Worship Leader Magazine Vol 27 | No 4 by Worship Leader Magazine

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Tradition: As Storytelling David Bunker

anger Hands: How M Sacrament Unites the Traditions

Ryan Flanigan

A Legacy of Worship: So a Generation Will Know Dave Clark

An Interview with...

David Crowder

The Odes of Solomon

The Heart of Kids Worship

An Interview with...

Professor James Charlesworth

Yancy

Audrey Assad

34 Album Reviews

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The Doctor Is In

Q&A with Dr. Craig Gilbert

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THE SKILL OF CULTIVATING THE PAST BY DR. CHUCK FROMM

bout twenty years ago, I was invited to a meeting convened by a prominent televangelist whose weekly hour-long program, broadcast on one of the largest religious television networks, had made him a powerful figure in the American church. This man sensed that a sea of change was underway in global media, and that the old power centers of publishing and broadcasting were waning in influence. The dot-com frenzy was approaching its peak and companies were proposing IPOs with absurdly high valuations and no plan for revenue creation. It seemed as if invitations were being handed out to the party of the century, and by deploying a few of the proper buzzwords one could participate in the thrill of knowledge

creation and the “creative destruction” of late capitalist society at the End of History. After all, we had won the Cold War! The Soviet Union was gone and could no longer be taken seriously as an international rival. Capitalism was the only game in town, and we had invented the Internet, the Network of Networks, which was going to change society, change the world, destroy whole economies and industries and create new ones, as tyrannical governments crumbled and democracies flourished and we all made friends and found new partners on social-media websites. Like many of us, my televangelist friend found this rhetoric attractive. He proposed to create what he called a “network”, an organization that would accomplish some great social purpose that would not be possible for those acting in isolation. To create this network, he had invited the pastors/leaders of some two dozen churches with prominent media-centered ministries. He asked the leaders present to commit themselves to his network, and offered them a choice of expertly designed media graphics which he would allow them to place on their front lawn to declare their affiliation with the new organization. The members of the group reacted with enthusiasm, chose their favorite graphic from among those submitted for their consideration, and left the group well pleased in the good day’s work they had done. But all this enthusiasm, all the resources of graphic talent, fundraising, and time spent unfortunately came to nothing. If the group ever met again, I never heard about it; it certainly failed to accomplish any great social goods of the sort that the leader imagined. Did this leader’s network fail? It failed to become a network at all, in any meaningful sense of that word.

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Here at Worship Leader, we are, in effect, helping to complete the church’s transformation into a new identity: the “networked church” of the future. However, this is not really anything new. From its origin, the church was often linked to many characteristics which later came to be identified with computer networks in general—the leveling of hierarchies, the distribution of information, the wisdom of crowds. But the church was historically always understood as a prefiguring, an early incarnation and an image that pointed to, the Kingdom of God—or what was also called the of Communion of the Saints. In other words, the kingdom of Heaven was from the beginning seen and conceived of as a kingdom of communication—an eternal world in which God’s Word was perfectly understood by His servants, who were in perfect, harmonious agreement. The seeming newness of the technology of networking can imply the actual communication and connection it brings is new as well. What is new is the ability to aggregate and curate. Now these particular skills take on spiritual meaning but in fact their role has always been a missional task of the church. The church has been specializing in networks for centuries. In some ways denominations are a manifestation of networking. The “networked church,” then, is the original social network. It is the goal toward which we work that has been implicit in our efforts from the beginning.

DR. CHUCK FROMM CEO/PUBLISHER

INTRODUCING

tradition AS STORYTELLING

n recent years we have seen the way many worshipers harken back to a more liturgical expression of faith. Certainly, there are proponents surrounding the way the church worships. So what is meant when people refer to traditions? While I cannot offer a single idea I can introduce a varied lens on the way we might look at our personal traditions and the traditions of others.

TRADITION AS A TELLING OF THE WORLD Tradition is a way of knowing, seeing, hearing, and speaking. Ritual via liturgy is the viewing of life as sacred. By creating an aesthetic boundary around a certain creed, experience, perception, or agreement, we acknowledge that although all of life is Godbreathed, God does reveal Himself in time, therefore time has value. For the church, tradition is the sacramental discernment of time and experience. For example, weddings, funerals, inaugurations are ritualized. Why? Because they represent the acknowledgment that we live our lives inside and through time. Time is space in which God creates His habitation. Through rituals, we are acknowledging publicly that we agree God still speaks in time, makes His presence known in time, and honors our rituals and traditions when they accurately reflect His nature. For those leading worship, our outworking of rituals gives context and invitation for the Spirit to bear witness to the truth.

TRADITION AS A WAY OF BECOMING HUMAN

BY DAVID BUNKER

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Is becoming more like God what happens to a person who is profoundly formed through ritual? Can “a person” become “a person” outside a ritualized community? Localized traditions are necessary for the sacralization of life to be made real in the lives of worshipers. God works in time and is still speaking in time, so we must listen to the inbreaking need for new expressions of our sacramental engagement. Has the Father revealed Himself in a new way? Not “new” in the sense of modern or novel, but the “new”, unfathomable nature of God's presence. The challenge is always how to preserve perceived traditions while at the same time incorporating other cultures and expressions and embracing change from a biblical perspective. The worship leader who innovates is important but not more important than the worship leader who chronicles the story through liturgical art.

TRADITION AS NARRATIVE MEMORY

“Great is the power of memory, an awe-inspiring mystery.” AUGUSTINE CONFESSIONS

In the early days of our Christianity's emerging story, they were passing on the tradition orally of what happened to Jesus, what he stood for and what he did. The telling and retelling of the story was a way for them to articulate their understanding of Jesus. And in the process of storytelling, they are defining Jesus for themselves. That initial orality is still operative today. In many ways, we are the traditions to which we knowingly and unknowingly submit our imaginations. Much like 1st Century believers we are defining once again through our traditions who we believe our Savior to be. Traditions are on some level an ongoing retelling of the original organic story.

TRADITION AS AN ACTIVITY OF THE SOUL Stories and pictures have a way of beckoning our hearts towards innocence. Could the beauty of remembering be a way of leaving the present practical world if only briefly for a glimpse at the soul’s narrative in it all? When traditions are followed and practiced as a labor of love, an animation of these dramas emerges. Great stories honor the act of remembering and provide for us a place to re-live or reimagine our lives.

TRADITION AND THE FORMATION OF THE IMAGINATION The return for many Protestants to a more sacramental style of worship appears to be accompanied by a return to the enchantment inherent in creation. There is a beauty in the world. How is that beauty manifest in our worship? Andrew Greeley sees the Holy lurking in creation. He goes on to say, “As Catholics, we find our houses and our world haunted by a sense

that the objects, events, and persons of daily life are revelations of grace.” This type of imagination can appropriately be called sacramental as it sees created reality as a “sacrament,” that is, a revelation of the presence of God. For worship leaders, this sacramental perspective is indeed a manner of engagement and a way of addressing and naming reality. Life now becomes permeated by two precious awarenesses: we are human and are embraced by the divine. May our traditions form in us such awe.

BY DAVID BUNKER EDITOR, POET, & TEACHER

David is spiritual director and resident muse in the Artist Care program at Visible Music College as well as working with their in house label Madison Line Records.

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MANGER HANDS H O W S A C R A M E N T U N I T E S T H E

T R A D I T I O N S

“L

ook, Dad! I’m making a manger,” my son innocently uttered as we knelt at the communion rail holding out our hands to receive the Body of our Lord. It was Advent, so the Nativity was fresh in our imaginations. The old woman next to us chuckled, and I could hardly contain the explosion in my brain. What an amazing picture of the Incarnation! Jesus Christ, mysteriously present in the mundane element of bread, placed into our manger hands. Could anything make the truth of the Incarnation come alive more effectively than this? No preacher could do that work in a sermon. No worship leader could do that work in a song. What we experienced that morning and every Sunday morning, was a full-sensory participation in the holy sacrifice of Jesus Christ.

B Y

R YA N

F L A N I G A N

RIGHT THINKING OR RIGHT WORSHIP

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I’d like to propose a practical way toward uniting our worship traditions, particularly among Western Protestants. It seems most of our divisions are rooted in differences of beliefs. By “beliefs” I mean propositional truth claims. As long as we continue defining ourselves, our groups, primarily by those ideas to which we cognitively assent (or dissent), our divisions will remain and increase. Right thinking is not what makes us Christians. Everyone thinks his or her own group is right. By this logic, anyone who disagrees with my beliefs must not be a Christian. Also, many people who call themselves Christians, who say they believe in Jesus, have no rhythms or spaces in their lives for prayer and worship. No, right thinking does not necessarily make us Christians. Right worship makes us Christians. By “worship” I mean leiturgia—the holistic embodiment of tried and true worship practices that direct our desires toward Christ and make his kingdom real to us. What if we returned to this pre-Enlightenment reality? Perhaps we would discover more concrete means by which we may overcome our divisions, reunite as one body, and reconcile our faith with our actual lives. My friend Aaron Niequist has just written a book on this topic called The Eternal Current: How a Practice-Based Faith Can Save Us from Drowning.

CMY

Indeed the way forward has already been laid out for us in our great tradition. I’m proposing a recovery of Sacrament in our worship, empowered by the Spirit and based in the Scriptures.

CONVERGENCE I was born Roman Catholic, raised Pentecostal, and educated Evangelical. And I had positive and formative worship experiences in all of these traditions. My earliest memories of worship— 1980’s Full Gospel Pentecostalism— include images of the old and young pouring out their hearts together to God in praise and worship. This, along with fiery preaching, flannel graph Bible stories, and Bible verse memorization, shaped so much of who I am now and what I love about Christian worship. As a late teenager, I traveled with an ecumenical orchestra and vocal ensemble that ministered mainly to the Roman Catholic Church. I slowly and quietly IWS_NovDec2017_halfhorizontal.pdf

11/6/17

fell in love with the liturgy, sacred architecture, and the transcendent nature of God. Singing the Mass every weekend planted in me a desire for historical forms of Christian worship. In my early twenties, I discovered the writings of the Reformers, which led me into the world of Evangelicalism. I studied philosophy and theology at a Baptist university and Evangelical seminary, where I learned to love the Lord with all my mind. Every day was another lesson in how little I knew, and yet I pursued the knowledge of God more vigorously than ever. Each of these worship traditions— Pentecostalism, Catholicism, and Evangelicalism—is beautiful in its own way. Yet I noticed that whenever I was part of one tradition, my heart was antagonistic toward the others. There were unspoken expectations (sometimes spoken) for me to choose one worship tradition over and against the others. I feared that

doing so would mean discarding all the good of the other traditions. That fear was replaced with hope halfway through seminary when I met and studied under Robert Webber. Bob showed me that it was okay and possible to be charismatic, liturgical, and evangelical. Like Bob, I ultimately found a home in the Anglican tradition where there is room for the values of all three streams— Scripture, Spirit, and Sacrament—to find full expression and form.

THREE STREAMS It seems to me that Christians of all traditions are going after the same thing in worship—the presence of the Lord. In my experience charismatics seek the presence of the Lord primarily in Spirit, especially through praise and worship and individual expressiveness. Evangelicals seek the presence of the Lord primarily in Scripture, especially through Bible study and evangelistic preaching.

