This vineyard is being pruned right now…
Worthy Art Thou
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"Worthy are you, our Lord and God, to receive glory and honor and power, for you created all things, and by your will they existed and were created." — Revelation 4:11
This song is a response to the ultimate reality of the throne room. It’s not just a song of praise; it is a recognition of the Creator's inherent right to our attention and our worship. In the "Vineyard," we recognize that we don't create the life—we simply respond to the One who prunes the vine.
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The sound of "Worthy Art Thou" is intended to be raw and reverent. It avoids the "flash" of modern production to focus on the weight of the lyrics. It’s organic, acoustic-driven, and designed to feel like a personal prayer rather than a performance. It captures the atmosphere of the "Small Place" where the most profound worship often happens.
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The goal for this track is to strip away the noise and bring the listener into a focused moment of adoration. It’s an invitation to shift your perspective from the daily grind to the eternal throne. I hope that as you listen, you feel the freedom to lay down your own burdens, close your eyes and simply acknowledge His worth.
David and the Giant
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"Then David said to the Philistine, 'You come to me with a sword and with a spear and with a javelin, but I come to you in the name of the Lord of hosts, the God of the armies of Israel, whom you have defied.'" — 1 Samuel 17:45
This song is a reminder that our giants aren't defeated by our own hands or our own weapons. It’s about the courage that comes from knowing whose name you stand in. Whether the "giant" is an external circumstance or an internal struggle, the victory belongs to the Lord.
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This one is for the kids (and the kids at heart). Built around a bright ukulele and driving rhythm, it’s packed with literal sound effects to bring the valley of Elah to life. From the "clink" of the stones to the final cheers of the Israelite army, the production is playful, energetic, and purposefully "corny" to keep the story engaging for a younger audience.
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The goal was to make the Bible story tactile and fun without losing the message or truth. It’s a song for the car ride or the classroom—ending with the victory of the underdog. We kept the "giant's fate" ambiguous but the victory clear, leaving listeners with the cheers of a crowd and the reminder that even the smallest person can stand tall when they have the right help.
Song 299
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"Let everything that has breath praise the Lord. Praise the Lord!" — Psalm 150:6
This track pulls directly from the final "Hallelujah" Psalms (149 and 150). It is a literal interpretation of the command to praise Him with everything we have—the strings, the drums, and the collective voice. It’s a celebration of life and breath, acknowledging that our very ability to breathe is a reason to give Him glory.
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This is a "Wall of Sound" production. It begins with a core rock band foundation and progressively layers in a gospel choir, building in intensity and volume. The arrangement is designed to grow into a massive, immersive outro where the instruments and voices converge to create a sonic representation of "everything that breathes" joining together in one final, powerful crescendo.
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The vision for "Song 299" is pure, uninhibited joy. I wanted to capture the feeling of a room full of people caught up in a singular moment of worship. It’s meant to be played loud—designed to overwhelm the senses and leave the listener feeling energized and uplifted. It’s not a quiet prayer; it’s a shout of praise.
This vineyard is being pruned right now…
John’s Divine Vision
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"Around the throne were four living creatures, full of eyes in front and behind... and day and night they never cease to say, 'Holy, holy, holy, is the Lord God Almighty, who was and is and is to come!'" — Revelation 4:6-8
This song is a deep dive into the staggering imagery of John’s vision. It isn't a static scene; it’s a place of overwhelming power—the crystal sea, the seven lamps of fire, the twenty-four elders, and the living creatures covered in eyes. It’s an attempt to put melody to a scene that is almost too big for human words.
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To match the "holy energy" of the vision, the music is fast-paced, dense, and descriptive. It’s designed to feel like a journey—packed with sonic layers that mirror the "wheels within wheels" nature of the heavenly realm. It’s high-excitement and high-intensity, moving at the speed of a vision that leaves the spectator breathless.
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I want the listener to feel the "holy turbulence" of what John saw. This isn't a quiet, distant God; this is the King in the center of a roaring, living throne room. The goal is to move beyond the Sunday school version of heaven and into the awe-inspiring, "wow" reality of His presence. I hope it leaves you slightly unsettled in the best way possible.
Stand in the Power of God
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"Finally, be strong in the Lord and in the strength of his might. Put on the whole armor of God, that you may be able to stand against the schemes of the devil." — Ephesians 6:10-11
This song is a lyrical study of the armor provided to the believer. While the specific pieces—the breastplate, the shield, the helmet—are alluded to through their function rather than just a list, the focus remains on the "why." It’s about the spiritual readiness required to face the unseen powers and spiritual forces in high places that the Apostle Paul warns us about.
