My Medicine for Melancholy

Ray Bradbury - August 22, 1920 – June 5, 2012

I apologize Mr. Bradbury...

I'm sorry... Ray...

I just know you would have let me call you that. I borrowed your title "A Medicine for Melancholy" to title this post.  I believe you'd be OK with that. I just know that you'd be amazing, and encouraging, and joyful, and generous. Because everybody who met and knew you says you were. But I know it's true too, because that is how your stories are.

Amazing.

Encouraging.

Joyful.

Generous.

Alive.

You were born the same year as my father, my adoptive father. Your stories walked alongside me like the shadow of a wonderful uncle, a bit mysterious, but trustworthy because family - real family - always is.

My name was written over and over and over again in the library cards of your few books that resided in the collection of Jasper Jr.-Sr. High School. It was just you and me it seemed. I tried to tell others, but no one else signed out your books. Maybe because I always had them. Sorry Ray.

I made up for my jealous hoarding years later when I would go to my kid's elementary school during parent reading week and read "Uncle Einar" to them. I still remember their faces - looking as I must have looked the first time I read "Golden Apples of the Sun" and "Dandelion Wine". Awe. Wonder. Glee.

Your inspiration resulted in my writing a script for a play that got produced in my high school and getting a poem published in the same school's yearbook in 1978 - the year I would have graduated. The dropout made it into the yearbook because he wrote something. I cherished that idea because it made me think of you and your unconventional educational path. Uncle Ray's shadow on my shoulder.

I dreamed of writing to you and asking your permission to adapt "A Medicine for Melancholy" into a one act, three-scene play. You had already done all the hard work. The story is 80% dialogue anyway, and your prose is all character development and subtle stage direction. It would - still could - be wonderful.

You made me want to write. I admit I don't have your diligence, your commitment, your fire. That's why you're published everywhere and I'm alone in the school yearbook and the cold corners of the internets. But I did end up writing - every week - for 8 years. And speaking those words. And you were - no you still are - right!  It's the best work in the world!

I can't meet you now. An entry gets crossed off my "bucket list". But I did meet you. In Green Town, Illinois. In the red dust of Mars. In the swirling autumn leaves of Anytown, Anywhere when the Dark Carnival came rolling in. I met you wearing a Wonderful Ice Cream Suit. I believed you when you said, "Have I Got a Chocolate Bar For You!". I knew if I asked you, you would send me spores so I could Grow Giant Mushrooms in My Basement. I stood by you in the African Velt. I saw your stories moving on the skin of The Illustrated Man. I was singed by the heat - Fahrenheit 451 to be specific - of your prose and poetry. I heard you call in The Distant Sound of Thunder. Together we lifted our voices to Sing the Body Electric.

Thank you Ray. I'll miss the idea of you being alive. I'll mourn the thought of your pen, typewriter, word processor being silenced. I'll grieve that you will never offer me a new window into your soul in eight to fifteen pages. I'll miss reading that new story and how it would create a reflection that shows me a new part of my soul. But I thank God you were a writer who wrote. I thank God you loved your art, your talent, your gift, your craft. I thank God people who loved you made sure you were published. Because of that, I won't miss you. I won't be able to. You'll always be a good cup of coffee and a turned page away. Your loving shadow on my shoulder always.

I believe in God, Ray. You know that now. I trust that He will let you keep writing. It was what He made you to do.

Shalom

Prayer Retreat

Once a month it will be my practice to take a day for prayer and reflection.  On June 1 I traveled to the Cypress Hills Inter-Provincial Park in Saskatchewan, near Maple Creek.  The following is my journal reflection from that journey and time.

(written after arriving in Cypress Hills)

I could hear birds, crickets, gophers(?) even as I drove with the windows down and the wind rushing through the car.  No phone, no radio, no music – except in my head (Blessed Be Your Name; How Great Thou Art; I Love You Lord… maybe a couple of others).

The passage from Ecclesiastes (9:1-17 – Death Comes to All) stood in my mind in stark contrast to the burgeoning springtime landscape flowing by all around me.  I set the cruise control for a leisurely 110KPH – much more sedate a pace than I normally travel at I must confess.

Life is happening all about me even though death does loom.  Cows mow the grass on hills to my left and right.  Crows pick the fresh gopher carcasses on the road.  Hawks ride the young thermals of the morning in anticipation of them growing in the days’ building heat.  They hunt for the living below, alive in their predatory splendour.

Between choruses in my head I ask God for nothing except mercy and forgiveness.  I lapse into reciting “Holy, holy, holy is the Lord God Almighty, Who Was, and Is and Is To Come” or “Lord Jesus Christ, Son of the Living God, have mercy on me, a sinner”.  All other thoughts melt away.  I don’t even have to push.  Only one stray though encroaches – a memory of Perry Cherneski who passed away three years ago this July.  We sang “Blessed Be Your Name” at his funeral.  I mourn once more and find God is faithful to His promise for I am comforted.  I feel the Lord is very near.

I leave the highway and begin the climb into the hills adjusting my pace even slower.  The cattle I pass now are lying in their fields, content to chew the cud of their morning foraging.  I am content too.  The journey has washed my daily cares away.

I sit alone by the north end of the lake.  The rushing wind of travel has been replaced by the gentler rush of water flowing out of the lake and down the draw across the road behind me.  The air is still, a gentle breeze at best dances around the trees and across the lake.

A fish jumps to my right, near the reeds by the shore.  The splash sends ripples outward.  At one point they seem to stop progressing and simply become part of the surface texture of this portion of the lake.  We miss so many details when we do not take time to watch, to observe, to see.  The fish will jump three more times in the hour to come, setting a base rhythm to the events that unfold.

I think about the blind man in the passage in John 9.  I re-read the whole event, from miracle to Christ rebuking the Pharisees.  I try to imagine seeing for the first time ever.  I try to imagine being continuously blind spiritually like the Pharisees.

“Where am I blind?” I ask God.  It is the first question I have asked Him since I started.  I notice three families of Canada geese swimming slowly up the lake toward me.  One parent leads each group of goslings.  One parent follows close behind.  “You hem me in before and behind and on every side.”

Every few yards the families take to the shore for a while.  At first I think they have returned to their nests, but when they return to the water and continue on I am intrigued.  Eventually they come ashore only a few yards from me.  They are foraging for food.  They begin eating in earnest next to the other benches beside me, not forty feet away.  I eat my fruit and drink my water.  We are at peace in each other’s company.  Three cars drive by and mercifully do not stop to interrupt our lunches.