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The sacraments ensure that grace and truth are not reduced to charismatic and evangelical abstractions. Liturgical folks seek the presence of the Lord primarily in Sacrament, especially through Eucharist and structured prayer. Much of what we call contemporary worship combines charismatic and evangelical values. The blend of Spirit and Scripture has created new and interesting forms of worship in which participants are able to engage both emotionally and intellectually. This is a good thing, but many intuitive worship leaders have recently begun drawing from more traditional forms of worship, re-incorporating, or introducing to their congregations for the first time, liturgical practices. Here is why: Sacrament engages participants physically, creating a visible, corporate unity in worship, not just engendering individual feelings and beliefs. I’m using the term “Sacrament” to describe the vast swath of historic worship practices. A Sacramental life includes regular rhythms of communal prayer, confession, lectionary readings, communion, etc. But let’s look at the historic sacraments themselves and see how their recovery might help tear down the dividing walls between otherwise individualist and abstract faith traditions.

CONCRETE MEANS “The sacraments,” according to the Anglican Catechism, “are outward and visible signs of inward and spiritual grace, given by Christ as sure and certain means by which we receive that grace.” Book of Common Prayer 1979, p. 857, my emphasis. (Oxford University Press, 1990) Holy Baptism and the Holy Eucharist are two of the great sacraments through which Jesus promises to make himself present with us. More and more contemporary worshipers are turning to the “sure and certain means” of the sacraments to reconcile their faith with their actual lives.

Much of contemporary worship is good at intentionally engaging the intellect and emotions of individual humans, especially through the evangelical and charismatic values of Scripture and Spirit. But the “means” associated with these values are not “sure and certain” enough for human beings to fully realize Christ’s presence in worship. Only Sacrament can do this. When we gather for worship we do not gather primarily for a song or a sermon, but a Supper. The “sure and certain means” of the Supper unites us and makes “sense” of the songs and sermons of our worship. The Holy Eucharist gathers all that is Christ from our (inward) emotional and intellectual worship experiences and brings it (outward) into our physical bodies through our senses. The sacrament grounds us, embodies us, and aesthetizes us. It centers our worship on the means that IS Christ—the medium is the message. And that medium is the Meal. If the sacrament is absent, we tend to center our worship on sermons and songs, trusting these means to do the work that only the Supper can do, in which case a different kind of “media” often becomes the message—technology. John tells us that Jesus is the fullness of grace and truth. Much contemporary worship values grace and truth, especially the emotional experience of grace-gifts (charis) and the intellectual understanding of gospel-ideas (evangel). The sacraments ensure that grace and truth are not reduced to charismatic and evangelical abstractions. Grace is a Person, not merely a gift. Truth is a Person, not merely an idea. We may feel and believe something, but sacramental worship keeps our feelings and beliefs from becoming the point.

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The sacraments are the concrete means by which we receive the Person of Jesus, not just gifts and ideas.

LITURGICAL FOLKS Think of my son and his manger hands. What was incomprehensible to him (and most believers) was given and received into his little body. What didn’t “do” anything for him emotionally was doing far more in him than he could feel. And unless we come to Jesus like my son, the kingdom will not be real to us. Our faith, no matter how right it is, will remain “out there,” and we will remain divided “down here.” Do we have an imagination for how formative and unitive Sacrament is? We are liturgical folks. Our worship practices shape our beliefs and make us who we are. “I worship, therefore I am.” James K. A. Smith’s book Desiring the Kingdom: Worship, Worldview, and Cultural Formation has shaped many of my views expressed here. May we have the boldness to recover this reality in our worship. May our faith come down to earth and into our actual lives. And may the beauty of Spirit and the brightness of Scripture intensify in our lives as we give ourselves to the traditionuniting power of Sacrament.

RYAN FLANIGAN MUSIC DIRECTOR OF ALL SAINTS DALLAS & FOUNDER OF LITURGICAL FOLK Liturgical Folk is a music project of the Anglican Mission in America. Ryan works to create beautiful and believable sacred music for the sake of the world. He lives in Dallas, TX with his wife, Melissa, and their three kids. liturgicalfolk.bandcamp.com liturgicalfolk liturgicalfolk liturgicalfolk

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A LEGACY OF WORSHIP

SO A NEW

GENER ATION ot long ago a songwriter friend

WILL K NOW

sent me a new song

with the following message. “This is the result of a spontaneous worship moment. What do you think?” After listening, I responded, “it sounds like a spontaneous worship moment. If you want me to try and find a home for it, go back and work on it and then send it to me again.” Because the writer was a good friend, we were able to laugh about my less-thansensitive response. But if I am being totally candid, those words reflect

what I feel far more often than I actually say it.

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So what is that that drives this discontent? It’s certainly not a lack of appreciation for true worship experiences, spontaneous or otherwise. Nor do I question the authenticity of such responses. But neither am I convinced every individual worship moment is intended for use in a corporate worship setting. At least not in its original form. In order to clarify a perspective some would declare me as narrow-minded and out of touch, it might help to know how I arrived here. Admittedly, my musical biases are rooted in a deeply-held passion for the hymns of the church. The songs played an important role in my early years and their impact continues today. I am also a songwriter who has spent my entire adult life pursuing the call God placed on my heart as a young teenager. And while I would not characterize myself as a hymn writer in the traditional sense, the influence is undeniable. So what is it about songs, written out in 4 parts, with somewhat archaic language, that deems them relevant in a discussion of current worship trends in some cases two and three hundred years after they were written? For starters, I think the answer is in the question. The songs themselves are still relevant. As of the writing of this article, the current top 100 CCLI chart features 11 songs that include at least of a portion of what would be considered a classic hymn. What songwriter wouldn’t dream of that level of staying power for one of their compositions? So perhaps I should rephrase the question. What is it about these songs that keep them relevant? Are there common themes or characteristics that allow them to still work after so much time?

Remembering the past. Imagining the future.

Doctor of Philosophy in Church Music Doctor of Musical Arts in Church Music Master of Music in Church Music Master of Music/Master of Divinity Dual Degree Master of Divinity with Worship Leadership Concentration Bachelor of Music in Church Music Bachelor of Arts in Church Music Minor in Church Music

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FA L L 2 018 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

When I was a young writer, my first publisher spoke often about songs laying right on paper. He said if I wanted to see what he was talking about, all I had to do was open a hymnal. He was referring not only to the uniform meter of text from verse to verse but interesting melodic lines and intentional chord structures. Attributes worth pursuing yet on their own would have all the warmth of a textbook. There must be more. Could it be the poetic phrasing, so prevalent in the hymns, that allows the worshiper to visualize the lyrics as they are being sung? Is that enough to keep a song in the rotation for a century or two? I doubt it and yet for me, the imagery adds yet another dimension to the worship experience. One of my favorite verses from John Newton’s “Amazing Grace” is a classic example:

The earth shall soon dissolve like snow, The sun forbear to shine; But God, who called me here below, Will be forever mine. Another common characteristic I find in many of the songs that have endured is the scriptural foundation evident in the lyrics. As a lover of the stories behind the hymns, I have always been intrigued to discover how many of these classic texts were written by preachers or theologians. I believe without a doubt there was and is an accountability to theological accuracy in songs of worship. There’s yet another option to consider. What if the answer is not any one of the attributes listed above but rather a measure of all of them? Song structure, imagery, and theology each represent a unique level of craftsmanship that doesn’t just happen on its own. It is intentional and I believe there is a direct correlation between the level of craft and the chances of long-term use. At some point in the process every songwriter, past or present has had to determine for themselves if the extra effort is worth it. Do things like rhyme really

matter? Does style outweigh substance or is substance itself merely a relative term subject to cultural influences? And does any of this really make for a better song? Count me as one who believes it does. But I also think we can have both. When a song is able to connect with the intellect as well as the emotion, it can’t help but make for a more interesting song, which in turn has a greater chance of lasting impact. Martin Luther, one of the primary influencers of the Protestant Reformation movement in the 16th century and author of ageless hymns such as A Mighty Fortress Is Our God, believed that “we sing with our heart and mind.” He also is credited with saying, “What I wish is to make hymns for the people, that the word of God may dwell in their hearts by means of a song.” The Apostle Paul expressed a similar desire in Colossians:

Let the message of Christ dwell among you richly as you teach and admonish one another with all wisdom through psalms, hymns, and songs from the Spirit, singing to God with gratitude in your hearts. COLOSSIANS 3:16, NIV

I also feel there is a legacy aspect to this discussion we should consider as well. What are the worship traditions we are leaving for future generations of worshipers? How will our songs measure up? Will they know how God was moving in our midst by the songs we leave behind? I have to admit I find it somewhat intriguing to hear a song labeled as a standard simply because it has stayed on the CCLI charts for a full year. The truth is that some of our songs may very well stand the test of time but I think it should be left for those who come behind us to make that determination. I could easily spend the bulk of this article highlighting works of songwriters

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such as Charles Wesley and Isaac Watts or even Fanny Crosby to bolster my position, but the hymns that inspire me as a worshiper are not limited only to those written in centuries past. Although I have never met writers like Keith and Kristyn Getty or a growing list of other modern hymn-writers, I sense a kindred spirit in their approach to writing. Their attention to craft is obvious and yet the element of craftsmanship seems only to enhance the accessibility for worshipers like me. Or... could it be that accessibility is one the least discussed, yet most fundamental tenets of craft? This article is not intended to be a referendum on worship styles, pitting one against another, but rather a conversation about our responsibility as stewards of the songs we have been given. There was a song I loved several years ago by Kyle Matthews called, “The Way We Go About it Matters.” I don’t remember much about the lyrics but I think about that title whenever I get the chance to encourage young songwriters. When it comes to writing songs for the church, the way we go about really should matter. There is too much at stake to not give it the best we have. I’m glad Paul’s words to the Colossians didn’t say we have to choose between Psalms, Hymns or Spiritual Songs. As long as God is the focus, and our worship is true, He will meet us where we are. Ultimately it comes down to what Jesus told a woman at a well in Samaria some 2000 years ago. A time is coming He said, where “true worshipers will worship the Father in the Spirit and in truth, for they are the kind of worshipers the Father seeks.” You know... Maybe I need to go back and listen to my friend’s song one more time.

BY DAVE CLARK SONGWRITER, AUTHOR, & CREATIVE DIRECTOR AT LILLENAS PUBLISHING CO. Daveclarkwrites.com daveclarkwrites

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An Interview with David Crowder WORSHIP LEADER (WL): We haven’t seen each other since the National Worship Leader Conference back in May. Thanks again so much for helping out, and for your willingness to participate on panels and in workshops, and of course, leading worship.

CROWDER: We were really glad to be there,

and we had a good time. People were great there.

WL:

The Fall issue of Worship Leader focuses on the topic of ”tradition”. How has tradition shaped your music and how has it shaped you as a person?

CROWDER:

uring a busy summer, Worship

Leader's Alex MacDougall was able to catch up with David Crowder. Winding up the “American Prodigal” tour, Crowder has been in studio recording the next project, due for release in November. Visit crowdermusic.com

That’s a great question. One of the things when I heard that word immediately I thought, my mom. I don’t think she quite comprehends what tradition means because every year at Christmas time she says, “We are starting a new tradition this year”. But then the next year we don’t do it. (laughs). My mom is the sweetest, so I hate to kind of poke at her. Tradition has to be something established and that continues, and that we can remember. What I’m trying to do with my music, even though I’ve borrowed from Southern Gospel or Gospel in chord forms, is to make sure that we’re comfortable enough and we have handles. And we know what we’re getting into but at the same time bringing something that is current and maybe even outside of our Christian music traditions. So that would be my understanding of tradition and how it’s been helpful to my music.

