Seriously. I don’t know what’s in the water in English Anglican churches but it’s scary. The priests over there come up with some odd behavior and weirdideas.
A couple of days ago, The Telegraph in Great Britain, published a story regarding a Miss Mann, the priest-in-charge of St Nicholas’s, in Burnage.
Miss Mann wants us to know that while we may have some concerns about its lyrical content, there is “…especially at this agonized time, has a serious gospel lesson to learn from this darkest and heaviest music.”
The Cleric sees this genre as a forthright way of dealing with difficult issues:
“The music’s willingness to deal with nihilistic and, on occasion, extremely unpleasant subjects seems to offer its fans a space to accept others in a way that shames many Christians… Metal’s refusal to repress the bleak and violent truths of human nature liberates its fans to be more relaxed and fun people”.
Well.. sure. I’ve always considered songs about death, dismemberment, demons, and debauchery rather fun!
As an example of Miss Mann’s “fun” approach, she quotes from the thrash metal band Slayer:
“I’ll take the devil any day, hail Satan.”
Hey that sounds like fun!
She states: “Much of metal’s fascination with Satan or evil is play-acting, driven by a desire to shock… Metal invites Christianity to be less afraid of wildness and the ridiculous.”
I’ve just been invited to throw up. But hey, I’m sure someone could combine this with the Twilight movies for a great sermon series…
“Most churches would agree that any segregation arising from racial or economic bigotry runs contrary to the nature of the gospel and should not be tolerated. But there’s another kind of segregation, perhaps more subtle, that many churches today have unapologetically embraced.
Following the lead of the advertising world, many churches and worship services target specific age groups to the exclusion of others. They forget that, according to the Bible, the church is an all-age community, and instead they organize themselves around distinctives dividing the generations: Busters, Boomers, Millennials, Generations X, Y, and Z. Many churches offer a traditional service for the tribe who prefer older music and a contemporary service for the tribe who prefer newer music. The truth is, however, that if the only type of music you employ in a worship service is old, you inadvertently communicate that God was more active in the past than he is in the present. On the other hand, if the only type of music you employ in a worship service is new, you inadvertently communicate that God is more active in the present than he was in the past.
The only way to musically communicate God’s timeless activity in the life of the church is to blend the best of the past with the best of the present. In other words, we must remember in our worship that while “contemporary only” people operate with their heads fixed frontwards, never looking over their shoulder at the stock from which they have come, and “traditional only” people operate with their heads on backwards, romanticizing about the past and always wanting to go back, the Church, in contrast from both extremes, is called upon to be a people with swiveling heads: learning from the past, living in the present, and looking to the future. That’s the only way to avoid in worship what C.S. Lewis called “chronological snobbery.”
You see, when we separate people according to something as trivial as musical preferences, we evidence a fundamental failure to comprehend the heart of the gospel. We’re not only feeding toxic tribalism; we’re also saying the gospel can’t successfully bring these two different groups together. It’s a declaration of doubt about the unifying power of God’s gospel. Generational appeal in worship is an admission that the gospel is powerless to join together what man has separated.
Building the church on stylistic preferences or age appeal (whether old or young) is just as contrary to the reconciling effect of the gospel as building it on class, race, or gender distinctions. In a recent interview J. I. Packer said, “If worship services are so fixed that what’s being offered fits the expectations, the hopes, even the prejudices, of any one of these groups as opposed to the others, I don’t believe the worship style glorifies God.” One of the leading ways the church can testify to God’s unifying power before our segregated world is to establish and maintain congregations and worship services that transcend cultural barriers, including age and musical styles.”
Finally watched the Paul McCartney White House performance. Such a great show. Several observations:
1) Faith Hill’s treatment of The Long and Winding Road was stellar.
2) Elvis Costello is a remarkably good singer with a rich vibrato.
3) Emmy Lou Harris is one of my all time favorites and one of the few singers who can bring me to tears. Her rendition of For No One was a powerfully raw and beautiful performance.
