Lifesong by Casting Crowns

Chris Tomlin- How Great is Our God (GMA 06)

Karaoke worship

by Phil Johnson @ http://phillipjohnson.blogspot.com

I once remarked that if the trends in "contemporary worship" were carried to their logical conclusion, church services would soon feature karaoke contests.

That remark prompted an outpouring of replies from people who informed me that karaoke was already being used "quite successfully" in their churches. It also sparked the following exchange with a contemporary "worship leader," whose words appear below in brown italics. My replies are in normal typeface:


What verse of scripture forbids the use of karaoke in worship?

My opposition to such methods is not based only on a single proof-text, but on the totality of what Scripture teaches about the principle of worship. Genuine worship aims to please God, not the worshiper. "Worship" designed primarily to entertain or amuse people is not even true worship of God.

In the words of the Westminster Confession, "The acceptable way of worshipping the true God is instituted by himself, and so limited by his own revealed will, that he may not be worshipped according to the imaginations and devices of men, or the suggestions of Satan, under any visible representation, or any other way not prescribed in the holy Scripture."

Biblical support? Sure:


Deuteronomy 12:31-32: "You shall not worship the LORD your God in that way [like the pagans do]. . . . Whatever I command you, be careful to observe it; you shall not add to it nor take away from it" [NKJV].


Psalm 29:2: "Give unto the LORD the glory due unto his name; worship the LORD in the beauty of holiness."


Psalm 115:1: "Not unto us, O LORD, not unto us, but unto thy name give glory, for thy mercy, and for thy truth's sake."


Matthew 15:9: "In vain they do worship me, teaching for doctrines the commandments of men."


2 Timothy 4:2-5: "Preach the word; be instant in season, out of season; reprove, rebuke, exhort with all longsuffering and doctrine. For the time will come when they will not endure sound doctrine; but after their own lusts shall they heap to themselves teachers, having itching ears; And they shall turn away their ears from the truth, and shall be turned unto fables. But watch thou in all things, endure afflictions, do the work of an evangelist, make full proof of thy ministry."

Want more? I recommend John MacArthur's Ashamed of the Gospel.

And shall we let Spurgeon weigh in?


For us to give ourselves to getting up entertainments, to become competitors with theatres and music-halls, is a great degradation of our holy office.

"A Call to Prayer and Testimony"

The Lord our God is holy, and he cannot compromise his own glorious name by working with persons whose groveling tastes lead them to go to Egypt?—we had almost said to Sodom—?for their recreations. Is this walking with God? Is this the manner in which Enochs are produced?

It is a heart-sorrow to have to mention such things, but the work of the Lord must be done faithfully, and this evil must be laid bare. There can be no doubt that all sorts of entertainments, as nearly as possible approximating to stage-plays, have been carried on in connection with places of worship, and are, at this present time, in high favor. Can these things promote holiness, or help in communion with God? Can men come away from such things and plead with God for the salvation of sinners and the sanctification of believers? We loathe to touch the unhallowed subject; it seems so far removed from the walk of faith, and the way of heavenly fellowship. In some cases the follies complained of are even beneath the dignity of manhood, and fitter for the region of the imbecile than for thoughtful men.

"Restoration of Truth and Revival"

In the great day, when the muster-roll shall be read, of all those who are converted through fine music, and church decoration, and religious exhibitions and entertainments, they will amount to the tenth part of nothing; but it will always please God by the foolishness of preaching to save them that believe. Keep to your preaching; and if you do anything beside, do not let it throw your preaching into the background. In the first place preach, and in the second place preach, and in the third place preach.

"How to Win Souls for Christ"


"For the sake of argument (leaving off the Spurgeon quotes), does a karaoke sing-along contradict 2 Timothy 4:2-5, if—and this is a big if, perhaps—if the karaoke songs are later tied in to a theme of Biblical exposition? Why or why not?"

If someone wants to sing biblical songs, let him sing them as unto the Lord (Psalm 29:2).

Karaoke is a populist form of burlesque. Taking turns singing for others' amusement (usually badly and without adequate rehearsal) is a cheap amusement—the kind of frivolity that (in effect) has turned churches into cabarets. It's not worship. And doing it with biblically-based songs or hymns only demeans the message.


I also don't get the opposition to pre-recorded accompaniments. In churches where musicianship is limited, recorded music seems like a good idea.

