When I’m listening to Waylon Jennings and Jessi Colter sing “Storms Never Last,” I wonder if I’m also hearing what Job, and even Jesus in Luke 20, would want to sing.
My journey to Waylon and Jessi is circuitous. I grew up in a missionary family that rejected popular music as well as any instruments that thrummed a beat. So I loved George Beverly Shea. Then even Shea turned wild—in the gone-crazy 1960s he recorded with the Blackwood Brothers Quartet and their electric guitars. Soon after that, my parents’ resistance to the beat began to wilt, and by the 1970s our large family gave gospel concerts that throbbed with electrified sounds.