Tag Archives: Ministry

#415: Can the Exodus Story Be True?

This is mark Joseph “young” blog entry #415, on the subject of Can the Exodus Story Be True?.

A Facebook contact sent me a link to an article, Ten Reasons Why the Bible’s Story of the Exodus Is Not True, and asked for my comments on it.  After some consideration, I determined that the only effective way to tackle such a massive undertaking was to create another web log miniseries.  Here it is.

The first point that must be considered is the early statement “…most experts and scholars dismiss the story as mythology.”  Although the article does mention that there are what it calls “literalists” who believe that the events happened, it cites none of them in its presentation, and this reflects a very particular form of bias among liberal scholarship.  We might call it a litmus test.

I heard Reverend David Redding talk about his own journey to faith, in which he ultimately confronted the question of whether the miracles reported in the Gospels actually occurred.  He noted that C. S. Lewis believed in miracles, which was interesting.  Lewis was Professor of Medieval and Renaissance Literature at both Cambridge and Oxford Universities, and a respected writer in the field of myth and legend.  However, liberal Bible scholars insisted that he was no scholar precisely because he believed in miracles.  (He wrote an excellent book on the subject, Miracles:  A Preliminary Study.)  Therein lay the problem:  no credible scholars believed in miracles because a belief in miracles automatically disqualified you from being a credible scholar.

Thus in citing scholars for the article, the author sticks to “credible” liberal scholars and ignores anyone who believes that the miraculous might have happened, dismissing them perfunctorily.  I note, for example, that a professor from Hebrew Union is cited.  Hebrew Union is liberal enough, as Jewish institutions go, that they conferred a degree on Dr. Marvin Wilson, as such authorizing him to teach at any synagogue.  Dr. Wilson is no liberal, but he is an Evangelical Episcopalian who was chairman of the Biblical Studies department at the Evangelical school Gordon College.  Conservative Jews are not comfortable with his rabbinic ordination.  He, incidentally, believes that the Exodus did occur.

Liberal scholars begin with the belief that miracles cannot happen and therefore never did happen, and that because of this any claimed historic accounts which contain them must be false.  It then becomes the task of the “scholar” to explain not how these things happened but how these documents which make impossible claims about supposed historic events came into existence.  You have a problem of presuppositions:  since these books contain records of impossible events requiring divine intervention to have occurred, they must be false, and we have to find another way to explain them.  The article begins from the assumption that the account is false, and looks for ways to demonstrate it, rather than approaching the evidence in an open and fair way.

In fairness, the article raises what must be called “practical” issues, and this series will attempt to address them in the articles ahead.

As a final caveat, I am not an Old Testament scholar.  My studies are very much focused on the New Testament; my Hebrew is limited to a few words which I cannot even spell because I do not know the Hebrew alphabet.  I studied these questions half a century ago, have lost all my books, and am working predominantly from memory.  I will recommend the work of Josh McDowell; his More Evidence That Demands A Verdict provided excellent insights into several of these issues and got Jeff Zurheide and me through a very grueling Old Testament Origins course (OT337) with Dr. G. Lloyd Carr back then.  He has written more since then, but I have not had the privilege of reading it.

#400: New Jersey 2021 Primary

This is mark Joseph “young” blog entry #400, on the subject of New Jersey 2021 Primary.

I must admit that the primary snuck up on me this year–it’s today, June 8th, 2021, and I only discovered this last night.  So I have rushed through a bit of research to get this for you.  We are electing a governor this year; that’s not all we’re electing, but that’s the big deal.

On the Democratic side, Governor Phil Murphy (pictured) is not exactly running unopposed.  Although his is the only name on the ballot, Lisa McCormick is formally listed as a write-in candidate.  Her name was struck from the ballot due to evidence that some of the signatures on her nominating petition were fraudulent.

On the Republican ballot, there are four contenders, but the leading percentage of voters as of yesterday had 38% undecided.  Otherwise, Jack Ciattarelli holds the lead with 29% of the voters in most recent polls and all the major endorsements.  He has served in the State Assembly, started two successful businesses, has an M.B.A. from Seton Hall, and owns a publishing company.  He recognizes Trump as the legitimate standard bearer of the party until a new leader is elected even though Biden won the 2020 election.  He promises economic improvement for the state.

Some distance behind him, at 23% of the vote, is Hirsh Singh, an avid Trump supporter who believes the 2020 election was fraudulent.  Singh is an engineer with a bachelor’s degree covering engineering science, biomedical engineering, and material science, with experience in the fields of missile defense, satellite navigation, and aviation security.  He has no political experience.

Philip Rizzo is third with 8% of the vote in the polls.  His bachelors from Villanova is in business management, he has held no previous political office, but he has worked in real estate and construction and served as a pastor.  He met with Trump in May at Mar-a-Lago, and compared his campaign to Trump’s 2016 run.