4) Dave Grohl rocks harder than most anybody – the only thing that would have been better would have been if he had taken over the drums from the very capable Abe Laboriel Jr.
5) Sir Paul is one of the most accomplished song writers – ever. He rocked my world when I was 8 and I still keep the entire Beatles and McCartney catalog close at hand.
6) Listening to Eleanor Rigby reminded me of the album that producer George Martin released that included only the strings that were part of that original recording. Beautiful.
7) I still wish Let It Be had been a Catholic hymn to Mary instead of John’s mother.
8) The “kids” who have been backing Paul for the last few years have got to wake up pinching themselves still.
9) Paul should call Julian Lennon once a year to just to thank him.
10) Presidents should stay off the stage during classic rock songs. Period.
It’s rare that I listen to a CD all the way through. I tend to get bored easily and if something is not grabbing me lyrically or musically then I start punching the “next” button. Yesterday I was driving from Baltimore back to Manassas, Va. and I put on Sherri Youngward’s CD, “She Looks to the Sky,” released at the tail end of last year. I listened… all the way through.. and then repeated a few songs. I’m embarrassed to say that I wasn’t familiar with Sherri’s work before now. Beginning in 1997, she has released 9 albums including “No More Goodbyes,” ”Sons and Daughters,” and “Scripture Songs.” The arrangements on her albums tend to be simple, often sparse, leaving room for her airy but beautiful vocals. Her singing is a treasure. One moment almost childlike and the next like a seasoned pro but always spot on.
Her current work is a collection of old hymns as well as new songs, some penned by Sherri and some by others. Her “Fairest Lord Jesus” is one of the most lovely arrangements I’ve ever heard. “It is Well With My Soul” leaps from a reflective style into a up tempo treatment that is so uplifting. “How Great Thou Art” is done with minimal accompaniment or variation. She simply let’s the timeless words of that classic stand on there own. She knows when to stylize vocally but she never over does it.
Sherri’s song, “She Looks to the Sky” is a brilliant picture in words.
“This song was inspired by a poem written by Jonathan Edwards about his fiancé Sarah Pierrepont. The poem made me think of what the bride of Christ looks like to those who are watching.”
She Looks To The Sky
Words: Sherri
Music: Sherri and Ted Morton
They say she is loved by the greatest of all
Who have walked in the world
He lives far away, still she spends all her days
Content with only His words
She often walks alone, but never is she lonely
You can offer her anything
Her affections are all for Him only
She looks to the sky
As if He is coming down through the clouds up above
Though no one has seen Him you cannot deny
She is drenched with His love
She often walks alone, but never is she lonely
You can offer her anything
Her affections are all for Him only
All the day long she sings sweetly
She says He speaks to her mind
She’s only rich with affliction
Yet a bitter word you won’t find
She lives with assurance He loves her too deeply
To let such distance remain
She’s brimming with longing for Him to come calling
And sweep her away
Of the three songs written by Sherri, the standout for me is “This Dream of Mine.” It’s a song of hope – expectant, joyful hope. This is the one song in the collection that has a big orchestral arrangement and it’s absolutely perfection.
This Dream Of Mine Sherri Youngward
I had a dream I heard a great sound
It was God coming down to find me
There was light all around
It was brighter than lightning
And it covered the earth like a blanket
I shed all sadness and striving
Like worn out old clothing
And I was relinquished from gravity
I breathed a sigh of relief, like a soldier after war
Like a soldier that finally made it home
When I opened my eyes
To six inches of sky
Through the half opened blinds on my window
I had to smile, full of the feeling
That this dream of mine would come true
The line “I breathed a sigh of relief, like a soldier after war. Like a soldier that finally made it home.” brought tears to my eyes. Such a powerful image and in her hands it reaches deep and captivates your heart.
An outstanding collection of new music for the church, The Lamb Has Conquered has been released by Vineyard Records UK. The music was birthed out of Mercy Vineyard, Southampton and all of the songs were lyrically penned by the team of Mike & Jamie Pearson and Kate Cooke. A group of musicians from the church helped to create the melodies and the result is stellar. Elevation Music are currently offering a free download track from the album on their website.