It is not pre-recorded accompaniments per se that I am objecting to. It's the tendency to think of church music as a performance or an entertainment for the benefit of an earthly audience, rather than worship offered to the Lord.

Karaoke as liturgy, like virtually every novelty that has been introduced into our worship services over the past 75 years or so, violates the central principle of all true worship and authentic ministry: "As we were allowed of God to be put in trust with the gospel, even so we speak; not as pleasing men, but God" (1 Thessalonians 2:4).

Are We Lying to God When We Sing?

From Bob Kauflin @ http://worshipmatters.com/

This question was sent in by Larry:

Yesterday, I was listening/singing to the song, ‘I Will Glory in my Redeemer’ [by Steve and Vikki Cook]...I was struck especially by these words:

I will glory in my Redeemer, My life He bought, my love He owns.
I have no longings for another, I’m satisfied in him alone.

What is the place of lyrics like these in our songs?...Do you ever struggle with feeling like you are lying to God when you say things like these, even if in your heart you have a desire that they would be true? Is it hypocritical to sing them knowing that they are not a true reflection of your heart?

Thanks for a great question, Larry. I've heard people struggle with this a number of times.

Let me begin with an analogy. I've been married to Julie for thirty years. I have no longings for another, and I'm truly satisfied in her alone. But there are times when my mind or heart drifts. I don't love her as passionately at one moment as I do another. I get distracted. I find myself drawn to find fulfillment in other things. I imagine I will have that struggle until the day I die.

Is it wrong, then, for me to tell her that I have no longings for another? Or should I always express my commitment with a caveat, a misgiving, a disclaimer? Should I tell her on this coming Valentine's Day, "Julie, I want to love you alone, but I'm not quite there yet. I sure hope I'll do better in the coming year?"

I hope the answer is obvious. My expressions of commitment to my wife both express and strengthen my love for her. They remind me of our vows, my desire to be faithful, and the superior joy I find in loving her alone.

Our relationship with God is similar. The Psalms contain numerous examples of expressed commitment which seems hyperbolic if not downright hypocritical. For instance, Asaph says in Psalm 73: “Whom have I in heaven but you? And there is nothing on earth that I desire besides you” (Ps. 73:25). David says, "I will bless the Lord at all times; his praise shall continually be in my mouth" (Ps. 34:1). Really? Except when he saw Bathsheba...More professions of faithfulness and desire are found in Ps. 16:2; 52:9; 75:9; 119:33.

These expressions help us align our hearts with what God has done in us through the Gospel. We have been made new creations, and have turned from idols to serve the living and true God (1 Thess. 1:9). They remind us of our need for God's grace and his faithful promises. The only reason we can even say these things is because God has produced new life in us through his Spirit. They bring great delight and satisfaction to our souls as we remember that nothing can satisfy us like God himself, no one else is worthy of our obedience, and we exist for none other than God. In A Guide to Prayer, Isaac Watts said, "We can never be too frequent or too solemn in the general surrender of our souls to God and binding our souls by a vow to be the Lord's forever: to love him above all things, to fear him, to hope in him, to walk in his ways in a course of holy obedience, and to wait for his mercy unto eternal life (p. 28). Amen!

Those are the benefits. Here are two concerns. First, if we are singing words of commitment while engaging in unrepentant sin, hoping to impress others or "fool" God through our spirituality, we're deceived. God wants us to repent so that we can sing those words with joy and faith. Second, expressions of unwavering commitment should be mixed with regular requests for God's grace to fulfill them. Otherwise we can fall into an "over-realized eschatology," thinking that our struggle against sin is already over. No, we haven't arrived yet. But we can be sure that God has written his law upon our hearts (Jer. 31:33), and our love for him is something he himself has placed in us through the Gospel. So let us sing with profound gratefulness and amazement, "I have no longings for another; I'm satisfied in him alone."