I see that everywhere around me, at every level, God is providing, sovereignly orchestrating life.  I have been missing this simplicity.  Have I chosen a kind of blindness like the Pharisees?  I know God is in control.  I experience it in a visceral, present way.

An older couple arrives to clean the benches.  The geese retreat to the water.  I speak only a few words to the lady – content to keep my silent fast.  I move on to Lookout Point.

From the intimate microcosm of the lake I follow the winding road into the hills.  It serves to separate me even more from the familiar and the ordinary.  Winter fallen trees droop to touch the road.  The park attendants have yet to venture this far to do their annual maintenance.  The lake area, as peaceful as it was, seems busy and almost urban by comparison.  I arrive and park behind a couple enjoying the view fron inside their car.  Instead of intruding into their view I wait and write much of these notes.

They leave.  I take my Bible and walk to the bench overlooking the plain and take in the expansive panorama.  I re-read Psalm 97, Psalm 115 (twice), Ecclesiastes 9, John 9.  I listen to God speaking in His word.

The bees gather pollen and nectar from the dandelions.  The flies pester me.  The breeze is soft.  The sky is clear and open.

I am alive by the grace of God and all I have comes from His Hand.  All idols are useless, and I am still discarding some of my own.  My idol of self-reliance.  My idol of personal pain and hurts.  My idol of competency.  My idol of anger.  My idol of fear.

I ask Jesus to heal my blindness.  Only He can help me see.  I must look to Him.  He is not far.

I ask only for new clarity and sight.  May God be so gracious as to grant my prayer, be it in His will.

I am filled.  I will make the journey home soon, reminded of Who is Sovereign in my life; Who alone I can and must trust; Who alone I must worship and obey.

I know life is struggle and death is my destination – but not my final destination.  And God is providing all I need for now and for ever.

I recall the goslings by the lake, lying in the grass, warming in the sunshine, feeding on the bounty all around them.  I am in the same place, God is loving and teaching me.

Hallelujah!

Shalom is mine in this moment.

I travel home in silence.  I notice my mind trying to return to my cares and concerns.  This time I have to fight to hold onto the peace and contentment.  I struggle, I sing in my mind.  I keep the silence, resist the temptation to check my phone, turn on the radio.

EPILOGUE

A few days after my retreat I find I am still able to enter the silence more easily.  I am content to just be with Susie.  To pray in silence.  To just be before my God.  I hope this lasts.

New Music - To Me

If you've been following this blog you'll know that one of my passions is music.  Recently I did something luxurious and a bit unusual.  I walked into HMV and browsed for some new CD's.  Now you can check out my archives here and find me giving HMV a pretty hard time.  I've been frustrated in the past with not being able to find titles I'm looking for, or not getting good service, but this time it was different.  And although I'm still not convinced that music retailing is experiencing a new renaissance, I will admit I had a pretty good time this time, and I may be back.  Good assistance; opportunity to hear stuff before I bought it; and for once it seemed they had some stuff I was interested in.  HMV at the Mall in Medicine Hat - thank you.

Now to the new titles:

Recently my brother in Christ, Kevin, has been trying to educate me in the spectacular virtuosity of one Joe Satriani.  OK - so I'm really late to the dance here, but I am impressed.  I just picked up "The Essential Satriani" two disc compilation and al I can say is "WOW"!  For those of you out there "in the know" I accept your derisive sniggering.  I deserve it.  If you can appreciate guitar virtuosity, musical genius, hard rock stylings and instrumental as opposed to lyric-based music then dive on in.  The music is fine.  Try track 9 on disc 2 - "If I Could Fly" and just go from there.

Levon Helm passed away recently - April 19.  His seminal work with Robbie Robertson, Garth Hudson, Richard Manuel and Rick Danko - otherwise known as "The Band" should be well known by most.  If you don't know what I'm talking about stop here, go get a copy of "Songs From Big Pink" and listen.  It's OK - I'll wait.  Levon continued making music after the Band completed "The Last Waltz", but he also pursued acting and other artistic pursuits.  Recently, Levon experienced a welcome comeback on the strength of his Grammy Award winning 2007 CD "Dirt Farmer".  I already have a copy of his follow-up Grammy Award winning 2009 CD "Electric Dirt".  I'm sorry it took me till now to rediscover his music, but I'm glad that people record stuff and make CDs.  "Dirt Farmer" is rootsier, folkier, more acoustic and bluesy than "Electric Dirt".  Think "O Brother Where Art Thou".  Still it is very well produced and hypnotic at times.  I recommend both.

Bonnie Raitt walked away with 3 Grammies in 1989 with her album "Nick of Time", and she's won more accolades since.  I admit I haven't bought one of her CDs since, but when I saw her new CD "Slipstream" in the HMV and that she had covered Gerry Rafferty's "Right Down the Line" I had to give it a try.  Her reggae influenced cover of Rafferty's tune is excellent, but what struck me overall were two things - her voice hasn't lost an iota of it's sweet and gruff presence 23 years after "Nick of Time" - and her guitar playing is even better than ever.  Maybe it's just that her producers are highlighting her guitar even more, but I found myself repeatedly being amazed by the tasty licks on this new recording.  Bluesy, playful, gritty, edgy, slick, artful, confident and fresh are just some of the ways I'd describe her playing.  The rest of the band contributes without overbearing.  Check it out - "Slipstream" is Bonnie as good as she ever gets, maybe even better!

When the Cranberries released "Everybody's Doing it So Why Can't We..." in 1993 I was 33 years old, working for Sony of Canada and fully engaged in pop culture.  I always felt I had an internal filter that helped me separate the "great" from the "everything else".  I was around music all day and I hope I was able to pick out good stuff.  "Everybody's Doing It..." was and still is great.  I can't stop pulling it out almost every time I have an extended listening session.  I know I missed 3 other really good albums from them in the 90's so I'll be doing some back catalogue buying eventually, but their new CD "Roses" is currently making me smile.

In fact, it was because the clerks at HMV let me listen to "Roses" before I bought it that I have it now.  As I said in the shop, "They made me smile by the 4th song."  It wasn't that the first 3 weren't good, it was just that on the 4th track I went "Ahhhh!"  Dolores O'Riordan's voice is as magical as ever and the band was doing that thing that only they seem to be able to do - one part Roxy Music; one part Depeche Mode; one part New Order; a hint of Steeleye Span and of course a whole lot of whatever is the Cranberries.  "Roses" is a Cranberries album in every sense of what that means that is good.  The accompanying live CD recorded in Madrid in 2010 is less compelling, mostly for sonic reasons.  It is however, a testimony to the continuing power of the Cranberries to reach their fans.  Repeatedly the concert becomes a sing-along conducted by O'Riordan and the band, but that's OK.  Still, if the Cranberries ever made you smile - they will again when you listen to "Roses".

