unending...
A train passes our house daily. It has the exact same whistle as the one that plays at the beginning of Ben Shive’s album. I hear it most distinctly in the mornings, as it passes through the sleepy countryside and rings its rousing dissonant cry. Now every time I hear it, I hear the cymbal crashing clouds. And I’m reminded that the God of history — the God of the universe — is calling out to me. That in each day, even in the mundane things, there can be an encounter with his majesty. My response, then, is that of the boy awakened in the night by the voice of God — “Here am I.”
The Cymbal Crashing Clouds can be found (at least for now) at the Rabbit Room, and I would strongly (even forcibly) suggest you go there and get it! You won’t regret it! And while you’re at it, you can get the book — did I mention that he wrote a book with the same name‽ Countless times I’ve reread that fascinating little book. And I’ve always gone away inspired (and that’s where I got those awesome drawings from).
I said this in a tweet yesterday afternoon: “@Ferndiggity’s ‘The Crucifixion of Jesus’ is a masterpiece.”
“Ferndigity” is the Twitter handle of songwriter & performing/recording artist Fernando Ortega, whose newest record was released today — and I’m not speaking loosely when I say this record is a masterpiece!
Blessed Be Our God
Reading: Say to the Daughter of Zion
Prepare the Way, O Zion
Reading: Money Changers
House of Prayer
Reading: Last Supper
In My Father's Kingdom
Reading: Peter's Denial
Stay With Me Here
Your Will Be Done
O Great Love, O Love Beyond All Measure
Reading: Excerpt from Holy Living
Ah, Holy Jesus, How Have You Offended?
My Song Is Love Unknown
Reading: Crucifixion
Psalm 22
Stricken, Smitten and Afflicted
The album opens with these words:
“Blessed be our God forever and ever, Amen”
The name of the record is also its theme: the crucifixion of Jesus. You’ve heard of Jesus, the Christ and his death on a Roman cross, but maybe you ask, “what does this mean for me?”
The Bible is God’s revealed word to man, the subject of the Bible is the Gospel (the good news) of Jesus; and at the center of the Gospel is the cross of Jesus. God’s just atonement for sinners by the blood of his Son. The demands of justice met by the only sinless Man, so that all men, through believing in that one Man — the God-Man — might have his righteousness imputed to their accounts, and be saved.
It’s here, at the cross, God’s justice and his mercy are most clearly seen.
That’s the significance.
From “Stricken, Smitten and Afflicted:”
“Many hands were raised to wound him / None would interpose to save / Yet the deepest stroke that pierced him / Was the stroke that Justice gave”
The Crucifixion of Jesus is comprised of songs and readings, alternating throughout. I’ve been listening to the album for the last three days; I must say, more than being a well-produced album, it is a compelling album. The songs and readings present the account of the crucifixion of Jesus reverentially and biblically.
The choice of songs is excellent: these songs are cohesive, they inform each other— and they are moving.
Several of the songs are “retuned” hymn texts. If you’ve heard any of his more recent work (particularly The Shadow of Your Wings and Christmas Songs), then you’ll know that Ortega has a knack for this sort of thing. Taking old hymn texts — all with rich lyrical and theological depth — and then building for them intentional, fitting music to be housed in. On The Crucifixion of Jesus, the music behind the songs bears a distinct heaviness.
From “My Song Is Love Unknown:”
“My song is love unknown, / my Savior’s love to me / Love to the loveless shown, / that they might lovely be / Oh, who am I that for my sake / My Lord should take frail flesh and die?”
There are also several songs where the music as well as the lyrics were written or co-written by Ortega; these songs are, lyrically, much more simple and give a very good balance to the album and contribute, I feel, to the album’s cohesiveness.
Some may raise the objection that an album about Jesus’ crucifixion should also tell of his resurrection. The album starts at Jesus’ entry into Jerusalem, and recounts the events that lead up to his crucifixion and death, and ends there — at his death. But is this not a subject worthy of our most careful contemplation?
