http://music.glenabbey.org.uk/index.php en Glenabbey Church Copyright 2009 2009-02-22T09:24:34-05:00 /index.php/show/blogyoure-not-singing-anymore/ /index.php/show/blogyoure-not-singing-anymore/#When:09:24:34Z 22nd February 2009 “Is anyone cheerful? Let him sing praise,” counsels James in the fifth chapter of his letter. There’s just something about being in good spirits that tends to draw a song from us. Whether it’s the often tuneless din of happy birthday sung with friends and family, or the (sometimes equally tuneless) performance of karaoke at a party. We just seem to love to sing. But not always. When we’re not feeling like things are going our way, the happy songs of celebration often don’t come as easily, as this football chant amply illustrates... Are you STILL singing? Given this, I was stuck a few weeks ago, as I was preparing to lead worship, by the story of Paul and Silas in a prison cell in Acts 16. As Luke tells us, they were wrongly accused, stripped and beaten severely with rods, thrown into the most high security part of the prison and had their feet fastened in stocks. If ever there was an occasion not to be singing anymore, surely this was it. But Luke then goes on to record three interesting facts in v25: "About midnight, Paul and Silas were praying and singing hymns to God, and the prisoners were listening to them." Now I get why they prayed. How many of us have found ourselves in a tight spot, only to be driven to God in prayer. ‘Save me, God! Get me out of here! I need you!’ But why does Luke record the fact that they sang? And why tell us that the other prisoners were listening in? Singing truths shapes us Despite everything that they’d just been through, and when people surely would have understood if they were feeling a bit down in the mouth, they sang hymns. What was going on? To answer this question, I think we have to consider something of the purpose of singing in the life of Christians. As Paul teaches the Colossian church, we are to ‘let the word of Christ dwell in (us) richly … as (we) sing)’ (Col 3:16). The act of singing hymns takes the truths about God expressed in them, truths that are deep and rich enough to shape and form our lives, and it combines those truths with the God-given emotional power of music. It’s the combination of great words matched with a stirring tune that can help us reflect and meditate deeply on just who our God is and his power for us in each circumstance in which we find ourselves. And in turn, our values and perspective can be shaped by these truths as we sing. As Paul and Silas sang these hymns, they were reminding themselves and each other of who God is and what he has done. These rock solid truths that were bigger than the circumstances because they were about a God who is sovereign over all circumstances. What of us? How easily is our song robbed from us? How quickly do we find that ‘We’re not singing anymore?’ May God inspire us readily to song. And as we sing, may we become increasingly fixated on the God who reigns and who directs our lives in love for his glory. Next time, we’ll consider briefly how Paul's letter to the Philippians backed up in theory what he demonstrated in practice in the Philippian prison. Alistair Hamill I know I shared this video a number of blogs back, but I really want to include it here again. We sang this song on the Sunday morning when I shared these thoughts. It just seems appropriate to have it here now along with this powerful story of God's faithfulness If you like this song, you may want to check out one of my previous blogs where I share a bit more about Laura and her story. Alistair Hamill, Why we sing 2009-02-22T09:24:34-05:00 /index.php/show/blogthe-bright-sadness-cd-review/ /index.php/show/blogthe-bright-sadness-cd-review/#When:07:47:27Z 5th February 2009 Elvis Costello said that writing about music is like dancing about architecture. I’ve been wondering if this means that writing about worship music is like dancing about church buildings. If it does, I’m in big trouble; I can’t dance and I belong to Glenabbey. The Bright Sadness contains some of the most authentic, honest and engaging worship you’re likely to come across. I have connected with it like no other worship album, yet I feel strangely reticent to explain or even think about why. Mr Costello, I take your point. Until this album, Charlie Hall always struck me as a slightly peripheral character in the Passion movement, like Chris Tomlin’s quirky, bohemian cousin. Not David Crowder, the other one with the bigger, even dafter beard. And then you hear The Bright Sadness and you understand what Louie Giglio saw in him when he brought him onboard Passion before anyone else. As the title suggests, it is a work of contrast and paradox. In musical terms, there are elements of pop, rock and folk, with a sprinkling of tasteful electronica. It’ll put you in mind of Athlete in their (sadly brief) heyday. Lyrically, Hall manages to be fresh and contemporary, but never self-conscious. He seems to be constantly searching for a worthy and original way to describe his love for God and will not settle for a clichéd way out. He does so with the frankness of a Psalmist, often singing from a perspective of sorrow and questioning, while recognising God‘s eternal consistency. The Bright Sadness is a cohesive, flowing album which lends itself to being heard in its entirety. Musically eclectic it may be, but its relentless quest for intimacy with God is the inspirational constant. Dave Currie Alistair Hamill 2009-02-05T07:47:27-05:00 /index.php/show/blogprinciples-for-choosing-new-songs-part-3/ /index.php/show/blogprinciples-for-choosing-new-songs-part-3/#When:17:18:15Z 23rd January 2009 Last time we considered briefly some principles that might guide us as we choose songs. This time, we'll take a look at how we might put them into practice. 