I've been a fairly constant fan of Carlos Santana since the early 70's when I started buying my own albums.  I've worn out at least three copies of "Abraxas".  I drifted away when Carlos and John McLaughlin got a bit self-indulgent, although I do own a copy of "Welcome" which has the song "Love, Devotion and Surrender".  I came back to Santana when he covered one of my favorite Canadian songwriters - Ian Thomas - recording Thomas' "Hold On" on the 1982 album "Shango".  Since then I have let Santana wander in and out of my musical collection.  I picked up "Supernatural" (1999), "Shaman" (2002) and "All That I Am" (2005).  Now I have a copy of his 2012 release "Shape Shifter".  I have to admit that I listened to "Shape Shifter" right after having given myself a crash course in Satriani and my initial response was "Oh dear!"  But on another listen I have recovered somewhat.

"Shape Shifter" sounds more like an early Santana album than many have in recent years.  In the early years the music was melodically shaped by Carlos' guitar and by Greg Rolie's keyboards layered over,under and woven through by the rhythm section.  The 80's, 90's and 2000's saw Santana albums focused more on lyrical songs and more guitar focused instrumentation.  "Shape Shifter" has long guitar solos and equally long keyboard responses.  I hear more of the experimentation and interplay I heard in the early years.  I saw Carlos, Tom Coster (who replaced Rolie) and most of the lineup who recorded "Welcome" live in 1974 in Edmonton. The band played for over two hours without ever stopping making sound.  Each song flowed into the next. "Shape Shifter" took me back there.  And it was worth the trip.

As always, I find reason to thank God for music.  While it can be argued that a lot of music doesn't glorify God, I really believe that when musicians play with skill, creativity, genius and heart it is impossible to deny that a loving and benevolent God created all things and gave us music as a gift.  I believe that true artists who pursue truth inevitably address God because He is Truth.  I hear Truth in these new albums.  Fingerprints of God everywhere.  He is so good, and I have much to thank Him for.  Now I think I'll spin some discs and give thanks.

Shalom  

Triangulation

So someone said something you didn't like. You were surprised and offended. You overlooked the fact that this person never speaks out, but did this one time because of the passion they had for the subject. This person was trying to help. They took a risk to raise an issue that mattered to them. They thought they were doing it in a safe place.

What did you do with your offense? You say you are part of a body. You say you believe you have a special relationship with the person who spoke. You say you love Jesus and will obey Him. What do you do?

Do you go to the person to tell them your reaction to what they said? Do you even look at your reaction to try to understand it and discern if it was appropriate? Do you act in a loving manner?

No.

You go to another person and pour out your offense about the speaker. This person you go to is outside the community of faith - outside the family. Why would you even do that? The one you complain to has no compulsion to act as Christ would desire they - or you - should. The one you complain to has not been convicted by love as you claim to have been. You complain, like an angry child. You attack and demean a person who isn't even present to defend themselves. You break the Lord's commands. And you lie about loving Jesus. In this matter, that is your witness regarding the God you claim to love, obey and follow.

The person you complain to talks to the one who initially spoke and offended you (remember, they weren't trying to offend you - they were trying, however poorly, to do a good thing). The one you complained to tells the original speaker about your offense towards them. They drop your anger and personal pain on this person and there is no offer of reconciliation - no opportunity to deal with the issue. There is just offense, hurt, bad feelings and broken relationship. You weren't even there to take responsibility for what you said.

And I find out about the wreckage you created. I don't know who you are. And I am heartbroken, frustrated and sad for the one who spoke, for you, for the poor person who fell into the triangulation you created that caused them to sin, too.

And I'm not the only one who knows about this. I'm not the only one upset by this. I'm not the only one who is praying that you come under conviction, repent and seek forgiveness and reconciliation.

I do not prefer addressing this issue in this manner, but I am also no longer able to stand by and let issues like this slide by. I can't deal with you because I don't know who you are but what you did wasn't that unique. I can't address you directly, but there are others who might read this. There are others who might get the point of what I'm saying. there might be others who might take this lesson and carry it with them in their lives and relationships. So I can still employ the example of your sin to teach others. For that opportunity, I am grateful to God.

Scripture is clear - if anyone offends you, sins against you, sins in general or needs help you are to go to them and express your concern. You don't go to someone else. You don't complain behind their back. You don't triangulate. Not if you really love Jesus. Not if you really think He is real.

If triangulating was God's way he would have sent an intermediary to deal with us and our sin. Likely it would have been an avenging angel. Instead He came to us directly. Face to face. Heart to heart. Jesus came to us and named our sin to our faces. He told us directly of His disappointment. and He offered reconciliation because He was present to do so.

This situation can still be redeemed. You can still go and ask forgiveness, seek reconciliation, repair the relationship. But you have to go first.

If you want help doing this I'm available. I am here to walk alongside you. I'm not the only one who would. In the meantime I'll be praying for you. I can do that even if I don't know who you are. I can pray for you because I am compelled by my love for Jesus to love you and seek the best for you - and for the one you hurt. I don't know who you are but Jesus does. This will be dealt with. Jesus promised that. It's up to you whether you are a willing participant or not.

Shalom

Avenging Quotes

"He's adopted."
"There's only one God, ma'am, and I'm pretty sure He doesn't dress like that."
"So that's what it does."
"It's a dumb order."
"Puny god."
"Thank you for your cooperation."
"I fail to see how that's a party."
"Hulk.....SMASH!"
"I'm working right now."
"That's my secret...I'm always angry."
"Twelve percent."
"I'll have that drink now."
"You lack conviction."

Joss Whedon is a genius writer.  He's a genius director too.  What can't the guy do?  I hope we don't find out.

I am struck by how universally this movie was enjoyed by my Christian friends.  I enjoyed it too, but I am struggling with finding truth in it that I should enjoy it so much.  Except maybe in Agent Coulson's line to Loki - "You lack conviction."  Then he dies realizing that his sacrifice can become the galvanizing event the Avengers need to become a team.

And then there's the slow motion cuts of firemen and police aiding the injured and frightened.  As if to say, "Let's not forget who the REAL heroes are."

Real heroes never lack conviction.  Real heroes pay the price no matter how high.  I guess that's why He's my real hero.

Jesus.

Real conviction.

Real sacrifice.

Real salvation.

