“A Very Strange Love Song”

Total Page:16

File Type:pdf, Size:1020Kb

“A Very Strange Love Song” “A Very Strange Love Song” Texts: Psalm 80:1-2, 8-19 and Isaiah 1:1, 10-20 a sermon by Kevin Fleming August 14, 2016 FIRST PRESBYTERIAN CHURCH - EVANSVILLE, INDIANA During my college years, I spent far too much time at the college radio station. I began with the Sunday afternoon classical program – from 1:00 – 6:00 – with the full knowledge that I was probably talking to myself and playing music for myself. I did have a few groupies at the local nursing home. Eventually, I earned better shifts. My roommate and I were given the morning drive slot. Jim did the music. I did the news – but that included the agricultural report. When Hubert Humphrey died, I was up all night putting together a fifteen minute special report. But then, one Wednesday night, Jim and I did the “Wednesday Night Request Show.” It was exactly what it sounds like. Listeners would call in with “dedications,” requesting a song and adding someone’s name to it. Now, remember, these were my college days – in the 1970s. We were on a college campus – a place traditionally and sacredly fueled by hormones. So, we spent five hours saying things like: “This is going out to Mickey over in Shaw Hall from Steve in Eichenauer, the music of Mr. Bill Withers, because Mickey always makes it a ‘Lovely Day.’” Then we would get a call from Mickey. “This one is for Steve in Eichenauer from Mickey in Shaw Hall, and you’re going to like this Steve, because it’s from Stevie Wonder, and ‘You Are the Sunshine of My Life.’” Steve was a lucky fellow. Through the ether, Steve had signaled that he liked Mickey and Mickey responded by saying that she liked Steve. Five hours of this kind of communication and songs like “Baby I’m A Want You,” “Diary,” and the ultimate shut down, “You’ve Got a Friend.” Trust me, they weren’t looking for friends. They were looking for love, and sometimes in all the wrong places. © 2016 Kevin Scott Fleming So, when I came to the lessons for the week, I was a little startled. Our main lesson purports to be a love song. “Let me sing for my beloved my love-song concerning his vineyard…” But what follows is a strange lyric of condemnation and disapproval. If this is a love song, it is a very strange love song. The song begins with a metaphor – a parabolic image. It is the image of a vineyard and of a vintner who is hard at work, caring for the choicest vines that could be found to the point of near obsession. Protective walls are built. A watchtower is placed in the center of the vineyard so that security was provided. The earth is cultivated and strengthened. The vines are pruned and managed. This vineyard made those in the Napa Valley look like hobby gardens. When the harvest time had come, the vintner carefully cut the grapes from the vines and took them to the winepress. He selected a grape and placed it in his mouth. It was sour and worthless. The entire harvest was only fit to feed animals, not to be made into wine. The vintner throws up his hands in disgust. What more was there to do for my vineyard that I have not done in it? When I expected it to yield grapes, why did it yield wild grapes? And now I will tell you what I will do to my vineyard. I will remove its hedge, and it shall be devoured; I will break down its wall, and it shall be trampled down. I will make it a waste; it shall not be pruned or hoed, and it shall be overgrown with briers and thorns; No one is going to blame this poor would-be wine baron for giving up. He had done everything exactly right. He had shown every possible form of care. And it was all for naught. If it is a love song, it is a song of unrequited love. The love was flowing only one way. The vintner was pouring out his life for the vines and the vines failed to respond to that love. “Here on the Wednesday night request show, a sad song of love, going out from God to God’s people, the music of Bread: ‘I found her diary underneath a tree. And started reading about me. The words began to stick and tears to flow. Her meaning now was clear to see. The love she’d waited for was someone else not me Wouldn’t you know it, she wouldn’t show it.’” The prophet makes it clear: the vineyard of the Lord of hosts is the house of Israel, and the people of Judah are his pleasant planting; he expected justice, but saw bloodshed; righteousness, but heard a cry! God sings to God’s people a song of love. But God’s people do not sing back. It is a love song, but a song of unrequited love – a song of love rejected. God is still singing that song. God’s love song echoes through the cosmos. God’s song of love echoes through the ages. But how are we responding? God sings a song of justice. How are we responding? God sings a song of righteousness. How are we responding? This is not just a song for the ancient people of God. This is a song that comes to you and me – God’s people in this time and place. God sings out to us, “Where is justice? Where is righteousness?” God’s song sounds strangely like the music of the Black Eyed Peas: