King of Kings -- Brooke and Scott Ligertwood, Jason Ingram

 

These three were in Nashville (see the map of Tennessee and highlight of Davidson County where Nashville resides) to collaborate and think about the “King of Kings”, though their thoughts began separately. The Ligertwoods, Scott and Brooke, had some ideas about how to tell the story of scripture, and then when they heard Jason Ingram’s melody as the three got together later, that’s when things really flowed. That’s the short version. How would one person or a group of three people really expect to share completely the full spectrum of God-in-the-flesh’s story, without leaving out something? The song might never end! That was perhaps the conclusion they too reached, but still the effort to direct the attention of hearers toward the spiritual foundation upon which believers stand was worth the time they spent. It was not a collection of ‘feelings’, but instead truths that underpin beliefs that spurred Scott, Brooke, and Jason forward.    

 

One doesn’t have to read too far in one’s bible to really find inspiration for what the Ligertwoods and Jason Ingram would write in 2018/2019. Apparently, two of the scriptures that motivated them were about how Jesus is to be exalted – Revelation 19:16 and Philippians 2:9-11. A great place to begin, as it turned out, but the Ligertwoods also had thoughts about packing even more scriptures into verses, as part of an objective to explore and tell the story of the gospel. The three of them thought about Genesis clear through to Revelation, and were ‘unpacking’ quite a bit as they talked about what in scripture creates belief. Jason’s melody and a bridge section of the song stuck immediately, and as they sorted through the Word, Brooke’s mind and spontaneity kicked in with lots more for the verses. The wanted to sing scripture and use the song as an opportunity to teach why Christians can believe, to even impart some theological truths. Some that eventually emerged (after about a year of working and re-working notes and words) were some things that they found exciting, things that somehow often get glossed over. That Jesus came to fulfill the law and the prophets (Matt. 5:17); that Mary’s virgin pregnancy with the God-Son was not a surprise, but another foretold prophecy (see Isaiah 7:4; Micah 5:2; Matthew 1:21-23); that many dead arose when Jesus died (see Matt. 27:50-53); and that the church was born through the work of the Holy Spirit enabling men in a miraculous way (Acts 2) were all energizing to these three 21^st Century songwriters. They firmly believed that this same Spirit is active today, and that we who believe are part of this ongoing story. It’s a song that should never be completed, if you think of yourself as an heir of Christ, as someone who wants to connect yourself to Him and what He means to human beings.

 

The words that Scott, Brooke, and Jason wrote are meant to draw you and me in. Now this gospel truth of old Shall not kneel, shall not faint…If you think history, including bigger-than-life heroes of heart-stirring episodes – maybe an Abraham Lincoln-like person – is what motivates you onward, then what about the one upon whom our calendar (at least the Gregorian one) pivots? He is the Truth, the One who rose so that you and I need not kneel or faint as we think about our graves. Death is certain, so it seems to make sense to connect myself with Him toward whom so much evidence points as the Conqueror of the grave. Don’t believe because it gives you solace, a crutch to lean upon and salve your fear of life’s end. Believe because there’s too much history – irrefutable and enduring, some 20 centuries after the facts -- for you and me to ignore this life, this King of Kings. Be like Lee Strobel (author of the The Case for Christ and so many other books that investigate the credibility of Christianity) and Josh McDowell (author of More Than a Carpenter, and like Strobel, so many other books to help us see Christ’s truth-bearing nature), both of whom started their journeys as skeptics, intending to disprove Christ, and instead found His truth the most compelling, and worthy of belief. Read some, investigate, and see what takes more faith – to believe or disregard it. As Brooke has said, the gospel story is not a ‘relic’, but something that ‘demands’ our attention. See if you agree that it’s ‘reality’, as she and so many others have said. Or, are  you too wedded to mere feelings, or to things in this world that will decay?      