WL:

And that leads into my next question. Has leaving the David Crowder Band connected you to stronger ties within the great traditions of Americana Music? Did you grow up listening to classic bluegrass and country in your home?

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CROWDER:

Yes. On the early end of things when I was in my formative years, we had farm-ish type rural setting with horses and cows. And it had a soundtrack that went along with it. My dad listened to a lot of old school country. We had plenty of it. And then my uncle was coming from a Central Baptist church and they didn’t believe in drums. So that was wonderful when it came to bluegrass. And then suddenly, the music in our house disappeared. All of a sudden it was just like, just solid Word (Records). Elvis was gone. Olivia Newton John had left the building. And we were left with The Imperials. Now there’s nothing against that, but it was just different. But I figured out ways around it though. The ability to just draw from the things that I felt like were the deeper, authentic places in me, were how I was naturally hearing music and what I was drawn to early on.

WL:

Have you visited the birthplace of country music at the museum in Bristol?

CROWDER:

Yes I have, and what’s crazy to me is that we had actually gone there on a family trip. And there we were. We reclaimed it together as a family. And then when I moved to Atlanta there was all this stuff that I had grown up on. The street that I wound up on is where some of the earliest country stars like Fiddling John and other fiddlers and early personalities were. And they, they lived in Cabbagetown, which is where I landed. As it turns out Carroll Street where this mill was situated on is right up in this neighborhood in Cabbagetown where they hauled all these Scots-Irish down from the Appalachian mountains to work in this mill. And they brought the music with them. I wasn’t even aware of this, yet I wound up on the very street where I was trying to get back to the roots. God just put me right smack down where the soul was right for this sort of thing.

WL:

What can worship leaders gain from listening to traditional music?

CROWDER:

For me it’s just something that I respond to. What we’re trying to do when we’re leading the church in song is, grab a lot of people coming from a lot of different places and a lot of different feelings. And we’re all in one room at the same time and somehow emit that together into one heart and the music is just an amazing thing. There’s such a beauty in the lyrics in what we call “Americana.”

WL: You know, at the turn of the 20th century there were over 100 piano manufacturers in New York City. And that’s the reason people sang in neighborhoods, because so many homes had pianos. They did what they called “parlor music.” And we’ve lost a lot of that.

CROWDER:

There’s a nostalgic longing I have for that time when you went over to somebody’s place and you had a gathering

of friends. I guess you still have it, but we just push play. It’s coming through the speakers in the house or home or TV or whatever.

WL:

Tell us about the new project.

CROWDER:

This is the third installment of my “solo” recordings, and I’ve had three projects to “say” something. I was really trying to tell the story of home, and how our displacement began. Our story is trying to get back into communing with our maker. And I was using a prodigal story to tell that. I first talked about it in a very big, “zoom out Google maps” way. And then a little more kind of personal direct prodigal. This record is called, I Know A Ghost. I grew up with a Texarkana Southern Baptist upbringing. However, my parents were always chasing wherever the Holy Spirit was active, and so I had a very eclectic upbringing in the church.

If you say “Holy Spirit” people outside of the church get a little uncomfortable. But when you say, “Holy Ghost”, there’s this historic aspect that’s got a non-threatening dynamic to it. So basically, this is the storyline: Jesus died in front of his friends, and then jumps back out of the ground in front of his friends. And then says, hey, I’m going to jet, but I’m going to leave my ghost for you. I’m going to haunt you. (LAUGH) I’m going to haunt the church. And that’s going to be your comfort. Recorded in Atlanta, I Know A Ghost has a definite urban feel. It has more hip-hop in its underpinnings, and so I’m very excited. And then, of course, I can’t help it but I’m doing it with a banjo and a fiddle, and a mandolin over the top of the music.

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THE ODES OF SOLOMON

the first CHR ISTIAN HYMNAL

The Odes of Solomon are hymns of praise and devotion that we have inherited from an early poet and fellow believer. The author— the odist—was a Jew who believed that Jesus was the long-awaited Messiah.

he collection is identified as The Odes of Solomon, not because they were written by King Solomon in the tenth century B.C., but because they were rightly considered to be in the tradition of Solomon, who was known in the Bible as “the Beloved.” The odist uses this term in reference to himself and all who believe, like him that Jesus is the promised Messiah; it is a scholarly distinction that helps define The Odes. The odist lived within 100 years of the advent of Christ. For years The Odes were known by New Testament scholars to have existed, referred to

and quoted in several ancient documents but lost in antiquity until they were rediscovered 1909 in a Syriac manuscript. They survive in lyric form only, without music. Though scholars have translated the lyrics into many languages, including English, they remain virtually unknown to most theologians, church leaders and, in particular, to the laity. The Odes Project is dedicated to honoring the heart and spirit of these first Christian hymns and to make the experience of the Odes familiar throughout the Church through new music.

Listen and read more of The Odes of Solomon at

T H E O D E S P R O J E C T. C O M

CONVERSATION WITH PROFESSOR

JAMES CHARLESWORTH You mentioned to me in an email that the Odes of Solomon have helped shape your career since 1966. In what way have they played a particularly significant role in your broader work with ancient document fragments, etc.?

Since 1985, I have been editor and director of the Princeton Theological Seminary Dead Sea Scrolls Project. When I began exploring the sacred texts allegedly on the fringes of “the canon,” I never imagined I would hold such an elevated position. Certainly,

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that way was opened as I focused my Ph.D. dissertation and E.T. [Ecole Biblique] on the Odes of Solomon. My first book was published at the Clarendon Press, Oxford, and is the critical text and translation of these ancient hymns.

When were the Odes composed?

The date of the Odes has been a focus of debate since 1909 when J. Rendel Harris identified the Odes in a Syriac manuscript on his shelf. Most scholars now conclude that the Odes received their present form about 125 CE (Charlesworth, Lattke). Since a collection of “hymns” or poems would probably not have been written in one year, we should imagine some decades for the composition of these 42 Odes. In your writings about the Odes, you differentiate between them and “apocryphal” writings. Could you explain the difference?

The Odes are “apocryphal” in that they were “hidden” from modern scholars and others until they were recovered in 1909. They were not hidden in antiquity, but were probably originally used in Christian worship [N.B. the “Hallelujah” at the end of an Ode]. Were the Odes ever considered for inclusion in the New Testament canon? Why or why not?

We have no record of a synod who voted on the works to be included in the canon. Probably, the Odes were not important for the western church, and their celebration of private piety directly to the Creator may have caused them to be unattractive for those who were defining the institutional church. In what language were the Odes originally written?

Some scholars think that the Odes were originally composed in Greek (Quasten). Other scholars conclude that they were composed in Syriac (Emerton) or a form of Aramaic-Syriac (Charlesworth). The Greek copy is full of Semitisms, is inferior linguistically to the Syriac, and the latter preserves many features usually typical of an original language (e.g., paronomasia, alliteration, assonance, metrical scheme, parallelism, rhythm). Variants in the extant manuscripts are sometimes explained by a Syriac original text (e.g. brk and krk in 22:6).

You and others think it is possible that the author of the Odes belonged to a sect similar to the Essene/Qumran groups. Would the music of communities or sects such as the Essenes have differed significantly from the music of the Jewish Temple before its destruction, or the music of the post-Temple synagogues?

Only in the Temple before 70 CE would you find the following music: hundreds of Levites chanting, harps, trumpets, drums, flutes, tambourines, and dancing young virgins. In Essene, and other groups, you would find sectarian liturgies and chanting, perhaps without a flute or harp, since in many texts (including the Dead Sea Scrolls and the Odes) an author confesses that his heart or tongue is “his” instrument, harp, or flute. What can modern Christians learn about spirituality and worship from the Odes of Solomon? And what contributions do you think the Odes of Solomon can offer to the development of contemporary songs and hymns?

Many Christians have come to me as a Methodist minister stating that all their lives they were told to say “mea culpa.” In my opinion, Jesus did not call into being a group of people that defined themselves as sinners who had to spend their lives seeking forgiveness from an angry God. In fact, Jesus gave his life to break such “yokes” of slavery. He showed the way to be free for God and to praise God for the joy of living. According to the Gospel of John, Jesus wished that his “joy” would be completed in his followers. If Christianity is a call to freedom and a joyous relation with a loving Creator, then the Odes would be the perfect “Hymnbook.” The Odes and similar writings have been more or less the domain of scholars, historians and artifacts experts. What are your thoughts about The Odes Project and its role in popularizing the Odes and making the available to contemporary worshipers?

Some musicians rendered the Odes into music for churches and Billy Graham’s magazine featured them as ideal for young Christians. Now The Odes Project is dedicated to reviving this recognition and appreciation. Finally, the edict of the Protestant Reformers (ad fontes) leads us back to the time we were all “Catholics” (global) and when the Odist captured the excitement of God’s joyous reunion with his creatures. If the Church is conceived to be a collection of sinners who fretfully fear the condemnation of God, the Odes are not an appropriate hymnbook. If the Church is defined as a group of holy people in a closed institution, the Odes do not fit. If the Church is perceived to be a growing number of the faithful who not only yearn for acceptance from a loving Deity who is loved fully but who also feel empowered to live joyfully by God’s grace, the Odes are singularly appropriate.

JAMES H. CHARLESWORTH, PH.D. PROFESSOR OF NEW TESTAMENT LANGUAGE AND LITERATURE AT PRINCETON THEOLOGICAL SEMINARY, AUTHOR www.ptsem.edu/ people/james-hcharlesworth

James specializes in the Apocrypha and Pseudepigrapha of the OId and New Testaments, the Dead Sea Scrolls, Josephus, Jesus research, and the Gospel of John. As director of the Seminary’s Dead Sea Scrolls Project, he has worked on the Qumran Scrolls to make available, in cooperation with more than fifty international specialists, an accurate text with apparatus criticus, an English translation, and an introduction.