From “O Great Love, O Love Beyond All Measure:”
“O great love struck down, but not destroyed...”
...And to be fair, Ortega intends to conclude the story with another album — on the resurrection of Jesus. At the cross, Jesus payed our ransom; at the resurrection, God declared the payment good. But there’s something special in the pause at an important part of a story— a pause for gravity, to let it sink in, y’know?
From the reading: “Excerpt from Holy Living:”
“All praise, honor, and glory be to the holy and eternal Jesus. I adore you, O blessed Redeemer, eternal God, the light of the Gentiles, and the glory of Israel; for you have done and suffered for me more than I could wish; more than I could think; even all that a lost and dying sinner could possibly need...”
From the songs, to the beautiful instrumentation, to the carefully chosen readings, and the way they all flow so naturally, like the telling of one story— The Crucifixion of Jesus has truly moved me, even at times, to tears.
The crucifixion of Christ: what darkness and yet, what light! Such injustice and hate by the hands of men was never known, nor ever shall be known. And yet he said — “Father, forgive them.” The love of Jesus: I know no greater love.
I hope and pray that this collection of songs and readings would be a means that God would use to draw his church — and as a result, the world — to the foot of the cross of Christ, and to the pure and transformative Gospel of that cross.
The album ends with these words:
“Lamb of God for sinners wounded / Sacrifice to cancel guilt / None shall ever be confounded / Who on him their hope have built”
Physical and digital copies of the album can be purchased at:
Andrew Peterson is a songwriter / musician / author (yes, author as well!) from Nashville. I discovered his music in the Spring of ‘08 and have been listening ever since. I would talk about all his music and writing, how it has touched me in so many ways — how it has played a part in the hatching of my heart — but that will have to be saved for another time.
It has been three years since the release of Light for the Lost Boy, Andrew Peterson’s most recent album of new music, and the wait is almost over: The Burning Edge of Dawn releases on October 9th. I would like to share my thoughts on this new collection of songs:
1. The Dark Before the Dawn
2. Every Star Is a Burning Flame
3. We Will Survive
4. My One Safe Place
5. The Rain Keeps Falling
6. Rejoice
7. I Want to Say I'm Sorry
8. Be Kind to Yourself
9. The Power of a Great Affection
10. The Sower's Song
I was eager to find out what he would have to say through these songs. There are so many hurting souls in the world, so much darkness. I wondered what he had to say, in the midst of all this pain... I heard the first verses of the opening track, “The Dark Before the Dawn” and I knew what The Burning Edge of Dawn was about.
I’ve been waiting for the sun
To come blazing up out of the night like a bullet from a gun
’Til every shadow is scattered every dragon’s on the run
I believe, I believe that the light is gonna come
And this is the dark, this is the dark before the dawn
I’ve been waiting for some peace
To come raining down out of the heavens on these war-torn fields
All creation is aching for the sons of God to be revealed
I believe, I believe that the victory is sealed
The serpent struck, but it was crushed beneath his heel
It’s the old, old story; the one that bears repeating; The one we need to hear over and over again. Of the love of God, reaching out to sinful man, through the Son who will one day crush the Serpent, once and for all. I’m still amazed every time I hear the story — the good news.
The song is set to a steady beat, and as the last verse ends, the beat is accented by the beautiful sound of a hammered dulcimer. But just as the song seems to come to a close, Andrew sings:
I had a dream that I was waking at the burning edge of dawn
And I could see the fields of glory, I could hear the Sower’s song...
This is the theme of the album. Each of the songs, trying to catch a glimpse of that dawn. Seeing the ways in which Christ is working, growing his kingdom in the hearts of men — slowly but ever so surely — even as the darkness seems to grow. How someday, there will be a consummation of light and beauty. Andrew starts where he left off on Light for the Lost Boy, but with a renewed fervor, a renewed hope.
