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Album Review – Resound Worship: “Let Praise Resound”

The Context

Resound Worship is a collective of British worship leaders founded in 2006. Those familiar with the development in contemporary praise and worship may remember the late 90s influence of British worship leaders like Deliriou5, Matt Redman, and Tim Hughes. Resound Worship emerges from a different root than those folks, finding its foundation in Jubilate Hymns which began in the 1960s. Resound is the arm of Jubilate that supports the local church songwriter through providing training and publishing songs that are “true, real, accessible, and finished.” Of particular note is that final core value: Resound publishes songs that have been allowed “time to grow” and have been through “trial, critique, and revision.” This may be a not-so-subtle critique of many of the songs published for congregational singing that are musically and lyrically mediocre. In addition to producing this album, Resound Worship also produces a podcast that reflects on current and past congregational songs and issues related to congregational singing.

 

The Content

Musically, this album is built around the currently typical “praise band” arrangement of acoustic guitar, electric guitar, piano, bass, drums, and some pads to fill in the other spaces. Most songs tend to be led from guitar, but a couple standout tracks that draw from more diverse musical influences (gospel, jazz) are piano-driven. The production of this live recording is top-notch, with a strong focus on the melody vocal but a robust mix of the band underneath. Vocals are not flashy and thus melodies are easy to follow, and the subtle presence of the congregation’s voice in the mix is an invitation for the listener’s participation. Lyrically, the songs are overtly biblical and implicitly shaped by the language of the Book of Common Prayer, with its doctrinal and liturgical poetry providing a model for the lyrical shape.

Notable songs include “Lord You Hear the Cry (Lord Have Mercy),” “What Kind of King (This is Jesus)” and “O Faithful Lord.” “Lord You Hear” feels shaped by the prayers that pervade the Anglican context of worship but with an added intimacy in lyrics that reflect current sufferings. The latter two are both songs penned to meter that evokes the traditions of English hymnody, with memorable melodies and anthemic refrains.

The Conclusion

Although there may be other British worship leaders who get attention from popular “worship” media, the team at Resound Worship should not be overlooked. The songs from Let Praise Resound are lyrically robust and musically resonant with current popular forms without feeling like just more of the same. This album would be a helpful resource for a church who desires to sing songs with biblically-articulated Christology, or for churches who desire to have newly-written songs with pop sensibilities that aren’t beholden to the mainstream “contemporary worship” market here in the States. This album is contemporary praise and worship with more texture and nuance than standard fare.

 

To listen to the album, go to: Apple Music Album Link

 

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.

The Context

Singer/Songwriter Paul Zach has released 1 EP in 2018 and has contributed to several of the albums already reviewed here on the blog, including The Porter’s Gate albums. Accordingly, he is no stranger to crafting songs for congregational singing. His newest release, Hymns, is simply that—fresh arrangements of time-tested melodies and lyrics. Zach has also cultivated the art of cowriting, as evidenced in the aforementioned Porter’s Gate albums, and Hymns includes many featured guest vocalists with whom Zach has written in the past. Familiar guests include Liz Vice, Leslie Jordan, and Page CXVI, with Taylor Leonhardt and The Sing Team rounding out the list.

 

The Content

Appropriate for the COVID season, this album sounds like it was recorded in an aged, empty church with wooden pews, with a few friends spaced out in the room playing and singing these hymns together. Rather than feeling empty or isolated, however, these songs immediately draw the listener into the intimacy of the recording, and even on my first listen I was drawn to sing along with the comforting melodies of the chosen hymns. Musically, Zach leans on acoustic instruments as the foundation for each song: acoustic guitar, piano, organ, and upright bass. This folk/americana style lends itself well to each hymn, and Zach harmonizes beautifully with each of his various guests. Although some of the starting keys that fit Zach’s tenor/baritone voice may be a bit high for general congregational use, these arrangements could easily be re-keyed without losing their intimacy and dynamics. Lyrically, Zach makes no changes to the original hymn texts and chooses not to add any new choruses or refrains to the arrangements. Rather, he uses verses of the hymns that often are omitted when such new elements are added to hymnody. The hymn choices span several generations, including the African-American spiritual “I Want Jesus to Walk with Me.” Other notable songs include: “Take My Life and Let it Be” (with its ebb and flow and soothing harmony), “Come Thou Fount” (including the swelling organ in the final verses), and “No Not One” (with its blues vibe and catchy bassline).