Finally, polling at 2%, is Brian Levine.  Former Mayor of Franklin Township and Somerset County Freeholder, his bachelors degree is in economics, from Rutgers, and he is a C.P.A.  He is running a grassroots campaign.  He says he supports some of Trump’s policies, but that the party needs to take its eyes off Trump and put them on economic issues.

In addition to the governor’s race, both New Jersey legislative houses are up for complete replacement.  Most of these races, though, are uncontested at the primary level, and those that are contested would take too much space and address too few readers to be worth covering here (we have forty districts).

I shall endeavor to provide additional information once the primary dust settles and we know who the candidates are for the November election.

#396: Why Music Matters

This is mark Joseph “young” blog entry #396, on the subject of Why Music Matters.

In a private group on Facebook, the Christian Music Network, someone named Esther Waraa asked this question:  Why is music important in praising the Lord?  I immediately decided this was a topic worth exploring, and I had already been saying that I needed a web log post this week, so here goes my exploration.

First, a few credentials and caveats.

I spent five years in Contemporary Christian Radio, but probably before most of you and many of today’s artists were born.  From that I have been publishing a series about the artists who were at the roots of the Christian Contemporary/Rock Music world, the most recent of these articles post #391:  Pat Terry, with links to forty-two previous articles going back to people like Larry Norman and Ralph Carmichael.  I have also been a musician all my life (my kindergarten teacher called me her little songbird), and have begun publishing some of my compositions, the most recent #393:  The Song “Why”, again with links reaching back to twenty-three previously released songs.  I know something about music and particularly about Christian music.

The caveat, though, is that I consider the act of leading worship to be pastoral ministry, leading believers to intimacy with God.  I am not a pastor; I am a teacher.  I have written extensively about that previously, a nine-part series culminating in #107:  Miscellaneous Music Ministries which explains how music might be used in various ministry callings.  It also addresses the modern error that music is always specifically for worship, partly by contrasting it to the error of a previous generation, that music was always specifically for evangelism.  Indeed, music is for worship, but it’s also for evangelism, teaching, and other ministry functions–and sometimes it’s just for entertainment.  The question, though, specifically asked about “praising the Lord”, and thus is about pastoral ministry and worship music.

I am starting in an unlikely place–indeed, when I started thinking about this article I thought I would put this at the end, but the more I considered it the more I thought this really was a primary reason, if not the primary reason.  When we are told in Genesis that God made man in God’s image, up to that point about the only thing we had been told about God was that God created.  He spoke His creations into existence.  Thus the image of God in man is not that we have arms and legs, nor indeed that we have thought and speech and feelings, but ultimately that, like Him, we create.  Creation, usually in the form of artistic or artisinal expression, is the ultimate expression of the image of God in us, and as such is fundamentally glorifying to God.  Thus when we create music we reveal the divine, and when we use that creation to point to the divine we intensify that aspect.

The second point I am going to propose is that music is engaging.  In theory, you can praise God simply by thinking positive thoughts about Him, but you become more involved in that praise if you speak it aloud.  Put it in a poetic form, something with meter, rhyme, alliteration, and it becomes more engaging yet.  Give it a melody, and you become more involved.  Instrumental support, harmonies, other singers, all of this draws the worshipper into the worship.  In a very real sense, your worship is more focused, more intense, when it is sung to an accompaniment.

That suggests another point:  music encourages mutuality.  There is certainly nothing lacking in the glory to God when a hundred people in a room are each individually praising Him, each in his own words and his own way.  However, get that crowd singing the same words to the same music, and suddenly you have a unity, united voices all raising the same praise to God together.  Just as there is power when we agree in prayer, there is power when we agree in praise, and music facilitates that agreement powerfully.

I’m working my way down a list here, but the next point is not insignificant:  music is interesting.  I was a child in what might be termed “light liturgical” churches–people joining in a call to worship, perhaps a responsive reading, an invocation terminating in the Lord’s Prayer, a closing benediction.  I could sleep in those services, probably still today.  That’s not to denigrate the liturgy; for some people it is a great aid to worship.  However, the interesting points really were when we all sang the Doxology, the Gloria Patri, the several hymns.  Music held my attention then, and that matters.  People can easily be lulled into inattention with long prayers and praises, but even if someone else is doing the singing, music is usually interesting.

Finally, I think, music is memorable.  I touch on this in the series on music in ministry previously linked, but the point is that you can close a service with everyone repeating the Aaronic Benediction together, but if instead you close it with everyone singing a worship song, a significant number of people are going to walk out of there still singing their praise to God.  It might even pop back into their head later in the week.  People complain about what are called “earwigs”, that is, songs that get stuck in your head.  What, though, if the song stuck in your head is glorifying God?  Singing our praise now means we are likely to wind up doing so again later.

Thank you, Esther, for the question.  I hope this has been helpful.