Shalom

Schlock Talk

I haven't been posting for quite some time. See my previous post for a cryptic explanation.  Now that I'm in a better place it took something quite special to bring me out of my self imposed hiatus.

That something is none other than Howard Tayler's epic online illustrated space opera "Schlock Mercenary". I just lost a bunch of you because you clicked and left me to peruse the Schlockverse.  That's OK.  That's exactly why I posted.

Howard has a new book coming out.  Try the online archives then I dare you NOT to buy his books.

Oh, and it's nice to be back.

Shalom

And They Said "Shhhhhh!"

So I'm "closed" because some folks were talking about using content on my blog(s) against me. I was warned from a credible source and now only "invited" readers may see my musings.

The two harshest words in the English language?

"Shut up!"

No Shalam
No Shalom

John Hiatt & Los Lobos

On Sept 3 I was privileged to enjoy an evening with John Hiatt & "The Combo" - his touring band and the guys who recorded "The Open Road" with him earlier this year - and the indefatigable Los Lobos at the Regina Casino Show Lounge.

It was a wonderful concert as far as I was concerned.

My main reason for attending was to see John live for the first time since I became a near-rabid fan of his music in the '90's (and yes, I was a bit late to the dance). John and The Combo were all I had hoped for and more. The ten song set list they played included the requisite hits like "Thing Called Love", "Drive South" and "Slow Turning".

John was in fine voice, often treating us to extended gospel-infused vocal runs at song's end with wild swoops from his gravelly alto up to the heights of his falsetto and back again. The Combo was tight, spare and focused, but also able to leg it out with authority too. Perhaps no more so than on their masterful accompaniment of John's newest blues tour de force, "Like a Freight Train". I can honestly say I've never experienced such a stunningly well-played blues song before, and that includes a night in the presence of no less than B.B. King. King, had he been with us, would have smiled his trademark grin and clapped for joy. The boys did it RIGHT!

Exit John after a guitar soaked but still moving rendition of "Have a Little Faith in Me" - a new reading that won me over even as I missed the gospel choir of what is still the best version, as far as I'm concerned, of that classic Hiatt tune.

Enter Los Lobos.

Why I haven't been a constant fan of these guys is a mystery to me. I blame commercial radio for pummeling us all with Los Lobos' version of "La Bamba" in 1987. I left the band behind after that. It's a shame because I didn't know what I was missing. Well I'm making up for lost time now.

Their new CD - "Tin Can Trust" - is a fantastic album. I like every song on it and I'm starting to love a couple of them. Nearing the top of my list is their deft cover of The Grateful Dead's "East L.A. Fade Away". While it might be too easy to call Los Lobos East L.A.'s answer to The Grateful Dead, it is (and was at the concert) obvious that these two bands are linked by more than mere genre and influence. Call them the two best sides of the Southern California experience.

It is also no small feat that the four original high school buddies are still together, along with their add-on friend, Steve Berlin, who joined them for their highly acclaimed 1984 LP "How Will The Wolf Survive" - which has earned a spot on Rolling Stone's Top 500 Albums list. I own a copy that I picked up at a garage sale a couple of years ago for a toonie. That might explain some of the context for what I'll be ranting about in a minute. In any case Los Lobos has stood the test of time, weathered the ups and downs of the music biz and come out better, stronger and more creative for it. Such longevity is beyond rare in their world. When it happens magic does too.

I said before that the concert was wonderful "as far as I was concerned". My only problem was the crowd. They were almost to a person

lame

Lame

LAME!

Now I've been to dozens of shows in my life and I've seen shows where the audience wasn't into it - for good reason! The artists weren't into it either. But this is one of the few times, if not the only one, where the musicians were working their butts off and the crowd was either too old, too distracted (by WHAT I wonder) or too uneducated to know what they were missing. Maybe I should have been worried when the lady DJ from 105.9 FM took nearly 5 minutes to introduce John Hiatt. This is the man who recently won the "Lifetime Achievement Award for Songwiting" from the American Music Association. He shouldn't need an intro to anyone who can call themselves a music aficionado with any level of self respect.

I know Regina has recently sprung up on the music tour map after the Rolling Stones, AC/DC and Bon Jovi all had successful shows here, but if all we are going to be able to appreciate is the juggernauts of the corporate music biz because that's all we know - outside of a fairly well-rounded appreciation for country artists thanks to events like the Craven Country Jamboree - then our future entertainment landscape is going to get pretty bleak pretty fast.

Here's a tip - if you don't like, love or even know who the artist is that you're going to go see - DON'T GO! If you wanna be seen "stylin'" go to The Drink. Those of us who want to be entertained, want to be so in the presence of like-minded folks. We want the love in the room to be palpable. We want the artists to know their fans are with them. We want to be a part of something special.

John Hiatt & Los Lobos were very special in Regina on the 3rd of September, 2010. The audience was nothing special.

'Nuff Said!

A Year Since...

My friend Perry died last year - July 5.

Unexpectedly.

Unnecessarily.

Unresolvedly.

Today would have been his birthday. Facebook reminder - weird. Such is the world we live in now.

My post from a year ago no longer plays the song that helped me mourn because the soulless music corporation that owns the copyright is now blocking the video. Thanks for nothing Sony.

It still hurts.

Perry was a man of deep faith in Jesus Christ. I'm supposed to be, too. But it still hurts. And my pain is nothing, I'm sure, compared to what his wife and daughters feel today.

Faith is belief in what we cannot see. I have faith in God's plan. But I can't see it. Maybe one day.

But not today.

Today I see the hole left by my friend's absence. But I don't believe in the hole even though I see it and feel it. The feelings are real. But the truth is stronger. One day it will make me stronger.

Jesus said,
"And surely I am with you always, to the very end of the age." Matthew 28:20b

Jesus is here, but so is the hole. Jesus makes it bearable.

Shalom my Brother, Perry.

Theme Song for This Week

I'm Still Breathing

Just a note to say life has been busy. We are grandparents. We will soon be permanent "empty-nesters". We are seeking new directions. We are dealing with old issues. All is change. Christ is constant. 50 is nearly upon me. Goals, dreams and aspirations remain doggedly fixed upon the horizon. Life has been - very "life-like" of late. I cannot be any more specific.

Shalom

Read This - If You Dare

This is a preview of Michael Spenser's "Mere Churchianity" available on pre-order at Amazon.ca.

Shalom

Great Expectations

Well I've recovered from the loss of Michael Spenser as much as I expect I can for the foreseeable future. Time to get back into the flow.