Some Thoughts On Musical Style As It Relates To Worship And Hymns (Revised)

Rev. Kevin Twit, November, 2002

1. There is long history of doing worship music in indigenous and folk styles.

For example,

• Foote writes in “Three Centuries Of American Hymnody (Harvard Press 1940) about the tune “Old Hundreth” (known to most as the doxology tune) that it was “given shape by Louis Bourgeois, although the first line is taken from a secular chanson. When it was taken over in the English Psalter the notation of the last line was slightly altered from the Genevan form. It immediately became popular and our forefathers liked it because it was a “jocound and lively” air! We think of it as solemn and stately, rather than as lively, because we are familiar with the form in which it emerged in the 18th century usage. When sung, however, in the early form and in fairly quick time it reveals the almost gay character which made it a fitting setting for the words… It was the vigor and liveliness of a number of these Genevan Psalm tunes that led critics to dub them “Geneva jigs.” …To a writer of a century ago it seemed “strange, indeed, that the very tunes that send us to sleep caused our forefathers to dance.” But he was unaware that between the end of the 17th and the beginning of the 19th century the Psalm tunes were deliberately lengthened out by giving their notes equal length, and singing was slowed down in the supposed interest of solemnity.” (pg. 15)
• Foote also says “There is a striking similarity between the ballad-like character of the English metrical psalms and the literary form of the earliest surviving hymns of the Roman church, by St. Ambrose and his followers in the 4th and 5th centuries. The Ambrosian hymns broke away from the old classical meters, and were written in the simpler form of prosody based on accent rather than on quantity, which had long been in use in the songs of the people. Ambrose thus established the form of Latin liturgical hymnody after the model of current folk songs, very much as the metrical psalms of the 16th century followed the pattern of the popular folk ballads. Our familiar long meter is practically that of the Ambrosian hymn, in English dress.” (he cites C.S. Philips “Hymnody Past And Present” NY 1937 pg. 53-55)
• Speaking of the tunes used in the Methodist movement in the 18th century, Adam Fox declares “And then as to the tunes. The most important fact about them is that they did not differ much from the popular tunes of the day.” (English Hymns & Hymnwriters pg. 29)
• In an important but rare work “The Music of The French Psalter of 1562″ (Columbia Univ. Press 1939), Waldo Pratt writes about Protestant Reformation music, both French and German, that “The plan of structure of both verse and music was largely derived from that found in the popular songs of the period.” (pg. 6)

2. The dichotomy between high art and pop art is, at best, both unhelpful and musically and historically rather naïve.

Actually the historical basis of this is a rather racist argument. This distinction is really only about 150 years old, emerges during the 19th century as people try to separate themselves from the massive influx of Eastern European immigrants, and falls prey to a classic logical fallacy: just because something is popular does not mean it is of inferior quality! It may mean that it is of great quality and has connected with a large number of people for really good reasons! In addition, the attempt to make a big distinction between folk art and pop art fails to understand how popular art functions. (see William Romanowski’s recent book “Eyes Wide Open” pg. 72-75 for a wonderful discussion of this issue! Or if you want to study this even more in depth, track down Lawrence Levine’s “Highbrow, Lowbrow: The Emergence Of Cultural Hierarchy In America”)

3. There is no Biblical argument to be made that Western classical music is inherently better than styles like folk, rock, jazz, and blues.

Attempts to argue for an absolute music aesthetic derived ala natural theology from the natural harmonic series (like that of Leonard Payton) are absurd. What sounds “in tune” to our ears is a result of cultural conditioning. The “blue note” can’t be found on a piano keyboard yet it is part of the natural harmonic series. Furthermore, our pianos are not really “in tune” in a scientific sense, rather we follow “tempered tuning” which is a compromise so that a piano is sort of in tune for all keys. The music to which the Psalms were originally set, would in all probability sound very strange to our ears. Even a minor key doesn’t sound sad in all cultures (for example, much joyful Israeli folk music is in a minor key!)

4. In particular attempt to commend jazz as a high culture form while denouncing rock, (its first cousin since both derive from the blues), makes no sense to people who actually play these styles.

I find that the attempt to delineate between jazz, rock, folk, and pop is doomed to failure because these styles are all so inter-related. It may make sense in theory to some who are really only superficially aware of these styles but to those who actually study the music the real differences are very slight, musically speaking. The argument that the rock beat is evil in any form is preposterous. No studies have conclusively proven that a certain beat can affect you independently of the cultural baggage surrounding that music. The beat itself is neither good or bad, to believe otherwise is to fall prey to the heresy of Manicheism. (See William Edgar’s article “The Message Of Rock Music” in Dean and Porter’s “Art In Question” or his review of Ken Myers’ “All God’s Children And Blue Suede Shoes” in the Westminster Theological Journal)

5. Style is not neutral, all styles have cultural baggage because music derives its meaning as a cultural symbol.

But there is no pure style, and there is no style that is irredeemable! Anything made by humans after the Fall is flawed and nothing made by even by fallen humans can avoid reflecting God’s image as creator. Music is one way that we extract all of the God-glorifying potential out of the creation, it is a way that we take dominion over the creation and till the Garden.