#374: Christian Instrumental Music

This is mark Joseph “young” blog entry #374, on the subject of Christian Instrumental Music.

Quite a few years back my wife and I picked up a pair of soprano recorders, and within a few days were playing a duet of the hymn Glorious Things to Thee Are Spoken.  One night a gamer friend, Bob Schretzman, visited, and we played it for him.  He thanked us for playing one of his favorite songs, Deutschland Uber Alles, the German national anthem.

That came back to me this morning as the local Christian radio station played an instrumental version of a spiritual song, and it being familiar to me I had the words to the first verse running through my head–but I only remembered the first verse, so when the music repeated, so did those words.  That got me wondering.

I’ve previously noted that Christian record producer and recording artist Chris Christian (who discovered Amy Grant) disdained Christian instrumental music, challenging that what makes music Christian is the words.  He would sit on stage and play Alley Cat, and at the end of each line speak a word related to Christianity, and suggest that made it a Christian song.  I have a hard time disagreeing with that.  I know that when I hear instrumental versions of What Child Is This, particularly around Christmas, those words are in my head–but I won’t swear that at other times of the year I don’t hear the words to Greensleeves, and I’m sure there are many out there for whom those are the first lyrics that come to mind for that melody.  The Reformers often put Christian words to bawdy bar songs, because their converts knew the music; at what point did those become Christian melodies?  It certainly seems that what makes music Christian is the words.

On the other hand, Johann Sebastian Bach expressed the view that all of his music was written to glorify God.  We can certainly see that in the hundreds of chorales, the B Minor Mass, and other choral works–but how many of us are moved to worship by the Tocatta and Fugue in D Minor or the wealth of other fugues he wrote for organ or orchestra or chamber ensembles?  Does the fact that he says it is Christian music make it so?  Someone has written words celebrating Christmas to fit Pachelbel’s Canon; does that make the original song Christian?  What of Christian bands that do what would be called parodies of secular hits, replacing the original lyrics with Christian words?  In my 1970s band The Last Psalm our soprano sang the words to Amazing Grace to the music of The House of the Rising Sun (although I heard someone else do that first, and stole the idea from them); does that sanctify the music such that a folk song about life in a brothel becomes suitable as a Christian instrumental?

Perhaps we would like to claim that all music is ultimately Christian, and we might do that by asserting that all creative efforts are imitations of the image of God and so glorify Him to the degree that they in their greatness reflect His.  If music is a medium of communication, perhaps it can communicate something about God without being bound to words.  Yet Tubal-cain, father of all who played the pipe, was a descendant of Cain, not Seth, and so we might argue that all music is inherently secular unless it is somehow redeemed.

I lack the answer to this question.  I know musicians who perform instrumental music they assert is Christian, and it is usually arrangements of familiar hymns or other songs of faith.  I even have a collection of midi instrumental recordings of nine Christmas songs I arranged that I often play around the holidays.  Yet it still seems to me that for music to be Christian it must inspire thoughts of faith, and that seems to require words.

But then I come back to Bach, and wonder whether there is Christian instrumental music which inspires us to faith without using words.

#371: The Twenty-Twenty Twenty/Twenty

This is mark Joseph “young” blog entry #371, on the subject of The Twenty-Twenty Twenty/Twenty.

I believe the correct greeting is Happy New Year, as we enter 2021.  That means it is time for us to look back at everything that we published in 2020.

The big deal is the book, in paperback and Kindle format, Why I Believe, a compilation of evidence on the basis of which intelligent people believe in God and in Jesus Christ.  I’m told the hardcover version is out, joining the paperback and Kindle versions, but haven’t seen it yet.

The year began, appropriately, on January 1st with a look back at the previous year, web log post #325:  The 2019 Recap, doing then what we are doing now, providing a quick look at everything from the previous dozen months.

On the first of the year I also published a song, the first of a dozen continuing from the seven of the previous year:

  1. web log post #326:  The Song “Mountain Mountain”;
  2. web log post #328:  The Song “Still Small Voice”;
  3. web log post #334:  The Song “Convinced”;
  4. web log post #337:  The Song “Selfish Love”;
  5. web log post #340:  The Song “A Man Like Paul”;
  6. web log post #341:  The Song “Joined Together”;
  7. web log post #346:  The Song “If We Don’t Tell Them”;
  8. web log post #349:  The Song “I Can’t Resist Your Love”;
  9. web log post #353:  The Song “I Use to Think”;
  10. web log post #356:  The Song “God Said It Is Good”;
  11. web log post #362:  The Song “My Life to You”; and
  12. web log post #366:  The Song “Sometimes”.

That series continues with another song later today.