Madness is what you demonstrate And that’s exactly how anger works and operates Man, you gotta have love just to set it straight Take control of your mind and meditate Let your soul gravitate to the love, y’all, y’all People killin’, people dyin’ Children hurt and you hear them cryin’ Can you practice what you preach? Or would you turn the other cheek? Father, Father, Father help us Send some guidance from above ‘Cause people got me, got me questionin’ Where is the love (Love) The sad truth is that Christianity has been reduced to clichés and mud-covered bumpersticker theology. For too many, a Christianity that can’t be tweeted is a Christianity that isn’t really Christianity. The Christianity that runs rampant in our culture is so watered-down and diluted from the life Jesus called us to live that I have doubts Jesus would recognize it if he were to walk among us today. I take no joy in saying that. Just look at our nation. We live in a country where hate is celebrated and cheered. We live in a nation where it is perfectly acceptable to discriminate against people because of their color, because of who they love, and now because of the religion they follow. We live in a nation that celebrates violence, that teaches it to our children, and then wonders what happened when someone takes a gun and shoots innocent people. We live in a nation where the gap between the rich and the poor has never been wider. We live in a nation where one in five children live in poverty and that rate is far higher among children of color. And we claim that we are a Christian nation. With those results, maybe we should let another tradition take the reins for a while. Father, Father, Father help us Send some guidance from above ‘Cause people got me, got me questionin’ Where is the love (Love) And still, God continues to sing. God continues to sing to us the song of justice and righteousness. God continues to love us, in spite of our obvious and sometimes in spite of our murky rejection of God’s song. God keeps singing, hoping that we will change our tune, and respond with the justice and righteousness that God seeks in us. God keeps sending out love songs to us all and waits to hear our response. God continues to sing. This is the very nature of God. God keeps singing no matter how much we refuse to listen or hear. God keeps singing no matter how it appears that we cannot hear. We call it mercy. We call it grace. God continues to sing and God’s people still have a million opportunities to return the song. God’s people – you and I – have all kinds of ways to answer God’s song with a song of our own. The song of justice and righteousness has many tunes, many verses, many interpretations. Surely we can find one or two that we can sing with gusto and passion! God continues to sing a very strange love song. It is a song of love offered and love rejected. But there is still time to write a few new verses to the song. There is still time to sing a new song – a better song than we have sung in days gone by. Father, Father, Father help us Send some guidance from above ‘Cause people got me, got me questionin’ Where is the love (Love) Father, Father, Father help us Send some guidance from above ‘Cause we are ready to respond Here is the love (Love) For now and evermore. Amen. .
Recommended publications
  • Differentiation of Indian Cultures According to Geographical Areas
    DIFFEREXTIATIOX OF IXDIAX CULTURES ACCORDING TO GEOGRAPHICAL AREAS BY DR. GEORGE H. DAUGHERTY, JR. WHILE admitting the basic unity of Indian culture, scientists have discovered well defined variations in different parts of the country. On the evidence of material culture characteristics and archeological finds they have traced a close connection between the environment of a given locale and the culture of the indigenous tribes. Tlie purpose of the present article is to demonstrate first that there are distinct differences in the culture originally found among the Indians living in localities of different environment ; second, that these differences were caused by the environment and reflect it. Three of these cultural areas, already mentioned as the Great Lakes section of the Eastern Woodland Area, the Plains area, and the Southwest area, will be contrasted in the matter of physical environ- ment, material culture of resident tribes, and subject matter of literary expressions of these tribes. Archeological and ethnological, research has divided the Ameri- can continent into several "culture areas", or separate geographical division^. In each of these the climate, topography, fauna, and flora constitute a distinctive environment. Each of these major en- vironmental or cultural areas seem to have produced its own peculiar type of culture among the tribes who lived within its limits. Tribes who left one area and entered another tended to drop their former folk-ways and adoj)t those prevailing in the new environment. For instance the kind of food, the manner of hunting, type of weapons or of houses would (>l)viouslv be (Ictcrniincd bv axailablo natural re- sources.