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"Stand in the Power of God" has a firm, anthemic foundation. It’s designed to feel like a rallying cry. The bridge carries an atmospheric weight to mirror the "unseen" nature of spiritual warfare, building back into a strong, resolute finish. The repetition of "The Word of God" at the end emphasizes its status as our only offensive weapon in the entire arsenal.
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I wanted this song to be a reminder that we aren't called to fight in our own strength or with our own cleverness. The chorus is a call to knowledge—knowing who the enemy is and knowing whose armor we are wearing. By the time the song ends, I want the listener to feel equipped, grounded, and reminded that while the battle is spiritual, the victory is secured through the Truth of the Word.
Lower Than the Angels
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"But we see him who for a little while was made lower than the angels, namely Jesus, crowned with glory and honor because of the suffering of death, so that by the grace of God he might taste death for everyone." — Hebrews 2:9
This song explores the paradox of the Incarnation. It’s about the Sovereign King who laid aside His heavenly estate to become like us, so that He could stand in our place. It focuses on the reality that He didn't just visit our world; He shared in our flesh and blood to destroy the power of death.
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This track carries a classic rock energy with a driving, relentless pace. Because the scripture is so packed with information, the lyrics come at you quickly—requiring focus and repetition to fully digest. It’s a "Wall of Words" supported by a solid rock foundation, moving with a velocity that matches the importance of the teaching.
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I’ll be honest: when I first wrote this, even I struggled to keep up with the pace of the vocal! But the investment is worth it. My goal was to see how much Truth I could fit into a single song without losing the "heart." It’s designed to be a track you listen to over and over, catching a new theological gem with every spin. It’s a celebration of the God who stepped down into our world with purpose and power.
Two By Two
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"And they went into the ark with Noah, two by two of all flesh in which there was the breath of life... And the Lord shut him in." — Genesis 7:15-16
While "Two By Two" takes a lighter tone, it stays rooted in the Genesis narrative. It covers the mid-voyage reality of life on the boat, the specific missions of the raven and the dove, and the eventual landing where a new life—and a new vineyard—began. It carries the weight of the "shut door," reminding us that God’s provision and His judgment both happen in His perfect timing.
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This is a high-energy rap track that keeps the pace moving. It’s rhythmic, playful, and designed to be accessible for both children and adults. The style shifts slightly throughout the song, mirroring the long, changing nature of the 40-day voyage. It’s a track that proves the "Sound" can be fun without losing the "Truth."
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I wanted to create a song that makes the Bible feel "lived in." We often see Noah’s Ark as a plastic toy set, but there was humor, messiness, and a lot of waiting involved in that journey. By using a modern rhythmic style, I’m hoping to catch the ear of a younger generation while still giving the adults plenty to think about regarding the sovereignty of the One who shuts the door and the One who provides the olive branch.
Fear’s Lament (Saul & David)
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"And Saul was very angry... and he said, 'They have ascribed to David ten thousands, and to me they have ascribed thousands, and what more can he have but the kingdom?' And Saul eyed David from that day on." — 1 Samuel 18:8-9
This song tracks the tragic arc of King Saul. It covers the highlights of his relationship with David—from the initial affection to the murderous envy born of a desire to secure his own dynasty. It culminates in the desperate, final moments of a king who seeks counsel from the grave rather than the Throne, knowing his end is certain.
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"Fear's Lament" has a distinct, rhythmic weight. Driven by a deep-voiced vocal and a country-infused vibe, the track is repetitive and steady, mirroring the "lament" of a man trapped in his own cycle of fear. It’s a storytelling track that relies on a steady cadence to deliver a large amount of scripture, creating a mood that is both somber and driving.
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I wanted to capture the "humanity" of Saul’s failure. He represents the arrogance of a heart that tries to force its own will against God's plan. By teI wanted to capture the "humanity" of Saul’s failure. He represents the arrogance of a heart that tries to force its own will against God's plan. By telling it from Saul's perspective, the listener feels the tension of the love-hate relationship he had with David. The final nod to Jesus serves as the ultimate "answer" to Saul’s failure—where Saul tried to kill the "anointed" to save his own son, God gave His Son to save the world.