On the subject of series, there are several others, including both the Faith in Play and RPG-ology monthly series at the Christian Gamers Guild.  These are both indexed, along with other excellent material from other contributing authors, at 2020 at the Christian Gamers Guild Reviewed, posted yesterday.  Thanks to the editorial staff of the French edition of Places to Go, People to Be, a large collection of the original Game Ideas Unlimited articles, thought to be lost when Gaming Outpost closed, have been recovered and are now appearing slightly repolished in these series.  (Quite a few of them plus other articles have been translated into French for their site.) We also finished posting the rest of the novel Versers Versus Versers, along with updated character sheets in the Multiverser Novel Support Pages, and started on the seventh, Re Verse All, which will continue well into the new year.  There were quite a few behind-the-writings web log posts connected to those, but they are indexed in the novel table of contents pages so we won’t burden this entry with them.

There was also the continuation of another series, reminiscences on the history of Christian contemporary and rock music from the early 1980s, which picked up with:

  1. web log post #329:  CCM Guys at the Beginning, a conglomerate of artists from Randy Matthews and Randy Stonehill through Michael W. Smith;
  2. web log post #332:  The Wish of Scott Wesley Brown;
  3. web log post #335:  Bob Bennett’s First Matters;
  4. web log post #342:  Fireworks Times Five, one of the best rock bands of the era;
  5. web log post #345:  Be Ye Glad, one of the best vocal bands of the era;
  6. web log post #358:  DeGarmo and Key, Not a Country Band, another excellent early rock ensemble.

I should mention for the time travel fans that there is indeed a book in the works, possibly with a sequel, but it’s still in the early stages so that’s on the list for the coming year.  Meanwhile, temporal anomalies were not ignored, as we had several posts and pages.

Among the miscellaneous posts this year is one about the fact that my work appears under several slightly different names–Mark, Mark J., M. Joseph, M. J., and Mark Joseph–and the story behind that is explained in web log post #331:  What’s With the Names?  A musician asked a question on a Facebook group, which I answered in web log post #352:  Why No One Cares About Your Songs.

Giving extra confusion to the year, in February my second grandchild, my first grandson, was born, roughly a decade or so after his half-sister.  That was the beginning of a saga that still is not completely resolved, but it was several months before he came home, in time for Halloween.

My book reading slowed drastically, due largely to the fact that my Kindle was smashed and I’ve been trying to get it repaired, but there are a few book reviews (one of a book on writing) at Goodreads.  Also appearing are two republished book reviews, as web log posts #351:  In re:  Evil Star and #368:  In re:  Cry of the Icemark, recovered from the lost Gaming Outpost archives.

We were quiet on the political front until June, when events related to Black Lives Matter prompted the writing of web log post #344:  Is It O.K. Not to Make a Statement?  Some argued that it was not.  We later explained the mail-in ballot system adopted by our home state in web log post #360:  Voting in 2020 in New Jersey, with a follow-up a couple weeks later in web log post #363:  The 2020 Election in New Jersey.

The year ahead looks promising.  There should be another song posted today, with Faith in Play and RPG-ology articles already queued for publication later this month and well into the year ahead, chapters of the novel Re Verse All with their accompanying behind-the-writings peeks standing by, more CCM history, some time travel movies awaiting my attention, and–well, we’ll have to see what appears.  Meanwhile, this is your opportunity to catch anything you missed or re-read anything you forgot.

I would be remiss if I did not thank those who have supported me through Patreon and PayPal.me, and to invite and encourage others to do so.  The Patreon web log is the first place where all new pages are announced, and the place to go for glimpses of what is to come, and even as little as a dollar a month helps me immensely and gets you that information delivered several times a week.  Thank you.

#353: The Song “I Use to Think”

This is mark Joseph “young” blog entry #353, on the subject of The Song “I Use to Think”.

I wrote this sixteenth song on the list almost certainly in late 1974 or early 1975.  I was reading a lot of C. S. Lewis at the time, and I recall at least playing it if not writing it on a piano in one of the halls at Farleigh Dickenson University’s Teaneck-Hackensack campus where I was working as a security guard.  In my mind there was a perhaps loose collection of aspects of life that were impossible without God, and this song managed to string four of them together.

I have perhaps always been a bit ambivalent about this song.  Although it was written while The Last Psalm was still together, it was not performed then.  Arguably I did not include it for TerraNova because I had not conceived vocals for it, but I also did not suggest it for Cardiac Output.  On the other hand, when I started recording the midi-based songs, this was the opener of the second disk; and Collision used it to open many concerts and as the opener of the album Of Worlds.  It is a Christian song in the sense that it undermines worldly values and concepts; it doesn’t put forward the answers.  It is very much about how modern knowledge without God leaves us without answers.

I ranked it twenty-sixth for the song itself, but this recording, from the Collision Of Worlds album, came in at number twelve, and Tristan likes the song, tying for number nine on his list.  (The ranking system is explained in connection with the first song, linked below.)  I do very much like how the title, which begins as a suggestion that I’ve learned otherwise, comes to the end to mean that–well, that would be a spoiler.