I guess I'm going to cement my newly acquired "curmudgeon" status with this post. I never really expected to "win friends and influence people" with this little spasm into the blogsphere, but this should surely keep me true to my tagline - "writing for an audience of one - reaching even fewer".

I just can't get excited about much in the pop music world these days. What is passing for excitement and new directions just falls utterly flat for me. Shakira and Rascal Flatts on American Idol on Wednesday night kinda became my poster children for what's wrong with the industry at this point in time. That the Brazilian diva actually had the temerity to quote Franklin D. Roosevelt provided the non sequitur icing that topped the ironic pop culture cake the show's producers had attempted to bake. Ostensibly celebrating the music of Shania Twain as interpreted by the contestants of the show, the performances of the American Idol hopefuls and the guest "artists" laid bare the irony of how talented she was is as a songwriter and artist, and how utterly insane it seems Robert "Mutt" Lange had to be to divorce her.

Oh, and to the guys in Rascal Flatts - you're not a "real" band if you don't have a permanent drummer. You're just a vocal trio who can maybe play some. Thanks to Gary Le Vox (seriously?!?) for at least appearing to be slightly embarrassed to either be on the show or singing with Shakira or both.

Yet, in spite of the cultural wreckage all about us I am filled with hope and great expectations as I see The Corporate Music Machine (TCMuM) slowly grinding itself into the dust it so richly deserves to be. Radio, the once-proud herald of TCMuM has long ago relinquished its claim to be the voice of "good new stuff". It has fallen to the hosts of late night TV to fill the gap - at least a bit. David Letterman did so for me recently when he debuted John Hiatt's newest tune - Highly recommended BTW! But more and more I'm getting my news from the 'net.

So it is for two new upcoming albums from two established artists. They won't get radio play because - well - radio mostly plays crap. Even the so-called "we play everything" stations (Yes, I talkin' to you JACK FM!) have woefully narrow playlists, and don't venture much away from top-40 hits of yesterday and today. Sheesh guys! There's more to Fleetwood Mac's catalog than six tunes, OK!?!

Hooo....OK, I'm calm enough to get through this (I hope). Meat Loaf and Jimmy Webb both have new albums in the offing and I think they will both be worth your while to check out.

Hang Cool Teddy Bear is Meat Loaf's tenth album. Yes, gentle reader it's been 35 years (!) since he sang "Hot Patootie - Bless My Soul (I Really Love That Rock 'n' Roll)" in The Rocky Horror Picture Show and its been 33 years since he and the "Mad Genius of Rock", Jim Steinman, brought us Bat Out of Hell. Meat (or should I refer to him as Mr. Loaf?) has been up and down and up and down and mostly up lately. And HCTB could be just the thing to keep it all rolling for the Texas troubadour. The guy is always thinkin' and the single is - well - just what you might (or might not) expect. I'm thinking he could have been one heckuva pulpit-poundin', Bible-thumpin', go-to-town, tent-meetin' preacher. I guess we'll never know - but he still is pretty young. OK - he's 63 this year, but old rockers never die.

Jimmy Webb is the guy who writes the songs that make the whole world sing - forget about Barry Manilow. With immortal gems like "Rhinestone Cowboy", "By the Time I Get To Phoneix", "Up, Up and Away (In My Beautiful Balloon)", "Wichita Lineman", "MacArthur Park" and "Highwayman" plus many, many more produced during a career that started in 1967(!) it is certain you have heard more than one Jimmy Webb song in your life if you listen to music regularly. His latest release, due later this year, is called "Just Across the River" and will showcase a number of his best songs recorded with guest stars as diverse as Mark Knopfler, Billy Joel and Lucinda Williams. Here's the full story.

So there's life and music beyond radio and TCMuM. And I think the best is yet to come. So keep on listening.

Shalom

In Memorium

Michael Spencer helped me to be a better follower of Jesus Christ. His crown will be great. I will miss him. I quoted him in last Sunday's sermon. Some folks got it. Some didn't. Such is life and ministry. Michael never gave up. So I am encouraged.

The news is here.

Also, please read the tributes and Chaplain Mike's post.

Shalom

Together We Stand

For some time now I've been contemplating how social networking and collective intelligence can be and is being applied in a variety of life situations. My niece found this video and posted it on Facebook. I have also recently been listening to this book by Bill Kinnon.

Social networking occupies a measurable portion of my work and private life now. When it comes to interacting with my community of friends and family who are not in my immediate geographical area, or who I cannot see except infrequently due to time constraints and schedules, Facebook has become my preferred tool. I have been able to reestablish connections to friends and acquaintances from decades earlier in my life as well as know much more about people I am in ministry with but cannot be face to face with daily.

I have done ministry for some through social networking and had real life events begin in the crucible of the social network. I have observed how my children and their friends use social networking to communicate and add to their relationships, and how in some cases they are already either taking this powerful medium for granted or even disengaging from it because of the demands it can place on them. When disdain or rejection of a widely used technology appears one can assume it has become ubiquitous enough to be pushed back against.

What I'm observing now is that the generational divide between social media users and non-users is blurring faster and faster. My middle-ager, baby-boomer group is one of the fastest growing segments, but so is the generation just before ours. The drivers seem to be family issues and ease of communication.

While this type of networking is still called 'virtual', I am personally regarding it more and more as 'actual' - even as telephone conversations have been considered 'actual' communication instead of virtual for decades now. Texting, chatting, using video/audio communication like Skype, text communication like Twitter are all becoming considered to be 'actual' interactions and the 'virtual' label is losing its social meaning - now referring simply to the mechanism of the communication rather than imparting any judgment of the relative value of that interaction. Less and less is 'virtual' interaction being seen as less desirable, valid or useful as compared to accepted 'actual' interaction.

We are solving real problems through applying the power of collective intelligence and collaborative work connected over 'virtual' platforms (MySpace, Facebook, etc.). We are expanding, maintaining and continuing our personal networks through the same media. We are connecting and making community and these new technologies offer powerful tools for us to make positive differences for ourselves and others.

A church I heard about changed its policy making structure from a top-down executive model to a congregation engaging work group model. At one of the first meetings where they implemented this the people attending were broken up into work groups and given aspects of the issues being addressed to discuss and report on to the larger group. There was some resistance to the change, but one elderly member in her 80's simply stated, "This is the way we do things now."

And I think Scripture encourages us to use these various media to bless each other.

Social networking - this is the way we do things now (or it will be very, very soon.)

Shalom

When Everything Old Is New Again - It's Great!