The sound of The Burning Edge of Dawn is a bit tricky to describe. It could be called layered folk, or maybe enlightened pop, maybe both, maybe neither — it’s hard to put a finger on. It’s somewhere in the vein of Lost Boy and more so of Lost Boy’s B-side, “Break it All Away” in which Andrew really pushes on his sonic boundaries. I hear a lot of that same experimentation happening here, and it colors the songs so well! It’s mellower than Lost Boy, but somehow carries more energy. Maybe it’s joy...
The Burning Edge of Dawn features some gifted artists. Ben Shive, Andy Gullahorn and Jill Phillips, as well as Caleb Chapman of Colony House and Ellie Holcomb, all make appearances on the record.
“Every Star Is a Burning Flame” is a cool song. It’s a journey from a starry hill in Idaho, to a garden in Tennessee, to the far reaches of space and then back to earth again. It’s quite a journey musically as well. It begins with a simple piano progression, but gets groovy when a syncopated snare beat, an arpeggio guitar lead and ethereal falsetto vocals are added into the mix.
The words of the song bear a simple truth: God’s glory can be seen in all of creation. In the farthest star or on the face of a passer-by. In spite of the weight of the curse on creation, the weight of God’s glory still shines through.
There seems to be a connection between these songs and songs from Light for the Lost Boy. The guitar riff on “We Will Survive” hearkens back to “Rest Easy,” a song Andrew Peterson wrote for his wife Jamie, reminding her of the unconditional love of God. Now, in “We Will Survive” he sings:
Tell me the story I still need to hear
Tell me we're gonna make it out alive again
I need to know there's nothing left to fear
There's nothing left to hide
So will you look me in the eye
And say we will survive
I feel that connection to Lost Boy in other songs as well; “My One Safe Place” is also about the love and companionship of his wife:
You are a fortress
I am under siege
You’re a light in the forest
I am a lost boy out in the trees
So I run away home
Yes, I run away home to you
The words of this song brought to my mind his struggle with darkness and doubt in “Shine Your Light On Me.” It seems now, that the lost boy is finding his way home...
I think [Light for the Lost Boy] might be the most hopeful record I’ve ever made, by virtue of the despair that haunts the edges of it. The Burning Edge of Dawn is about hope, too, but it’s also about something else: joy. That little kid on the cover of the last album survived the night and stepped out of the forest at the moment the sun finally broke the horizon. From where he’s standing he can still see the shadowy trees behind him, still remember how afraid he was. He knows he has a long way to go, but he can’t deny the beautiful truth that the sun always rises. The light always wins, sooner or later. — Andrew Peterson
Gabe Scott produced the album and has done an excellent job. He and Andrew Peterson have worked a lot together in the past, but this is the first time for him to be in the producer’s chair for one of Andrew’s albums (though he has produced for other artists before). Gabe Scott has offered a unique approach to the production of these songs — a sonic palette that adds a freshness to the whole album.
“The Rain Keeps Falling” is about a season in life that feels like gray clouds and a steady rain; the kind of rain that falls for days, weeks, months. A heaviness that you want to shake off, but you can’t. And the music fits the lyrics. It’s definitely a dark song; the darkest on the album and perhaps, if possible, darker than the songs on Light for the Lost Boy:
I tried to be brave but I hid in the dark
I sat in that cave and I prayed for a spark
To light up all the pain that remained in my heart
And the rain kept falling
The song is honest and painful:
There’s a woman at home and she’s praying for light
My children are there and they love me in spite
Of the shadow I know that they see in my eyes
And the rain keeps falling
But through the sorrow, a voice rings out:
Peace, be still... peace, be still...
The song is written in psalm-like fashion — akin to one of King David’s laments. I’ll never forget the first time I listened through the album. Sitting on a chair in our living room during the first heavy rain of the season. I see the rain whenever I hear this song.