    [Show full text]
  • Songs of Courtship: from Wisconsin’S Ho-Chunk, Pan-Indian, and European-American Immigrant Song and Dance Traditions Recommended for High School
    Songs of Courtship: From Wisconsin’s Ho-Chunk, Pan-Indian, and European-American Immigrant Song and Dance Traditions Recommended for High School This selection of courtship songs represent a range of musical styles from within the Ho-Chunk and early European-American immigrant communities in Wisconsin. Most of these songs were recorded in the early part of the 20th century, between 1920 and 1946. The European-American voices we hear are 2nd and 3rd generation descendants of Wisconsin immigrants who learned these Old World songs from their parents, grandparents and other community members. Where possible, translations of the foreign language lyrics are provided. Altogether, these songs provide teachers and students an opportunity to reflect on the social customs and protocols surrounding courtship from an earlier era, and to reflect on contemporary social norms and behaviors surrounding dating (and breaking up), love, and marriage. All songs and instrumental selections are resourced from the “Local Centers, Global Sounds” UW Digital Collections” at https://digital.library.wisc.edu/1711.dl/LocalCenters. Follow “Audio file” for the audio recording of each individual song. Wisconsin Songs of Courtship Unit Contents: - Ten Songs, pp. 2 – 15 - Suggested Prompts for Writing, Discussion, Poetry and Song Writing, pp. 16 - 17 - Venn Diagrams for Song Analysis & Comparisons, pp. 18 - 19 - Courtship Then and Now (Comparisons of unit courtship songs to contemporary love songs, & “Let’s Dance,” p. 20 - References Cited and Additional Resources, p. 21 - Melody transcriptions for Svestkova Alej (The Prune Song), and The Cuckoo Yodel Song, pp. 22-24 “Dancing” (Local Centers, Global Sounds, Ethnic Music from Northern Wisconsin and Michigan Collection) 1 Songs 1 – 2: First Nations: Flute Song (Ho-Chunk), and “49 Song” (Pan-Indian) Song 1.
    [Show full text]
  • MCA-500 Reissue Series
    MCA 500 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-500 Reissue Series: MCA 500 - Uncle Pen - Bill Monroe [1974] Reissue of Decca DL 7 5348. Jenny Lynn/Methodist Preacher/Goin' Up Caney/Dead March/Lee Weddin Tune/Poor White Folks//Candy Gal/Texas Gallop/Old Grey Mare Came Tearing Out Of The Wilderness/Heel And Toe Polka/Kiss Me Waltz MCA 501 - Sincerely - Kitty Wells [1974] Reissue of Decca DL 7 5350. Sincerely/All His Children/Bedtime Story/Reno Airport- Nashville Plane/A Bridge I Just Can't Burn/Love Is The Answer//My Hang Up Is You/Just For What I Am/It's Four In The Morning/Everybody's Reaching Out For Someone/J.J. Sneed MCA 502 - Bobby & Sonny - Osborne Brothers [1974] Reissue of Decca DL 7 5356. Today I Started Loving You Again/Ballad Of Forty Dollars/Stand Beside Me, Behind Me/Wash My Face In The Morning/Windy City/Eight More Miles To Louisville//Fireball Mail/Knoxville Girl/I Wonder Why You Said Goodbye/Arkansas/Love's Gonna Live Here MCA 503 - Love Me - Jeannie Pruett [1974] Reissue of Decca DL 7 5360. Love Me/Hold To My Unchanging Love/Call On Me/Lost Forever In Your Kiss/Darlin'/The Happiest Girl In The Whole U.S.A.//To Get To You/My Eyes Could Only See As Far As You/Stay On His Mind/I Forgot More Than You'll Ever Know (About Her)/Nothin' But The Love You Give Me MCA 504 - Where is the Love? - Lenny Dee [1974] Reissue of Decca DL 7 5366.