When Jesus Suffered
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"He was despised and rejected by men, a man of sorrows and acquainted with grief... surely he has borne our griefs and carried our sorrows." — Isaiah 53:3-4
This song is a somber journey through the final hours of Christ—from the heavy silence of Gethsemane to the public shame of the trial and the cross. It doesn't look away from the cost. It’s a lyrical meditation on the "Man of Sorrows" and the physical and spiritual weight of the betrayal that led to our redemption.
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"When Jesus Suffered" utilizes a sad, complex Jazz arrangement to convey the gravity of the Passion. By exploring dissonant and "bruised" chords like F#m and D6, the music mirrors the emotional and spiritual fracturedness of the event. It is a slow, deliberate piece that uses the complexity of Jazz to honor the complexity of the sacrifice—bittersweet, haunting, and ultimately profound.
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I wanted to create a space for the listener to sit in the "In-Between." We often rush to the celebration of Sunday, but this song asks us to stay a moment at the foot of the cross. It explores the paradox of the crucifixion: the horror of the event versus the amazing benefit it produced for us. In the end, we celebrate—but we celebrate with a heart that understands the sheer weight of what it cost to set us free.
Back in the Hollow
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"Therefore I tell you, the kingdom of God will be taken away from you and given to a people producing its fruits." — Matthew 21:43
This song is a modern retelling of the Parable of the Wicked Husbandmen. It tracks the sobering reality of the rejection of the Son and the subsequent judgment on Jerusalem. By bridging the gap between the parable and the history of the Jewish-Roman War, the song highlights the central New Testament theme of the Kingdom being given to those who will honor the Master.
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"Back in the Hollow" is a driving Bluegrass number. The fast-paced, rhythmic picking provides a sense of building tension—mirroring the historical "storm clouds" gathering over Jerusalem. It’s an Americana sound that feels ancient and urgent all at once, using the "high-lonesome" vocal style to deliver some of the more graphic and sobering details of the text.
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The destruction of Jerusalem in 70 AD is one of the most pivotal yet misunderstood events in biblical history. I wanted to take the complex prophecies of Matthew 24 and Daniel and set them into a story that hits home. This isn't just a "history song"; it’s a song about the humble obedience God expects from His people. It’s meant to be a visceral reminder that God is serious about His ownership of the Vineyard.
This vineyard is being pruned right now…
Carla’s Song
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"Blessed is the one whose transgression is forgiven, whose sin is covered." — Psalm 32:1
This is a song born out of the ashes of a "Great Oak" life. It reflects on the season when the status of "the preacher" was stripped away, replaced by the crushing weight of failure and a nine-month depression that led to the brink of despair. It is a raw celebration of the God who doesn't throw His children on the trash heap, but instead meets them in their lowest moment with an unexpected mercy.
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"Carla’s Song" is, perhaps surprisingly, a Hard Rock anthem. The intensity of the electric guitars and the driving rhythm capture the turbulence of that mid-life crisis and the desperation of the dark night of the soul. It needed a sound that could hold the weight of a man questioning God and the high-stakes reality of a life nearly lost. It’s a sonic representation of the "shaking" before the peace.
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This is my "thank you" to God for Carla. In 2013, I hit a bottom so deep I actually questioned the existence of the God I had preached about for years. Two days after I voiced that darkness, Carla walked into my life. We were two broken people who saved each other through His grace. I wanted this song to be a testament to the fact that no one is beyond repair, and sometimes God’s greatest "angel" is the person who sits with you in the rubble and helps you rebuild.
To Abram, By Jesus, To Me
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"And if you are Christ's, then you are Abraham's offspring, heirs according to promise." — Galatians 3:29
This song explores the "Chain of Custody" of God’s covenant. It highlights the truth that the promise given to Abraham wasn't based on the Law—which arrived 430 years later—but on a promise fulfilled in Jesus. From Adam to the last man standing, righteousness has always been through one thing: Faith. It’s that simple, and that profound.
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"To Abram, By Jesus, To Me" is a gentle, acoustic folk piece with a country soul. The stripped-back arrangement mirrors the simplicity of the Gospel message. It’s design is simple enough to be a song played on the porch, passing down a family story from one generation to the next, emphasizing that our spiritual inheritance is a gift of grace, not a wage of work.