1. First consider the lyrics Do the lyrics reflect biblical truth accurately? • Is correct theology being expressed? Is the picture of God and/or humanity that is painted true to scripture? • Theologically accurate songs do not have to be weighty, content heavy songs; but even the simpler songs must not contradict the truth of scripture. • Do the lyrics reflect the emphasis of scripture? For example, what potential misunderstandings might the line ‘like a rose, trampled on the ground’ present? What image does this present? Is it biblical to suggest that Jesus was a helpless victim (cf. John 19:11)? Does this simile convey that? Does it matter that this is a possible interpretation? Are the lyrics clear? • The clarity and objective meaning of the songs matter. How do people interpret words like: ‘Did you feel the mountains tremble … when the people rose to sing of Jesus Christ the risen one’? What is affecting people in this lyric: a deep truth from scripture, or merely the effect of exciting sounding words set to a driving beat? • What metaphors and imagery are being used? Are they good poetry or do they just unnecessarily obscure the truth? (For an example of how to use simile powerfully to illustrate a point, check out Jeremiah 17:-5-8) Are the lyrics fresh and written in accessible language? • Good new songs will tell the same old truths in new ways. Do the lyrics have an interesting turn of phrase, or an engaging metaphor, or fresh angle on a theme to help give a new perspective on God? • Are the lyrics full of religious sounding clichés that actually don’t really connect with people? Are they in accessible, relevant language? Is this song adding variety to our song repertoire or simply repeating themes already covered? • Of course it’s good to have new songs covering old themes in fresh ways. But let’s consider how the introduction of new songs might expand the topics of songs we sing about. • What topic areas do you think we’re deficient on at the moment? In what subject areas do we need to be actively looking for songs? Nick page says this: "The idea of a servant-lyric is not a fashionable one. We are in an artistic culture which promotes the ‘master-lyric’. Much modern art and culture is deliberately confusing, opaque or subjective, expressed in a language that only the artist truly understands. And if we the public don’t understand … well, then that’s our fault. We’re just not artistic enough. We must not allow this attitude to seep into the worship song." 2. Then consider the music No matter how great the words are, if the music is poor, or maybe even just average, then the song will not be connect with people in a significant way. But when strong words are combined with powerful tunes, then the effect can be electric. So what are we looking for in a good tune? Is it singable? • Is the range of the melody comfortable (low A to high D)? • Is it too heavily syncopated & inaccessible? Is it in a style that is singable for the congregation as a whole? • Is the melody fresh without being too complex and ornate for people to get? • Is the melody good?!8 Is it interesting, dynamic and exciting? Does it rise when you want it to? Is there a strong melodic hook? Does it inspire? Does the music complement the lyrics? • Does the music serve the lyrics and subject of the song or is it distracting? We want people to be inspired by truth and for the music to aid in that, not merely for people to be caught up in a driving rhythm and engaging riffs. 3. Rate the song (I borrow this classification from Bob Kauflin) In light of the above, in which of these categories would you place the song: 1. We shouldn’t use this song 2. I could use personally (Maybe there are lyrics that could be open to misunderstanding that I’m aware of but might prove unhelpful to others. Maybe the tune is not sufficiently accessible for congregational use.) 3. We could use in congregational worship 4. We should use this song congregationally While there will always be a dimension of personal taste when choosing songs, the primary determining factor in deciding whether or not I do a song can't be whether or not I personally like it nor not. We should celebrate our God-given diversity in the church of Christ, but that doesn't mean there is no room for some guiding principles that help us base out choices on something more objective thyan our own personal tastes. Something to think about - what would the effect be on our church if we could honestly say that all the songs we do fitted into category 4 above? May God guide us as we seek to choose songs that both honour him and serve and help those who