    [Show full text]
  • Dimen Dong Culture Eco-Museum Dimen Dong Folk Chorus Smithsonian Folklife Festival Performance: June 30, 2013
    Dimen Dong Culture Eco-Museum Dimen Dong Folk Chorus Smithsonian Folklife Festival performance: June 30, 2013 PROGRAM LYRICS AND NOTES We close the village for rituals (Ga sakun / Gate-barring song) Today you come to our village, but we must bar the gate. We use pines and firs and anything with brambles to block the way. Let no stranger in. If strangers get in, our ducks and chickens will surely die. Often the first Dong music a visitor encounters, gate-barring songs still thrive among some Dong communities during inter-village visits. For the most part, though, this thousand-year-old tradition is reserved for tourists and official guests. Festive-clad women villagers (men, if present at all, are always at the back) confront visitors with bowls of local rice wine, belying the sternness of the words they sing. Mountains are beautiful (Ga jun / Narrative da ge) Mountains are beautiful: they are covered in blossoms, filled with bird calls, everywhere you can hear singing. When people walk amidst flowers, their hearts are filled with joy. Will you come with me? If our friends are also here, let’s all go up to the mountain to be close to the flowers and songs. This polyphonic song describes and praises the natural environment, which is the essence of the Dong belief of harmony between nature and man and among mankind. Cicada song (Ga so / Sound imitation da ge) Listen closely to my imitating cicadas: In the third month, cicadas sing for spring. But after the ninth month, their songs gradually disappear. Where do they go? Since I can’t see them, I can only imitate their song with my voice.
    [Show full text]
  • Music Speaks, We Listen: a Teacher's Guide for Using Music in the Adult ELL Classroom Honora Mitchell [email protected]
    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Spring 5-18-2017 Music Speaks, We Listen: A Teacher's Guide for Using Music in the Adult ELL Classroom Honora Mitchell [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Curriculum and Instruction Commons, and the Language and Literacy Education Commons Recommended Citation Mitchell, Honora, "Music Speaks, We Listen: A Teacher's Guide for Using Music in the Adult ELL Classroom" (2017). Master's Projects and Capstones. 484. https://repository.usfca.edu/capstone/484 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. University of San Francisco Music Speaks, We Listen: A Teacher’s Guide for Using Music in the Adult ELL Classroom A Field Project Presented to The Faculty of the School of Education International and Multicultural Education Department In Partial Fulfillment Of the Requirements for the Degree Master of Arts in Teaching English To Speakers of Other Languages By Honora Mitchell May 2017 Music Speaks, We Listen: A Teacher’s Guide for Using Music in the Adult ELL Classroom In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS in TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES by Honora Mitchell May 2017 UNIVERSITY OF SAN FRANCISCO Under the guidance and approval of the committee, and approval by all the members, this field project has been accepted in partial fulfillment of the requirements for the degree.