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Room For Me
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"And she brought forth her firstborn son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn." — Luke 2:7
It is a startling thing to realize that the Creator entered His own world and was met with a "No Vacancy" sign. Today, the world doesn't just lack room; it often mocks the Guest. But the miracle of the Gospel is the Great Reversal: though we had no room for Him, He went to the cross to prepare a place for us. As John 14 promises, in His Father’s house, there are many rooms—and He has made sure there is one with your name on it.
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The music begins with a soft, reflective tone, capturing the quiet stillness of the Nativity. The verses carry an almost lamenting quality—a musical sigh over a world that remains crowded with everything but its Creator. But as the chorus arrives, the mood shifts. It moves from the heavy reality of our own depravity to the soaring invitation of His grace. It’s a melody of seeking; reminding us that while the world may be closed, His door is always open to those who truly look for Him.
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While this version is a fresh expression, it stands on the shoulders of the faithful who came before. This song is a lyrical evolution of the classic hymn 'No Room in the Inn' (A. L. Skilton, 1891). I wanted to take those 130-year-old truths and translate them for a generation that is "footsore and weary" in a different way. The imagery for this song captures the contrast between the cold, crowded streets of our busy lives and the open door of the Savior who says, "I have room for you."
Because We Worship You
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"I appeal to you therefore, brothers, by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship." — Romans 12:1
We often hear people say, "I’m going to church to worship." But the Spirit nudged me with a different thought: We don't show up to start a session; we show up because we are worshippers. If a kid admires a ballplayer, he doesn't just "worship" at the stadium; he wears the jersey, he studies the stats, and he mimics his hero's every move. Our life isn't filtered through a Sunday morning service—it’s filtered through our admiration of Him every hour of the day.
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I set this truth to an upbeat country vibe to capture the joy and energy of a life in motion. The song uses a "not this, but that" back-and-forth structure to challenge our traditional views of the "worship hour." When the chorus hits, it’s bright and unapologetic. It reflects the pride we should feel in being like Him—not a heavy obligation, but a natural, rhythmic response to who He is.
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The imagery here is meant to be lived-in and active. It’s not about stained glass and pews; it’s about the "posters on the wall" and the "jersey on the back." It’s the visual representation of a hero-worshipper who can’t help but imitate the One he admires. This is worship as a lifestyle—living, breathing, and sleeping in the light of our Savior.
Spirit Eyes
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"So we fix our eyes not on what is seen, but on what is unseen, since what is seen is temporary, but what is unseen is eternal." — 2 Corinthians 4:18
We often judge God’s goodness by our comfort. If the bank account is full and our health is strong, we say He is faithful; but if we suffer, we wonder where He went. The truth is, we aren't promised an easy life or material wealth—wealth can vanish and health can fail. We need "Spirit Eyes" to see that God is ferociously protecting our eternal inheritance, even when our temporary circumstances are crumbling. Suffering isn't His design, but in a world broken by evil, He is the one who weaves every tear into an eternal good.
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This track is a Country/Celtic hybrid, using the driving rhythm of the fiddle and the grit of the guitar. I’ve utilized dissonant chords in specific spots to reflect the "rub" and the pain of this life—the parts that don't quite resolve the way we want them to. It’s a sound that feels both ancient and immediate, mirroring the tension of living in a temporary world while keeping our sights set on an eternal home.
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The visuals for this song are a plea for perspective. It's about looking past the "things" that clutter our view—the houses, the cars, the physical struggles—to see the spiritual reality underneath. It represents a shift in focus: from the flickering candle of this life to the unshakeable sun of the next. It’s about learning to trust the unseen hand that is holding onto the things that truly matter.
Gardens of Everlasting’s Song
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"And if I go and prepare a place for you, I will come back and take you to be with me that you also may be where I am." — John 14:3
This is the final destination of our walk. The Garden we experience now—with its morning dew and mid-day lessons—is the training ground for the one He has gone ahead to prepare. In this bluesy, intimate love song, we hear the invitation of a Savior who isn't just a distant figure, but a Groom coming back to take His own into the Garden of the Everlasting.
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"A bluesy, country-inspired remix of a timeless classic. Featuring a gentle, intimate female vocal and a slow, soulful pace, this track feels like a personal conversation. Beneath the soft melody, you’ll hear the resonance of 'many waters'—a reminder of the sovereign power behind the gentle voice in the garden."
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"Visualizing the three stages of the walk: the fresh roses of the morning, the quiet hush of the mid-day teaching, and the longing of the bride as the night begins to fall. The garden on earth is but a shadow of the Everlasting Garden where this song continues to ring."