“Rejoice” opens with a solemn synth pad, almost so as not to belittle the heaviness of the previous track. But it doesn’t last for long: bright guitar picking, then Andrew’s voice:
And when the winter is over
The flowers climb through the snow
The willows weep and the clover grows
Then all at once, you hear a song
That’s stronger than the noise — Rejoice
There are moments of joy on this record, but “Rejoice” is the most joyful. A stark contrast to the sorrow in the song before.
And when the peace turns to danger
The nights are longer than days
And every friend has a stranger’s face
Then deep within the dungeon cell
You have to make a choice — Rejoice
Joy isn’t dependent on circumstances: it’s a way we must live in spite of the circumstances. The man in the cave from the last song, has chosen to praise God, even in the darkness. “Rejoice” is like an anthem, a battle cry, to stir the sleeper, to lift the weary.
“Rejoice in the Lord alway: and again I say, Rejoice.” — Philipians 4:4
Andrew Peterson’s songwriting has grown over the years, and it’s still growing! There’s such a depth to these songs.
The Burning Edge of Dawn is about catching a glimpse of the coming Kingdom, and one way we can see it is through the inner-workings of the Holy Spirit in our hearts, as he moves us and shapes us and grows his fruit in our hearts. “I Want to Say I’m Sorry” is an honest expression of that inner-working: it’s a simple, humble song of confession and restoration:
I want to say I’m sorry that I drew the line
I built the wall, the fault is mine
And maybe now the only way to find some peace
Is just to give it time and to trust in grace
So this is my communion hymn
I want to sit beside you at the feast my friend,
Again… Again and again…
Rich Mullins said it this way: “Every time you go to church you're confessing that you don't have it all together.” We all need to sit at that table. Receive the bread and the wine. We all need to be broken about our brokenness. To know our need for forgiveness.
Scripture says that God allows his children to walk through dark times, “so that we may be able to comfort those who are in any affliction, with the comfort with which we ourselves are comforted by God” (II Corinthians 1:4). These songs are sources of comfort and light, little reminders of God’s goodness; the result of walking through a dark season of life.
“Be Kind To Yourself” is a song that Andrew wrote for his daughter. It’s tender and understanding, like he’s been in a similar place.
You can't expect to be perfect,
It’s a fight you gotta forfeit
You belong to me whatever you do
So lay down your weapon,
Darling take a deep breath
And believe that I love you
Skye lends her beautiful voice to this song (as well as to “The Rain Keeps Falling”) and I must say, she’s really growing as a musician.
I so enjoy the bright background vocals dispersed throughout the album, like threads woven through the songs. They’re part of what gives the album a feel of continuity, of cohesion.
“The Power of a Great Affection” is a song about the unfathomable love of God. It is based on a phrase used by Christians over a century ago to describe their conversion.
I was reminded that my salvation is not my own: I’ve been loved by my maker long before I drew breath. I need to be reminded of that.
I cannot explain the ways of love
Life cannot explain the grace of kindness
There's no reason that can satisfy enough
The healing of this blindness
I've been seized by the power of a great affection...
“We love him, because he first loved us” — 1 John 4:19
“The Sower’s Song” is the final track on The Burning Edge of Dawn. It opens with a piano arpeggio which brought to my mind the sun dawning over the Garden Tomb on that first Resurrection Sunday.
Oh God, I am furrowed like the field, torn open like the dirt
And I know that to be healed, I must be broken first
I am aching for the yield that you will harvest from this hurt
Abide in me, let these branches bear you fruit
Abide in me, Lord, as I abide in you
The song shifts pace nearly halfway through and begins growing, and growing. The end of “Sower’s Song” is straight out of Isaiah 55. Andrew’s voice is radiant and strong. The music was written by Ben Shive and has the feel of an epic cinematic soundtrack. It’s breath-taking, actually. I don’t really know how to best describe it, except to say that it is a beautiful ending to a beautiful album — a grand benediction, bringing the album back around, full circle. It goes out with french horns...
And the Sower leads us, and the Sower leads us...