In my first decade of teaching at Duke University (1969-1979), I was thrilled to perceive the popularity of the Odes and the celebration of my earliest publications. FA L L 2 018 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

kids worship THE HEART OF

“I

s the desire to have dancers or singers?” Those are the words that I wrote down in my notebook recently as I was at a church consulting them on their kids worship. They had a group of kids on stage that honestly were doing a great job. Especially without an adult type leader in the mix. They were smiling and they were giving it their all but the truth is they were so focused on doing the “moves” to the song that they were missing the truth about what worshipping is all about. Too often throughout the song, they weren’t singing. It’s the words to the song (especially when they are filled with God’s Word, truth, promises, victory, and goodness) that gets down on the inside of your heart. The songs you sing help the voice of creation declare the greatness of their Creator, shaping a perspective of who God is and what He’s capable of doing for months and years to come. We don’t do worship in our services and programs to check a box off the to-do list. We don’t do worship to fill up time or even get the wiggles out. We don’t lead kids in songs just because many generations before us have grown up on “Father Abraham.” We choose to make worship be a part of our services because it’s a connecting point with the Father. It’s a way to lean in and take another step in our relationship with the Lord. Through the lyrics we sing, we can cast our cares

and we can declare from where our help comes. Worship is something we were created to do. As we sing we confess “to God be the glory forever and ever, amen.” There are seasons in life that I’ve been through where the only option I knew I had was to turn to the Lord. I made my hiding place be His presence. I sang about His faithfulness and His power even when I needed a miracle turn of events in my reality. Worship was the place where I could cry out to the Lord and at the same time remind myself of what I believed was true. Worship isn’t something we do just when the feeling is there. It’s a choice we make. The cool part is that often that confession of truth that you choose to sing and lift up rings truer and truer in our hearts as we take that step of faith and honor the One that gave us the breath in our lungs. It is that confession that enables us to pour out our praise. Think about it like an elevator. What you think about gets into your heart by passing through your mouth. What you speak with your mouth is what gets into your heart. Just like what is in your heart is what comes out of your mouth, I want more than anything for the attitudes and reflections of my heart to be the praises of the One that holds the victory. I’ve seen His faithfulness in the past and I know He won’t change so I’ll keep singing about His faithfulness for as long as I live.

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May these words of my mouth and this meditation of my heart be pleasing in your sight, Lord, my Rock and my Redeemer. PSALM 19:14, NIV

So back to the recent reminder I had of what is really important. There was more dancing than singing that day. If someone watched your Kidmin take part in worship how would they define what they see? Are you raising up dancers or singers? Are you truly helping kids become the worshippers God created them to be? Too often of late, due to some traditions that I’m sure started with the best of intentions, we have defined kids worship to be all about the dance moves or motions to the song. I have spoken with leaders who truly think if a song doesn’t have any motions they can’t do it. That is bologna! Motions can be great. They can be a tool. They can enhance parts of the songs you do. But that’s just it, they are a piece of the equation. If it is your main focus and how you define kids worship you sadly are selling your kids short. The Bible talks about the power of kids’ worship.

God, brilliant Lord, yours is a household name. Nursing infants gurgle choruses about you; toddlers shout the songs that drown out enemy talk, and silence atheist babble. Psalm 8:1-2, The Message “Do you hear what these children are saying?” Jesus said, “Yes, I hear them. And haven’t you read in God’s Word, ‘From the mouths of children and babies I’ll furnish a place of praise’?” Matthew 21:16, The Message Motions don’t have to be in every song or from the start to the finish. Have you ever considered that some of the pushback you may have within your group is because some of your kids, especially older ones and boys don’t want to participate in your dance number? We have the book of Psalms in the Bible as a guide to teach us about worship. Dancing is a part of it. Just like clapping and lifting your hands are a part of it. Shouting to God in triumph, playing instruments and singing new songs is all part of worship. How are you

teaching kids to do those things? These are the traditions of worship that we don’t want to lose. They are necessary and needed. For some of you, it’s time to expand your vision for kids worship. What do you want your kids to learn about it? What about God's presence do you want them to experience? When they graduate to the next age group or class what do you want them to know about how and why we worship? Introduce some new songs. Help craft worship experiences for kids that engage them and let them experience God’s presence. Because once they taste that He is good they will long for more of His presence. Wouldn’t it be amazing if we helped our kids learn to run TO God with their troubles rather than FROM God? Worship is a safe place. It’s a hiding place that young and old have to say “God, You’re amazing and I need your help. I’m trusting You. I’m relying on Your strength today.” Every week you have an

opportunity through the songs that you sing in class to point kids to Jesus and help them express their adoration for the Lord. This is a tradition worthy of being passed on. Be strategic. Let’s raise up a generation that knows how to worship the One all praise is due.

BY YANCY WORSHIP LEADER & SONGWRITER FOR KIDS

Yancy travels the globe doing family concerts and training worship leaders. Her worship resources for kids include the popular series: "Little Praise Party" and "Kidmin Worship". "Heartbeat is a new, 5-week curriculum series to teach kids about worship. Yancyministries.com yancynotnancy yancynotnancy

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E V E R G R E E N I N

B L O O M A N

I N T E R V I E W

A U D R E Y

W I T H

A S S A D

orship Leader's Alex MacDougall recently reconnected with noted artist, songwriter, and

worship leader, Audrey Assad. In addition to her busy ministry schedule, she has also been in-studio, co-writing with, and producing, Sarah Kroger. The project is a full-length LP, entitled, Bloom, and is scheduled for release this Fall.

WORSHIP LEADER (WL): Audrey, it's been a few months since we connected at the National Worship Leader Conference in Nashville. Thank you again for your valuable contributions there. Your segments during the "Songwriters in the Round" evening we so well-received and talked about in follow up. What's it like to participate in something like this along with such very gifted peers?

AUDREY ASSAD:

I am often honored by the caliber of songwriting and character that surrounds me in this town and that night was no exception! Frankly, I’m just gleeful that I get to do things like that, so thank you for hosting me.

WL: Our current issue examines the theme of "tradition". How has tradition played a role in your personal life of worship, as well as your rich history of recordings?

AUDREY:

Anyone who knows me well is aware that although I may be known as somewhat socially liberal, I do very much value the religious disciplines and practices of those who have gone before me. I draw a lot of inspiration in my life

and music from those who engaged in traditions of prayer that date back many centuries—I have written tunes for 4thcentury chants and taken my cues lyrically from people like Thomas Merton, who is a modern figure but who lived a traditional monastic lifestyle. I think tradition makes the tapestry deeper. It isn’t something to idolize but it’s also nothing to sneer at. And really, we’re all making things traditional. At this point, fog machines and pop music at church are traditions, too. It is so often both the folly and the beauty of the young to try and throw things away, only to re-imagine them again.

the soul-suffocating combination of legalism and river-deep doubt. A lot of the lyrics on the album are symbolic of my desires to break free from psychologically tormenting ideas about God and humanity. That lyric you mentioned is me pointing out that God on a cross looks nothing like our place of origin, but it is the place of our rebirth, and though the scenes do not resemble each other, they are preciously connected. Too often I forget that the God who walked with Adam and Eve in the garden is the God who showed us in Christ precisely who He has always been.

WL: Your discography and continued

producing Sarah Kroger! It is such a rarity to hear of a female producing a project, but it's just great. How did this collaboration come about?

music and worship contributions to the church are quite profound, and your current project, Evergreen, is no exception. The lyric, "God on a cross, who would have thought it, this place looks nothing like Eden", is exceptionally thought-provoking. What can you tell us about this project and the crafting of it?

AUDREY:

I wrote the bulk of the songs on Evergreen during a time of deeply painful healing after many years experiencing

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WL: And now you are here, in-studio,

AUDREY:

I pitched myself to her for the entire project when she asked me to produce a song or two. I’ve been producing my own records for 5 years now and I’ve grown and learned so much—I was honored she asked me and the record themes grabbed me so much that I had to put my name in the hat. She picked me,

and I am so thankful and excited to see how it turns out in the end.

hopefully creating space for more women to do this in the future.

WL: What's it like taking on the role of

WL: There are "hymn-like" qualities to

producer in a male-dominated musical arena?

some of the compositions on Sarah's record. By hymn-like, I mean in sound and lyrical theology. You have also captured the emotion of "sung prayer" on this project, which is the essence of true worship. What can you tell us about the direction of Sarah Kroger's Bloom release? She has such a beautifully pure voice.

AUDREY:

I’m hoping you want a really frank answer because that is what you are getting. Being a female producer is like being a ghostwriter. You may have crafted and made something almost top to bottom, but most people don’t know it. In fact, they assume otherwise. Can’t count how many times I’ve played a demo of a song I wrote with a man and the person listening assumes that my co-writer made the demo and not me. There’s a certain level of invisibility to it, and it feels almost like I have to convince people that yes, I really do know how to work software and put mics in front of things and people, and compress and edit and whatnot. But I’m learning to relish the challenge, and I’m conscious of the fact that simply by making records I’m proud of, I’m

AUDREY:

Sarah is like a flower herself. She is blooming and growing as a songwriter, a woman, and an artist—her natural sound is tinged with history and tradition, but still modern and confessional/confiding. I think Bloom will create a little sonic world in which both hymns and Peter Gabriel-esque, deep and wide pop, have prominence and place. That’s exciting to me.

WL: What advice do you have for aspiring worship leaders and worship songwriters?

AUDREY: The music for the church that

moves me the most, personally, is music that comes out of musical community. Songs that come out of groups who are living and loving and learning together seem to have a particular potency— whether that’s two or two hundred people. So my advice would be, find your muses and your mentors and write about the things that are touching your lives. Worship songs from a context like that are often truly compelling and universal without being pandering, because they come from real life lived together. For more information on Sarah Kroger and Bloom, go to www.sarahkroger.com, PledgeMusic, Facebook, Twitter, Instagram and her blog. For more information on Audrey Assad and Evergreen, go to www.audreyassad.com, Facebook, Twitter, Instagram and YouTube.com.

Calvin institute of Christian Worship

vital worship grants program worshiping communities The Vital Worship Grants Program seeks to foster vital worship in congregations, parishes, schools, hospitals, nursing homes, and other Christian worshiping communities in North America, by supporting year-long projects of learning related to worship in these communities. For more information and application materials visit worship.calvin.edu/grants

apply by january 10, 2019

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ALBUM REVIEWS

FOR KING & COUNTRY

BURN THE SHIPS

BY DARRYL BRYANT

forkingandcountry.com Grammy and Dove award winners For King & Country have a lot to live up to with Burn the Ships. Australian brothers with a penchant for impeccable and complex vocal ranges with brilliant harmonies are living up to the acclaim and follow-up with their debut album Crave and chart burner Run Wild. Live Free. Love Strong with hits like “Priceless” and “Shoulders”. Which have heralded praise and promise, as they have been staples on Christian radio and enamoring concertgoers worldwide with a string of mega-songs. For King and Country have a big sound, a huge fan base, and overwhelming live and media popularity and yet they are able to deliver songs that are relevant and reverent that move worship music and life forward. The first two cuts on the album: "Joy" with already over five million views has an international vibe to it that is detailed and rich with meaning and purpose and in perfect stride with “God Only Knows” which is arranged to perfection with bold and contemporary instrumentation and lyrical artistry that is appealing, singable and just plain enjoyable. This combination of technology and vocal ingenuity is the perfect prelude to the vibrant title track “Burn the Ships” which implies that there is no turning back and this multifaceted album roars forward with genuine ballads and anthems that extend and stretch the musical playing field. “Fight on, Fighter” has a European flair to it with festival written all over it. “Need You More” has sharpness to it with a cutting-edge use of effects while also using space to give Burn the Ships dimension and flow. Joel and Luke make use of powerful songwriting and genius rhythm and percussions that shift through a vertex of expressive layers on “Never Give Up” and “Hold Her” with intimate and vulnerable prose that is stylish and allows the listener to feel like a part of the songs narrative and message. “Pioneers” which includes wives Moriah and Courtney is a gorgeous collaboration, which interlaces intelligent verse and dialog that is as mesmerizing as it is delicate in showcasing forgiveness and grace. Burn the Ships is a five-star project that is well written and in many ways a total and complete package of worship with a far-reaching genre crossover possibility. It is inspiring when

artists like For King & Country live up to the potential and the hype and deliver an award level project that reaches the highest pinnacles of sonic and creative brilliance. Give these pioneers a listen. For King and Country burn the ships without looking back and create a trail of inspiration and “Joy” that God Only Knows!

