It's a truism that Christianity lives and breathes as much
(or more) through music as through preaching or teaching, to say nothing of
dense theological texts--so Christian preachers and teachers should be on the
lookout for ways to incorporate the great hymns of the tradition into our
sermons, lessons and other theological work.
church musician, I've been known to program what I thought were familiar
Charles Wesley hymns, only to find my non-Methodist song leaders tongue-tied by
the ambitious melodies and all-doctrine-all-the-time words. When I have a week
off and visit an Episcopal church, the Hymnal
1982's Arthur Sullivan tunes make my mind wander to operetta.
This new band's sound has roots in the indie-folk scene, with its moody treatments of simple chord progressions and Americana rhythms. But the larger thread here is classic pop, and The Head and the Heart offers the complete feel-good package.
Alt-country is typically traced to Uncle Tupelo, but the early '90s Jayhawks made better records. Where Uncle Tupelo found scrappy affinities between traditional Americana and punk, the Jayhawks brought '70s country-rock to the alt-rock '90s.
Life smooths us, perfects as does the river the stone, and there is no place our Beloved is not flowing, though the current’s force you may not like. —St. Teresa of Ávila
This rounding roughs us even as it smooths, the force of God’s water strong, tumbles the small stones even as it soothes and carries them lightly along, The rain falls full and fills the streams. The river drinks their love. The trees bend heavy with dreams. There’s nothing that does not move.
Borne along by fire and flood, by wind that tongues and grooves, our bodies brimmed with blood that feeds us as it proves perfection is no steady state. It’s on the way and always late.
Is it rock? Swing? Boogie-woogie? Louis Prima Jr. (son of the famous comic swing artist) melodiously mixes all of the above. This music moves—often with greased-lightning groove, as on the instrumental title track and “Go, Let’s Go” (which features a frenetic guitar solo). The record has its touching moments, too, as when Prima Sr. and Jr.
Rodney Crowell, longtime guitarist for Emmylou Harris, hit songwriter for Waylon Jennings and the Oak Ridge Boys, demonstrates artistic integrity here, refusing to cave to country-pop trends. Nothing here is calculated; the album was recorded live in a studio.
You can call Keb’ Mo’ a lot of things, but “unpredictable” isn’t one of them. His blues tradition is more down-home than hard-charging, more Delta than Chicago. His 11th album is basically more of this, and as usual it sounds great. Keb’ Mo’ doesn’t reinvent himself. Keb’ Mo’ plays the blues.
On the Söderberg sisters’ third album and their second with producer Mike Mogis, the sound is bigger and lusher, even utilizing strings and winds at times. But it remains rooted in ’70s folk rock, straight-ahead and fingerpicky and richly effective.
Chris Thile is equally committed to the mandolin—that oh-so-traditional instrument he plays so uncommonly well—and to progressive stylistic exploration. Often this makes his projects come off a bit cute, the Harlem Globetrotters of acoustic music. On paper, this audacious new crossover project—Thile playing J. S.
I got "saved" at a Carman concert when I was 12. It wasn’t the first time. But it was the first time I asked Jesus into my heart publicly, at an altar call. My friends and I became disciples overnight.
I wasn't, however, a disciple of Jesus—at least not directly. If I was discipled to anyone in middle school, it was to the pop stars of the contemporary Christian music scene.
A pet topic of mine is the tendency of some Christians to fixate on belief and its boundaries. You can't just state why you think belief in x, y, and z is important to Christian faith and life; you have to claim that those who believe x and y but not so much z are not real Christians. You can't just disagree with someone with a different view from yours; you have to stage an inquisition.
It frustrates me to see this all-belief-all-the-time orientation used to frame things as us real Christians vs. them fake ones. When people take a similar approach in drawing themselves outside the circle, it just makes me sad.
Recorded in a converted New Orleans–area church over six days, Redemption is a jambalaya of Chicago blues, New Orleans funk, and robust soul. On the standout “Chariot,” Glen David Andrews’s voice rises with gritty passion as he trails into the song’s tag, borrowed from the spiritual “Sweet Home Chariot”:
On the mostly instrumental Pieces, JoyCut takes the sonic hallmarks of the 1980s New Wave era—from shimmering, echo-plastered guitars and propulsive picked bass to dysmorphic synthesizer pads—and reconfigures them in thrilling fashion.
Throughout this disc, Marco Di Maggio shows the versatility of a guitarist with an uncanny mastery of 1950s and ’60s surf, rockabilly, and country styles. On the lovely and gentle “Polka Dots & Moonbeams,” you’ll hear shadings of Wes Montgomery’s octave guitar riffing, along with the shifting jazz-pop chords of Chet Atkins.
The Sportsman Channel touts its newest series, Amazing America with Sarah Palin, in a three-minute video making the rounds on social media. The video, a recording by “the most patriotic band in America,” Madison Rising, contains rousing lyrics, while a variety of activities flash by in rapid succession: men fighting fires, men shooting guns, women shooting guns, men running with bulls, men riding down zip lines, cars racing, and Sarah Palin on a dogsled pulled by pink-booted sled dogs.