Promised Land

Lou Fellingham (released early May 2008)

The eagerly-awaited second solo album from the Phatfish vocalist has arrived among fanfare and critical acclaim. Cross Rhythms’ enthusiastic review describes it, rather gushingly I thought, as ‘The best work of her long and fruitful ministry’, but I’m prepared to see what else there is to come, and not writing her off as done and dusted just yet!

     The songs are mostly collaborations between Lou & her husband Nathan, with producer busbee throwing in considerably more than a twopenn'orth on several of them, as well. Of course, all the usual boxes are ticked: deep, involving and inspiring content, full of Bible truth and genuine love for God; memorable, powerful tunes; quality musicianship; outstanding delivery; high production values.

    The commitment to printing the text in 7pt Gill Sans in a 50% tint grey remains as strong, straining my tired eyes to watering point as I attempt to read the lyric sheet, credits and extensive thanks, in which it's nice to get a mention. But the gallery of candid and posed pictures which grace the booklet (ten pics, three costume changes) are a reminder of the Lord’s commitment to making all things well.

Promised Land

A great big congregational opener, with lots of quality content, big power chords and beevees crying ‘Jesus!’ which is always a fine idea. The theological range is enormous, but the main focus is that Heaven is the Promised Land, thanks to the redeeming sacrifice of Christ.

Come Let Us Enter

Songs which list key attributes of God in the verses, and then declare that we’re worshipping him in the chorus usually hit the mark, and this one does exactly that. Lou’s superb vocal gift is strongly evident as she uses her soft, winsome, breathy, emotionally rich crystal voice at the start, turning to the upper register of her Thatcheresque, declarative, strident prophecy style for the chorus. It really works well, drawing my heart towards God from the off and then providing a vehicle for my praise and worship towards him as we get through the long oh’s, the big sevenths and into the refrain.

    And we also get a neat variation of turnaround between the last verse and the chorus; not for this producer the predictable fill round the kit, oh no. He uses the more experimental approach of fading everything out and then back in again, which adds so much impetus it has the same emotional effect as a key change, but without the complications. Brilliant, provocative and demands a second listen, straightaway.

God Immortal

This is the West Side Story version of Immortal, Invisible, God Only Wise, being totally different, utterly contemporary and using almost none of the original words. It has a rolling 6/8 acoustic guitar driven feel, a new tune which rises brilliantly and supports a powerful and rich lyrical content. It even has an infinitely repeatable middle eight (so many these days lead inexorably to the chorus, when a ‘loop until ready’ affords flexibility), which should guarantee the song’s use in live settings.

Mercy from the Throne

Nathan and busbee combine to express the reality of grace extended to those who don’t deserve it, with a tender, moving song counterpointing the holiness of God and the sinfulness of our hearts. Gratitude bursts from the chorus, in recognition of generous mercy. This song of assurance and thankfulness will add significantly to many worship events, and will almost certainly feature strongly in my personal times with God for a while to come.

    There’s even Hammond in there, which never fails.

Breathe

Despite starting as if it’s the dramatic ending of an episode of EastEnders, this is a powerful invitation to the Holy Spirit to be made manifest, with jangling arpeggios and thundering pads, which build towards to a hooky chorus. Lou’s vocals truly shine here, not only in the right place in the mix, but with that excellent combination of diction and emotion which characterises her top tracks.

    For me, the song takes off once the main theme has been stated and repeated, as it develops into a lengthy reassurance of the good things God intends for us by the activity of his Spirit in us. It has a freeform, almost ad lib feel, and perhaps started life in spontaneity. Yet it’s clearly been polished and crafted to work so brilliantly: ‘He will give sight to the blind/He will give strength to the weak/And he will come for the broken’.

Restoration Song

How refreshing to hear restated a wide range of Biblical themes that all point to God’s desire to restore his people. It’s about a commitment to holiness, purity, generosity, openness – giving expression to the depth packed into the phrase Spirit-filled. ‘We will declare the goodness of God throughout generations/We will sing out the goodness of God in every nation.’

Christ Crucified

For so many years, so many of us sat there in church, looking at the banner (in my case, the little bit of cloth that hung over the front of the ledge on which the preacher rested his Bible and his notes – and the dozen commentaries from which he intended inexorably to quote) reading the tiny phrase ‘We preach Christ crucified.’ On a bad day, this served as inspiration for a personal anagram contest, but at other times it was a declaration that gave me cause to reflect.

