UPDATE: Re-published today for the re-release

I’ve been listening to The Medicine for a couple weeks solid. I don’t like doing first impression reviews because most of the time my favorite songs end up being those that took a while to grow on me. My ears start hearing things on the 10th listen that I didn’t hear the 9 times previous. So what did I hear?

The album starts off with Reckoning Day and I’m blown away by John Mark’s vocals. His voice sounds better than I’ve ever heard it, not only in presence but tonally I think his voice is just spot on. You can also hear exactly what John Mark was talking about in the natural reverb recording techniques they were experimenting with. The warmth of the verb is a tone carried throughout the album and really ties each song together and I think creates a great atmosphere for the heart of the album which is a story resurrection.

John Mark tells the story of Christ’ resurrection with intense language and vivid imagery, fitting for the story that’s told. This is demonstrated in songs like Skeleton Bones,

Skeleton bones stand at the sound of eternity on the lips of the found
Graves stones roll to the rhythm of the sound of you
Skeleton bones stand at the sound of eternity on the lips of the found
Yeah so separate those doors and let the sun of resurrection in

One of the greatest songs on the album, and one I can’t wait to do on Easter, is Death In His Grave. The imagery and phrasing used in that song is so incredibly moving, the chorus says:

On Friday a thief, on Sunday a King, laid down in grief
But awoke with the keys, of hell on that day
The first born of the slain
The Man Jesus Christ laid death in his grave

The resurrection theme not only deals with the historic moment but also addresses our own personal death to sin and resurrection in Christ as shown in songs like Carbon Ribs, Dress Us Up, Out of the Ground and Ten Thousand. In our previous interview I asked John Mark if there were any he could see being used in corporate worship, and I think there are quite a few here that will be used. Dress Us Up is one that jumps out as something an entire congregation could get behind and sing without trouble. The song proclaims the power of God’s love over death.

Dress us up in the blood of a son
Who opened up His veins so that we would overcome
Hell and the grave and the power of his love
After 3 dark days he showed us how it’s done
and he still does

I don’t think there can be any question this is John Mark’s finest work. This is certainly a step forward musically, lyrically and in his songwriting. The songwriting still has the exposed emotions John Mark is known for but this record comes across as a more matured presentation, not quite as raw as before. It’s truly a storyteller album and the story is captivating and beautiful. Go buy this album now!

originally posted 10/7/08

It’s been a long time since I’ve done a set list post. I thought they were getting a bit monotonous and dry, so I needed a break. I’ve been hearing from folks(inside our church) that they really want to know more about the songs we play so I’m gonna get back to posting the set lists here.

This Sunday was such a beautiful display of God’s goodness and providence. God brought together things that made it seem like we had a lot of things planned well ahead that we didn’t. Pastor Aaron taught on regeneration and gospel freedom as part of our series on Galatians and it just wrecked the place. I was talking with a few people after service and it’s so wonderful to hear a common work being done in the church’s heart. I love when the body is moving together. This series has matured us in the gospel as a body so much and I’m so thankful for it.

I planned to debut a new song by Gungor called “We Will Run” that’s been on deck for quite some time now. I wasn’t aware of the specific of the message but it became clear that this was indeed God’s timing for this song. It became an anthem for the day that supported so well what the Spirit was doing through the preaching. The lyrics to that song were just so spot on.

Create in me a clean heart, For I have turned away from You
Save us from our ways, Oh God, oh God, For we have turned our face from You
Lord have mercy

We will run to you, we will run to you
Turning from our sin we return to you
Father heal your world, make all things new, make all things new

Your Love and mercy build us, shape us
Break and then re-create us now
Lord have mercy

Oh, bring us back to You

We’ve also been opening our sets/services differently. Instead of the normal opening prayer and go into song 1, we’ve been opening up instrumentally and then having a puritan prayer read in concert with the instrumental. It’s not just a dry read over instrumentation but we try and build the tension and crescendo in concert with the prayer. We got the idea from a recent A29 pastors meeting and it’s been awesome! Here’s the full set list.

1. How I Live – Kyle Campos
2. The World Can’t Take it Away – Ryan Delmore
3. We Will Run – Gungor
4. Gloria 34 – Taylor Sorensen (loop available)
5. How He Loves – John Mark McMillan

In Deuteronomy 31- 32 we read about the final days of Moses’ life and how God would have him pass his leadership but also how he would deliver a parting revelation to the people of Israel. It’s all too popular for Christian songwriters to explain every song with the phrase “God gave me this song“, but this is one of the few cases in scripture where this can be said. God gives Moses a song to write for the people of Israel, for His glory and for the benefit of His people. In this blog series we’ll look at 5 lessons learned through the story of the Song of Moses. In Part 1 we looked at how worship songs are a response to God’s revelation to us. In Part 2 we discussed confrontative worship.