The lyrics were posted previously in connection with Cardiac Output mostly because I was looking for songs with minimal repetition in the words; There is an extensive discussion about it in connection with Collision.

I Use to Think.

So here are the words:

I use to think I loved you, and I told you once before
That as each day continued I would love you more and more.
I knew what I was feeling, and I thought that it was real,
But now I find that anything I feel is nothing more than how I feel.
They tell us in biology
It’s just a change in chemistry;
It’s just as plain as it can be
That love is not reality.
It’s not for you, it’s not for me–
A child is for posterity,
And if there are too many, we
Must bend to the society
It can’t be from up above;
Is that all there is to love?

I use to think that living meant that life would be worthwhile,
And so I searched for something, and I traveled many’a mile.
I thought life was important, and I sought to find out why,
But now I guess that anything I thought before was just another lie.
They tell us in astronomy
That’s one impossibility.
We’re just a tiny speck, you see,
Compared to one small galaxy.
What happens here could never be
Of such universality
To have a lasting memory
Beyond the world of you and me.
The sweat and the blood and strife–
Is that all there is to life?

I use to think that heaven was unquestionably true,
That God was up in heaven, and was watching what we do.
I thought if I did good then I would surely reach His throne.
But now I find that good is nothing more than just a preference of my own.
They tell us in philosophy
That that is all mythology.
It obviously couldn’t be–
A God is an absurdity,
And if there is no God, you see,
There can be no morality.
It’s only the majority
Preserving the society
It strikes me as rather odd:
Is that all there is to God?

I use to think that reason was the basis of my mind,
That reason was not doubted, and would not be for all time.
And so I did my thinking, and I thought through all my plans,
But reason is worth nothing now, because it’s clear that it is based on chance.
They tell us in psychology
That thinking works mechanic’ly:
A thought from our heredity
Is formed environmentally;
They tell us in anatomy
That thinking works electric’ly:
A jolt of electricity,
A slightly altered chemistry.
A brain can be built and bought.
Is that all there is to thought?

I can only hope you benefit from the song in some way.  I will continue with additional songs in the future.

*****

Previous web log song posts:

#301:  The Song “Holocaust” | #307:  The Song “Time Bomb” | #311:  The Song “Passing Through the Portal” | #314:  The Song “Walkin’ In the Woods” | #317:  The Song “That’s When I’ll Believe” | #320:  The Song “Free” | #322:  The Song “Voices” | #326:  The Song “Mountain, Mountain” | #328:  The Song “Still Small Voice” | #334:  The Song “Convinced” | #337:  The Song “Selfish Love” | #340:  The Song “A Man Like Paul” | #341:  The Song “Joined Together” | #346:  The Song “If We Don’t Tell Them” | #349: The Song “I Can’t Resist You’re Love”

Next song:  God Said It Is Good

#346: The Song “If We Don’t Tell Them”

This is mark Joseph “young” blog entry #346, on the subject of The Song “If We Don’t Tell Them”.

Reaching song number fourteen in our publication efforts, I should mention that this was actually tied for thirteenth, but I had to choose.  Last month’s Joined Together had been number 17 for the song itself and number 9 for the quality of the recording, and this one was number 8 on quality of recording but 18 on the ranking of the song, so I went with the ranking of the song.  Tristan did not list either song on his choices.  (The ranking system is explained in connection with the first song, linked below.)

I don’t recall when I wrote this, but I know it was early.  The five vocals on the recording were the parts as sung by The Last Psalm with Peggy Lisbona on the melody, backgrounds (SATB) by Ruth Mekita, Ann Hughes, yours truly, and Jeff Zurheide; we lost Ruth, Ann, and Jeff in June of 1974 and never had five vocals again, so the song dropped from the repertoire.  (It would be remiss of me if having named all those people I did not mention that we had John Mastick on drums and Andy Nilssen on bass, with Dave Oldham and Ralph Bruno doing sound and lighting.  Jeff and I played guitars; Peggy and I covered piano, but not on this song.)

Astute Bible students will recognize that the lyrics closely (but not exactly) follow Romans 10, where Paul is saying that the church needs to send people to preach the gospel so that the world can hear it and turn to Christ.  The first two verses echo the importance of delivering the message, while the bridge and final verse actually do so.  Remember, The Last Psalm ministered during that time when every Christian musician was expected to do evangelism, and so the song is evangelistic in part, although it is primarily an exhortation to evangelize.

I have one minor memory about this song.  When I was teaching it, Peggy said she could not possibly leap up to sing “tell me” in the middle of the chorus (it’s a jump from a low G to an octave higher), so I sang those two words, while she sang the rest of the melody.  I thought it silly at the time–she sang the higher G twice on the bridge–but my singers were volunteers and I wasn’t going to push them to do what they didn’t think they could do.

The song is here.

If We Don’t Tell Them.