"For as the rain comes down, and the snow from heaven, And do not return there, But water the earth, And make it bring forth and bud, That it may give seed to the sower And bread to the eater, so shall My word be that goes forth from My mouth; It shall not return to Me void, But it shall accomplish what I please, And it shall prosper [in the thing] for which I sent it.” — Isaisah 55:10-11
God the Gardener, Christ the Vine, we are the branches (John 15). Let us cling to Jesus. Cling, even as the darkness grows. One day we’ll wake to life, springing out of the cold earth. One day we’ll wake — at the burning edge of Dawn.
This album of songs has been such an encouragement to me. Thank you, Andrew, for speaking light into the darkness. Know that your labor in Christ is not in vain.
Blessings, Nathanael (Jebi)
The Burning Edge of Dawn will release on Friday, October 9th. You can pre-order your copy at iTunes, Amazon.com or The Rabbit Room, the latter of which offers a special Commentary Edition as well.
First of all, who could resist cover artwork like that? I have this weird mental construct that judges an album good or bad by its cover art. OK, that really isn’t the best way to judge an album but still, doesn’t the artwork on an album cover have something to say about the album itself? The artwork for The Wind & the Wave tells of adventure, nostalgia, a voyage across a mysterious and vast sea. In The Wind & the Wave, the vast and mysterious sea is life, with its swirling waves of sorrow mingled with joy….
When my family first arrived in Washington State, we did a lot of exploring and Port Townsend was one of the places we discovered and would often return to; a harbor town filled with beautiful victorian style architecture and quant shops where one may find such rarities as the plastic tiger mask that Papa bought for me there. Further into the city is the beautiful Chetzemoka Park, sitting right on the oceanside. We would picnic there. The Wind & the Wave was playing in our little Mitsubishi’s tape player when we first drove through the streets of Port Townsend and to this day the sounds of that album bring to mind the sights of that city and vice versa; they just fit so perfectly together. I close my eyes while listening to the closing instrumental of “The Blessing (of the Fleet)” and I see the harbor. Now, after many years and many tears these songs have taken on great meaning for me. But enough about my experience. To the music itself.
1. Press On
2. Whatever Happened to Love
3. A Way Back
4. Mona Lisa Said
5. The Blessing (Of the Fleet)
6. The Sacred Journey
7. When Nothing’s Sacred
8. I Saw a Blind Man
9. Kumquat May
10. Mona Lisa’s Encore
Musically, The Wind & the Wave is sort of an Americana/Folk/Rock blend with a tinge of sailor. It’s bright in tonality: starting with the opening track “Press On”, with its bellowing harmonica intro, this album has an upbeat and cheerful feel all the way through, with the exception of “When Nothing’s Sacred” (one of the greatest songs on the problem of our time). But sound can be deceiving for lyrically, this album is definitely not a walk in park. At times the lyrics are very dark. Take for instance the first lines of the first track:
From “Press On”
“I was down in the valley of the shadow of death
Where the passion for life drained like blood from my chest”
And from “A Way Back”
“I know you see no hope in sight
Spiraling down on wings of weary flight
And crying from your private hell”
From what he shares in the words of the songs, it seems Billy Sprague passed through a time of great grief; evidently the death of a loved one:
From “The Sacred Journey”
“Lost a dear friend in the winter,
Left her there beneath the ground,
Cried to Heaven for relief,
And that’s when Jesus carried me”
No doubt about it, there is great sorrow; but the sorrow is mixed with light: great hope can be found among the shadows…
“Blessed be the God and Father of our Lord Jesus Christ, the Father of mercies and God of all comfort, who comforts us in all our tribulation, that we may be able to comfort those who are in any trouble, with the comfort with which we ourselves are comforted by God” ― 1 Corinthians 1:3-5
The suffering we experience in life is for a purpose: God wants to make us sources of comfort for others who are hurting. In The Wind & the Wave, Billy Sprague takes the listener across a dark ocean, to find the joy and comfort that waits on the other side: the comfort Jesus gives, through his Spirit and through his children.