MOSAIC MSC

HEAVEN mosaicmsc.com Heaven is the follow-up EP to Glory & Wonder from Mosaic MSC, a touring worship band that has an enduring legacy based out of the Mosaic church in Los Angeles pastored by Erwin McManus. The first tune out of the box is “Mercy” and it sets the tone for the rest of the album with a contemporary California vibe that is fresh and engaging. “Never Let Me Down” led by Mariah McManus who has written songs for Grey's Anatomy and other film and television projects, continues the journey. The pulsating sub bass and thoughtful lyrics use space and hearken the hearer to keep listening in and the payoff comes with “Engraved” and “Maker of Heaven” that blend the vocals with the right touch of effects that is not overproduced and interestingly creative and relevant. The minimal approach to “Voice Memo” is a reminder that the music comes first and the songwriting process is a reward in and of itself and the listener gets to feel like they are in the studio as the flow and results are being birthed. Mosaic takes risks with “15” and the results are rewarding and fulfilling and closes out this four-star project with energy and charisma. Heaven is exactly that and well worth a listen from a seasoned worship band that delivers what it promises and does not let you down and leaves you wanting more which is what an EP is designed to do.

TOP SONGS

"J OY " & " O N LY G O D "

TOP SONGS

“NEVER LET ME DOWN”

MOST SINGABLE

" C O N T R O L" & " N E E D YO U M O R E "

MOST SINGABLE

“ENGRAVED”

STRONGEST BIBLICAL CONTENT

"A M E N "

STRONGEST BIBLICAL CONTENT

“MAKER OF HEAVEN”

T H E W H O L E PAC K AG E

"FIGHT ON, FIGHTER"

T H E W H O L E PAC K AG E

“EYES ON YOU” AND “15”

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GATEWAY

MICHAEL FARREN

GREATER THAN

FIGHTING FOR US

gatewayworship.com Greater Than is from Gateway Worship based in the DallasFort Worth Gateway Church and pastored by Robert Morris. The production of a live album has a number of built-in advantages from the ability to have an active audience to being able to reach out to a broader following and the challenge of letting go of the familiar to reach the masses. At the end of the day, it is about good music, songwriting, and production. The song “Deliverance” accomplishes this and sets the table for the title track “Greater Than” by not forgetting that their base is sanctuary themed worship. “How Glorious” then takes it up a notch with a strong female vocal and is a passionate and powerful anthem that is clearly an audience favorite. Greater Than uses reverent lyrics and vacillates between high energy and minimal ballads that have the right balance of sparkling guitar riffs and piano that is both striking and noteworthy on “Steadfast” and “I Will Wait”. There are a number of reasons to like this album. There are fourteen cuts on the project, which, are satisfying, and a joy to listen to with “Linger” a soul-gripping ballad that is vulnerable with an outstanding string arrangement. “Stand in Your Love” epitomizes the depth of Gateway Worship and this album with acoustic guitar intro and power drums that compliment the sanctuary focus. The final cut “Open the Heavens” has a nice groove and breaks away from the other tunes with a rock-pop driven sensibility that allows the listener to move with the music. Greater Than works because Gateway never loses sight of their (live) audience and delivers with an array of diverse songs that have purpose and passion while inviting the listener to join in. Give this four-star album a listen and the celebration will linger long after the music stops playing.

michaelfarren.com integritymusic.com Michael Farren is both a Dove Award winning songwriter that has written songs such as "Trust In You" (Lauren Daigle), "Every Time I Breathe" (Big Daddy Weave), "Let It Rain" (Michael W. Smith) and "Sing It Now" (Reba McEntire) just to name a few. However, this does not begin to scratch the surface of the breadth and depth of this multi-talented artist and project. “Fighting for Us” is the title track of the album that is multi-dimensional on a number of fronts but the real strength comes from tight production and the diversity of tunes that engage and challenge our listening palette to take in the whole song and not just the sum of their parts. “I belong to Jesus” the opening track with driving drums and shimmering banjo uses unique percussive nuances to bring the song to life. “Prisoners” is a gospel flavoring that is authentic and a bridge between praise and worship. There is a lot to like about Fighting for Us. The lyrics are profound with the right touch of passion and blend of instrumentation that are world class and allow the listener to ebb and flow with the heartbeat of the album. “Goodness and Mercy” plays with vocal syncopations and keeps the narrative original and yet familiar in interesting ways that allow Farren’s voice to stay front and center, which is refreshing. “Where is God” is a piano and string symphonic wonder that is vulnerable and timeless. The acoustic guitar on “As it is in Heaven” is the perfect compliment to the haunting rhythm and more traditional arrangement that transitions from ballad to anthem in a thunderous blink of an eye. “Loved and Known” the reprise to “I belong to Jesus” closes out this album in an old-time gospel way that leaves you wanting more. This five-star project is a songwriting clinic that is faithful in its promise and a reminder that authentic worship is alive and well and Michael Farren is in the forefront as both a singer and songwriter.

TOP SONGS

"DELIVERANCE" & "LINGER"

TOP SONGS

“GOODNESS AND MERCY” AND “OH PRAISE”

MOST SINGABLE

"STAND IN YOUR LOVE" & "OPEN THE HEAVENS"

MOST SINGABLE

“I BELONG TO JESUS” AND “AS IT IS IN HEAVEN”

STRONGEST BIBLICAL CONTENT

"HOW GLORIOUS"

STRONGEST BIBLICAL CONTENT

“COME ALIVE”

T H E W H O L E PAC K AG E

"GREATER THAN" & "I WILL WAIT"

T H E W H O L E PAC K AG E

“WHERE IS GOD” AND “FIGHTING FOR US”

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VINEYARD SOUL

LAUREN DAIGLE

GENEROUS GOD

LOOK UP CHILD

vineyardworship.com.com

laurendaigle.com centricitymusic.com

Vineyard Worship has a legacy of live worship collaborations that are as diverse as they are reverent. The collaborations seem to stretch music and lyrics across boundaries and make them fit a time and season with a distinct clarity of voice and instrumentation. Now Vineyard Soul has released their second project that features assorted voices from a myriad of multi-ethnic Vineyard churches. “Generous God” lead by Tina Colón-Williams answers the call from the opening bell with tempered power and is smooth and rich. “We are Hungry” with an organ and guitar intro right out of the 70s is mesmerizing and builds like a titanic wave with warmth and urgency. The vocal arrangement lead by Joshua Miller is contemporary and nostalgic in ways that make the production second to none. “Slow to Anger” pays homage to the late Andrae Crouch and captures the listener’s ear with subtle accents that embody R&B and gospel in a modern way with exquisite string arrangements and leads into the anthem “When We Call Your Name.” The flow of passion is non-stop throughout this project and “Form Us” is another standout with a beautiful vocal arrangement with engaging background vocals that will without a doubt set a trend with balance between power and restraint. Vineyard Soul is most appealing in its ability to stay true to the Vineyard brand while forging new ground and doing it with soul and boldness. This project captures a fresh sound that interweaves traditional tunes with new inspirations and is never too familiar. “Above all else” captures this formula with perfection. The brilliance of Generous God is great arrangements, fresh voices and powerful songwriting that puts vocal clarity out front and asks us to have Sunday morning worship every day. To this five star album “We Say Yes” from ballads to anthems give them a listen.

Lauren Daigle arguably has one of the most unique and interesting voices in worship and Christian music. Her first album, How Can It Be, went platinum. Daigle has garnered Dove Awards as both a singer and songwriter. The single "Trust in You” is Grammy nominated and highlights her rich raspy voice. However, at the center of it all is powerful and vulnerable lyrics that appeal to a wide and diverse audience. Look Up Child opens with “Still Rolling Stones” and the legacy continues. This upbeat tune takes Daigle’s vocal range up a notch or two and then takes the listener on a reflective lyrical rollercoaster. “This Girl” has a vibrant full throttle gear that has depth and passion that illuminates like a torch with chilling strings and open boldness that is as much a proclamation as it is a mega tune swirling with crossover finesse and chilling strings. “Your Wings” a blend of reggae and zydeco is true to Daigle’s Louisiana roots and is another wistful turn into a treasure chest of thoughtful arrangements that ebb and flow with masterful pacing from ballad to anthem in thunderous waves. “You Say” is equally noteworthy and makes “Love Like This” a resonating chapter in this novel of listening masterpieces that races forward and only looks back to bring you on the ride. By the time you get to the title track “Look Up Child” the pulse turns up again, and you are on a journey into uncharted worship territory that is infectious, inspiring and memorable. As Look Up Child closes with the surrendering “Rebel Heart” and traditional gospel lullaby of “Turn Your Eyes” Daigle is an artist with something to say that is thoughtprovoking and conversation invoking. There are radio-ready tunes as well as sanctuary reverence that build and live up to the promise and worth the wait. This project is wise beyond its years and may very well set a standard that crosses over to multiple genres. The attention to detail, lyrical prowess, and masterful production pay off with this five-star album and the results are “Inevitable” and unlimited.

TOP SONGS

“WE ARE HUNGRY” AND “WHEN WE CALL YOUR NAME”

TOP SONGS

“STILL ROLLING STONES” AND “THIS GIRL”

MOST SINGABLE

“WE ARE HUNGRY” AND “WE SAY YES”

MOST SINGABLE

“YOUR WINGS” AND “YOU SAY”

STRONGEST BIBLICAL CONTENT

“SLOW TO ANGER”

STRONGEST BIBLICAL CONTENT

“REBEL HEART”

T H E W H O L E PAC K AG E

“GENEROUS GOD” AND “ABOVE ALL ELSE”

T H E W H O L E PAC K AG E

“LOOK UP CHILD” AND “LOVE LIKE THIS”

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MACK BROCK GREATER THINGS

WORD REC AD

DEBUT ALBUM | AVAILABLE NOW FEATURING GREATER THINGS, CHRIST IS RISEN, & DO IT AGAIN

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THE GRAY HAVENS

STEVE & SHAWN

SHE WAITS

FAITHFUL

thegrayhavensmusic.com

steveandshawn.com

The Gray Havens are a husband and wife duet with She Waits being a follow-up to their first album, Fire and Stone from 2015. “She Waits” the title track opens this fascinating project with piano and synth drones that create a quirky tone that are fun and engaging. The subtle techno vibe and creative production tells a story and turns and twists in ways that is brazenly independent and refreshing. The spirited “High Enough” with authentic rap by Propaganda is a lyrical gem with hip-hop accents that are genuine and connect. “Return” and “Not Home Yet” have a smooth almost Celtic vibe and continues the narrative. David and Licia Radford are a force with She Waits and “Forever” reminds the listener that sometimes you need to not only step outside the box but leap in new directions that set trends and appeal to those outside the typical four walls. This four-star album is a treasure and a real pass it on project that has viral threaded all through this tapestry of hits and wonders and wore out the repeat button on my player. Noteworthy is also “Three Birds of Babylon” and “See You Again” which uses the power of storylines to build and bond this project from start to finish. Hang outside the box and give this addictive album a listen and you will definitely return for more.