 

 

Hear/see the song story here: (begin at 4:15 thru 9:20, and 12:20 thru 12:33) Behind The Song: Hillsong Worship Shares The Heart Behind Their Song “King Of Kings” | Freeccm.com

 

Read some brief information about the song here: King of Kings (Hillsong song) - Wikipedia

 

See information on the map-image of Davidson County (where Nashville is) here, including the public domain status of the graphic: File:Map of Tennessee highlighting Davidson County.svg - Wikimedia Commons . The following statement is associated with the graphic re: its public domain status: I, the copyright holder of this work, release this work into the public domain. This applies worldwide. In some countries this may not be legally possible; if so: I grant anyone the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

O Come to the Altar -- Steven Furtick, Chris Brown, Wade Joye, Mack Brock

 

He and others in Elevation Worship felt like throwing in the towel around 2015. This song wasn’t going anywhere…that’s what the four of these composers – most notably, Steven Furtick – thought when the song “O Come to the Altar” failed to even nudge his fellow musicians Chris Brown, Wade Joye, and Mack Brock across his creation’s musical finish line. That might discourage anyone, but Steven didn’t give up. Perhaps he felt this was his personal altar, where something like a sin needed to be exposed and rendered powerless, even if it took a long season to accomplish. When someone comes to an altar in most cases, they certainly don’t expect to experience long-term imprisonment or even meet their own death (unlike what someone at the Altar of Burnt Offerings might have seen or experienced during Jerusalem’s destruction, imagined here in this 1867 artwork by Francesco Hayez -- Destruction of the Temple of Jerusalem); that’s the job of a sacrifice on the altar, correct? It takes the punishment. It was a very basic ancient Judaic worship exercise, but what it did to purge sin is still something we, who are several millennia past the age when it was first practiced, need to remember.   

 

Steven remembered that this song stayed ‘on his phone’ as a cue to himself for a pretty long time that it was unfinished. Eventually, he told the others that perhaps they should just leave it alone, and what ultimately occurred to finish it is left out of their story. Maybe they don’t even recall how it concluded, and yet the example of laying down one’s burdens upon an altar abounds in the bible. Some 384 times is the word ‘altar’ used in the bible’s pages (New International Version), from Genesis to Revelation, showing how common was this concept, this method of redemption. Someone (? one of the Elevation Worship group’s songwriters), in commenting on this 21^st Century song, has indicated that what God said through Isaiah (chapter 1, verse 18) motivated the song’s words. “Come now, let us settle the matter,” says the Lord. “Though your sins are like scarlet, they shall be as white as snow; though they are red as crimson, they shall be like wool.” And so, the altar in even today’s language communicates that we humans can practice repentance and find forgiveness at an altar-like place, that we can be as clean as wool is white. However, unlike the ancient Jews, who used countless numbers of animals upon the altar to shed the blood necessary for redemption, Jesus today is the sacrifice – the perfect one – that settles the matter, once and for all time. It is fully accomplished because ‘Christ is risen’, but it begins with that altar. ‘Regrets and mistakes’ (v.2) can be unloaded there, so admit that you’re ‘hurting and broken’ (v.1), as these fellows named Elevation Worship call out to us. Jesus’ blood’ connected Him to Judaism’s altar and the method for humanity’s complete and utter liberation.

 

I don’t need a priest, another sacrifice, or some other method for getting face-to-face with God. But, also don’t forget what that altar tells you. That’s what Steven and his friends – Chris, Wade, and Mack – have said with ‘O Come…Altar’. It might be gruesome to even think about killing a living creature, of getting blood everywhere on a platform where worship is supposed to be happening. That just tells me how deep and ugly sin is, though. The only way to get right before the holy and perfect Creator-God is through killing the sin-bearer. Without all of those animals to take their place, the Jews and any of us who are human mistake-makers would have no hope for saving ourselves for all of those centuries up to this current moment in time. The Jewish people for ages knew implicitly what God had told them, something they still accepted when a writer in the 1^st Century said it again  ‘…the law requires that nearly everything be cleansed with blood, and without the shedding of blood there is no forgiveness’ and ‘In your struggle against sin, you have not yet resisted to the point of shedding your blood. (Hebrews 9:22 and 12:4) So, can you accept that the altar is still necessary? The blood necessary for cleansing has already been spilled there, so why not lay that burden there with it?

 

See/hear the song’s story by one of the composers here: Bing Videos

 

Read comments about the song’s meaning here: O Come To The Altar - Elevation Worship

 

Read some brief information about the song here: O Come to the Altar - Wikipedia

 

See here for information on the image of the Altar of Burnt Offerings:  https://commons.wikimedia.org/wiki/File:(Venice)_La_distruzione_del_tempio_di_Gerusalemme_-Francesco_Hayez_-_gallerie_Accademia_Venice.jpg …Destruction of the Temple of Jerusalem, by Francesco Hayez. This imaginative depiction centers on the Altar of Burnt Offerings. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.  {{PD-1996}} – public domain in its source country on January 1, 1996 and in the United States. (regarding the photograph of the artwork: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1930.)