 

The Conclusion

This hymns album is a precious listening experience, and may remind some music directors and worship leaders of “old” songs that need a re-introduction in local churches. As Paul Zach makes clear, these songs have endured in part because it doesn’t take a full production team to sing them—an acoustic guitar and an earnest heart (and some talented friends to help) are all it takes to capture a fresh yet familiar take on rich and important hymns. This album comes highly recommended for those who need to rest in gospel truth or be reminded of songs that may be important to re-introduce during the reset that COVID quarantine has provided the local (and global) singing church.

 

To listen to the album, go to: Spotify Album – Hymns by Paul Zach

 

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.

The Context

Hillsong Worship, not to be confused with Hillsong United or Hillsong Young & Free, is a behemoth in the “industry” of music for Christian worship. Considered individually, each team of Hillsong’s writers has a slightly different generational or demographical focus, with Hillsong Worship being the more “adult” or cross-generational of the three. Each release by Hillsong Worship contains several singles that are given heavy Christian radio airplay, although it is just as often that a new song makes the rounds on social media via a viral video clip. Most of the songwriters on this album are longtime contributors to Hillsong such as Reuben Morgan, Brooke Ligertwood, and Joel Houston.

 

The Content

Though these songs are ostensibly written for the Church to sing, the live versions on this album are arena rock—driving drums, soaring guitars, pads and synths, and lots of reverb. The final four tracks on the album are “acoustic” arrangements that are a bit more accessible for the average church and volunteers who serve in music ministry. In both cases, the key for songs may need to be adjusted, as these songs are intended to be sung in prime unison. Even songs led by Brooke Ligertwood are pitched low for men singing split octave. Average song length on the record is more than five minutes, so several of the songs would also need to be rearranged with less ambient space and/or repetition. As is often the case with Hillsong’s pop songs, the anthems of the song are found in both the chorus and the bridge of the respective song, with a jump of an octave or a fifth guiding the dynamic changes. Singles that have already been well-received from this album include “Who You Say I Am” and “So Will I (100 Billion X).” The strongest songs on this album are the ones that provide opportunities to sing Scripture—“God So Loved” is a powerful setting of John 3:16, “The Lord’s Prayer” adapts just that, and “Remembrance” celebrates the benefits of the Supper.

 

The Conclusion

Each Hillsong release usually contains one or two songs that have strong enough melody/lyric resilience to survive the rearrangement that smaller or more local churches must conduct in order use the song in corporate singing. Although the theological distinctions of Hillsong Church peek through in certain lyrical turns, the songs are rooted in biblical concepts and often paraphrase the Scripture in ways that are adaptable to many languages and contexts. It remains to be seen which song(s) from this album may take hold in the global church.

 

SPOTIFY PLAYLIST

ITUNES

 

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.

 

The Context

The Porter’s Gate is a collaborative effort between many songwriters and artists, spearheaded by Isaac Wardell. Their stated goal is “… to build an ecumenical community that invites conversation and collaboration in an exploration of faith.” This “sacred arts collective” desires to provide a welcoming and deeply moving soundtrack for the Church’s presence in the world. This specific album focuses on the labor of God and labor of the Christian, thus the title, “Work Songs.” Participating artists on this project include Audrey Assad, Josh Garrels, Latifah Alattas, Liz Vice, Paul Zach, David Gungor, Joy Ike, Madison Cunningham, Aaron Keyes, and Urban Doxology.

 

The Content

The diverse voices of the participating artists are each given a moment to feature on the album. The joy and lament of the gospel genre of music are manifest in the songs performed by Urban Doxology, the folk genre is well-represented by Paul Zach and others, and classical music shines through in string arrangements and certain moments from the piano. Historically, one of the ways that the world has been invited to consider the gospel is through goodness and beauty. This album seeks to reclaim this invitation through goodness and beauty represented in song. The natural reverb of the church in which this album was recorded is a subtle reminder of the resonance of congregational singing and the organic beauty of musicians worshiping together. Notable songs include “Wood and Nails,” “Establish the Work of Our Hands,” “In the Fields of the Lord,” and “Father Let Your Kingdom Come.” Although songs are generally pitched for the voice of the performing artist, the strong melodies could be easily re-set for congregational singing. Similarly, although arrangements may include instruments not common in some smaller churches, the strong melodic movement and simple yet profound lyrical content could be rearranged for different contexts.

 

The Conclusion

This album is an important resource for personal worship—one would be hard-pressed to listen through this work and not be moved to consider the majesty of our merciful God. The variety of musicians who participated bring a refreshing eclecticism to the flow of the album. Although the arrangement of the songs may limit its use for congregational singing in smaller churches, several strong melodies and some rearrangement may help adapt these powerful songs for the participation of the local church. The focus on vocation and the Christian life is an important supplement to hymnody in the American church, especially.