    [Show full text]
  • RSL+Piano+Sample+Pack.Pdf
    Piano Sample Pack piano SAMPLE PACK Welcome to the Rockschool Repertoire Sample Booklet for piano Contents 3 the rockschool books This interactive booklet is designed to give a flavour of the pieces of music 4 Repertoire and audio contained within the graded music exam syllabus and information on the musical skills and understanding that have been benchmarked at each grade. 5 EXAMS AND Assessment Criteria This sits alongside the Syllabus Guide which provides full details of the graded 7 Debut Musical Skills and Features examinations run by Rockschool for Piano. 8 Debut Repertoire Sample 11 Grade 1 Musical Skills and Features 12 Grade 1 Repertoire Sample 15 Grade 2 Musical Skills and Features Purchase your digital copies of the full Rockschool syllabus books including access 16 Grade 2 Repertoire Sample to Replay, the interactive sheet music tool, on the RSL Awards shop here… 19 Grade 3 Musical Skills and Features 20 Grade 3 Repertoire Sample * 23 Grade 4 Musical Skills and Features save 10% 24 Grade 4 Repertoire Sample 27 Grade 5 Musical Skills and Features You can buy the whole range of hard copy Rockschool syllabus books on: 28 Grade 5 Repertoire Sample Musicroom.com 31 Grade 6 Musical Skills and Features Use the code RSLSAMPLE to save 10%* on all Rockschool products. 32 Grade 6 Repertoire Sample 35 Grade 7 Musical Skills and Features *Available while stocks last on Rockschool syllabus books and methods only. This offer may be withdrawn at any time. 36 Grade 7 Repertoire Sample If you are using Adobe Acrobat to view this document, you will be able to hear the 39 Grade 8 Musical Skills and Features sample audio alongside the sample repertoire pages.
    [Show full text]
  • MADEMOISELLE - Première Audience
    MADEMOISELLE - Première Audience Unknown Music of NADIA BOULANGER DE 3496 1 DELOS DE 3496 NADIA BOULANDER DELOS DE 3496 NADIA BOULANDER MADEMOISELLE – Première Audience Unknown Music of NADIA BOULANGER SONGS: Versailles* ♦ J’ai frappé ♦ Chanson* ♦ Chanson ♦ Heures ternes* ♦ Le beau navire* ♦ Mon coeur* ♦ Doute ♦ Un grand sommeil noir* ♦ L’échange ♦ Soir d’hiver ♦ Ilda* ♦ Prière ♦ Cantique ♦ Poème d’amour* ♦ Extase* ♦ La mer* ♦ Aubade* ♦ Au bord de la route ♦ Le couteau ♦ Soleils couchants ♦ Élégie ♦ O schwöre nicht* ♦ Was will die einsame Thräne? ♦ Ach, die Augen sind es wieder* ♦ Écoutez la chanson bien douce WORKS FOR PIANO: Vers la vie nouvelle ♦ Trois pièces pour piano* • • MADEMOISELLE - PREMIÈRE AUDIENCE MADEMOISELLE - PREMIÈRE AUDIENCE WORKS FOR CELLO AND PIANO: Trois pièces WORKS FOR ORGAN: Trois improvisations ♦ Pièce sur des airs populaires flamands Nicole Cabell, soprano • Alek Shrader, tenor Edwin Crossley-Mercer, baritone • Amit Peled, cello François-Henri Houbart, organ • Lucy Mauro, piano A 2-CD Set • Total Playing Time: 1:48:27 * World Premiere Recordings DE 3496 ORIGINAL ORIGINAL DIGITAL © 2017 Delos Productions, Inc., DIGITAL P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com MADEMOISELLE – Première Audience Unknown Music of NADIA BOULANGER CD 1 (54:12) ‡ 4. Was will die einsame Thräne? (2:32) ‡ 5. Ach, die Augen sind es wieder* (2:09) SONGS † 6. Écoutez la chanson bien douce (6:03) † 1. Versailles* (3:05) † 2. J’ai frappé (1:59) WORKS FOR PIANO ‡ 3. Chanson* (1:26) 7. Vers la vie nouvelle (4:30) ‡ 4. Chanson (2:02) Trois pièces pour piano* (3:22) † 5.