From “Press On”
“On the ocean the ocean so lonesome I was not left alone,
I had some heavy-weight friends when my heart was a stone,
And they carried the heartache and made it their own,
When the currents of sorrow were strong,
And one said: ‘I pray your memories will not drag you down,
Not be anchors but treasures of the love that you found’
And his kind words turned hurt into comfort somehow
And a wind in my sails to press on”
From “A Way Back”
“Sometimes a heart gets frozen within
Thinking winter will not end
But seasons find a way to change things bit by bit
Sometimes the pilot of a ship
Can make headway from a raging storm
instead of being wrecked by it
but here,
Living within the tragedy
Fighting the winds of agony
It’s hard to imagine
That you’ll ever make it through
But if I know anything it’s this
Holding the hand of God there is
Not only a way through
There is a way back, too.
Back to life again
To a place where faith begins
And be convinced
That hope can spring eternal… even here”
Sometimes the greatest comfort comes from unthinkable loss. There is great comfort in the words of these songs. And the music — it somehow has this feeling of yearning. Maybe it’s just me, but when I’m listening to the opening of “A Way Back” I have this feeling, this tug, this homesickness for a place I’ve never been. A home beyond the sea. A place I’ve never known but I’m heading for. Getting closer to everyday. The lyrics all through the album bear this as well.
From “The Sacred Journey”
“Welcome to the sacred journey,
That every mother’s child most make
Love’s a dangerous road,
You better find a hand to hold
In the darkest doubt and sorrow,
Dare to pray the wildest hope,
Grace exploding in the heart,
Like constellations in the dark,
Guide you home”
I love the sound of this album: the shimmering guitars, the percussions add so much. I love the strings and horns dispersed throughout. I love that “Mona Lisa Said” has an encore at the end. It totally deserves it. The head-banging drums and high baseline woven around blaring horns on “Whatever Happened to Love”, and the tight-knit harmonies — all so beautiful. The melodies naturally blend with lyric and instrumentation, something not easily achieved.
Recently, I was listening to “I Saw a Blind Man” which seems, from a musical aspect to be the most jovial song on the album. I came to realize by the end of the last verse that actually, it may be the saddest. A cheerful trumpet line chimes in as the last verse ends and it only serves to make things more sorrowful. Oh Lord, may I never overlook an opportunity to show your love to a lonely, sorrowing world. There really is no grace given in “I Saw a Blind Man”. It ends with the sound of cricket chirps, fading into the next track which opens with the adorable voice of a little girl saying “I wish my head was a hot-air balloon”, and “Kumquat May” begins. A song about the beauty of the innocence of a child and how one must never miss the precious moments given by God. Here, redemption is found and light, again.
“Truly I say to you, whoever does not receive the kingdom of God like a child will not enter it at all.“ — Mark 10:15
I’m realizing more and more how true the words of these songs really are. I’m blessed to have songs like these in my soul. We are on a sacred journey, and for those in Christ, it ends in Glory.
I leave you with these words:
From “The Sacred Journey”
“Never doubt the truth of what you do not understand,
The world is still so full of wonder,
And even in the agony we’re in the Father’s hand,
The world will turn around, and little by little you’ll come alive.”
And from “The Blessing (of the Fleet)”
“May your nets be filled, your compass true
May the wind and the wave be your friend
May you stand the storm, and the hand of the Lord
Bring you safely to harbor again.”