Know your church, know their inclination

In Deuteronomy 31:21 the Father reveals something incredible not just about his own nature(patience, mercy, love) but of ours as well.

“And when many evils and troubles have come upon them, this song shall confront them as a witness (for it will live unforgotten in the mouths of their offspring). For I know what they are inclined to do even today, before I have brought them into the land that I swore to give.” -Deuteronomy 31:21

Ouch! God is commanding Moses to write this song of intervention and confrontation because he knows their hearts, that not only do they worship other gods now, but their hearts are inclined to continue in idolatry. The Father’s heart for his people is laid bare. Despite his abundant mercy and goodness shown to the people of Israel, they’ll continue to give praise and thanks to other gods. God knows this about his people and out of a heart of mercy and love, he has Moses write a song that will identify and confront the inclination of His people and remind them of the truth of the only true God.

Moses as a worship leader has communed with God, received revelation and contextualized this song for this people. Moses appeals to their specific history(32:7-14), calls out their sin (32:15-18) and sings painful truth of God’s righteous anger (32:19-43). What makes that song so powerful is that it’s specifically convicting to that people because the language is directed right at them. Not a generalized people, with a generalized sinful attitude pointing to a generalized god in the sky. No it’s you people of Israel, committing idolatry and being called back to worship Yahweh. I think the global church suffers greatly from over-generalized, hyper-sanitized worship and this happens because of a few reasons in my view.

First, the momentum(NOT consensus) in modern worship and really with all gifts, is to emphasize its place and value in the global church at the expense of the local church. You get a lot of talented guys that hop from church to church and instead of submitting their gifting to the local church, they’d rather contribute their gifting to the global church. And now the gifting is pre-eminent and hell hath no fury like a worship leader scorn when his pastor/leader comes between him and his dreams of global reach and influence with his tunes. No I’m not blasting famous worship leaders, this isn’t a rant against CCM and no I don’t have any particular person(s) in mind. If you feel convicted great, if not, great. I have plenty of friends whom I love and support doing God’s work in the global church worship scene(not sure what to call it).

Second, we fear man tremendously and want as many people to like our songs as possible. We write for the masses and in doing so accomplish the seemingly impossible of writing for everyone but speaking to no one.

Third, worship leaders don’t commune with Jesus, minister to/pray with/serve along side their people as much as they think and their songwriting shows. Be part of your church body worship leaders, pray for them and with them. Be in community, love and serve your people. Only then can you see the idols, the struggles and the places where Jesus needs to be elevated where he’s been lowered.

Was that as tough to read as it was to write? Aye…

Next in series…Part 4: Generational worship

In Deuteronomy 31- 32 we read about the final days of Moses’ life and how God would have him pass his leadership but also how he would deliver a parting revelation to the people of Israel. It’s all too popular for Christian songwriters to explain every song with the phrase “God gave me this song“, but this is one of the few cases in scripture where this can be said. God gives Moses a song to write for the people of Israel, for His glory and for the benefit of His people. In this blog series we’ll look at 5 lessons learned through the story of the Song of Moses. In Part 1 we looked at how worship songs are a response to God’s revelation to us.

Worship songs should be confrontative

In Deuteronomy 31:19-21 we read God’s directive to Moses and God’s intended nature of this song and how it should be received by His people.

“Now therefore write this song and teach it to the people of Israel. Put it in their mouths, that this song may be a witness for me against the people of Israel. For when I have brought them into the land flowing with milk and honey, which I swore to give to their fathers, and they have eaten and are full and grown fat, they will turn to other gods and serve them, and despise me and break my covenant. And when many evils and troubles have come upon them, this song shall confront them as a witness…” -Deuteronomy 31:19-21

God has seen Israel continually abuse his grace, worship other God’s, complain, be disobedient and unthankful, yet God is about to lead them into the promise land. God tells Moses, using very forceful language, to put a song in their mouths that will confront their wickedness, that will serve as a witness of himself when they undoubtedly turn away again. We must recognize that we are Israel, our church is Israel, we behave the exact same way.

What we need as a church body are worship leaders that respond like Moses. We must hear the calling of God, respond to the revelation in creative song and have the guts to sing against the sin we are engaged in corporately. We must put songs on the mouths of our people that confront our idolatry, that serve as a witness of Christ against our people because we love them. I don’t want to  repeat myself on this point so you can read an earlier post I wrote directed at worship leaders called “Play Songs Your Congregation Doesn’t Like“. As worship leaders we can’t pacify our body’s idols with safe songs that don’t challenge anything in our spirits, if we do that we are petty entertainers, not leading worship of the one true God that won’t co-exist with our idols.