So here are the words:

Oh but how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?
Tell me how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?

There are many many people, they’re in every place and time,
People of all continents and people of all kinds,
People of all races looking for some peace of mind.
Just call on the Lord and be saved.

Oh but how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?
Tell me how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?

Many people ev’rywhere are dying to be free.
Many people say that that’s the way they’re meant to be.
Many people look, but not so many seem to see:
Just call on the Lord and be saved.

Oh but how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?
Tell me how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?

Jesus came and gave His life,
He died for you and me.
He said that if He set you free,
Indeed you would be free!

Someday you will recognize He came and died for you.
Someday you may realize the things He said were true.
Then I hope that you will know exactly what to do:
Just call on the Lord and be saved.

Oh but how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?
Tell me how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?
Oh but how can they call on what they don’t believe,
And how can they believe in what they do not know,
And how can they know of what they have not heard,
And how can they hear if we don’t tell them?

I can only hope you benefit from the song in some way.  I will continue with additional songs in the future.

*****

Previous web log song posts:

#301:  The Song “Holocaust” | #307:  The Song “Time Bomb” | #311:  The Song “Passing Through the Portal” | #314:  The Song “Walkin’ In the Woods” | #317:  The Song “That’s When I’ll Believe” | #320:  The Song “Free” | #322:  The Song “Voices” | #326:  The Song “Mountain, Mountain” | #328:  The Song “Still Small Voice” | #334:  The Song “Convinced” | #337:  The Song “Selfish Love” | #340:  The Song “A Man Like Paul” | #341:  The Song “Joined Together”

Next song:  I Can’t Resist Your Love

#349: The Song “I Can’t Resist Your Love”

This is mark Joseph “young” blog entry #349, on the subject of The Song “I Can’t Resist Your Love”.

This fifteenth song on our list was started by my wife.  It has to have been 1979 or 1980, as I remember her sitting in the dining room of the apartment we had in Pennsville working on it.  She was stuck for a chord and asked for help, and suddenly I was contributing words and music.  She didn’t like all my contributions, and we still argue about who wrote what, but ultimately we were pleased with the outcome.  I listed this the number twenty song on my list, and although there are a few places where I didn’t get the vocals exactly right (and embarrassingly it is the tenor–my part–that has the mistakes) I put it number 11 on performance/recording quality, probably largely for the vocals.  Tristan ranked it tied for fifteen.  (The ranking system is explained in connection with the first song, linked below.)

It was always envisioned with at least four vocals, which is what is used here, a guitar providing a fifth at the end.  We used this as our closing song in TerraNova, where we had five vocals, but I knew I wasn’t going to be able to sing the soprano (which was an added part anyway, as Debbie Kregger was not an original member).  It is a rock anthem, with the intention that the ending chorus would keep repeating more than it does in the recording, but it’s a long song with two instrumental verses (one of them done with contrapuntal vocals) and two bridges, and for the recording I thought it was long enough with four choruses.  (It is a short chorus.)

My wife gets full credit for the concept, that the world is very alluring, but ultimately the love of Christ outpulls anything offered elsewhere.  She also gets credit for the truly unique rhyme and meter scheme on on the verses.

The song is here.  It is again a wav file, and so a large download, but I think worth it.

I Can’t Resist Your Love.

So here are the words:

I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.

So many times I see
The world is rushing by me,
And everything I see
Looks so good.
I only want a part–
I feel it tug on my heart,
And that is when I start
To wish I could,

But I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.

People are getting high,
And life is passing me by,
And so I wonder why
You call my name.
I’d like to be a star
And drive a fancy sports car,
But I know Who You are
And why you came,

And I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.

And I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.

I don’t need you for your money:
I will serve you without pay.
‘Though you may think it sounds funny,
I just wanna hear you say,

“Welcome home thou good and faithful servant;
Over few things you have proven true.
I will make you ruler over many.
Enter in the joy I have for you.”

Now when I look around
I see the joy that I’ve found
While all the world is bound
In chains of sin.
They need to turn to You–
If they could see what You’d do,
Then they would know You’re true,
And let you in.

How I wish that they could hear me
Telling them You are the way.
If I let Your Spirit steer me,
One day I will hear You say,

“Welcome home thou good and faithful servant;
Over few things you have proven true.
I will make you ruler over many.
Enter in the joy I have for you.”

I thought that I was free,
But You reached out and drew me,
And though I tried to flee, where could I go?
I couldn’t resist Your love,
The kind of stuff I dream of.
I want you far above
All things I know.

And I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.
I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.
I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.
I can’t resist Your love,
I can’t resist Your love,
I can’t resist, I can’t resist Your love.

I can only hope you benefit from the song in some way.  I will continue with additional songs in the future.