I promised a word on Eric Clapton's & Steve Winwood's 2009 live collaboration "Live From Madison Square Garden". Recently Clapton has been going this route more than flying solo. Beginning - as far as my collection is concerned - with the stunning 2004 "Crossroads Guitar Festival" DVD, his triumphant live concert reunion with Jack Bruce & Ginger Baker as Cream in 2005 and then the utterly superb "Road to Escondito" CD with J.J. Cale in 2006, Clapton has been indulging himself in playing with whomever he wants whenever he wants. I say indulgence is very good in these cases. "Live From..." is no exception.

I was fortunate enough to see Winwood live in 2008 in Edmonton, AB as the lead act with Tom Petty & the Heartbreakers. What surprised me was what an accomplished guitarist he is. My previous experiences with 'the man, the myth, the legend' were firmly planted in his string of relatively successful albums in the '80's including "Arc of a Diver" (1980), "Talking Back to the Night" (1982) & "Back in the High Life" (1986). On those recordings Winwood performed primarily as a vocalist/keyboardist. In Edmonton he wowed me with his guitar prowess, but I can be forgiven as I was still largely ignorant of his earlier career, of course with the obvious exception of "Gimme Some Lovin'". The bits I did know about via television always had Winwood seated behind his ubiquitous Hammond B-3 organ. So be it - at least I'm still learning.

To say Winwood keeps up with Clapton on this superb double CD doesn't even come close. Opening with the wondrous trilogy of "Had to Cry Today", "Low Down" & "Them Changes" with nary a fulsome organ chord in any of them, Winwood goes chord for chord and note for note with his old friend. When the organ finally comes to the fore in "Presence of the Lord" we all understand why the Hammond instrument left the dusty confines of the local church to enter the smokey environs of the local club. And it just gets better and better as the album goes on.

Clapton is as smooth, relaxed and on target as I've ever heard him. Sliding from bluesy authority to incendiary riffing to meaty rhythm to chunky punctuation he is always in the groove. He makes space for the other players to contribute better than I've heard before, yet holds the spotlight - when he is called on to - with a deft touch that speaks volumes of how he has mastered his art and his demons. Assurance, accuracy, emotion, investment, connection, soul, truth - these are just a few of the descriptors that apply to his playing on these songs

Speaking of the 'other players', the contributions of Willie Weeks on bass, Chris Stainton on keyboards and Ian Thomas on drums are all more than up to the task of constructing the foundation that Clapton and Winwood stand on while they spin their magic. Showing the innovation that set them apart originally in Blind Faith comes across particularly well in their version of Buddy Holly's "Well All Right" - a treat worth the whole purchase price of the CD in my never-to-be-humble opinion. The new players become a part of that song as if they were there when their leaders first tangled with it in 1969. But in the case of this version, time and better recording techniques plus love and appreciation have done very good things for the music. Indeed that combination has infused the whole recording with something quite special.

The set is sprinkled with songs from both Clapton's & Winwood's solo careers plus most of their Blind Faith songs. It is a well crafted set list that shows all of the dimensions of this duo's musical prowess, highlighting clearly why we and so many others love what they do. The result transcends the past, their separate journeys and previous successes and re-frames the music within the new context of their amassed skill and experience. Their obvious respect for each other and the songs brings reverence and joy in equal parts to their playing and making this much, much more than it might have been in the hands of lesser artists.

As live albums go, this one is at the top of the heap from a production standpoint. I suspect this is so because the boys new this was going to be a one-off event and the decisions that needed to be made to ensure a sterling outcome were made early on and without flinching. The technical & production staff and crew deserve a big 'thank you' for helping to get it right.

So this stuff isn't "contemporary" by most standards, but it is timeless. In may ways it should humble current artists who strive to make music that is emotional and rooted in the long-standing forms of the blues/rock genre. There really is something to be said for the results of artists who practice their craft long and well. It just "keeps getting better all the time" (thanks Paul & John). Although it is a long set, it doesn't wear thin anywhere along the way and once on the iPod one is inclined to cue up both CDs in succession and just let 'er rip.

Most of us won't get to witness something like this magical set of concerts - the live moment being relegated to the affordability and exclusivity of owning an exotic automobile or luxury yacht. This is why it is such a miracle and blessing that microphones and other recording equipment exist. And why it is such a miracle that we can experience the next best thing to being there - maybe a better thing than being there because we can visit it time and time again. And as a final thought, very often projects like this can lead to a "wish I was there" nostalgia for times past. I think in this case, could we send a copy of this recording back to where it all began in '69, the folks there might wish they were here. Time and patience can result in wondrous things.

I think I'm gonna have to buy the DVD, too.

Shalom

He Plays a What?

"Unique" is a word often thrown around the music biz that stands in for phrases like "not commercial" or "we can't categorize it so we can't sell it" or most usually "doesn't play by our corporate rules so we hate it". As any of you who have been perusing this blog know, I often comment that the cognoscenti of the music world wouldn't know a good recording if they were struck across the noggin with it tied to a Fender Strat. But that happily doesn't stop good stuff from getting made. And so often it takes the hand of another artist to get it going - like in the case of this blog entry's featured artist.

In 1981 I had no idea who David Lindley was. As it turned out I heard his nitro-fueled version of "Mercury Blues" at a show in Edmonton during their summer exhibition - then called "Klondike Days", now called "Edmonton's Capital Ex". Although "Klondike Days" was a fairly ghastly name, the new name sounds like it's an ode to the ultimate ex-partner. Well living that far north does strange things to a body - but look at me, I lived there for 25 years so who am I to talk?

Self-serving digressions aside, I'm sad to say that I didn't see David and his band El Rayo-X live. The aforementioned song was the soundtrack to a synchronized water fountain and lightshow that preceded the main act - who may have been "Teen Angel and the Rockin' Rebels" - sort of Canada's answer to "Sha Na Na". They were, in my fuzzy recollection, quite good as a '50's/'60's cover band. But that David Lindley driven water fountain lightshow - that really stuck in my mind. I suspect the designer/developer of that little demonstration went on to be involved with the design of the fountain at the Bellagio Hotel & Casino in Las Vegas, or at least was one of the first to use the technology - the fountains and lights were wicked fast for their day. But it was the song that got to me.

My only previous experience with "Mercury Blues" was the California-slick and slightly swampy version done by Steve Miller on his equally excellent but nothing-at-all-like-Lindley album, "Fly Like An Eagle". That version had been firmly burned into my brain for at least 5 years, including a run in 1976/77 when I'm pretty sure I listened to the whole album once a day for at least 10 months. In 3 minutes and 33 seconds Lindley shredded my connection to the Miller version and I was hooked, never looking back. Sorry Steve - I still like the rest of "Eagle".