    Rather than using the crucifix symbol, we rejoice in the empty cross. The death of Jesus is vital. But his resurrection declares his identity and that justice was satisfied. So 'We preach Christ crucified' is a legitimate theme for a church motto or overarching statement, and it has a lovely bouncing dotted crochet (er, my music theory is a bit patchy, but this may be right - tbc) sort of hook for this powerful song which deserves to stand alongside Townend & Getty’s Oh What a Morning on the Easter Hymn list of evangelical congregations.

    The theology of salvation is poetically expressed here with passion, gratitude and characteristic evangelistic edge. ‘We preach Christ crucified; it’s the only way for souls to be saved who have gone astray/We preach Christ raised to life and now He reigns interceding for us till He comes again.’

In You

One of the key songs on Treasure was Hard Pressed, a personal reflection from Lou’s warm and tender heart for people. This album features In You, written for two women in the church who has been through times of severe testing and suffering, and yet have stood firm, been supported and are finding God’s grace to be sufficient.

    I love it that our worship, while embracing grand theological issues and declaring eternal truth, springs from hearts which can also be touched by the wounds others carry, and that it’s appropriate for us to mix our prayers for their healing and restoration with our praises and faith-filled statements of God’s reliability and trustworthiness.

    Lou’s delivery is full of assurance and clarity as usual, but there’s also a strong element of  ‘weeping with those who weep’ and ‘standing strong beside those who could do with a bit of support and encouragement.’ It’s not platitudes or ‘there, there, never mind’ twaddle, but concrete statements of the undeniable reality of God’s faithfulness and dependability.

    And it builds towards another of those fantastic Lou Fellingham high notes – I refer you, dear reader, to the pinnacle of Your Love on the Hope album – which lifts the spirit, thrills the soul and excites everything that warms in musical appreciation. How can she do this while giving voice to emotion? Amazing, amazing.

    The song starts and ends with a lick that reminds me of the most tense moments in that spaghetti western For a Few Dollars More as Lee Van Cleef opens his chiming watchcase… But that’s probably not intentional.

Spinning

Testimony song, with painfully honest and believable vacillation between believing the lies or embracing the truth. The repeated use of the phrase 'this morning' sets it in an immediate context, which enhances the reality of this sort of temptation. Yes, even spiritual giants like Lou Fellingham know moments when they need to turn again to the resources of God and remind themselves of his grace and love.

    And there’s a great chugging Les Paul rhythm which gives both aggression and direction for the melody.

    Towards the latter stages, the 'spinning’ of the title reflects the joyful ‘dance of endless love.’ Great song, superbly constructed.

   This track may not become a huge congregational number, so why haven’t they included a solo of some sort? The lack of selah’s in this selection is beginning to get to me. The truth statements are so unrelenting, I need a bit of time to consider them…

This is my Worship

Lou’s vision statement. Worship isn’t just about singing or declaring things God already knows back to him (even though they are an integral part of worship). It’s also about serving God, being ready to tell others, to shine for Jesus in every circumstance, to be a giver, to be available for people, to set a good example...

    ‘With every gift your mercy brings I will work towards your cause.’

    But oh, oh, just as we get to the opportunity for some soaring, life affirming, joyful soloing, at a most suitable 4’13” into the tune, which could be followed by a repeat of the chorus to fade or a big finish or any one of a dozen different fine ways to round off this most engaging album, the producer has bottled it and decided to go for a cup of tea, leaving the piano chord ringing…

I was so ready for a drum fill and a solo, but it never happened.

    Perhaps it’s just me, but this has left me slightly disappointed with an album that could once have satisfied the need in me for a solo. Or maybe God is trying to deliver me from this dependency. It’s not just a guitar solo I crave; I’d settle for a tenor sax or Hammond or even a piano solo, you know. Maybe it's because I want to join in and I don't feel sufficiently familiar with the lyrics just yet. Or perhaps there's that singing in the Spirit desire rising up...

   Just once would have been nice, guys.

Conclusion

At least the exec producer has limited himself to sensible comments on the back cover this time.

    This is another disc to which I shall return again and again.