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Album Review – Shane & Shane, “Hymns, Volume 1”

David Calvert, The Center for Congregational Song, Hymns

The Context

While in the midst of the regular production of arrangements of songs for worship through The Worship Initiative, Shane & Shane have taken a break to record an album of re-arranged hymns under their own banner. Shane Barnard and Shane Everett are prolific songwriters in their own right, with over a dozen albums to their credit, but over the last several years they have focused their efforts on songs for the evangelical church by releasing rearranged songs and musician tutorial videos through The Worship Initiative. This “Hymns” album is released under their name, but with clear influence of their work in The Worship Initiative.

 

The Content

“Hymns Volume 1” contains five “classic” hymns from the 19th-20th centuries, and five hymns from the 21st century. Of the five classics, three of them have newly-written refrains or “choruses.” This is a common songwriting element for re-arranged or re-tuned hymns, and is certainly a debatable practice, especially when a hymn already contains a refrain. Three of the new hymns are penned by Keith Getty, illustrating the growing connections between songwriters in the conservative, evangelical network. All 10 of the recorded songs have a very similar dynamic range and instrumentation comprised of guitars, pianos, drums, and ambient sounds elicited from all of the above. No song is less than 4:40, with lots of instrumental space serving as connective tissue for the vocal parts. The songs flow into one another as if the whole album is a “worship set,” and each hymn is slowed down from its original tempo (some considerably so), which leads to a listening experience of contemplation and reflection.

 

The Conclusion

As a listening experience, this album leads those familiar with the hymns included to reflect on them differently and leads those unfamiliar with them to consider their lyrical value. The collection of songs chosen spans several generations of hymnody, unifying them with the acoustic-pop arrangements. Musically, the lack of dynamic diversity and the curious melodic choices may hinder this album from being more broadly useful for encouraging congregations to sing these hymns. Full disclosure: I am personally a fan of Shane & Shane’s music, and was a bit underwhelmed by this album from the perspective of a worship leader seeking new resources for encouraging singing in my local church.

 

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Review provided by David Calvert, who is the Creative Arts Director for Grace Community Church in rural North Carolina and a PhD graduate in Theology and Worship from Southeastern Baptist Theological Seminary.

 

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