The very next day I had me a copy of "El Rayo-X" and the rest is future history. It turned out I had been hearing Lindley before - I just hadn't noticed. Thanks to Jackson Browne, whom Lindley had done session work for, and who co-produced the album, I was getting the pure source. It also turned out that Lindley was connected to another west coast wunderkind - Warren Zevon - who also was connected to Browne. I was listening to a lot of California produced stuff at the time, but David Lindley sounded like he had dropped in from another planet. By now, you've probably noticed the meandering style this post has taken - well that's just a metaphor for what David Lindley does with a tune.

I'm going to recommend two albums for you and I'll bet that the third one I'll mention is a keeper, too - although I don't have it - yet. The first I've already named above - the second is "Win This Record" (1982) - both originally released on the Warner/Reprise label. The third "El Rayo Live" will satisfy the completists reading this - and while those three don't encompass even a tenth of Lindley's recording career, they do represent the sum total of the El Rayo-X period. And it was a wonderful and all too short spasm of creativity the music biz couldn't categorize, control or contain.

To say that Lindley's arrangements of tunes - especially covers he did - were "different" would be like saying "Nickelback's" music is only slightly formulaic and predictable. But Lindley, for all his unique approach (how about a reggae version of "Bye Bye Love"?) is one of the most musical players I have ever heard. Some of my ab-so-lute-ly personal favs are "She Took Off My Romeos", "Twist and Shout", "Talk To The Lawyer", "Ram-A-Lamb-A-Man" & "Make It On Time". You'll need both albums to hear all of those. But in every case you will be confronted by a man and a band who know exactly what they are doing - even as you are trying to figure out just what it is.

Lindley plays pretty much anything with strings on it that can be plucked or strummed. The fact that he uses an electric steel guitar to create the power chords on "Mercury Blues" was a revelation when I finally saw Lindley and most of El Rayo-X (at least percussionist extraordinaire Ras Baboo was there) on the TV show "Later...With Jools Holland" hosted by the ex-Squeeze keyboardist.

And even though Robert Randolph - the newest proponent of a very un-traditional sounding approach to the standard and pedal steel guitar - never heard of Lindley or other 'secular' bands when he was growing up, I like to think that it was Lindley who was in the vanguard of breaking down some of the barriers that relegated certain instruments to certain genres of music and made Randolph's career an inevitability.

Anyway, you owe it to yourself to give Lindley a try. He takes a bit of listening to get full value from, but it's well worth it. Just start with the tunes that grab you and give the others a chance, and then you'll find yourself hearing those same sounds in other musicians' repertoires. And that brings us meanderingly to the point of why David Lindley matters - he made those sounds first, and then others followed him. And that is the best definition of "unique" I can think of. "Imitation is the sincerest form of flattery."

Imitated, yes. Bettered, never!

Shalom

How Do You Feel?

Recently I have become increasingly aware of health care and its associated costs through the illnesses of people I am connected to through the internet and personally. Michael Spencer, my fav Christian blogger - who is a real Christian goshdarnit - has been struck with cancer and has lost his income and health care coverage and is in real jeopardy, financially as well as physically. Kaja Foglio of "Girl Genius" had knee surgery and as a self-employed artist/entrepreneur she and her husband Phil have had to face these issues. In a circumstantial quirk that beggars description the Foglio's colorist, Cheyenne Wright, was struck with a viral infection that affected his heart. Cheyenne is even further out on the seemingly non-existent health care limb than Spencer and the Foglios as he is a free-lance artist.

Their friend and fellow web cartoonist/entrepreneur/writer and neo-Renaissance guy Aaron Williams, creator of "Nodwick", "PS 238", "Full Frontal Nerdity" and the recently and sadly demised "Backward Compatible" comic strips as well as the highly excellent, more traditionally delivered "North 40", linked to an archived American NPR broadcast of "This American Life" from October of 2009 on the subject of health care and its attendant costs. If you want the rest of this post to make any sense you must listen to this program next. Thanks to the "majick of the internets", the rest of my scribblings will patiently await your return. Hoy, Technology!

As a Canadian, and "lucky" recipient of nationalized public health care, it may seem that I don't have a dog in this fight, but I've been spending a lot more time in hospitals and being concerned about health care lately. After my mother-in-law destroyed her right shoulder in a frightening tumble down her basement stairs in October of 2009 - yet another coincidence beggaring description when juxtaposed with the date of the NPR broadcast - and that in the middle of dealing with her husband's rapidly deteriorating condition due to Alzheimer's, we were forced to pay much closer attention to such things - at least north of the 49th parallel. More recently, due to experiencing my wife suffering with an undiagnosable ailment, I have realized that many of the pressures, mechanisms and infernal internal workings of health care delivery as outlined in the "This American Life" documentary are also part of "This Canadian Life". I live in the "True North, (not so) Strong and Free (for sure not free as in 'free lunch')".

Many of the situations described in the broadcast had an all too familiar feel to them, particularly how my wife and I evaluate medical decisions based on how information is shared with us by doctors, nurses, therapists, politicians, medical insurance providers and drug companies through advertising and the ubiquitous media. These multiple streams of information have created and sustained many of the same false beliefs and unproductive ideals we see demonstrated in the US health system. The real reality check being that neither a public nor private system - nor any hybrid of the two - will solve the basic issue of a demanding public that wants what it wants - now - costs be damned.

Solutions will hopefully come from more education and understanding of the forces driving health costs worldwide, and hopefully a sober re-evaluation of our expectations of the system alongside a maturing acceptance of our mortality. OK that last part is really unlikely, but it would help us gain a better perspective. But we cannot maintain "business as usual" in America or Canada for much longer, if at all. In the meantime, folks like Michael Spencer, Cheyenne Wright, the Foglios and many, many more will be at the mercy of the system and upheld only by the mercy of the community that supports them. That's the gracious, loving adaptation that has been made as a response to the inequities and shortcomings of the health system. People who care and are caring have stepped up to help these folks - meeting needs we expect government, industry and community to address, but have spectacularly failed to do. And we all shudder at how expensive mercy has become - and that it has become a commodity at all. As a leader of a faith community, all of this impacts deeply on my work and calling in ways I am struggling to understand and deal with.

