John Michael Talbot

Although most of my interactions with 21st century American Christianity leave me skeptical and wanting to listen to Sara Groves’ song Maybe There’s a Loving God again, every once in a while I come across someone who reminds me of the veracity and historicity of Christian beliefs, someone who leaves me thinking “this is all real”.

John Michael Talbot falls into that category. I had the chance to spend a couple days in a recording studio here in Nashville with John Michael the beginning of this month while we were recording the orchestral arrangements for his 50th album, for which I did the music preparation. In between takes, our conversation included topics ranging from Transubstantiation and Purgatory (not in the same conversation) to loud rock concerts, the Byrds, and the influence of Bluegrass music on his own distinctive style. I always enjoy discussing Christianity with someone who knows why they believe what the believe, the historical basis for their beliefs and the arguments for and against them, and who can throw the names and ideas of 8th century monks and 3rd century mystics into the conversation.

When John Michael’s new album (as yet untitled) comes out this Summer, buy a copy. I highly recommend it. Featuring orchestrations by Phil Perkins, Jim Gray, and Kristin Wilkinson, it is being produced by Billy Ray Hearn, the founder of Sparrow Records. John Michael recently posted this note on his website: “We are just back from Nashville, where we recorded the orchestration for my new 50th CD. This hallmark event is highlighted by my return to the more neoclassical, meditative sound for which I am best known. Yet this album is also a creative step forward musically.”. He goes on to give more details about his recording process, including how he stacks his voice 25-50 times on each song, depending on the arrangement. You can read the rest of it here.

My favorite song off the album is Come Home, Little Children, which for me has the same emotional impact as his song Healer of My Soul (which was covered by Michael Card on their duets album in ’94, Brother to Brother). Every once in a while, I hear a song that, while being very simple from a compositional standpoint, communicates its message with clarity and connects with people. Shaun Groves’ song Jesus falls into this category, as does Steve Green’s Be At Rest, Andrew Osenga’s Early in the Morning, and Chris Rice’s Untitled Hymn (Come to Jesus). It’s interesting to note how much the instrumental accompaniment has to do with this. For me, simple is almost always better. Shaun’s song has just piano, string quartet, and drums, Chris’s song just piano and string quartet, Steve’s song just piano, and Andrew’s song just acoustic guitar (the version I like, anyway, which is available for free download here.) While John Michael has recorded Come Home, Little Children before, on Monk Rock, that version is with a band. Although I still like it, it does not connect with me the same way as when it’s done with just acoustic guitar or guitar and orchestra.

Anyway, stay tuned to John Michael’s website for more details about the album, and I’ll be sure and post a full review when it comes out.