 

SPOTIFY PLAYLIST

ITUNES

 

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.

 

The Context

As the title clearly reflects, this album is a collection of songs whose lyrics are either directly drawn or adapted from the Book of Common Prayer. The artist, Greg LaFollette, is a Nashville singer/songwriter and worship leader who has been involved in over 100 records during his career. He has participated in cowrites or touring with artists such as Andrew Peterson, Audrey Assad, and Sara Groves. This album in particular reflects his commitment to community songwriting, as it features guest female vocals on 3 songs (Taylor Leonhardt, Sara Groves, and Sarah Masen). Overall, a very appropriate endeavor for songs adapted from the “work of the people” (or “liturgy”) that is the album’s namesake.

 

The Content

The lyrical content of this album, as mentioned above, consists of collects, prayers, and liturgical readings from the Book of Common Prayer. The album is shaped much like a service of worship, moving through the various moments of the liturgy from gathering to sending. The three songs that accompany the Table in the liturgy (“The Lord’s Prayer,” “We Cry Mercy,” and “Prayer After Communion”) work together such that I was drawn into a longing for participation at the Table—I wished after listening that I had actually been participating in the liturgy. The musical content of the album is along the lines of All Sons and Daughters, with a strong male and female harmonization and intimate, acoustic arrangements for most songs that may occasionally blossom into larger movements with ensemble or gang vocals. LaFollette’s voice is soft yet distinct and clear, though for congregational use this collection of songs may need to be re-keyed. The melodies are otherwise memorable and suitable for the texts. Of particular note are the song of confession, “Most Merciful God,” and “Prayer After Communion.” Many evangelical churches would be well-served by these songs and the rich prayers they adapt for congregational singing.

 

The Conclusion

For Christians who have been formed by the language and structure of the Book of Common Prayer, this album may be a refreshing and deeply meaningful setting to music of words hidden in their hearts. For Christians who are from more free church traditions, this album should point to the rich source material in the Book of Common Prayer for singing rich biblical and theological prayers. Although the keys of songs may need to be adjusted and this may impact harmonies and some dynamics, this would be a small concession to make for the greater joy of having these songs available for a local church.

 

SPOTIFY PLAYLIST

ITUNES

 

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.

 

The Context

“Holy Roar” is the newest full-length release from Chris Tomlin. Tomlin is arguably one of the most influential songwriters of contemporary songs for worship, in part because of his intimate connections with Christian radio. Tomlin has been leading worship through song in some capacity since the mid-90s, and his ability to adapt to new pop music forms ensures that his music will continue to play on the radio and affect congregational singing in Western contexts. “Holy Roar” is positioned to become yet another best-seller, joining the over 7 million records Tomlin has already sold.

 

The Content

Musically, this record follows the trajectory of acoustic-arena-pop that has characterized Tomlin’s previous records. Most songs are playable from an acoustic guitar and have the feel of songs written originally for that instrument. Many of the songs include an ensemble of voices, reflecting the intended use for Tomlin’s songs and inviting the hearer to sing along. Tomlin is a pure tenor, so any song adapted for mixed congregational use will need to be re-keyed appropriately. One of the strengths of Tomlin’s songs is the relatively small melodic range, so once a song is re-keyed the melody is easily attainable. There is also a relative simplicity to the melodic rhythm of the songs, so the strong melody and simple rhythm allow these songs to be adapted to many contexts. Lyrically, Tomlin’s songs include many Biblical references and themes that have been features in his songs – praise, anthems, freedom, love, and the person of Jesus. He continues to write songs that can be utilized across denominational and doctrinal lines.

Notable songs include: “How Sweet it Is,” “Goodness, Love, and Mercy” (an adaptation of Psalm 23 co-written with members of Needtobreathe), and “Nobody Loves Me Like You.” Of special note is the song “Is He Worthy,” originally written by Andrew Peterson and Ben Shive as a call-and-response, derived from Revelation 5. Although Tomlin’s cover of the song has raised the key to fit his voice, the choral response to the lead vocalist’s questions are a surprisingly liturgical inclusion for a Tomlin album.