6. So, rather than get bogged down in arguments pitting one style versus another, let us look to commend what we can in all types of music.

There will always be something to commend and things to critique. There is a lot of great music around the world, (even people and cultures who have rejected the true God can make great music) and we should beware of the idea that all the great music is found in the Western classical genre. Attempts to compare Bach with say Jimi Hendrix are rather pointless. There are lots of great things about Bach’s music. But there is a lot that he did not explore, like groove and how to bring interest and tension and release within the limits of a 12 bar blues form. Too often we take a set of criteria derived from examining Western classical music, trying to discover how it works, and then apply that criteria to other types of music that work very differently. This is really unfair and culturally elitist. Having worked in recording studios with pop musicians I have seen how much care and thought goes into the hundreds and thousands of decisions needed to produce a 4 minute song. It takes great skill to do something fresh within a genre that has such tight limits as to song length and form and those who do this well should be commended.

7. The purpose of art is to glorify God and enjoy Him forever. There are lots of ways that this can be done which we can call sub-purposes.

For example, art can tell the truth, it can show beauty, but it can also (and must if it is to tell the truth after the Fall) speak of great ugliness. Art can communicate and it can entertain. Art can make us remember and mourn for the past and it can help us imagine a still unseen future. And all of these are ways to glorify God! The problem with most Christian books on the arts is that they try to make one of these sub-purposes the over-arching purpose and thus leave out a lot of great work that should be seen as art.

8. The idea that art must be received rather than merely used (C.S. Lewis, Ken Myers) seems to reflect a Platonic view that art is only helpful as a springboard to “spiritual” thoughts.

Remember, the purpose of art is to glorify God and the Book of Ecclesiastes (from which the phrase “the chief end of man is to glorify God” comes), insists that we are to find joy even in our frustrating lives in the ordinary things of life. This creation, including art, is not merely a catalyst for more “spiritual” thought.

9. We should encourage people to praise God in their own culturally honest way.

The days are long past when people are trying to do worship music in a rock style just to reach the masses. The issue in our day is should musicians adopt a foreign musical style in which to praise God? Is there a “Holy Ghost” musical style (like people used to think of Koine Greek as a unique “Holy Ghost Greek”? Of course not! Calvin seems to have attempted to invent a particular church style of music but in fact the music of the Genevan Psalter reflected the popular styles of the 16th century because you can’t make music in a cultural vacuum. Nor should we even try! At the end of Revelation we see the kings of the earth bringing their splendor, the fruit of their culture, to the Lord as an act of worship. This is what we should be doing now! If the church is made up of every race, tribe, and tongue then shouldn’t our worship (including our music) reflect this? We should do music that is culturally honest to who we are.

10. But, we must also do music that reflects that the Church is bigger than just our own narrow demographic.

The church is multi-cultural and extends through the ages and our music should reflect this! I love Marva Dawn’s comment that if the church is truly the church and includes greater variety than just me and other people like me, then everyone is going to have to sing some songs they don’t like! The older people should invite the young to teach their own music and the young should be respectful and learn the music enjoyed by the older people, all for God’s glory!

11. Just because we shouldn’t make absolute statements about one genre being inherently better than another, does not mean we can make no judgments about particular pieces of music and their appropriateness.

But each piece should be evaluated by how well it “fits” the words and by how it measures up to other songs within the same genre. In other words, is this song trite within this genre or is it a creative use of this form. Remember, all styles have baggage, and some are more easily used to convey words of substance than others. Folk music for instance, which is what we consider the style of the Indelible Grace recordings, has a long history of conveying words of substance and power.

12. Don’t let superficial differences fool you in making judgments about music.

Musically, a melody like the one Sandra McCracken wrote for “Thy Mercy My God” is no different than the melody for “Immortal Invisible.” The difference in sound has more to do with the block chord harmonization we are used to hearing when “Immortal Invisible” is played “hymn style.” But analyzed as far as melody, rhythm, and harmony is concerned and they are very similar.