When your story starts in Silt, Colorado it better be good! When Steve and Shawn Reed started their ministry they took the long road home that led them to Nashville, Tennessee. Their first full new album since the 2010, Who We Are, Faithful was birthed out of trusting in God and traveling where that would lead them as they trekked across the world. The opening tune “You Remain” is the perfect introduction to this album and the Celtic accents and creative rhythms is fun and catchy and obviously the seasoned foundation of a duo comfortable with leading worship. “Faithful to Me” with acoustic guitar and just a hint of country take you back to simpler times with a James Taylor vibe that is both sincere and authentic. When this duet blends their voices there is a touch of magic that fades into “Hide Myself ” which Shawn carries with her beautiful vocal range that never exhausts the listener by over-performing. “Bless the Lord” is a standout on this project that uses sweet subtleties that never compromise the message and almost begs for the duet to step outside of the box and let go. “Your Life” which is a family affair - kids and all with banjo arpeggios that are priceless and showcase the real potential of Steve and Shawn. Faithful does have a story to tell that is worth listening to and Steve & Shawn deliver with worship that is authentic and flows from start to finish. “Here’s My Heart” is another noteworthy song that is a well-written heartfelt ballad inviting to be covered. The music and lyrics have a balance that is complete and what remains is for you to come on their journey and hear the rest of their story.

TOP SONGS

“HIGH ENOUGH”

TOP SONGS

"BLESS THE LORD" AND "HIDE MYSELF"

MOST SINGABLE

“SEE YOU AGAIN” AND “THREE BIRDS OF BABYLON”

MOST SINGABLE

"HERE'S MY HEART" & "YOUR LIFE"

STRONGEST BIBLICAL CONTENT

“FOREVER”

STRONGEST BIBLICAL CONTENT

"MORE THAN I CAN SAY"

T H E W H O L E PAC K AG E

“NOT HOME YET” AND “STORE HOUSE”

T H E W H O L E PAC K AG E

"YOU REMAIN"

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WORSHIP LEADER SUBSCRIBERS! DOWNLOAD THE MUSIC THAT ACCOMPANIES THIS ISSUE AT WORSHIPLEADER.COM

DEANNA WITKOWSKI

MAKES THE HEART TO SING: JAZZ HYMNS deannawitkowski.com There are times when only an instrumental will do. Jazz fills a need in worship and praise in so many ways from improvisation to the subtle dance the keys of a piano can make as it sways with the upright bass and intoxicates with the held down in the pocket brush of the drum. Deanna Witkowski is both an outstanding player and composer with credentials that span from Chicago’s Wheaton College to New York City and Makes the Heart to Sing invites you to the table of excellence. God is in it all with many of the classical pieces being hymns and worship songs from Beethoven to Bill Evans. Jazz is described as the true music genre that originated deep in the African-American communities of New Orleans and the southern United States, throughout the late 19th and bridging the early 20th centuries.

The album opens with the beautiful luxurious Welsh tune “Cwm Rhondda (Guide Me, O Thou Great Jehovah),” that takes quixotic turns with the heart moving upright bass. The Bill Evans ballad “There is a Balm in Gilead” and gorgeous “Beach Spring” are noteworthy and worth the price of admission alone. “Holy, Holy, Holy” pays homage to Duke Ellington while the up-tempo “Foundation (How Firm a Foundation)” is a clinic on the majestic tonal phrasing of ivory at its best with gospel sensibilities. “Lord, I Want to Be a Christian,” is another standout and reminds the listener of jazz great Ellis Marsalis’s early work that married gospel and jazz in intimate and intricate ways. “We Three Kings” grooves with swinging confidence and expertise that is breathtaking. “Joyful, Joyful, We Adore Thee” is Witkowski at her best with a classic from the Ninth Symphony. Makes the Heart to Sing is a beautiful and poetic work of art that is beyond five stars and should be a listening requirement for those who want to lift their jazz influence to another level. Witkowski’s media site is thorough and educational. As a musician, let Makes the Heart to Sing left me inspired. As a writer, I felt satisfied and convicted. As a Christian, this album gives me a greater walk with Thee. Give this album a listen and pass it on! TOP SONGS

“CWM RHONDDA” “HOLY MANNA”

MOST SINGABLE

“JOYFUL, JOYFUL WE ADORE THEE”

STRONGEST BIBLICAL CONTENT

“THERE IS A BALM IN GILEAD”

T H E W H O L E PAC K AG E

“WE THREE KINGS” AND BEACH SPRING”

"Come and see..." says the Lord (John 1:39)

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WILL MAKE A WAY

GOD

an interview with Don Moen

Worship Leader's Alex MacDougall caught up with longtime friend and beloved worship leader,

WORSHIP LEADER (WL): Your new

Don Moen. He is releasing God Will

book, God Will Make A Way, chronicles exactly what the Apostle Paul talks about in Romans 12. What can you tell worship leaders about a life lived out as a "reasonable act of worship?"

DON MOEN: It’s important that as

worship leaders we understand that “music doesn’t equal worship, and worship doesn’t equal music.” While the songs we sing are important, Jesus is more interested in how we live our lives throughout the week rather than how we sing our songs on Sunday morning. Jesus talked extensively about worship but didn’t address the issue of music, which has become such a hot topic in our churches today, where we might join or leave a church because of the music. The only reference to music that I can find in the Gospels is in Matthew 26:30 and Mark 14:26, “And when they had sung a hymn, they went out to the Mount of Olives.” Paul writes. “Therefore, I urge you, brothers and sisters, in view of God’s mercy, to offer your bodies as a living sacrifice, holy and pleasing to God – this is your true and proper worship.” Our “true and proper worship” is a life laid down in service to the Lord 24/7, reaching out with love and encouragement to those who cross our path throughout the week, and bringing hope to those who have lost hope. If we lived our lives each day with this awareness, the songs we sing would be more meaning ful. I’m reminded of the lyric that was birthed out of a prayer I prayed many times backstage: “with every beat of my heart, every song that I sing, every prayer that I pray, every offering I bring, with every thought that I have, in every word that I say, be glorified.” Amen. Rom 12:1 (NIV)

Make A Way, his personal account detailing his service to the church. This valuable worship book is set to release this Fall and can be purchased at donmoen.com.

WL:

The act of leading worship and sharing in that worship with others can "level the playing field" for all involved. What peace and connection does one find in truly worshiping God with others?

DON: If the act of leading worship

and collectively sharing in that worship with others can “level the playing field,” we need to make sure our congregations are participating in worship rather than watching a great stage production. We’ve become very good at producing a great show, but unfortunately, this does not create a “level playing field.” I love great technology and production, but have we forgotten about the guy sitting on the back row of your church who drove a truck 80 hours last week? Can he relate to what he’s seeing on stage? Probably not. We need to ask the question, “what are we doing as leaders to make that guy feel like he’s part of the worship experience?” A few things come to mind. 1. Pick the right songs that connect with our audience. 2. Pick the right key. 3. Allow some breathing room in our worship set where the band doesn’t play, and our congregations can hear themselves sing. If we do these few things, we’ll have a much better chance of creating a level playing field, and we will begin to experience the peace and connection we can find worshiping with others.

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WL:

What will a worship leader gain by reading your new book?

DON: God uses normal people,

and God made a way for me, even though I failed my speech class in college because I was afraid to speak in public. If God can use me, He can use anyone! With all the amazing resources we have available on the internet, tv and social media, it’s tempting to try to replicate, or duplicate what we see and hear, and this can be very intimidating to someone who is leading worship for a congregation of 200 people with no band, but only a couple of volunteers on the piano and organ. Learn what you can from others, but most importantly learn to “be yourself.” God will never anoint who you want to be, He anoints who you are. You may not be the most talented, the most handsome or beautiful person, but God has chosen you to lead your congregation into His presence and you cannot do that by trying to be someone else. Be authentic and God will make a way for you.

Upgrade Your Rig Sell Your Used Gear to Make Room (& Money) for New Instruments

When it comes to making sure you and the musicians at your church have all the tools needed to bring worship songs to life, not all budgets are created equal. And whether you bring your own music gear or the church provides you with instruments, one fact remains: Music gear can be expensive. If you’re like me, you like to switch up your tools frequently to not only challenge yourself but also to keep up with the ever-evolving sounds of modern worship music. Luckily, third-party marketplaces like Reverb make it easy to not only find quality used gear at prices that fit into any church budget, but also to sell old gear to make money and room for new instruments. Whether you’ve got a closet full of goodies collecting dust at your house of worship or you simply want to sell a few pedals from your board, there are several tips that can help items sell faster on Reverb and similar online platforms.

1. TAKE GREAT PHOTOS. Don’t get me wrong: You don’t have to hire a professional photographer or even purchase an expensive camera. With the right lighting and a solidcolored background, you can take quality photos with your smartphone. Be sure to photograph the item you’re selling from every angle and be as upfront about dings or blemishes as you are with unique or noteworthy aspects of the gear. Take more photos than you think you’ll need—a prospective buyer wants to see exactly what they’re purchasing.

BY ANDREW WATSON

2. DON’T SKIMP ON THE DETAILS. Use the description to tell buyers what your pictures can’t. How long have you had the item? Where did it come from? Why do you love it? Start with the most important info first—covering those bases will ensure that your item appears when people search for the brand or model. From there, let your artistic juices flow: A clever (while still accurate) description could be the reason a buyer selects your item over another similar piece of gear.

3. MAKE SURE THE PRICE IS RIGHT. Pricing is one of the most direct ways to impact where your gear shows up in searches since the most affordable pieces of gear float to the top of the search list. One benefit of listing your item on Reverb over other marketplaces is the low selling fee. With just 3.5 percent taken when you sell an item, you can afford to list your gear for less. If you’re unsure of how to price your item, take a look at the Reverb Price Guide, which shows real-time pricing information on what users are buying and selling on the site—it’s like a Kelley Blue Book for music gear.

4. BE OPEN TO NEGOTIATING. When you list an item on Reverb, you have the option to accept offers. Accepting offers provides you with an opportunity to negotiate with interested buyers and increase your chances of making a sale. Listings that have the “make an offer” functionality enabled sell up to twice as fast as listings that don’t. Keep in mind, you’re never required to accept an offer.

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SELLER ENGAGEMENT MANAGER AT REVERB, THE LEADING ONLINE MARKETPLACE FOR BUYING AND SELLING NEW AND USED MUSIC GEAR. Andrew works with Reverb’s top sellers to ensure that they see continued success on the platform. On Sundays, Andrew leads the worship team at Big Life Community Church in Oswego, IL. Reverb.com

5. CONSIDER THESE PRO TIPS. When you sell gear on Reverb, there are several tools and services available to make the process quick and painless. Download the Reverb App—you can create and edit listings, respond to messages, and make sales from the palm of your hand. Consider using Reverb Bump. For a small fee, Reverb Bump allows you to boost your listing, putting it in front of more buyers and increasing the likelihood of a sale. Finally, get a 1 percent discount on future purchases when you select “Reverb Bucks” as your payment method—the money you earn will stay in your account so that you can use it to buy new gear on the site. The best way to stay in front of an online marketplace audience is to publish listings frequently. Consider setting up one central shop where everyone in your worship band can post items they want to sell. Not enough gear on stage or in storage? Ask your congregation to donate old gear that’s collecting dust in their attics to raise money for new equipment for the church. You never know what treasures might be hiding in someone’s home—it could be your band’s ticket to a new rig.