*****

Previous web log song posts:

#301:  The Song “Holocaust” | #307:  The Song “Time Bomb” | #311:  The Song “Passing Through the Portal” | #314:  The Song “Walkin’ In the Woods” | #317:  The Song “That’s When I’ll Believe” | #320:  The Song “Free” | #322:  The Song “Voices” | #326:  The Song “Mountain, Mountain” | #328:  The Song “Still Small Voice” | #334:  The Song “Convinced” | #337:  The Song “Selfish Love” | #340:  The Song “A Man Like Paul” | #341:  The Song “Joined Together” | #346:  The Song “If We Don’t Tell Them”

Next Song:  I Use to Think

#345: Be Ye Glad

This is mark Joseph “young” blog entry #345, on the subject of Be Ye Glad.

I want to put this band down as one of the great ensembles of the eighties, despite the fact that they kept morphing into something else.

Their self-titled debut album in 1978 was promising.  Ed Nalle was the original lead vocalist and as far as I know remained so giving his characteristic vocal quality to the band.  They picked up lead guitarist Wayne Farley from Found Free, and give that band credit for helping them launch.  I don’t have specific memories of that disc, but that I expected to see more from them–and I did.

When Beyond a Star came out in 1980, it was obvious that these were musicians of the highest caliber.  I remember in an interview they told me that the opening a capella cut The Reason had forty-some vocal tracks; this portended much about their future, as it displayed their brilliant vocal arranging.  But from there it moved into Take a Stand, and the fact that the entire band was music college graduates came through as they gave us a sound very like the band Chicago Transit Authority, a sound which continued through the album as it moved to the title song Beyond a Star.

The album was solidly aimed at the exhortation of Christians, a defining quality of much of the music of the decade.  The title song, for example, is a call to stop looking at celebrity Christians and look to Jesus.  This is followed by the mellower and perhaps slightly eerie Away, and the A-side closes with a frenetic Wayne Farley composition, Sing a New Song, not found in its original form on the web.

The B-side opens with what is probably the rockiest song on the disk, again strongly reminiscent of Chicago, Iron Sharpens Iron.  It then mellows to the introspective Lying, and picks up a bit into the moderate but again rocky Lonely Love.  In that interview, Ed told me that the people in this song were people they knew, one of them the mother of a member in the band, with events and situations that really happened.  There is then another frenetic Wayne Farley composition, It Is Good.  (Wayne left the band following this album, and was not at the interview.)  The disk wraps with a wonderful quiet vocal-driven Pierce My Ear the original version of which does not appear to be on the web, although this later a capella version does.

The next album, Captured In Time, shifted to a more commercial sound, that is, sounding more like all the other contemporary Christian bands of the time.  It is difficult to fault them for it; a lot of bands did this, because it sold records.  Unfortunately as a result the only song I remember from it (which was not the song their distributors the Benson group was pushing) is the wonderful quiet closer Be Ye Glad (there is also a later a capella version of this).

Perhaps annoyingly, shortly after this album reached us we also received, from the same distributors, Noel Paul Stookey’s Band and Bodyworks, which also had a recording of this on it.  He’s further down the list, though, so we’ll hold off on those comments.

Eventually Glad released an entirely a capella album, and it went gold.  More than half their work thereafter was a capella, and quite good, as this version of The Second Chapter of Acts classic Easter Song demonstrates.  They were also famous for something originally released to radio stations and appearing in several different versions over time, but the version I knew included on their fourth release, No Less Than All, under the title That Hymn Thing or Variations on a Hymn.  It presents something of a music history by taking an old hymn melody with its original secular words, singing the early Christian version, and then rewriting it in several styles running through time up to how they would do the song in their own 1980s rock style.  Musically it’s a lot of fun.

According to their discography they continued releasing albums up through the year 2000, but became known for their a capella recordings rather than their contemporary/rock sound.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.
  6. #242:  Disciple AndraĆ© Crouch.
  7. #244: Missed The Archers.
  8. #246: The Secular Radio Hits.
  9. #248:  The Hawkins Family.
  10. #250:  Original Worship Leader Ted Sandquist.
  11. #252:  Petra Means Rock.
  12. #254:  Miscellaneous Early Christian Bands.
  13. #256:  Harry Thomas’ Creations Come Alive.
  14. #258:  British Invaders Malcolm and Alwyn.
  15. #260:  Lamb and Jews for Jesus.
  16. #262: First Lady Honeytree of Jesus Music.
  17. #264:  How About Danny Taylor.
  18. #266:  Minstrel Barry McGuire.
  19. #268:  Voice of the Second Chapter of Acts.
  20. #272:  To the Bride Live.
  21. #276:  Best Guitarist Phil Keaggy.
  22. #281:  Keith Green Launching.
  23. #283:  Keith Green Crashing.
  24. #286:  Blind Seer Ken Medema.
  25. #288:  Prophets Daniel Amos.
  26. #290:  James the Other Ward.
  27. #292:  Rising Resurrection Band.
  28. #294:  Servant’s Waters.
  29. #296:  Found Free Lost.
  30. #299:  Praise for Dallas Holm.
  31. #302:  Might Be Truth and the Cleverly-named Re’Generation.
  32. #304:  Accidental Amy Grant.
  33. #312:  Produced by Christian and Bannister.
  34. #315:  Don Francisco Alive.
  35. #324:  CCM Ladies of the Eighties.
  36. #329:  CCM Guys at the Beginning.
  37. #332:  The Wish of Scott Wesley Brown.
  38. #335:  Bob Bennett’s First Matters.
  39. #342:  Fireworks Times Five.

