You and You Alone

The fifth installment of the Overflow series, You and You Alone, represents the collaborative work of the Sczebel family. As a long-time contributor to congregational worship, and within the last decade, to Sovereign Grace Music, Pat Sczebel does indeed fulfill the mission of Sovereign Grace Ministries, which is to "provide doctrinally rich, Christ-exalting, contemporary songs for worship."

I will admit, however, that upon my first few samplings of this recording, it seemed too contemporary, in that its raw, unfinished production seemed a bit like a garage band demo, at points. The opening cut, "Trust in You," seemed to evidence the effeminate vocals that have grown popular in the independent music scene. Nevertheless, most, if not all, of the songs were registered in a singable key, and espoused Christocentric text.

More importantly, though, the Biblical centering abounds, from the atoning work of Christ in "The Greatest of All," to the portrayal of Christ's sacrifice in "Lord, You Are Gracious." I especially appreciate the dependence upon God evidenced in the faith-filled cries of "Trust in You," "Yesterday, Today, and Forever," and "In You." With references to Christ as our "strong tower" and "rest," You and You Alone portrays the worshiper as in persistent need of the Savior.

He is made desirous as well, as "Jesus, You Are Beautiful" best exemplifies. I love the dynamic contrast this song offers between its plaintive cry of "You are beautiful" and the surprisingly excitable bridge that elevates the appeal to a heightened sense of authenticity. Such transparency is also seen in the genuine worship found in "You Alone," while "You Are Good" makes real the everyday interaction we can enjoy with Christ.

For my immediate context, however, I think the most accessible songs on this album are "The Greatest of All" and "I Surrender All." They both lend a contemporary feel to some grand old hymns, those being "Redeemed, How I Love To Proclaim It" and "I Surrender All," respectively. I can especially appreciate the rendering of "Redeemed, How I Love to Proclaim It," as its syncopation morphs a rousing, tent revival tune into a worshipful and better-paced chorus. Interestingly, the reprise of "I Surrender All" lends itself all too perfectly to such a setting, as the final cut hearkens back to those campfire meetings that almost always devolved into a round or two of "Kum Ba Yah." Congregational to a fault, I suppose, though I would certainly more rather err in this direction than the current tendency of CCM towards egocentricity and consumer Christianity. Thank you, Pat Sczebel and co., for demonstrating an ability to synchronize this generation's stylings with the eternal worthiness of our Lord.