Billy is still making amazing music: He recently release a new album, Songs in the Key of Awe. There are some exciting things going on with him and his family. Check it all out at: http://www.billyspraguemusic.com
Musician: Steve Green
Album: Where Mercy Begins
Producer: Brown Bannister
Release date : February 14, 1994
For me, the sounds of this album bring to mind the memories of a drive up the West Coast:
I received this album (actually it was a cassette tape) as a gift from my grandma on my fourth birthday. I was thrilled to have a brand new copy of a fresh release by my favorite singer. Steve Green had been my favorite ever since I’d heard his Hide ‘em in Your Heart music a couple years before. In the weeks to come, our family would pack up and drive our Mitsubishi minivan northward, along the coast, from Burbank, CA to our new life in Washington State and I would run the tape nearly to death. I soaked up the music. Eventually, Papa bought a CD version of the album, such was the outcry of the worn tape. Where Mercy Begins has been in my regular spin stack ever since.
1. We Trust in the Name of the Lord Our God
2. Glory To You
3. Answer the Call
4. That’s Where His Mercy Begins
5. The Beauty of the Bride
6. Great Is the Lord God
7. Kings Shall Bow
8. God Causes All Things to Grow
9. Emmaus
10. Revive Us, Oh Lord
Looking back, I realize now what an amazing foundation those songs were for me: They’re musically and lyrically rich, Christ-centered and full of biblical truth. A reoccurring theme in Where Mercy Begins is God’s complete sovereignty and abounding, unmerited grace to fallen sinners. Another reoccurring theme is the call to faithfulness, courage and purity in every aspect of our lives, and how that can only come from complete trust in and submission to the Spirit of God and his will. Here are some lyric snippets:
From We Trust in the Name of the Lord Our God:
“Some trust in the works they do
We trust in the name of the Lord our God
‘Cause by His grace all the work is through
We trust in the name of the Lord our God”
From I Give the Glory to You:
“What do I possess That You did not give to me
What mysteries are clear to me That You did not explain
When did I share Truth I had not received from You
What good works have I performed That you did not ordain”
From The Beauty of the Bride
“Opening my eyes I see
The answer to my soul’s great need
To belong, to be more than what I am
A stunning new reality
Unfolding now inside of me
I’m a part of the beauty of the bride
My belongingness
Was bought by His faithfulness
Was purchased with His blood”
The musical aspect of a song plays a huge part in carrying the message of the song. From beginning to end, the lyrics of Where Mercy Begins are an affirmation of our faith in Christ — and they’re supported by bold and robust music. I knew the first time I played the cassette and heard the first moments of “We Trust in the Name of the Lord Our God” that things were different, sonically, than his previous records. It was a new sound, and I loved it. Steve Green’s vocals were different too: Instead of the strong operatic vocals of former recordings He now sang with the softer, flowing vocals of a pop singer and it blended naturally with the music. Of course there are still moments with powerful vocal performance: a plea to God for revival on the closing track, “Revive Us, Oh Lord” and the confident proclamation of Christ’s return to earth on “Kings Shall Bow” are both memorable moments. “Kings Shall Bow” has become one of my all-time favorites. It reminds me every time I hear it that the darkness and evil all around are not the end of the story:
“They mock His name
And slight His word as if He were a fable
They taunt my faith
And scorn me as if I were a fool
But feeble is their reproof
And firm is the final truth
That all their slandering
Doesn’t change a thing
For even at this very hour
If the Father pleases
Kings shall bow and adore
And nations kneel down before Him
And every tongue confess
That Jesus Christ is Lord…”
Backed by strings, horns and thunderous drums, “Kings Shall Bow” really has the feel of an epic cinematic soundtrack! I’ll never forget hearing/seeing him sing it live. Another sonic highlight is the intro on “Answer the Call” — pure 90′s synthesized goodness.
Cohesiveness in a music album always makes for a good listening experience: this can be achieved in many different ways and some are more subtle. For Where Mercy Begins, it’s a bluesy guitar lead (played by the brilliant Tom Hemby) that is woven through the tracks.
It’s also worth mentioning that Where Mercy Begins features writing by Michael Card (“The Beauty of the Bride”) and Steven Curtis Chapman (”We Trust in the Name” & “God Causes All Things to Grow”) as well as the warm fingerstyle guitar of Billy Crockett on “God Causes All Things to Grow.”