are singing them with us. Alistair Hamill BTW, a handy A5 booklet version of the material covered in the last three blogs is available for free download from here. Alistair Hamill, New songs 2009-01-23T17:18:15-05:00 /index.php/show/blogprinciples-for-choosing-new-songs-2/ /index.php/show/blogprinciples-for-choosing-new-songs-2/#When:18:45:55Z 19th January 2009 Last time I shared some quotations that helped us to think about the importance of choosing songs wisely and I finished with some facetious suggestions by Graham Kendrick as to why we might actually choose certain songs. This time, we'll look at some principles that can guide us as we're considering the overall song diet of our church. • Songs teach… Col 3:16 says ‘…let the word of God dwell in you richly as you sing…’ Throughout scripture and church history, songs have been used to convey truths about God and us. But songs don’t only declare truth, they are a means for that truth to be embedded deeply into our hearts and minds. Our songs not only reflect a theology of how we should relate to God, they shape it. They exercise a formative power in our understanding of God. We must be sensitive to this when considering lyrics. • …whether we expect them to or not! Not everyone would agree with the idea that songs teach. In fact, John Wimber has said, ‘These are not songs about Jesus, they are songs to Jesus: intimate and personal.’ But I don’t think we can make such a neat distinction between the functions of songs. As Bob Kauflin remindes us, even songs of expression (ie those stating our love for God) create an impression on the singer. In other words, the very language the songs use to express our relationship with Christ teaches us things about the nature of that relationship. • A healthy song diet will have breadth and depth Scripture is diverse in the themes it covers; life is diverse in the circumstances and experiences we encounter. What of our song diet? Do we have songs that cover a wide range of themes and life experiences? What about mission; the persecuted church; the unity in diversity of the body of Christ; lament; repentance; the justice of God? As for depth, are we giving people truths stated in a way profound enough to help them as they face the challenges of life? Do our songs articulate the objective truths about God as a foundation for our subjective experience of God? For someone experiencing fear and uncertainty, what would be the difference for them if we were to sing ‘Over the mountains and the sea/Your river runs with love for me’ as opposed to ‘No guilt in life, no fear in death/This is the power of Christ in me/ From life’s first cry, to final breath/Jesus commands my destiny’. There is of course a place for simple expressions of truth, but simplicity is not the same as shallowness or vagueness. Musical breadth is good too. A diversity of styles reflects the unity in diversity of the people of God united by the gospel as well as giving as wide a voice possible to the express the multi-faceted nature of God whose character cannot be contained within one musical style. Next time we'll look at some practical pointers that emerge from this principles as we're thinking about individal songs and whether or not to include them in our song diet in church. Alistair Hamill Alistair Hamill, New songs 2009-01-19T18:45:55-05:00 /index.php/show/blogprinciples-for-choosing-new-songs/ /index.php/show/blogprinciples-for-choosing-new-songs/#When:11:38:08Z 15th January 2009 Last time I shared some of the reasons why I'd chosen to introduce the song Might to save. Over the next couple of blogs, we'll broaden our perspective and I'll share some principles that can help guide us as we're choosing a healthy song diet for our church. First, let's look at a few quotations on the subject. A few quotations ‘Worship is pure or base, as the worshipper entertains high or low thoughts of God. For this reason the gravest question before the Church is always God himself, and the most portentous fact about any man is not what he at a given time may say or do but what he in his deep heart conceives God to be like.’ (AW Tozer, The Knowledge of the Holy) ‘The worship of God is evoked, informed and inspired by the vision of God … True knowledge of God will always lead us to worship.’ (John Stott, Authentic Christianity) ‘The words of worship songs matter. They convey truth – the truth to which we are supposed to respond. They aren’t just sounds to enable us to join in the melody. They are the means by which the mind understands what God has done for us … Banal, meaningless lyrics, badly crafted and expressed in confusing language, will not lead us into the deep worship that our world and church need to see.’ (Nick Page, And now let’s move into a time of nonsense) ‘Worship of God should always involve the emotions; how can we praise a holy God who has redeemed us without getting emotional about it? But what should move our emotions is not the sonorous tones of the organ or the insistent beat of the drums, but the mind’s apprehension of truth about God.’ (Douglas Moo, Informed Worship) The … worship leaders of today play an enormous part in shaping the faith and life of the church tomorrow. This is an awesome responsibility. Those who shape worship are the de facto theologians of the church, whether they want to be or not … The songs you choose, the Scriptures that you read, the prayers that you pray and the way you connect them all together make a vast difference.’ (Robin Parry, Worshipping Trinity) ‘Let the word of God dwell in you richly as you sing.’ (Paul, Colossians, 3:16) Questions to consider What do you think of the views expressed in these quotations? How important are the songs we, as worship leaders, choose to sing? If they matter, why do they matter? What effect can they have on those who sing (or listen to) them? How important is it for us to make informed and considered choices when picking songs for congregational worship? Is this being overly analytical? Does any of this sound familiar…? No less a figure than Graham Kendrick has facetiously suggested the following list of reasons why some people might choose certain songs. 1. I'm really into Sonic Boom’s latest CD and these are my favourite tracks. 2. This song seemed to really click with people last time. 3. These are the only ones the band can do and we can’t practice this week. 4. I’m bored with that song – we’ve played it too much recently. 5. I know song this song has great theology in it, but it has too many words, and I’m into simple right now. 6. I really like the way my voice sounds on this song. 7. This is the latest song that God gave me. Hope you like it. He does. Next time we'll look some underlying principles that help us choose songs wisely. Al Hamill Alistair Hamill, New songs 2009-01-15T11:38:08-05:00 /index.php/show/blognew-song-mighty-to-save/ /index.php/show/blognew-song-mighty-to-save/#When:18:42:28Z 13th January 2009 Here's Mighty to save, the new song we did last Sunday, along with some thoughts as to why we've introduced it to our song reportoire. Musically, I think this is very strong. The melody is interesting and it builds in all the right places. It has a good feel to it too, with a strong mid-tempo groove. But that's not the main reason to introduce the song. In fact, the fact that music by itself can be so powerful means that we need to be careful that the words that are joined with it are worth singing. And, in this song, they are! I like the contrasts in the theme of the lyrics between the verses and the chorus. The verses are honest about our need of a Saviour who is strong enough to save; the chorus reminds us just how able God is to save us. As choruses tend to be the parts of songs we tend to remember, what the chorus is about tends to dominate our minds thematically when we're singing or recalling a song. As a result of this, the main focus of this song is not on us, but on God. It acknowledges our need of him but sends us away with a bigger view of how he is able to save us. But it's not just us that need saving. The bridge of this song pushes our vision outwards. As we receive God's salvation, so we should be those who share this salvation with others. Next time I'll share some broader principles on picking new songs and building the kind of song reportoire that will serve poeple well and give due glory to God. Al Hamill Alistair Hamill, New songs 2009-01-13T18:42:28-05:00 /index.php/show/blogwhen-a-cry-for-help-is-a-shout-of-praise/ /index.php/show/blogwhen-a-cry-for-help-is-a-shout-of-praise/#When:10:41:09Z 4th January 2009 After having introduced Andrew Peterson to you last time and quoted from my favourite song of his from his latest album, I thought you might enjoy finding out a bit more from Andrew himself about this song and how it came to be written and recorded. I am struck by the concept of giving to God in worship. We're often told the consummer culture in which we live has led to a tendency to people coming to church to have their felt needs met. This, of course, is no way to approach the living God, as if he is just a bit of 'spirituality on tap', designed to serve us on our terms. In response, many have emphasised the need for us to come with a humble attitude, bringing our 'sacrifice of praise' (Heb 13:15) to God, giving him our heart-felt worship. We come to corporate worship to give to God, not to receive. And I totally agree with the sentiment behind this. There's just one nagging question I have: what do we give the God who made everything, who sustains everything, who owns everything, who clearly needs nothing? As Paul stated in Acts 17:25 '(God) is not served by human hands, as if he needed anything, because he himself gives all men life and breath and everything else.' Psalm 50 sheds some interesting light on this question. There are some things that this all-sufficient God commands his people to give to him. 50:9 I have no need of a bull from your stall or of goats from your pens, 10 for every animal of the forest is mine, and the cattle on a thousand hills... 