 

The Conclusion

It is inevitable that someone in your local church has heard or will hear one of Tomlin’s singles on the radio this season, and they will ask for the song to be sung or performed in church. It is always important for leaders of worship to have an awareness of significant releases in the “Christian & Gospel” genre. Although there is not necessarily a “How Great is Our God” or “Amazing Grace (My Chains are Gone)” on this record, listeners are led to consider the love of God in Jesus Christ, and Tomlin’s songs likely will make their way into listeners hearts by way of the radio or streaming services.

 

Spotify Playlist

iTunes

 

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.

 

The Context

“Living Hope” is the 8th full-length album by Phil Wickham. It could be counted as the 11th, if you factor in the three “Singalong” live albums he has recorded and given away over his 15-year career. Wickham is the child of a worship pastor, with a Calvary Chapel background. In 2014, while his career was mid-ascension (with the hit “This is Amazing Grace”), Phil was placed on complete vocal rest and ultimately had surgery to remove a polyp, followed by a continued season of rest. This album is the 2nd album released out of that crucible, and listening to Wickham’s powerful vocal performance betrays none of that struggle.

 

The Content

The alternation between produced album and sing-a-long album in Wickham’s work is actually an example of the alternating production of songs on “Living Hope.” The album is a mixed bag in terms of congregational singing. Although he may very well record another “Singalong” album that would include many of these songs, the average congregant would be hard-pressed to match Wickham’s soaring vocals and effortless switch between chest voice and head voice. That said, there are several songs that are standouts: “Living Hope,” “How Great is Your Love,” “Anthem,” “Song in My Soul,” and “Christ is Risen.” These five could be easily adapted to many different congregational contexts. “Living Hope” and “Christ is Risen” incorporate rich biblical and theological language coupled with singable and memorable melodies. “How Great is Your Love” and “Anthem” are simpler, repetitive refrains with a clear focus. “Song in My Soul” has an R&B flavor that may limit its use in smaller or more rural contexts, but the melodic and lyrical strength may allow it to be rearranged. Wickham enlisted various producers and cowriters for this album, and accordingly each song seems to represent a slightly different genre (pop, acoustic, R&B, arena rock). To his credit, Wickham’s distinct vocals tie the album together.

 

The Conclusion

Leaders of worship and liturgists may indeed find one or two gems on this album that will enrich congregational singing in their contexts. Personal worship may be enriched by the entire album, but corporate worship may only be served by some of the stronger melodies that can be rearranged to fit contexts other than a concert venue. The lead single, “Living Hope,” is the strongest offering, but intergenerational congregations would be served by lowering the song a step or two for broader participation.

 

Spotify Playlist

iTunes

 

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.

 

The Context

Rend Collective, previously “Rend Collective Experiment,” hail from Northern Ireland and are known for their unique instrumentation and singular energy that characterize their live show. Both the interesting instruments and abundant energy are well-represented on their albums. They have released 8 albums in as many years, proving to be fruitful songwriters. A key feature of their recordings, from the perspective of congregational song, is the inclusion of gang vocals or chorus vocals throughout their albums. Not only does the whole band sing along, they also desire for their listeners, and the Church, to sing.

 

The Content

Sonically, comparisons to early Mumford and Sons are not unfair—in fact, Rend Collective musically resembles a smash-up of Mumford and Needtobreathe. Gruff baritone lead vocals, many stringed instruments, stomps and claps, and intermittent choruses of “hey!” are woven through the songs. Rend Collective stands apart from other artists in the “worship” music genre by focusing on acoustic instruments with sparing use of arena-rock, ambient guitars (and only 1 notable appearance of synth samples). Many of the melodies are catchy, yet in a few cases the rhythmic complexity may be difficult for an intergenerational congregation that may be used to sight reading. Especially memorable melodies include “Nailed to the Cross,” “Life is Beautiful,” and “Rescuer (Good News).” The song “No Outsiders,” penned by this Northern Irish group, is a timely anthem to remind the American church of the power of the gospel message to the “other” or outsider.

 

The Conclusion

Listening to this record replicates the energetic, live experience, and the presence of many vocalists on the songs encourages the listener to participate. A discerning music leader may find much to use, in various contexts, from this album. Songs tend to focus on a melody that requires prime unison for the congregation, so the key of a given song may need to be adjusted for congregations who sing split octave. The banjo, ukulele, dulcimers, and other folk instruments may be difficult for some smaller congregations to incorporate, but the melodies are strong enough to withstand rearrangement with fewer instruments. The deluxe edition of the record, used for this review and linked below, contains “acoustic” arrangements of “Nailed to the Cross” and “Rescuer (Good News)” that illustrate this.

 

David’s Spotify Playlist
Find this album on iTunes

 

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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