13. Indelible Grace Music is not out to deconstruct church music!

Actually hymnals, with their metrical index, are designed for us to try alternate tunes for the hymns! We are trying to encourage musicians to use their gifts to set the great hymns of the faith to music that is authentic to who we are culturally, and which will help us hear and feel the deep emotion of the text. (For further discussion of these issues see my “Criteria For Judging Rock Music”)

14. Controversy over setting new tunes to older texts is nothing new!

Consider the objections to new tunes catalogued by Thomas Symmes in 1723 (writing in New England responding to those who objected to singing the psalms to new tunes).

1. It is a new way, an unknown tongue.
2. It is not so melodious as the usual way.
3. There are so many new tunes, we shall never have done learning them.
4. The practice creates disturbances and causes people to behave indecently and disorderly.
5. It is Quakerish and Popish and introductive of instrumental music.
6. The names given to the notes are bawdy, even blasphemous.
7. It is a needless way, since our fathers got to heaven without it.
8. It is a contrivance to get money.
9. People spend too much time learning it, they tarry out nights’ disorderly.
10. They are a company of young upstarts that fall in with this way, and some of them are lewd and loose persons.

15. Why not set words written for the poor to music invented by the poor?

Many hymnwriters (Watts, Cowper, Newton for example) deliberately wrote words for the poorer classes – condescending to their level of education. The musical style of Indelible Grace is rooted in the musical styles of the poor (blues, jazz, folk, bluegrass.) Seems fitting to put words written for poor people to music invented by poor people. John Newton wouldn’t let Handel’s Messiah be sung in his church because he thought it too worldly (though he did preach a sermon series on the text!)

Is It a Prelude or a Quaalude?

By Ingrid Schlueter

Hymns in many churches were long ago replaced with "love songs" to Jesus ripped right off the pop charts, both Christian and secular. How many churches have featured the pop song, "The Prayer", made famous by singers like Celine Dion, Josh Groban and Charlotte Church, etc.? (Read the lyrics here.)
http://www.lyricsfreak.com/a/andrea+bocelli/the+prayer+la+preghiera_20007814.html

One church we visited recently after moving back to Wisconsin featured Bette Midler's, "Wind Beneath My Wings" on Sunday morning in the worship service. ( We got up and walked out.)
The author of this article (http://www.the-highway.com/Music_Prelude.html)is dead on. Leonard Payton writes:

When a music's chief trait is how it feels--as is the case with pop music--it operates much the same as recreational drugs. If you could watch different kinds of folk or western art music on an oscilloscope, you would notice different parts of the hearing range having low or high amplitude with much variation. Not so with pop. It looks more like a tidal wave On one end, the bass guitar shows high peaks of amplitude. At the other, the pink noise (a broad random frequency band) of the cymbals, modified guitar timbres, and androgenous voices, overload that portion of the human hearing where consonants reside. Of course, consonants are indispensable to verbal understanding. Needless to say, digital synthesizers have only fueled the condition. Like recreational drugs, there comes a point where the present diet is not enough, and the technology can increase the increments seemingly limitlessly. That is why we can sometimes hear a car's hi-fi system long before we hear its engine. It is why we can often hear the head set even when it is not over our own ears!

CD Review - Valley of Vision

By Tim Challies

Contemporary praise and worship music has achieved a poor reputation. It is often regarded as being of poor quality both musically and lyrically. Sadly, this critique is often accurate. Yet there are some who swim against this current. It is only in the last year or so that I have been introduced to an organization that produces music to which these critiques cannot apply. Sovereign Grace Music has released a wide variety of albums which provide not only top-quality music, but excellent, God-glorifying song-writing. The latest project, released only a couple of weeks ago, Valley of Vision, is based on the classic book of Puritan prayers of the same name.

Why would Sovereign Grace create a project based on the prayers of a bunch of dead guys? "That's an easy one. Puritans like John Bunyan, Thomas Watson, Richard Baxter, and Isaac Watts knew their hearts, their Bibles, and their God much better than we do. Many of them wrote down their prayers not to be published, but to assess their own spiritual growth and to encourage themselves in times of spiritual dryness. These prayers reveal a personal, humble, passionate relationship with an awesome God, a living Savior, and an active Spirit. Reading their meditations inspires us to pursue the same level of reality as we worship God." The two-fold purpose of this CD is to encourage the listener deepen his relationship with God as he becomes more aware of his own sin and God's holiness and that the listener will be inspired to read the book of prayers that inspired the album. "We pray that you won't simply read them, but that they will become a springboard for your own prayers and meditation in your relationship with our great, merciful, and changeless God who is, ever and always, there to meet us in the Valley of Vision."