12 If I were hungry I would not tell you, for the world is mine, and all that is in it... 15 ... call upon me in the day of trouble; I will deliver you, and you will honour me." God doesn't need anything from us, and yet calls us to give him our troubles. Why is this? Because in giving our need to God, we acknowledge him as the great Provider. We we cry to God for help, our cry recognises him as the great Saviour and is, simultaneously, a cry of praise to the One who alone is able to save us. Here's Andrew discussing this concept and the other ideas behind the song. This is a short clip showing Andrew and his band first working on the song in the studio. Here's the string session from the studio. If you're interested in the process of recording, then you'll enjoy seeing how the strings are recorded and how they sit with the overall mix. Alistair Hamill Alistair Hamill, Andrew Peterson 2009-01-04T10:41:09-05:00 /index.php/show/blogthe-poetic-genius-of-andrew-peterson/ /index.php/show/blogthe-poetic-genius-of-andrew-peterson/#When:10:12:09Z The poetic genius of Andrew Peterson 27th December 2008 My old art teacher used to say, ‘Paint what you see.’ Not the most profound sounding advice. But it’s amazing how little we see when we look around us. Like the time my teacher kindly pointed out that I obviously hadn’t looked too closely when I was drawing a bag of sugar for my homework as I had left out the ‘a’ from the side of the packet and ended up drawing a packet of 'sugr'. I guess what makes a truly great artist is the ability to notice the things around us that most of us miss, to see beyond the obvious to the miraculous. Rich Mullins was such an artist. Although perhaps most well known for his song ‘Awesome God', the chorus of which has become popular in worship circles, Mullins' gift for lyric writing was certainly unsurpassed and arguably unequalled amongst his peers. He had an unrivalled ability to see and express deep truths embedded in the everyday world around us, of connecting the truths of the gospel with the ordinariness of life in a way that brought hope and inspired faith. When he was killed in a car accident in 1997 it seemed that none would be able to carry on his legacy. And then a few years ago I came across Andrew Peterson. Perhaps it was the fact that others were drawing comparisons with Mullins that caught my eye – whatever it was I decided to check him out. And I’m very glad I did. It’s not just the nasal twang of a less than perfect but utterly authentic vocal that draws comparisons with Mullins; it’s not just the acoustic folk tinged approach to his music; it’s not even the sprinkling of hammered-dulcimer throughout that reminds us of Rich. More than all that, it’s the lyrics. I want to share some from his latest release, The Resurrection Letters Vol. 2, to give you a taster for this great artist. My personal favourite from the album is the song ‘Hosanna’. It’s both a heart-felt confession and a cry to God to come and save us from the mess we make of ourselves, expressed like this: I am tangled up in contradiction. I am strangled by my own two hands. I am hunted by the hounds of addiction - Hosanna! I have lied to everyone who trusts me. I have tried to fall when I could stand. I have only loved the ones who loved me - Hosanna! I have struggled to remove this raiment Tried to hide every shimmering strand I contend with these ghosts and these hosts of bright angels – Hosanna! I have cursed the man that you have made me I have nursed the beast that bays for my blood Oh, I have run from the one who would save me - Save me, Hosanna! Here's a live acoustic video of a song off Resurrection Letters called ‘I’ve got news’. This video takes us back to his previous album, The Far Country, with the title track exploring the certainty and reality of heaven and the hope of redemption for a fallen world. Finally, this link will take you to a 45 minute podcast with Andrew, where he takes us, track by track, through his new album, discussing the ideas and motivation behind the songs, and playing siginificant chunks of the songs in between. I'm quite amazed just how much of the album you can hear here - and it's all totally free. This is an excellent introduction to the music – and the man – Andrew Peterson. Let Andrew open your eyes to things that we always all around you; let him point you back to the God we so easily forget, our Emmanuel, all around us. Next time we'll take a look in a bit more detail at the song Hosanna under the title 'When a cry for help is a shout of praise' Alistair Hamill Alistair Hamill, Andrew Peterson 2008-12-27T10:12:09-05:00 /index.php/show/blogmeet-bob-3-right-relationships/ /index.php/show/blogmeet-bob-3-right-relationships/#When:11:14:54Z 11th December 2008 This year I’ve taken on the teaching of a new A level called Critical Thinking – the study of reasoned argument. As we were selecting pupils for the course, I set them a few mind games to see who could think on their feet and present a considered argument. One question I asked them was this: if we were to move the school building to the other side of the town, but keep the pupils and staff here, where would the school be? Heated debate ensued, as pupils deliberated about what constituted the essence of the school. Then one girl nailed it. She had sat listening as her fellow pupils threw their ideas out. Then in a gap in the conversation, she said simply: ‘Where would the school be? No-where, because a school without pupils is just a building, but pupils without a school, that’s just a crowd.’ I thought to myself: You’re definitely on the course! What a great answer! Where is Glenabbey? If we were to ask the question about a church rather than a school, then the debate should be much shorter. At least, it would if we were to stick the biblical definition of what a church is. According to scripture, church is not a building, but a people. Wherever the people of God meet, be it in an ornate cathedral or a secretly in a house in church where persecution is common, the church is the people, not the building. To be a Christian is to become a member of the family of God. What has this to do with worship leading? A huge amount, because we don’t so much lead worship (which can lead us to ignore those around us as we seek after the experience of ‘worship’); rather we lead people as we worship God. As leaders, we are to care for the people we’re leading. We are to seek, with God’s help, to develop a pastoral heart of compassion for the people we stand in front of as we lead. How quickly do we fall into a spirit of self-pity and even judgmentalism if the people we’re leading don’t seem to respond? Am I really experiencing indignation on God’s behalf, or am I just annoyed that they’re not responding to me? As leaders, we also function as part of a team. There are the other musicians in our band of course, but then there’s the church leadership, whether that’s a minister, a pastor or a group of elders. To lead worship in a church setting is to be engaged in the nitty gritty of human relationships. In this last of our videos of Bob Kauflin, he addresses this very issue: how can we conduct our relationships in such a way that honours God. He asks some very searching and important questions that help us examine our heart’s attitude towards others. Hear Paul’s prayer for the church in Rome: May the God of endurance and encouragement grant you to live in such harmony with one another, in accord with Christ Jesus, that together you may with one voice glorify the God and Father of our Lord Jesus Christ. (Rom 15:5-6) I hope these short videos have given you a taste for Bob's book, Worship Matters, in which he unpacks biblically and practically the truths he's introduced in these videos. I really can't recommend it highly enough. And while you're waiting for his book to arrive, why not check out his blog here too. Alistair Hamill Alistair Hamill, Introducing Bob Kauflin 2008-12-11T11:14:54-05:00 /index.php/show/blogmeet-bob-3-maintaining-healthy-tensions/ /index.php/show/blogmeet-bob-3-maintaining-healthy-tensions/#When:19:12:01Z 24th November 2008 It's been a while since my last entry. Life, as ever, has a tendency to be a tad on the busy side. Actually, I've changed decade since I last posted - I celebrated a very significant birthday the other day and my good lady wife whisked me away off for a weekend on the north coast, the place where we met and fell in love when we were students. The weather was spectacular - gale-force winds whipping up the waves into a frenzy as they pounded the proud granite cliffs at Porstewart. Weather like that in a setting like that is a great reminder of the power of our Creator God and helps us get life into some sort of perspective (including the potential trauma of turning 40!) There's nothing quite like the north coast in the winter... But then there's the north coast in the summer. Leisurely days spent on the beach as the sun bathes us all in its soft warmth. Having wonderful imagination-filled hikes through the dunes with my three daughters, as we throw ourselves mercilessly off the edge of giant sand cliffs to save ourselves from pursuing sand monsters. Paddling in the sea as what can be a roaring ocean in winter gently bubbles and gurgles around our feet. There's nothing quite like the north coast in summer... If you were to ask me which I prefer, I'd have to say ... both! I don't want to choose! Healthy tensions in worship In this, the third video by Bob Kauflin introducing his excellent book Worship Matters, Bob talks of some things in corporate worship that we should not force ourselves to choose between. Rather, these are things that are best held in a healthy tension, things which complement one another, the one bringing balance to the other. Check out this video where Bob outlines what he believes some of these healthy tensions to be. In introducing this section of his book, Bob says the following: ‘One year on our family vacation, I tried to set up a volleyball net by myself. Fortunately, no one had a video camera. I set up the first pole with guidelines attached to stakes in the sand. Then I ran as fast as I could to the other side before the first side fell down. I didn’t make it. I tried again. I repeated that process three times before realising I was an idiot. Yes, it took me that long. I needed someone’s help because the net could be set up only when there was a healthy tension between both poles. On most of these issues discussed in the forthcoming chapters, our default setting is to prefer one side over the other. It requires a consistent submission to God's word and a humble dependence on his Spirit to make sure both poles are standing.' For a free mp3 download of a message by Bob that provided the basis of these chapters in this book, click here. Alistair Hamill Alistair Hamill, Introducing Bob Kauflin 2008-11-25T19:12:01-05:00