Much of what is released today in “worship music” seems very removed from the church. Songs are often too difficult to learn for average people or pitched too high for them to sing comfortably. The Lamb Has Conquered reflects the reality of having been written in a church and for the church. The songs are accessible, lyrically devotional but with theological depth, and largely cross generational.
Vineyard Music UK describes the CD this way:
“The Lamb Has Conquered offers 12 dynamic new worship songs of truth, courage, empowerment and hope for believers worldwide”, says Vineyard Records.“The songs focus on the redemptive power of the incarnate Jesus raised to life for us. There is a strong declaration of the love and sacrifice of Jesus through songs which are sometimes very personal and reflective, and other times powerful and victorious. These ‘sung prayers’ are dynamically, passionately and sensitively supported musically.”
Each year I make it a point to watch the Kennedy Center Honors which take place in December and are broadcast a couple of weeks after the ceremony. I always learn something and each time I enjoy the tributes paid to the artists in words and performances. It’s a moving thing to see people honored for their work. The recipients are usually flanked by family and tears and smiles flow freely.
Among the honorees this year was one of jazz music’s most celebrated composers and pianists, Dave Brubeck. You can review some history on Brubeck here. You can also visit lala.com, type in his name and listen to a wide range of his work. His most well know piece is “Take Five” penned with his long time collaborator, alto saxophonist Paul Desmond.
So why Brubeck and the face of God? Well, let me set this up a bit. For as long as I remember now I have thought of God the Father as one who takes delight in His children. We who have been made sons and daughters of God by virtue of Christ’s work are a joy to God’s heart! My children are grown now but I remember clearly the early days in each of their lives when the intense desire to please was so evident. “Daddy watch! Daddy look!’ At ball fields, swiming pools, school assemblies and the front door it was their delight to show off and my joy to recognize them. I trust that more often than not they saw the light in my eyes and the deep love I held for them. As a worshiper, I often feel that the same scene is being played out. Father look! Father listen! Here’s my song.. my words.. my heart.
As Brubeck was being honored at the Kennedy Center, the Dave Brubeck all-star quintet was introduced. The quintet, backed by the Jazz Ambassadors of the U.S. Army Field Band, were spot on, playing a flawless rendition of “Take Five.” Then something amazing happened.
I’ve included the video of the performance below and you have to watch it to appreciate what happens. In the video (it’s HD, so let it load and enjoy) Dave smiles with appreciation and affirmation as the quintet and the Jazz Ambassadors play. After “Take Five” at the 3:00 mark in the video, they launch into “Blue Rondo à la Turk.” At 3:23 in the video the announcer says:
“Ladies and Gentlemen, the four sons of Dave Brubeck.”
A panel slides away. The boys are playing along with the entire ensemble. Camera cuts to Dave Brubeck’s face. Now if you lip read you can tell Dave has a salty tongue but look at his face.
Tears come to my eyes. That look. That’s a Father’s look. That’s something the other guys, as good as they are, will never see. It’s reserved for his boys and it’s heart felt, deep, passionate, tender and proud. For the entire rest of the performance his engagement is elevated to a whole different level.
Dear worshiper, that is the look God reserves for you. Around the clock he is praised and magnified by hosts of angelic pros that never miss a beat, screw up the lyrics or sing off key. Does He smile? Is He expressionless? I don’t know. What I do know is that in the moment I saw Brubeck look at his sons, I felt in my heart, the Spirit saying “that’s how the Father looks at you.”
Your heart, your offering, your song, your words… filled with the discordant notes of sin and self, are transformed by the blood of Christ into something that fills the Father’s heart with joy and He invites you to come boldly into His presence. It’s the only look that matters, and it’s one of inexpressible love.
02. Sep, 2010 
2 Comments
Seriously. I don’t know what’s in the water in English Anglican churches but it’s scary. The priests over there come up with some odd behavior and weird ideas. 