If you visit some of the links above you'll find PayPal links for some of these folks. If you're feeling OK you might send them a few bucks to tide them over. After that, you might want to get control of your own health care understanding, process and start engaging with the system in your local area. Do some work while you're up to it - while you feel healthy. It's a lot easier than having to deal with it from flat on your back in a hospital bed. But more than anything it seems we all need a network of people who care for us and will care for us when we and the system can't (or won't). No amount of money will ever purchase care that is as good as what is given freely in love. That is why I am so involved in the community God is creating through Jesus. Real hope and security lies there.

Find His community - it's the best medicine.

Shalom

The Perfect Album

In 1994 Mary Chapin Carpenter released "Stones in the Road" the follow-up to her highly successful pop/country crossover album "Come On, Come On". It is much to my chagrin that I only just ordered my CD copy of this remarkable recording this week, having spent the last 16 years content to listen to my pirated cassette tape recording of the original CD. (Please forgive me Mary!)

This 13 song tour de force extends beyond 45 minutes by two songs - I know because I had to put them on the "B" side of the tape along with some Eagles tunes from their "Hell Freezes Over" CD, also released in '94 (and yes, I DO own the CD of that album so calm down Glenn!). I cherry picked the tunes from the Eagles CD, but I couldn't from Carpenter's recording because they were - and still are - all exceptional songs.

"Stones in the Road" is one of those rare "perfect storms" of music recording were the songwriting, musicianship, recording and production all are as near perfect as God allows in this world. It remains among the very few albums I would absolutely have to take on my desert island exile and it would, I am sure, be listened to in its entirety on every occasion even under those circumstances - even if my stash of albums was quite meager.

The music and lyrics on this album are so mature, so assured, so honest and so believable that I suspect younger listeners will not be able to fully appreciate them. Some experiences are complex and nuanced and cannot be fully enjoyed until personal experience and maturity makes it possible to access the deeper truths they contain. For instance, before I was a father I could watch TV-borne pleas for aide on behalf of disadvantaged children feeling little emotional impact - this is not so anymore. "Stones in the Road" is that kind of album - like a truly fine wine or accomplished painting or sculpture - the depth to which it can be appreciated is directly proportional to the depth of the person experiencing it. And then miraculously, it takes you to deeper levels of experience and understanding as you resonate with its honesty and truth.

Carpenter infuses her songs with brevity - "the soul of wit" - honesty and delivers each song with a fluidity and grace few artists can muster. Her dusty alto is perfectly suited to the folk/country/rock arrangements and instrumentation. Each song - with the possible exception of "John Doe # 24", which is more like a jazz/tone poem - has a strong melody and, in the majority of cases, a captivating musical hook. It simply must be said that this album is one of the strongest ones I have ever heard in 40+ years of listening when considered from a purely musical perspective. Every tune is "right" and is played and recorded "right". It seems impossible to imagine anyone covering any of these tunes without owing much to the original.

She covers the gamut from loves lost ("House of Cards"), to coming of age in historically significant times ("Stones in the Road") and facing the adult ennui that ensues, to the humor and anticipation of new romance ("Shut Up and Kiss Me"), to spiritual and relational healing ("Jubilee") - all without ever succumbing to being the slightest bit maudlin or overweening. If there is anything that is to be called disarming about this set of songs, it is in the way Carpenter opens herself up and allows us in with such easy grace that we might find ourselves overwhelmed by the immersive intimacy she creates.

If you are mature enough to engage this music - and well read enough as it does require knowledge of mid to late 20th century North American history and culture to be fully appreciated - then dive in and immerse yourself in the experience. It is truly a blessing that this album is still available, as it was popular but not in the extreme sense.

My wife and I listened to it in full last Monday at the end of an extended music session wherein I had covered playing a lot of songs by artists whom we have listened to and appreciated over the years as well as some newer stuff too. After the last song on "Stones in the Road" it was time to end our session and as I commented to Susie I said, "I don't know if we own a more perfect album than that one. I can't believe we still don't have it on CD." She agreed and it was understood that this gross oversight was to be corrected immediately.

In the song "Why Walk When You Can Fly" Carpenter writes:

In this world there's a whole lot of trouble, baby
In this world there's a whole lot of pain
In this world there's a whole lot of trouble
But a whole lot of ground to gain
Why take when you could be giving, why watch as the world goes by
It's a hard enough life to be living, why walk when you can fly

When the Amazon order gets here we're gonna hook up the iPod in our car and fly away.

Shalom

Music & Faith

As a person of faith I constantly find wonder in the world because I see the hand of God in action everywhere. For whatever reason I was created to be particularly sensitive to music - and I know I'm not the only one. My appreciation of music has undergone several times of rediscovery as I have been able to integrate personal experience, emotional understanding and a widening perspective into my experience of enjoying music.

Perhaps this whole process is becoming more poignant as I develop difficulty in hearing. Time and some audio abuse seems to have worked its harsh consequence upon my sense of hearing. I strongly suspect that I will outlive my ability to hear properly - but there are no hearing aides in my ears yet. And while that is not yet the case, I have decided to keep on listening.

Music reviews were a staple of my earlier pursuit of this life long love. Finding a reviewer whose taste and sensibilities complimented my own while still being able to introduce me to new musical experiences was a discovery that I would savour. Radio DJs were also useful before playlists were corporately programmed - designed to meet content requirements (thanks sooooo much CRTC) and reach advertising demographic groups (NONE of which I belong to!). These days corporate media hustling, narrowcasting and the proliferation of musical genres, which most folks seem to strictly confine their listening within, have pretty much killed most of the good reviewers.

I am convinced that a good recording can - when the artist honestly pursues the truth - bring us an appreciation of the divine and the human and the place they intersect. It is no coincidence that the Psalms (songs of the Bible) are among the most quoted ancient Scriptures in the New Testament. I find I cannot memorize more than a few lines of prose - the post-modern equivalent being reciting movie catch phrases - from important sections of Scripture, speeches or books & writings. But I can easily commit to memory a large catalog of songs, poems and music. Ideas wrapped in music have a staying power beyond the mere spoken word.

So I'm going to spend a number of posts reviewing the very best recordings I have ever experienced. Some will seem quite old - what the HECK IS old anyway? - some will be newer. All will, I hope, hold the common thread of having the air of truth about them, even if they make the list because they are essentially just great fun as opposed to being deep and transcendent musings on the human condition.

I hope to cover a wide range of genres, but I won't cover everything because there are some music categories that I just don't - and probably never will - appreciate. So be it. I am biased, as we all are. I hope my bias is a useful bias. Anyway, I'm not too worried - Perez Hilton I'm not, THANK GOD - so my little scribblings will not in all likelihood do much damage or cause much of a groundswell. Never the less - enjoy!

Shalom