#340: The Song “A Man Like Paul”

This is mark Joseph “young” blog entry #340, on the subject of The Song “A Man Like Paul”.

I can pinpoint fairly precisely when this song was written.  I was at Gordon College, and Pope Paul VI had just died.  The process of electing a new Pope had begun; it would result in the appointment of Pope John Paul (who died a month later, the process repeating with the appointment of Pope John Paul II).  Recognizing the significance of the appointment of so public a leader in Christendom, I was contemplating that, and my mind made some connections.

The Apostle Paul by Abraham Bloemaert

Peter, of course, is said to have been the first Bishop of Rome, and so the first Pope.  (That’s contested–James appears to have been head of the church when it was led from Jerusalem, and the Eastern Church has never accepted that any individual was the head of the church, holding to a first-among-equals view.)  I began my song with a verse about that first Pope, thinking that the church needed someone like him in particular ways, willing to stand for the message.

I also remembered that the Pope prior to Paul VI was John XXIII, known for his efforts to extend an olive branch to Christians outside the Roman Catholic Church, and I connected that to the writings of John the Apostle, who wrote so much about love in his short epistles.  My second verse unfolded carefully in a way that could be identified with either of these Johns.  So, too, my third verse, as radio news commented that Paul VI had focused on spreading the message and expanding the church, and the connection to the missionary work of Paul the Apostle was at that point obvious.  I thus pieced together a song about five men, under three names.

That the song was about selecting a Pope was never obvious on its face, but the first person for whom I played it, one of my fellow students, knew that was what I had in mind.  His response was that we had to find a way to deliver a copy of the song to the Vatican.  I could not imagine any way to do that, and did not expect that the Vatican would pay any attention to anything I sent.  A month later when the selection of John Paul was announced he came to me and said it appeared that the church got the message, but of course it had nothing to do with me.

Without the backstory, the song is a challenge to all of us to be imitators of the great men of the faith.

Written on the piano, it was probably the most complex chord progression I had created to that point, each verse beginning with the same half line and then diverging into its own unique music, diminished chords coming into the third verse, and the opening line becoming the closer.  Playing it on the guitar was a challenge.  I think I surprised myself when I was able to bring the third verse back to the opening chords for the last couplet.

This is another recording done in an office with midi files for instruments, and it is a .wav file so it is rather large.  It was number ten on my list for the quality of the song itself, number nineteen for the quality of the recording and performance due in significant part to the fact that it uses the midis and lacks the flavor of a live piano.  It made Tristan’s list, tied for fifteenth, and so falls twelfth here.  The recording can be found here.

A Man Like Paul.

So here are the words:

A man like Peter, a man like John, a man like Paul.

A great confession gave this man the keys,
The man who opened up the door.
The Jews and gentiles both came to believe–
I ask, could God have used him more?
And when it counted, he took up his cross,
And like his Lord before him, there he died.
We need more men like that, who count this world as loss,
And take the pain God calls them to with pride.

A man like Peter–such a man was John,
A man who gave himself completely to the King.
A church divided, and soon it would be gone.
Love for each other was the most important thing.
A man of faith, a man of prayer,
Waiting just to hear what God would ask.
We need more men like that, for only those who dare
To live for God are equal to the task.

A man like Peter, a man like John,
Someone must be found to spread the word,
In all the land, to every man,
Making sure that ev’ryone has heard.
God needs a man of faith and prayer,
Someone who will answer to His call
And for his Master would go anywhere–
Only such a man could reach them all.
Such a man was Paul.

A man like Peter, a man like John, a man like Paul–
Only such a man could reach them all.
A man like Peter, a man like John, a man like Paul.

I can only hope you benefit from the song in some way.  I will continue with additional songs in the future.

*****

Previous web log song posts:

#301:  The Song “Holocaust” | #307:  The Song “Time Bomb” | #311:  The Song “Passing Through the Portal” | #314:  The Song “Walkin’ In the Woods” | #317:  The Song “That’s When I’ll Believe” | #320:  The Song “Free” | #322:  The Song “Voices” | #326:  The Song “Mountain, Mountain” | #328:  The Song “Still Small Voice” | #334:  The Song “Convinced” | #340:  The Song “Selfish Love”

Next song:  Joined Together