    [Show full text]
  • Stephen Foster and American Song a Guide for Singers
    STEPHEN FOSTER AND AMERICAN SONG A Guide for Singers A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Samantha Mowery, B.A., M.M. ***** The Ohio State University 2008 Doctoral Examination Committee: Dr. Robin Rice, Advisor Approved By Professor Peter Kozma ____________________ Dr. Wayne Redenbarger Advisor Professor Loretta Robinson Graduate Program in Music Copyright Samantha Mowery 2009 ABSTRACT While America has earned a reputation as a world-wide powerhouse in area such as industry and business, its reputation in music has often been questioned. Tracing the history of American folk song evokes questions about the existence of truly American song. These questions are legitimate because our country was founded by people from other countries who brought their own folk song, but the history of our country alone proves the existence of American song. As Americans formed lives for themselves in a new country, the music and subjects of their songs were directly related to the events and life of their newly formed culture. The existence of American song is seen in the vocal works of Stephen Collins Foster. His songs were quickly transmitted orally all over America because of their simple melodies and American subjects. This classifies his music as true American folk-song. While his songs are simple enough to be easily remembered and distributed, they are also lyrical with the classical influence found in art song. These characteristics have attracted singers in a variety of genres to perform his works. ii Foster wrote over 200 songs, yet few of those are known.
    [Show full text]
  • Seeking God in the Works of T. S. Eliot and Michelangelo
    Seeking God in the Works of T. S. Eliot and Michelangelo Seeking God in the Works of T. S. Eliot and Michelangelo By Harry Eiss Seeking God in the Works of T. S. Eliot and Michelangelo By Harry Eiss This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Harry Eiss All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4390-3 ISBN (13): 978-1-4438-4390-4 A Love Song 3 Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti rispondo. If I thought that I was replying To someone who would ever return to the world, This flame would cease to flicker. But since from these depths No one ever returns alive, if what I've heard is true I will answer you without fear of infamy.1 In its title the poem establishes the context of it being a love song, The Love Song of J. Alfred Prufrock.2 The epigram in the original Italian from Dante Alighieri’s Divina Commedia immediately establishes a specific Christian context, one that will involve agape, amour and eros. If read as a dramatic monologue, it is a lyric poem to a woman for the purpose of revealing Prufrock’s private thoughts.
    [Show full text]
  • I Am Filled with Heavenly Treasures Notes by Mary Ann Haagen In
    I Am Filled With Heavenly Treasures Notes by Mary Ann Haagen In these notes I will focus on aspects of Shaker song and Shaker music history that have shaped the repertoire and performance practice of the Enfield Shaker Singers. Because Shakerism is a living, practiced faith, not an historic relic, I will use the past tense only when I am talking about aspects of the tradition that have been set aside. The reader is referred to the selected bibliography and discography of Shaker music collections for more complete histories of Shaker music, particularly Daniel W. Patterson’s The Shaker Spiritual. The Origins of Shaker Song Shaker music is a unique body of American sacred folk music, created by eighteen American Shaker communities over a period of one hundred forty years (1780–1920). This rich tradition of song continues to serve the Shaker community in the twenty-first century because it embodies their history, records the testimony of Shakers “who have gone before,” articulates the religious principles on which Shakerism is founded, and reflects the faith of the contemporary community. The United Society of Believers, commonly called Shakers, had its beginning in 1747, in Manchester, England. At the urging of their spiritual leader Mother Ann Lee, eight members of that congregation accompanied her to America in 1774 to establish their faith in this “land of promise.” Because they were English, and pacifists, their presence was highly suspect. Mother Ann did not make her first American convert to Shakerism until the end of the American Revolution. Mother Ann, assisted by English leaders Father William and Father James, conducted missionary tours throughout New England from 1780 until her death in 1784.