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Ministries Turning to a Mix of Cinematic and HDR Technology Options as Production Values Increase

BY CRAIG HARPER NATIONAL MANAGER OF FAITH FOR SONY Craig has held his curent position at Sony since April 2014. Harper’s responsibility is serving churches for broadcast, production and content management solutions. Before joining Sony, Harper was VP/Chief Technology Officer for Belo Corp., an owner/operator of 20 television stations and 6 news channels.

sony.com/faith sony_faith sonyfaith sonyfaith

he singers are lit and miked, it’s a packed house and the cameras are rolling, when the pastor says, “let’s try that again.” Pastor? While this might sound like something a director would say while recording a concert or live event, it’s increasingly becoming a more common scenario at many ministries. Gone are the days when it was good enough to simply record a service with one fixed camera pointed at the pastor. Churches are now producing more live events and special services, and streaming services on the web to reach more people across the country and the world. At the larger churches, audiences and A/V systems are on the scale of the biggest stadium concert tours, bringing with it a whole new set of production challenges and opportunities, for example, IMAG and multi-camera set-ups. Churches need to deliver content to more platforms and in higher quality, and the increasing accessibility of more

affordable and capable production technology is making it easier to do this than ever before. When churches buy new technology they need to think about more than its ease of use and durability. They have to consider image quality and how it can help them achieve the right “look” they need. The keyword for any ministry is options, and a company like Sony has the most comprehensive mix of technology options to fit any size room or application. Churches are implementing any, or a mix of, these options -- from full-frame mirrorless alpha cameras or the compact RX0 for specialized POV shots to compact handheld 35mm camcorders like the FS7 or FS5 up to the F55 and new VENICE camera, the same cameras used to shoot big-budget movies and TV shows. It could be a mix of models like F55s with an HDC series studio camera to

Churches need to deliver content to more platforms and in higher quality combine a beautiful Super35 “film” look with 2/3–inch lenses, as well as fiber connectivity, seamless gen lock and many other features. Many churches have been using the HDC-4000 series cameras. The reason churches like Lakewood have chosen the HDC-4000 series cameras is the ability to produce 4K HDR and HD SDR simultaneously, and they support both S-log3 and HLG workflows for HDR to provide a unique look. One ministry, Lake Pointe Church uses Sony’s 4K cameras -- from the FS7 and

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FS5 camcorders to the full-frame 7S and 7S II interchangeable lens cameras -- in nearly every aspect of the ministry’s video production to capture services and events and handle the streaming, reaching 3,000 people online. Chip Acker, Video Director at Lake Pointe Church, noted that since the organization is focused on video production and streaming, it’s important to have highquality, easy-to-learn equipment that can be used and maintained by the church’s volunteer staff. Acker continued, “Pairing the right gear with our wide range of production styles gives us the best options for our church. The variety of Sony products that we own allow us to put the right gear into action with any of our production requests and it also helps us save money over the long-term.” These are just some examples of churches employing a mix of different cameras to spread their messages effectively and wider. And it’s not just limited to cameras. Sony offers wireless microphone technology and high-res audio systems to keep the audio sounding as good as the video looks. Churches can also satisfy their entire workflow with Sony’s intelligent media services, which offer flexible and cost effective workflow solutions ranging from editing, storage and archive to cloud collaboration, asset management and distribution. In addition, beyond the sanctuary, it’s more common to see laser projectors or the latest “active learning” solutions in classrooms and collaborative worship spaces. Churches needs will never stop growing. Sony’s family of options will keep pace, ready to meet, and exceed churches needs today, and tomorrow.

CINEMATIC

OPTIONS

FOR YOUR ROOM Sony brings the cinematic look to live production Now you can introduce the shallow depth of field look your worship team wants. Because now you can integrate Sony’s acclaimed F55 Super35 digital motion picture camera into your live production system. Sony also supports you with the affordable FS7 and FS5 Super35 handheld cameras and our α7S II and α7R II full frame DSLRs. So your pictures are more than just clear, they’re captivating. The partner you can believe in In addition to the most extensive portfolio of audio/video options, Sony supports the faith community with dedicated staff and programs. And we have specialists ready to work with you from initial sketches to blueprints to completion. Discover your options at sony.com/faith

© 2018 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony and the Sony logo are trademarks of Sony. FA L L 2 018 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

GEAR REVIEWS

IZOTOPE RX ADVANCED: AUDIO RESTORATION izotope.com/rx

Three letters, one word...”Wow!” I also regularly used the phrase, “You’ve got to be kidding me,” while discovering the enormous capabilities of this relatively unknown BY STEVE REED software. Izotope RX MULTIINSTRUMENTALIST, is designed to not only AUTHOR, SPEAKER, WRITER, PRODUCER enhance audio but also WORSHIP TEAM to fix problems. But not TRAINER Steve along with his wife just any problems, many and children comprise of these were the kind of the worship group issues that I previously Steve & Shawn. Steve is an avid learner and thought were unfixable. teacher by nature and Things like wind blowing his extensive travels as on the microphone, loud a guest minister, long history of local church clicks and pops, distortion service, and experience from clipping, mouth in the recording industry noises, background provides a fresh perspective on how sounds, and even breaths equipment can help can all be removed in one resource the church. click modules that usually Steveandshawn.com musicandministry.co start with the phrase, “De-” (e.g., De-click, De-rustle, De-hum, Dewind, De-plosive, De-ess, etc.). By just using these modules I have saved hundreds of hours of time. I was used to going through podcasts and vocal performances to manually turn down the breaths and was trying to eliminate mouth smacks with painstakingly tedious volume automation. All that has been replaced by one key command, about three clicks, and 1 minute of processing. Much time has also been saved by not having to re-record projects that had problems. Each time I ran into some trouble I would say, “I wonder if RX could fix this?” and sure enough it could. One such problem was the microphone bleed that happens when two people are speaking near each other, as unless you isolate the individuals each microphone picks up the other person, which causes an unpleasant sound and creates challenges when you want to edit. By using the De-bleed feature you simply have the software analyze the two audio sources and it can separate them apart. 42 W O R S H I P L E A D E R | W O R S H I P L E A D E R .C O M | FA L L 2 018

This process leaves you with clean audio that sounds like you recorded them separately with all the benefits of the personal interaction you can only get from being in the same room. In addition to the modules that operate in their standalone program, I also made heavy use of the RX real-time plugins that can take care of problems as they happen. The main plug-in being a background noise eliminator, which is essentially a dynamic expander, that through compression makes the loud parts louder and the quiet parts quieter. It has made a world of difference in the quality of my projects. These are also the kind of filters you can run audio through as you’re live-streaming or recording your sermons. Now if that were not enough, there is actually another method of restoring audio that gets as granular as you need as this software has the ability to break audio apart and display the information graphically by volume and pitch. This allows you to physically see the problems you’d like to fix. In one of their demonstrations they showed an audio file where someone in the crowd had whistled loudly during a performance, a few clicks later it was gone and you can’t tell it was ever there. There are a few ways to purchase this software to fit your specific needs and your budget, with each level adding more features. The top level is the RX Post Production Suite that also includes a lot of other programs designed to help you mix, maximize sound output, and analyze/meter your audio to perfection. It also includes a year's worth of access to their training so you get the most out of your investment. Check out izotope.com/rx to see which level is right for you.

PROS: Industry leading tools to help you improve your audio

CONS: ach DAW (digital audio workstation) interacts with this software differently. Some can be accessed through the program itself and others have shortcut keys to export files to be worked on and then automatically update. That’s not a problem but it’s just something to get used to. The RX loudness control, however, does not work in all DAW platforms, so just check their requirements before you purchase.

BOTTOM LINE: This is amazing

PAIGE CAPO paige-capo.myshopify.com

VALHALLA DSP PLUGINS: SHIMMER, VINTAGEVERB, UBERMOD AND SPACEMODULATOR valhalladsp.com

Capo’s are a metaphorical lifesaver for many guitar players, they allow you to play open chords in different keys and can keep you from having to play the often dreaded barre chords. However, most capos have a problem, they bend the strings. This unfortunate side effect causes the guitar to play out of tune. This is, of course, unless you place them perfectly behind the fret or take the time to re-tune your guitar after putting it on. I’ve had the same capo for most of my adult life so I, like many people, had just learned to live with the consequences and became meticulous about my placement, would check my tuning, and had to avoid using them on an electric guitar and simply gave up trying to use one with lighter gauge strings. Thankfully there is a better way. Though it took some time, I began to notice that many musicians were not using the same capo I was and of all of the capo options out there in the world, the one that I started to see used fairly often was the Paige capo. A capo that has a simple but clever design that allows you to easily apply even and direct pressure to the strings so that your guitar stays in tune! Hallelujah. There are a few ways to use this capo, the first being the most surprising as they are actually designed not to come off your guitar. That’s because the capo can be discreetly tucked behind the nut (the top fret by the headstock where the tuning pegs are) which allows you to always have your capo ready. You simply slide it to the fret you want and tighten it with a few twists. I found this to be a two-hand operation, but even with adding in an extra extremity it was still faster than my previous process. Though it is not the recommended method you can, of course, take the capo off, which only requires a slight squeeze on the side which releases the bar to swing open. Several different models are available for different instruments and even for different neck shapes. They are readily available at most music stores or online retailers and are competitively priced. Check out paige-capo.myshopify.com to find out more.

BOTTOM LINE: If you play guitar you should know about this. 44 W O R S H I P L E A D E R | W O R S H I P L E A D E R .C O M | FA L L 2 018

Reverb has reached new heights of popularity in the worship community with Shimmer being the most trendy variety. It’s a sound that contains an octave effect that adds massively reverberated notes above what you are already playing. This is often used in ‘pad’ sounds for keyboards and even by electric guitar players. There are several ways to accomplish this sound, from standalone keyboards and pedals but increasingly this effect is being done in a live environment by computers running software like MainStage, Ableton, GigPerformer or in the studio with software plugins for the standard offerings of DAW’s (Digital Audio Workstation) such as Logic, ProTools, and Ableton. But of all of the available reverb units in the world, which one should you choose? Where I live, that’s the kind of thing we talk about over coffee or before service, which is where I had started hearing the buzz about Valhalla from several producers here in Nashville. But it wasn’t until I then noticed that Peter James, the main sound designer for Hillsong, had a Valhalla plugin as the only additional one required for his patches for MainStage, that I knew it would be worth a listen. Since then I have seen it in many other places and can understand what all the noise is all about. To those unfamiliar with plugins or the specific ways that reverb can be controlled, these programs can be a bit overwhelming as they are designed to give you extensive control over your sound. Thankfully, there are quite a few presets that will spark your creativity and several 3rd party sound designers, such as the aforementioned Peter James, offer low-cost settings you can download, sometimes even for specific songs. In addition to the ValhallaShimmer, the VintageVerb stands out as a great choice for those looking for a classic ‘verb’ or if you are looking to push the boundaries of the sonic landscape, then check out UberMod and SpaceModulator. Demos are available so you can test it out before you purchase at valhalladsp.com.