In a little Bible church in Quilcene, WA, just over a year after I got the cassette for my birthday, I sang the song, “That’s Where His Mercy Begins”. The only accompaniment I had was the CD, so I sang along with Steve Green’s voice. That was the first time ever for me to sing in front of an audience. That was twenty years ago and God’s rich mercy is still the theme of my song!
The site title, Listen!, comes from a Ben Shive song by the same name (including the exclamation mark).
“Listen!” is the opening track on his album The Cymbal Crashing Clouds. There is also a companion book bearing the same name as the album. In the book, Ben writes this about “Listen!:”
“Andrew Peterson once told me the story of Nikola Tesla’s “little black box,” which could determine the resonant frequency of a building and then generate that frequency in ever-increasing intensity until the building was swaying and threatening to come apart. I’m afraid I am a little dull and slow to take notice of things (ask my friends); so my prayer here is for God to sound the note that shakes my building, to wave his arms a bit and get my attention.”
I feel the same way at times; dull of hearing. I need to constantly pray for open ears so I can hear what God wants to tell me. The songs that I write of here have played a part in God’s work in my life, to shake me awake, to open my eyes, to keep me listening.
“God, who at various times and in various ways spoke in time past to the fathers by the prophets, has in these last days spoken to us by His Son, whom He has appointed heir of all things, through whom also He made the worlds.”
So, I just wanted to explain the reason behind the URL “ListenBang”.
The ‘bang’ part is a substitution for the ‘!’ in the blog name (Listen!), because I was unable to use an exclamation mark in the URL.
‘Bang’ became a substitute name for the exclamation mark in the typesetting/publishing circles of the 1950’s for the simple reason of it being easier to say, and is still used today, mostly in coding/IT circles.
You know, you might get an album, sometimes the week it comes out, and love it and listen to it over and over again, then rediscover it in a whole new way later on. Sometimes you’ll discover a song, an artist, an album or even a collection of albums which has been around for awhile, that you had no idea existed, and that’s fun too. Sometimes you’ll hear some music that you might think isn’t that great, but then one day the same music hits you, out of the blue. Sometimes, the song just grows and grows on you. I’ve experienced all of these.
As I write my reviews on these albums, don’t be surprised if they form an autobiography of sorts; because through the various stages of my life, these albums were the soundtrack: each album brings to mind memories of the past; of God’s goodness.
God is the creator and giver of music and the end goal of all music should be to glorify Him. I pray that the collection of music here on Listen!, and the writings that go along with it, will be glorifying to Him.
Release date: July 22, 2014
Label: Descendant Records
1. Silhouettes
2. Second Guessing Games
3. When I Was Younger
4. Caught Me By Surprise
5. Roll With the Punches
6. Keep On Keeping On
7. Waiting for My Time to Come
8. 2:20
9. Learning How to Love
10. Won't Give Up
11. Moving Forward
12. Glorious
13. I Had to Grow Up
14. Lose Control
I’ve seen these guys making music together since they were lads, and I see growth in this their debut album. 14 solid and cohesive tracks, each song a musical powerhouse with a thoughtful and intentional lyric.
First—the production! It’s amazing! The majority of When I Was Younger was produced by the music wizard Ben Shive. I hear flecks of his musical genius throughout the album. A hammered dulcimer in “Moving Forward” (definitely Shive inspired) and a children’s choir in “Roll with the Punches” (not to mention the awesome hawk screeches on “2:20”!)—all part of this record’s diverse palette of sound.
In listening and re-listening to When I Was Younger, I notice a well-ordered track list telling of a journey from innocence to brokenness, then to hope and healing through the one "reaching back for the lonely."
I think so far “Glorious” is my favorite song. I love the blend of lyric and music. I feel like it’s so natural!
Well, it's been a while coming but totally worth the wait—I am immensely enjoying Colony House’s When I was Younger!