    [Show full text]
  • Challenge of the Sexes
    •YLO86_Layout 1 11/7/11 2:37 PM Page 87 Youth Leaders Only / Music Resource Book / Volume 86 / Winter 2011–2012 Artist: Casting Crowns Special DVD! Videos & Sessions For Guys/Girls Ministry pages 17–21 Articles by Chap Clark page 8 Mark Hall page 4 INSIDE: Heart of the Artist: Newsboys page 13 Family Force 5 page 15 TobyMac page 12 Special! Twelve Casting Crowns Discussion Guides page 26 Expanded Modern Worship Section: Shane & Shane, Phil Wickham, The City Harmonic, Newsboys, Jamie Grace, and Casting Crowns page 58 TRD page CHALLENGE Maximizing Music & Ministry Media in Youth OF THE SEXES: ® MINISTRY TO GUYS AND GIRLS •YLO86_Layout 1 11/7/11 2:37 PM Page 88 >> CONTENTS MAIN/MILD/HOT ARE LISTED ALPHABETICALLY BY ARTIST 4 5 6 FEATURE What I’ve Learned My Guy-Centric Heresy Found: Untangling A Young ARTICLES: About Ministering Girl’s Shame To Guys And Girls MAIN: 17 26 38 CHALLENGE Artist: OF THE SEXES CASTING CROWNS JAMIE GRACE Album Title: Come To The Well One Song At A Time Song Title: You Lead Study Theme: Discussion Guides Entire Album Discussion Guides Discipleship MILD: 30 32 40 TRDTHE CITY page Artist: HARMONIC CORY LAMB MIKESCHAIR Album Title: I Have A Dream (It Feels Like Home) Break The Cycle A Beautiful Life Song Title: Manifesto Break The Cycle Someone Worth Dying For Study Theme: Life; Purpose/Meaning Sin; Struggle With God’s Love HOT: 22 24 34 THE Artist: AMBASSADOR BRAILLE FAMILY FORCE 5 Album Title: Stop The Funeral Native Lungs III Song Title: Crumbs Death In Me Paycheck Study Theme: Heaven Sin; Forgiveness Humility MUSIC
    [Show full text]
  • Ace Catalogue 2014
    ace catalogue 2014 ACE • BIG BEAT • BGP • CHISWICK • GLOBESTYLE • KENT • KICKING MULE • SOUTHBOUND • TAKOMA • VANGUARD • WESTBOUND A alphabetic listing by artist 2013’s CDs and LPs are presented here with full details. See www.acerecords.com for complete information on every item. Artist Title Cat No Label Nathan Abshire With His Pine Master Of The Cajun Accordion: CDCHD 1348 Ace Grove Boys & The Balfa Brothers The Classic Swallow Recordings Top accordionist Nathan Abshire at his very best in the Cajun honky-tonk and revival eras of the 1960s and 1970s. Pine Grove Blues • Sur Le Courtableau • Tramp Sur La Rue • Lemonade Song • A Musician’s Life • Offshore Blues • Phil’s Waltz • I Don’t Hurt Anymore • Shamrock • If You Don’t Love Me • Service Blues • Partie A Grand Basile • Nathan’s Lafayette Two Step • Let Me Hold Your Hand • French Blues • La Noce A Josephine • Tracks Of My Buggy • J’etais Au Bal • Valse De Kaplan • Choupique Two Step • Dying In Misery • La Valse De Bayou Teche • Games People Play • Valse De Holly Beach • Fee-Fee Pon-Cho Academy Of St Martin-in-the-Fields Amadeus - Special Edition: FCD2 16002 (2CD) Ace Cond By Sir Neville Marriner The Director’s Cut Academy Of St Martin-in-the-Fields The English Patient FCD 16001 Ace Cond By Harry Rabinowitz Ace Of Cups It’s Bad For You But Buy It! CDWIKD 236 Big Beat Act I Act I CDSEWM 145 Southbound Roy Acuff Once More It’s Roy Acuff/ CDCHD 988 Ace King Of Country Music Roy Acuff & His Smokey Sings American Folk Songs/ CDCHD 999 Ace Mountain Boys Hand-Clapping Gospel Songs Cannonball
    [Show full text]