The CD begins with "In the Valley," sung by Shannon Harris. Shannon has a stunningly beautiful voice, though having heard it live at the WorshipGod06 conference, I have to admit that I love the purity of her voice in a live performance just a little bit better than the slightly more engineered sound on the CD. She sings a powerful song based on the prayer "The Valley of Vision" and asks God to let her find His grace, life and joy. For sake of comparison, here is the original prayer and the song based on it:

Lord, high and holy, meek and lowly, Thou hast brought me to the valley of vision, where I live in the depths but see Thee in the heights; hemmed in by mountains of sin I behold Thy glory. Let me learn by paradox that the way down is the way up, that to be low is to be high, that the broken heart is the healed heart, that the contrite spirit is the rejoicing spirit, that the repenting soul is the victorious soul, that to have nothing is to possess all, that to bear the cross is to wear the crown, that to give is to receive, that the valley is the place of vision. Lord, in the daytime stars can be seen from deepest wells, and the deeper the wells the brighter Thy stars shine; let me find Thy light in my darkness, Thy life in my death, Thy joy in my sorrow, Thy grace in my sin, Thy riches in my poverty, Thy glory in my valley.

And here is the song:

When You lead me to the valley of vision I can see You in the heights And though my humbling wouldn't be my decision It's here Your glory shines so bright So let me learn that the cross precedes the crown To be low is to be high That the valley's where You make me more like Christ

Let me find Your grace in the valley
Let me find Your life in my death
Let me find Your joy in my sorrow
Your wealth in my need
That You're near with every breath
In the valley

In the daytime there are stars in the heavens
But they only shine at night
And the deeper that I go into darkness
The more I see their radiant light
So let me learn that my losses are my gain
To be broken is to heal
That the valley's where Your power is revealed

A couple of up-tempo songs follow. "All That I Need," sung by Stephen Altrogge, declares that Jesus Christ is the believer's only hope and the only one who can satisfy the heart's deepest longings. "Heavenly Father, Beautiful Son" is a song of thanks to God for His work of election and for providing His Son as Savior. "How Deep" explores the love of Christ and the mid-tempo "I Come Running" is a song of praise to Jesus, written and performed by Mark Altrogge, acknowledging our need of the Savior. My favorite track on this album, and one we sang near the close of the WorshipGod Conference, is "Let Your Kingdom Come," written by Bob Kauflin and based on the prayer "God's Cause." It is a perfect choice to end a service or conference and calls upon God to let His kingdom come. "Let Your Kingdom Come / Let Your will be done / So that everyone might know Your Name / Let Your song be heard everywhere on earth / Till Your sovereign work on earth is done / Let Your kingdom come." Perhaps it could have been the final track on the album!

This is followed by "O Great God," a hymn eminently suitable to corporate worship that celebrates the sovereignty of God and His work of redemption. "Help me now to live a life / That's dependent on Your grace / Keep my heart and guard my soul / From the evils that I face / You are worthy to be praised / With my every thought and deed / O great God of highest heaven / Glorify Your name through me."

The CD continues with "It Was Your Grace," "Only Jesus," "The Precious Blood," "It Was Love," and "Who Made Me To Know You." Each song explores a different theme and each centers upon the gospel of Jesus Christ. These songs feature vocals by Kyle Davis, Shannon Harris and Megan Russell. Standout tracks, and ones that are most suitable to corporate worship, include "Only Jesus" and "The Precious Blood."

Valley of Vision is a unique concept and one that could easily have fallen flat. Thankfully, Sovereign Grace did the project justice and have created an album that is beautiful, inspiring and full of the gospel. With many tracks suitable to corporate worship and all suitable for private worship (or for just singing with the car windows wide open), Valley of Vision is a worthy addition to any CD collection. Like previous Sovereign Grace music projects, it is well-written, well-produced and of the utmost quality. I heartily recommend it.

Valley of Vision is available for purchase from the Sovereign Grace Store. Be sure to take a look at the other CD projects available such as Songs For The Cross Centered Life and Awesome God. Sample audio clips, lead sheets and chord charts for this album are available for no cost from the Sovereign Grace Ministries.