Foundational to that point is worship leaders must know Christ and must know the gospel. Sadly all too often passion and zeal are celebrated to the exclusion of wisdom and maturity. Paul describes us accurately at that point in Romans 10:2 “they have a zeal for God, but not according to knowledge.” We can’t confront idolatry if we can’t recognize it and we can’t recognize it if we don’t know the gospel. Where traditionally the reformed side has lacked passion and a sense of mission, the charismatic side has lacked maturity and a deep understanding of the gospel. Both are crucial to being an effective worship leader.

Worship leaders, I implore you as God implored Moses, put these confrontative songs on the mouths of your people. Interrupt their hearts and spirits and let your songs act as a witness for Christ. Know the gospel, know your people, know their idols, write about it, teach it to your people and sing!

Next in the series…Part 3: Writing in a local church context vs. Global church context

In Deuteronomy 31- 32 we read about the final days of Moses’ life and how God would have him pass his leadership but also how he would deliver a parting revelation to the people of Israel. It’s all too popular for Christian songwriters to explain every song with the phrase “God gave me this song“, but this is one of the few cases in scripture where this can be said. God gives Moses a song to write for the people of Israel, for His glory and for the benefit of His people. In this blog series we’ll look at 5 lessons learned through the story of the Song of Moses.

Worship songs are a response to revelation from God

As the story begins we see how Moses was commissioned to write a worship song to God for the people of Israel. There are 2 key phrases in Deuteronomy 31:16-19 starting at v.16 and ending with v.19 that describe how this song came to be.

16 And the Lord said to Moses, Behold, you are about to lie down with your fathers. Then this people will rise and whore after the foreign gods among them in the land that they are entering, and they will forsake me and break my covenant that I have made with them.17 Then my anger will be kindled against them in that day, and I will forsake them and hide my face from them, and they will be devoured. And many evils and troubles will come upon them, so that they will say in that day, Have not these evils come upon us because our God is not among us?18 And I will surely hide my face in that day because of all the evil that they have done, because they have turned to other gods.19 Now therefore write this song and teach it to the people of Israel. Put it in their mouths, that this song may be a witness for me against the people of Israel.

We see that it all begins with God speaking to Moses, revealing something of his nature, heart, will and plan for His people as well as Moses himself. Then in verse 19 scripture says “Now therefore…”, highlighting the previous 3 verses importance as the basis for his commission to write this song. The song is born out of a response to God’s revelation to Moses.

When our songs don’t begin with revelation, with truth, we’ve set a trajectory for the song that is at the least misguided and possibly much worse. We can’t just know ourselves, our culture and the church, though all of those are important, we must know God. We must love God. We must talk with God.

As I read this story I’m struck that God has just told Moses that he is going to go die (31:14,16) and Moses doesn’t even respond to it. He only responds to the missional call, to God’s directive to “write this song”.  I can’t imagine at that point writing a song that wasn’t all mixed up with myself. That I wouldn’t just emote on paper and have a convoluted mishmash of my life’s greatest hits, regrets, worries alongside a few lines of God’s prevailing goodness. The writing session for this song was ripe for emotionalism, but Moses stayed in the story. He didn’t waste this opportunity and talk about himself, but he humbled himself and talked about the eternal God, who saved these terrible group of people who have constantly betrayed Him and will continue to do so. He laid down a lesser truth(his story) for the greater truth(God’s story).

Songwriters, we need to begin with truth, with knowing God and His story and following His missional call to write. It takes a humble songwriter, a songwriter obsessed with God’s glory and filled with his grace, to be able to lay down a lesser truth for the greater truth. God’s gifted and sent many in the body on this mission to write from several perspectives and that collage can be a beautiful reflection of Christ or a distorted refraction if we and our songs aren’t rooted in truth and true to the missional directive of Jesus.

Next in the series…Part 2: Songs as a Witness Against Our Flock

I’ve said previously on this blog that as a worship leader you are most likely the second most popular reason people leave the church, behind the pastor. You may be the first, depending on how lucky you are. I’ve also said that fact is the thing I dislike most about being a worship leader. It comes with the territory of being in ministry but it doesn’t mean it’s enjoyable.

My first experience in this was when I was leading worship at a Vineyard my dad pastored. I was probably only 15 at the time and I wore a hat backwards on this particular day(lame I know). The couple approached my father and relayed how offended they were that I’d were a hat in service and vowed never to return. 15 years later and hearing people leave because of me, my music, or my expression still hurts. I hate hearing it.

Now I’m an elder and worship pastor at a Reformed Charismatic church in the A29 network and I get to hear this from both sides. We are probably the most expressive in our worship of the A29 churches in Phoenix. Lots of hands lifted, tears, clapping, shouting, people on their knees, that kind of thing. We play long and loud worship sets with the lights down. So you’d think this would be fine for Charismatic types right? Well we sing about the cross a lot, we re-arrange hymns, we try and make sure everything is Christ centered and doctrinally sound. We don’t play Jesus is my boyfriend songs and we don’t let people run around crazy with banners and shouting in tongues. So for a lot of Charismatic types, they think we don’t “operate in our gifting” or that we stifle the gifts somehow.

