Wes King's new album, The Robe, would make a terrific soundtrack. I don't know if he planned it that way, but the record moves from a breezy, open, driving-down-the-highway kind of musical creed, through alternate moments of commitment and human frailty, and finishes off with an almost tearful reminder of God's overwhelming love for His people. It has all the earmarks of a film narrative.
Blasting into it with "I Believe," King supplies the listener with a simple and basic faith statement that moves from creation to resurrection. The lyrics outline a solid foundation for Christian belief, and the music (aided by the strong, driving beat of John Hammond's drum work) is an invitation to roll down the car windows and hit the highway of life with confidence.
In "Second String," King weaves an intriguing web between the 8th-grade football team bench-warmer awaiting his chance to shine and God's call to a little shepherd boy named David.
The title cut, inspired by a C. H. Spurgeon sermon, beckons to "Come as you are." Here King uses the robe both literally and metaphorically. It will "clothe your nakedness" and it is "His grace." The message is simple and true, and Susan Ashton's smokey background vocals provide a sweet and mournful invitation to all to accept the spiritual covering Jesus offers for the sin of fallen man.
"Martin Luther," another strong narrative, is also a small history lesson which draws a thumbnail sketch of the faith of the father of the Reformation.
The last song of side one, "Carolyn," appears at first to be a simple love song: "Carolyn/...What must I do to win your love?" By the end, however, it is clear that the voice of the song is not the voice of a man, but of God: "If I gave my Son for you/Would you see my love is true/If I called you by name/And took you in/And washed away your sin..." This slow, gentle courtship explores the love of God and of man in a way that moves and touches the listener.
The second side, while perhaps not as strong as the first, is certainly worth hanging around for. "Optional Thing," is something of a statement of King's own perception of his newlywed marriage. Backed by Julie Miller, King weaves an inside joke into his confession of fidelity. "I'm your man/I'll protect you in the pouring rain/A typhoon, tornado, in a hurricane" is a reference to the Kings' honeymoon-a day after they arrived in Hawaii, the island was hit by a hurricane, which they narrowly escaped.
"Move to the Moon," another love song, while not a highlight, builds on King's childhood image of where the helium balloons go when they get lost.
King quickly moves into a fascinating social critique that evokes disturbing echoes of the recent Los Angeles riots. "Blame It On Me" is a hymn of self-absorbed refusal to take personal responsibility for one's actions. This, indeed, has seemed to be the rallying cry of the 1990's-but King puts the blame right back where it belongs-on Adam and on us.
Leaning back once more into the slow, sweet, and mournful, "John" is King's gift to a friend who recently lost his mother-artfully interweaving "In the Sweet By and By" with his own lyrics.
The final song ("Holy") is introduced by R. C. Sproul's reading of Isaiah 6:1-3, and takes its force from the song of the seraphim. There is an almost mystical quality to this lovely acoustic rendering of the love and mercy of the Lord; with an almost Eastern melodic style.
As it closes, you can almost see the credits roll, for the narrative problem has been settled. Sinners we are, sinners we may be, but The Robe will cover us, and the mercy and love of God are eternal.
I give this quiet gem my highest recommendation.
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1993Wayne WatsonA Beautiful Place
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1994King's RoadWhere Angels Walk