PROS: Relatively low cost and current popularity

CONS: Lots of knobs but lots of presets

BOTTOM LINE: It is what some of the top professionals are using

MA IN THEOLOGY − Now Fully Online −

Fuller Seminary’s online MA in Theology is for those who want to learn from outstanding faculty practitioners—from anywhere in the world—to more effectively serve and communicate God’s word in any setting. Apply what you’re learning directly to your context of service, and tailor your program to an area of interest like theology and the arts, ethics, youth and culture, or many others. Whether you want to prepare for future advanced study or sharpen your theological understanding for any calling, the MAT’s respected formation is within reach.

Fuller.edu/MAT

UNIVERSAL AUDIO LIVE RACK 2 uaudio.com/uad-accelerators/uad2-live-rac

WHAT IS IT: An external processor to run studio-quality plug-ins live They say in order to move forward in the field of sound you have to go back. That’s because almost all advanced sound is either based on vintage gear or is a modernized technique of processed developed by legendary producers and engineers. When you start to peel back the layers of time you will notice a few names being repeated over and over, one of them would be that of Universal Audio. A company that has long been at the forefront in the world of audio. While many people offer a version of equipment like the LA-2A and the 1176, they were the ones that actually invented them. This is a level of gear that until recently I didn’t know much about and didn’t realize how important it was to getting a great sound. Look at most any picture of a big recording studio and you’ll see racks and racks of them and with each unit costing in the low thousands of dollars (even today) it was a big part of what made recording studios desirable to work in and put a big roadblock to their use in a live setting. Renting a studio with expensive gear has faded into the sunset with the advent of plug-ins (smaller programs that you can add to recording software). These digital counterparts can be quickly added to your project as many times as you need for a fraction of the price and once again Universal Audio is a leader in the field. While this modernization greatly improves the home studio, the digitization of a physical unit now created a new barrier to using them live, which was the processing power of your soundboard. Not everyone realizes that digital soundboards are actually computers with knobs and while they offer many similar features to high-end audio units (e.g., compression, eq, and effects) they are not as good. So rather than purchasing a new soundboard, there is now a way to add the processing power you need to allow you to run the same software used by so many top producers today. The Live Rack 2 by Universal Audio is a relatively easy to use rack mount unit that is essentially a computer that is designed to process audio really fast. This allows you to run a large number of high-quality plugins without experiencing any lag in timing, something known as latency. To control which plug-ins are being used and to switch between settings you will need an actual computer to act as the interface to run a very light and simple program while the Live Rack 2 handles all the heavy lifting. For those who are already Universal Audio

users and are familiar with vintage gear, this will be a breeze as it closely resembles their console program. Users will also be delighted to find that licensing works on all Universal Audio units so you don’t have to purchase separately for each device. If, however, you are not familiar with Universal Audio plug-ins (UAD for short) or vintage gear then this can be a bit of a steep learning curve and even though it’s offered at a fraction of what it used to cost there might be some sticker shock as high-end gear is not known for being cheap. Connection to your soundboard is made through a MADI connection, no that’s not a typo, it’s MADI not MIDI. This is a network protocol that is lighting fast and is standard on high-end soundboards like DigiCo and SoundCraft but not so standard on most of the soundboards used by the average church. Behringer users get off easy as an interface card is relatively affordable, however those with a Yamaha can expect to pay quite a bit, and others are simply not available. This connection sends the signals from your soundboard to the unit and then returns the processed sound almost instantaneously. One of the key features that this system allows is live pitch correction via a plugin by the industry-leading company Antares, which is included with both product price points. By selecting key, voice range, and effect intensity you can really help bend notes back to where you hoped they were going in the first place. This, of course, is just one of the many benefits as almost the entire arsenal of UAD plugins are compatible with Live Rack allowing you to dial in custom settings for each track and subgroup. While the physical unit is the same for both options, the first price point includes a limited but very useful assortment of plug-ins or if you want to go ‘all in’ the full version put all their tools at your fingertips. It is also possible to add plug-ins individually without the bundled discount. Demos of plug-ins are available so you can see what it does and know how it interacts with your gear.

PROS: This is pretty exciting stuff for people who are familiar with this kind of equipment because it really does sound better and based on relative price it’s a pretty good deal.

CONS: They are working on it but you can’t use the same computer for running LiveRack as you do for other Universal Audio products. One plug-in that is currently missing is a multi-band compressor as the one they have is mostly for mastering and is not compatible with LiveRack. For those who are not familiar or are just getting started it can seem pretty expensive and may take some education to reap the full benefits.

BOTTOM LINE: Top notch gear

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FA L L 2 018 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

FENDER PLAYER SERIES GUITARS AND BASSES fender.com Fender has had a big year. Much time has been spent updating most of their product lines while also launching a new line of effects pedals and acoustic guitars. Though that seems like a lot, maybe they have saved the best til now as some of their best selling guitars just got better. A new level of quality that also needed a new name, “The Player Series.” For those familiar with Fender products, this would be the replacement of their MIM (made in Mexico) series, which is a pretty good step above their entry level ‘Squire' series and somewhere slightly below what their American series was before it too received an update. This update to the entire line of guitars and basses has brought improvements to the pickups and internal components, added a fret, and has freshened the pallet of colors to once again establish Fender as the industry leader in style and sound. Guitars like the often imitated Stratocaster and Telecaster or basses like the Precision Bass and Jazz Bass (P Bass and J Bass for short) are the top choice of many of today’s top music makers. This is no more true than within the worship community as you’d be hard pressed to find any well-known worship team where there isn’t at least one if not all of their musicians playing a Fender product. Specifically, I reviewed the Telecaster HH in the very cool Tide Pool finish, which straight out of the box played great and sounded amazing. Telecasters, or ‘Tele’ for short, are arguably the “it” guitar at the moment (not that I want to argue and maybe it’s really a tie between the Telecaster and an arch top semi-hollow body). This style of guitar is marked by an unmistakable thin sound found in so many modern recordings and features a slightly wider ‘C’ shape neck that I found very easy to play. I was also pleasantly surprised by the quality of intonation (how the notes at each fret were in tune) that is pretty tight up to the 12th fret. In the traditional configuration, a Telecaster has two single coil pickups that have recently been updated from ceramic 48 W O R S H I P L E A D E R | W O R S H I P L E A D E R .C O M | FA L L 2 018

to Alnico (type of metal). The HH model that I reviewed, however, differs from the original in that it comes with two Humbucker pickups (two coils put together that, as the name implies, helps buck or eliminate the hum) which can actually be split into single coil pickups by pulling up on the tone knob. This option allows you to get a much wider spectrum of sounds from the same guitar, from thick sounds to thin sounds quickly and easily. So whether you want to keep it traditional, want to get the latest colors, need a left-handed version, or want the flexibility of the HH versions the new Player Series from Fender has a lot to choose from. You can check them out online at fender.com or head over to your local retailer and be ready to fall in love (metaphorically speaking).

PROS: Great quality for the price with the legendary sound and style included.

CONS: If I’m getting picky, the intonation wanders a bit above the 12th fret, which is somewhat to be expected for guitars at this price point so if that matters to you consider stepping up a level to the American Professional Series. Also, a case of any kind is not included.

BOTTOM LINE: These are the instruments that are shaping the current sound of worship music at a price most people can afford.

Samford University’s School of the Arts has expanded its program to include additional degrees in worship leadership and Christian ministry In addition to an existing Bachelor of Music in music and worship and a minor in worship leadership, it is now offering two new opportunities for students to prepare for service to the church. Bachelor of Arts, Christian Ministry • Bachelor of Arts, Worship and the Arts Additionally, Samford’s School of the Arts is home to the Center for Worship and the Arts which is taking a leading role training the next generation of worship leaders through Animate, Worship Leader Boot Camp and the online certificate in worship leadership.

Plan a visit to Samford and discover a path to your calling. Contact us at arts@samford.edu or cwa@samford.edu

samford.edu/arts

Samford University is an Equal Opportunity Educational Institution/Employer.

FA L L 2 018 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

The Doctor Is In Let’s learn from each other how to thrive in the ministry path on which God has set us all. This new column will be here for each of you to find blessing, strength, encouragement, as well as new ideas for problem-solving the difficult situations that many of us in ministry share. We will go outside of the craft of our ministries and take a look at the relationships that make up our ministries. Your direct questions about how to handle these issues will be addressed in this column, so please, start sharing your questions with us.

worshipleader.com/contact INSTAGRAM.COM/worship.leader

DR. CRAIG GILBERT FOUNDER OF THE WORSHIP DOCTOR & PURPOSED HEART MINISTRIES

Craig spent 25 years leading & designing worship in local churches of all sizes and worship styles. Now he spends his time helping churches across the country imagine and achieve what worship could be and should be in their local context.

When we have church I work hard to lead worship that will speak God’s message to people through all aspects of what we do together. But during the week it is hard to focus on my ministry. There always seems to be somebody in the church who isn’t happy. I am just struggling with who I am in ministry and serving through tough times. Any thoughts that can help? Signed, Needs Inspiration Again

ur time together, while fulfilling and spiritually refreshing, is only part one of God’s two-part action: God calls and God sends. One answer to your question can actually be found in that weekly worship service. The historical ending to Christian worship services is an act of dismissal. This act of dismissal usually is the shortest part of the service, yet the direction of this action and its implications for the role of the Church in the world is enormous. Typically there are two parts to the dismissal: the Benediction and the Sending Forth. Each of these parts provides a crucial reminder of what it means to be both a worshiper and a follower of God. The Benediction is a blessing that is given by God to God’s people. The Benediction is for us. It reminds us of not just who we are, people loved and blessed by God, but whose we are. We belong to and serve God. This information is important for two reasons. First, as we re-enter the world at the conclusion of the worship service, we are reminded that we do not enter that world alone or without resource. God goes with us, and even more, God leads us. We follow in

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the path that God has ordained for our lives. God’s love and blessing will sustain us. The Sending Forth, however, is for the benefit of the world. It is a reminder that God called us in so that we can be prepared to be sent out. Worship was never meant to only be an action or exchange between believers and God for the mutual benefit of both. No, the gathering of worship was also meant to continually prepare us for, and release us into, service to all of creation. When addressing the dismissal from worship, Dr. Robert Webber wrote in his book Worship Old and New, “The true worship of God inevitably leads the people of God into positive social action. Our calling is to worship God not only with our lips, but with our lives.” (p. 194) The Sending Forth reminds us of that commission so that we never forget that we have a purpose in God’s plan. This reminder of our mission is meant to give us courage, boldness, humility, and perseverance when our faith is tested as we go about the work of the Lord. Pastors and Worship Leaders, we are meant to be encouraged by the Dismissal as well. As we go about the mission and ministry of the Church, we are faced with difficulties. Criticisms, sorrows, and yes, even betrayals, are all too common realities for those charged with leading the Church. And yet, hear the truth of the Benediction and the resolve of the Sending Forth: Who you are, makes you blessed. Whose you are, makes you worthy. The One who sends you and in whose name you work makes the mission valuable above any and all hindrances. U N T I L

N E X T

T I M E . . .

WORSHIP LEADER: Go forth to love and serve the Lord PEOPLE: Thanks be to God! ALL: Amen!

LOOKING TO EXPAND YOUR CHURCH TEAM?

From Admin to your Worship team, post your job openings on the JOB BOARD

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