Then the reformed guys that look us up on the A29 site come and see our club looking building, hear the really loud music, see the emotional expressiveness and they get uncomfortable really fast. We haven’t really had one of those A29 families stick in our church and it’s primarily due to me and the music. They love the preaching and teaching, they hear the gospel, but the music just pushes them to a level of uncomfortableness that they just can’t get past.

The temptation for me here is to grow callous and have a “this is the way it is, take it or leave it” attitude. And while I believe that is true to an extent(I’ll explain that below), I want my heart to be soft and my tactics malleable. In practice that means I am constantly evaluating why we do music the way we do, listening to the critique and searching scripture and praying for direction in how we worship musically. There is however some truth to this “being the way it is” and all I mean by that is, God has gifted me and our band in certain ways, gave us a conviction and sent us on mission. We didn’t arrive at that by taking a community poll, but rather by praying to Jesus and having him reveal it. So at some level, yes, this is who we are and I know it won’t appeal to everyone, maybe not even most. But I also know I and the church are still growing in many areas and we have a lot to learn. So when people leave and point to me, I want that to sting, I want to take it to Jesus and see if there’s anything I could have done differently or better.

Recently though a family visited who had found us through A29 and after meeting with the family the father said this to me(paraphrasing), “I loved that the gospel was preached and we felt at home right when we walked in, everyone was so kind. But honestly the worship made me very uncomfortable.” At this point I’m thinking, oh no, I know how this is going to end. But then he surprised me and said, “But I felt comfortable in my uncomfortableness, because it was all Christ centered. I want to thank you for pushing me out of my comfort zone.” To be honest I’ve never heard that kind of encouragement from traditional reformed that visit our church. I was so blessed and humbled by this family’s example of love for Jesus and the gospel that all they needed was for it to be Christ centered and they were comfortable amidst a musical style and degree of expressiveness that made them uncomfortable.

I pray that God would keep me humble and sensitive to His direction in how we worship musically. And that God would protect my heart from bitterness and pride when I hear critique or people leave the church because of me. Not easy or fun stuff, by I’m thankful for it.

Worship leaders, how are you effected and how do you process someone walking out the door with their finger pointed at you?

Recently I had the good pleasure of interviewing James Duke (guitar player for John Mark McMillan) as well as review his new release from his new project called “All the Bright Lights.” That record is largely instrumental and is a collection of incredible guitar tones and textures. So when I saw a blog post from James discussing how he gets his tones, it got my attention.

James gives a lot of great advice in his post and I encourage you to read the entire post, but he opens up the post with some great general advice to guitar players.

“I have gotten a lot of emails lately asking for advice about how to get good guitar sounds. A lot of times I get asked something like “I have all the same stuff as you but i’m not getting the same sound for some reason”. I try to tell them , nicely, that they can buy everything I have, but it’s not going to make them sound like me. If that was the case I would have all of The Edge’s gear.  And all of Jimmy Page’s gear. and I would have bought the same microphone as Bono…

I can play through anything and still sound like me.  I can play through a line 6 spyder amp and still sound like me.  I don’t enjoy that, mainly because a modeling amp just doesn’t respond the way a nice tube amp does. But I can make it work.”

Keith Green’s impact on the American church as a whole cannot be understated. He was a man way ahead of his time, his music was like nothing else being played. I have a tremendous amount of respect and admiration for his humility, love, passion and service to Jesus. I’m eagerly awaiting the release of this movie. You can read more about the movie here. Here’s an expert from the article:

Both Melody and Keith were born Jewish, but the couple began attending a home Bible study in Coldwater Canyon and became born-again Christians.

In 1977, Sparrow Records offered Keith a record deal. The album, “For Him Who Has Ears To Hear,” soon became the biggest debut album in the history of Christian recording. His second album in 1978, “No Compromise,” also rose quickly to the top of the charts. Outgrowing the homes in Woodland Hills, the ministry relocated in 1979 to a ranch near Lindale, Texas.

Keith negotiated a release from his contract at Sparrow and decided to give his albums away for whatever people could afford. The first free album was 1980′s “So You Want To Go Back To Egypt,” which featured Bob Dylan playing harmonica.

A few years ago, Melody learned that more than 100,000 people had gone to serve in other nations since Keith had challenged his fans in 1982 to minister abroad.

“I feel like those who knew of Keith – or find out about his ministry – that something gets ignited in their hearts and they get supercharged to make a difference,” Melody said. “I’m doing my best to do my part. Keith already did his.”