On Glen Soderholm’s 2003
album Rest, he gives us authentic
songs of praise that acknowledge
our need of rest in our hectic lives
using a gentle folk style dominated
by his acoustic guitar.
This album takes a step backwards,
but in a way many will
appreciate. He returns us to
the roots of his song writing by
interspersing hymns written from
across the centuries with his original songs; all six hymns come from
the current Presbyterian hymnal.
The best known of these is “Praise To The Lord The Almighty.”
This version is updated, not by altering the rhythm as is common in
many contemporary praise services, but by reworking the lyrics to
eliminate antiquated phrases that may prove inaccessible to a new
generation. Soderholm sings, “Have you not seen how your heart’s
wishes have been/Granted through God’s kind ordaining?” so that
it flows more smoothly and meaningfully from his tongue.
I believe that contemporary worship songs are generally better
for celebration, but can be less reverent and reflective. Soderholm
doesn’t sacrifice these qualities in his versions of the hymns, even
though the traditional organ has been replaced by guitar, bass,
drums, violin and David White’s exquisite mandolin.
Some of Signpost Music’s best performers appear on various
tracks: Steve Bell, Jacob Moon and Carolyn Arends (he returns
the favour on Arends’ album). Producer Roy Salmond has again
helped to create
a smooth soundscape
that suits the
material.
Soderholm’s own
compositions work
well with the traditional
hymns since
he often writes from
Scripture, such as “Think on these Things” from Philippians 4.
Unfortunately, such lyrics, like those of well-known hymns, lose
some impact through their familiarity. In such circumstances,
Soderholm’s own honest writing shows its strength:
“That which God has placed within my hands
Has slipped through my fingers like sand
Did I hold it well?
The whistle wind won’t tell.”
Although I enjoy this album, it really is more churchy because
of the large number of hymns. We also don’t get to experience the
songwriter as much. If you haven’t any Glen Soderholm in your
collection, I still think Rest is the better choice, but for everyone
else, World Without End is a pleasant addition.
In the liner notes to Carolyn Arends’ ninth and newest album,
Pollyanna’s Attic, she writes, “Mark Heard’s music and legacy
inspired much of what is contained herein.” This can be seen in
her cover of Heard’s song “To See Your Face,” in “I’ve Got a Hope”
from Pierce Pettis, a close friend of the late Mark Heard, and in the
strongest of Arends’ own compositions.
The opening song “Just Pretending,” for example, gives a
strong acoustic rock groove worthy of the liner tribute: “Sunday
the whole congregation/
Doesn’t seem to need salvation/
Everybody’s just terrific/
All the time.” The chorus
continues, “Why do we
try so hard?/Life’s not some
greeting card/...They’re just
pretending.”
Lyrically, several other
songs also grab truth in insightful ways. “More Is Less” shows the
irony in so many of our pursuits, and “No Trespassing” takes a
shot at how we mind our own business to the detriment of those
who need our help.
However, some of her subtler lyrics could slide past unnoticed
because their musical arrangements are just too sweet. “Free” seems
to celebrate liberty, but is really about how we misuse freedom and
take it for granted. Her agreeable tone doesn’t seem to be pointing
out a problem. The form and content need to go together!
A harder edge to the music running through the album would also
help the flow. The catchy rocker “Everybody Wants Everything”—
where Spencer Capier can finally let loose on guitar—seems to
ricochet out of nowhere. It should be the album’s centrepiece, not
an anomaly.
What would make this good album great is a producer that makes
the tough calls and draws from the artist the delivery her good
writing deserves. It is still a thoroughly enjoyable album, but I see
what it could have been.
D.S. Martin is a Canadian poet and writer. For years he has been fascinated with both the many roots and branches of contemporary music, particularly from a Christian perspective.