O Church, Arise – Keith Getty and Stuart Townend

 

What we might imagine in the form of armor, like that once worn by mounted troops in the French army (see the picture here), is what Keith Getty and Stuart Townend want Christians to think about as a metaphor for life in a spiritual struggle – one for which God has provided tools for the battle. Once you have this armor in place, you and your compatriots can say “O Church, Arise”, because then you are fully equipped for whatever comes your way. It was 2005, and Keith and Stuart had been at contemporary songwriting for some time, especially along themes meant to lift the church and remember what scripture says about its history and mission. There’s no better place to start than with what an apostle, a one-time staunch opponent of Christianity, had to say on the subject of spiritual battle.

 

Keith and Stuart needed no other circumstance or reason to write a new song in 2005, except that there was a sense that Christians needed a new injection of courage to wage the ongoing struggle with the forces of evil. And that was why they read what Paul had to say to some believers in a place called Ephesus a long time ago. What they read in Paul’s 11 verses (6:10-20) is packed with punch about how to defend oneself, and so these two songwriters took the words composed some 20 centuries earlier to construct their own musical version of this apostle’s directives. The ‘shield of faith’, ‘belt of truth’, and ‘sword’ (of truth) are part of the lyrical ‘armor’ that Keith and Stuart sing to stir others to exploit.  It’s clear that that the enemy is a ‘captor’, armed with ‘devil’s lies’, and that this is ‘war’ with ‘battle(s)’ to be fought against the forces of ‘darkness’. But lest those on the side of God misunderstand and engage in the battles the same way that the enemy does, Getty and Townend make it clear that the Christian’s mode of attack is with the unconventional. Love is our ‘battle cry’. Love is used multiple times in conjunction with ‘grace’ and ‘mercy’, for they are synonymous with the approach of our ‘captain’ – Christ. He modeled for His disciples in the few short years of His mission on earth how to behave, even unto death. It’s His ‘cross where love and mercy meet’, which initially gives Satan and his accomplices pride, but then he lies ‘crushed beneath His feet’ when the ‘Conqueror’ arises and ‘emerges’ from the sepulcher, giving all of us a reason to join in a ‘vic’try march’. Keith and Stuart conclude their four-verse hymn with a callout to the Spirit to strengthen those of us who are still here, with the help of aged believers and memories of those who’ve already gone on before us – the ‘saints of old’. We are not alone. Keith and Stuart also say that the following inspired much of their lyrics: 2 Corinthians 12:9, Isaiah 61:1-3, and Revelation 5:9-10.

 

And, as long as we stay connected to Him through a church of strong believers, we shall never be alone. No one aims to go be with God alone in the Afterlife. Read some more of Paul’s letters, and see if you discover some regular theme in how he concludes them. Paul must have thought that church was really crucial in the life and steadfastness of others whom he called brothers and sisters. A ‘holy kiss’ was one way that Paul often told his contemporaries to regard one another (Romans, 1 + 2 Corinthians, and 1 Thessalonians), and that’s one way to look at what Keith and Stuart have written in ‘O Church, Arise’. You sing what their poetry coaxes from deep inside your mind and spirit – the truths of where our faith is rooted, and the direction in which we are all headed. They have us sing ‘we’ no less than six times, and so we’re all aimed in the direction of His eternal embrace, and we’re already walking arm-in-arm with each other and in His Spirit. That’s church.

 

Read about the song’s meaning according to one of the composers/authors here: O Church Arise Lyrics - Stuart Townend

Read about the composers/authors here: O Church, Arise | Hymnary.org

Read about one of the composers here: Stuart Townend (musician) - Wikipedia

Read about one of the composers here: Keith Getty - Wikipedia

See here for how the song’s lyrics compare to scripture: Is 'O Church Arise' Biblical? | The Berean Test

 

See here for information about the image: Géricault - Portrait de carabinier - Louvre - Cuirass - Wikipedia. Artist Théodore Géricault (1791–1824)… The author died in 1824, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1930.