I am republishing the following articles from 2000 to give historical context to the battle against the infiltration of contemporary music into fundamental Baptist churches.
Compromise usually begins with small things, but the Bible twice warns that “a LITTLE leaven leaveneth the whole lump” (1 Cor. 5:6; Gal. 5:9).
BE CAREFUL ABOUT NEWER PATCH THE PIRATE TAPES
June 14, 2000 (David Cloud, Fundamental Baptist Information Service, P.O. Box 610368, Port Huron, MI 48061, 866-295-4143, firstname.lastname@example.org; for instructions about subscribing and unsubscribing or changing addresses, see the information paragraph at the end of the article) -
While most of the music produced by Majesty Music of Greenville, South Carolina (headed up by Ron and Shelly Hamilton), is excellent, we must warn that some of the newer recordings are moving in a contemporary direction. This is particularly true of the newer Patch the Pirate children’s tapes.
The Mount Zion Marathon tape for example, has a song titled “Lazy Bones,” which is certainly akin to rock music. It uses a syncopated rhythm with a heavy, synthesized bass. The music would be right at home in a nightclub or a sleazy Broadway play. Though it is tame compared to much of the standard CCM fare today, Patch the Pirate’s “Lazy Bones” will help develop an appetite in children for worldly music. Other examples of this can be found on their newer tapes.
Some will doubtless protest that I have no right to judge Majesty Music by my own opinion of what is or is not worldly, that they themselves see absolutely nothing wrong with the new Patch tapes. I readily admit that there is much that is subjective about music, and that it is sometimes difficult to nail down precisely what is and is not wholesome. This being the case, isn’t the wisest approach to avoid all appearance of evil, to be certain that we offend in nothing? Instead of taking this wise path of avoiding every semblance of worldliness and maintaining only the most unquestionable standard for music, though, Majesty Music is pushing the musical boundaries for the fundamentalist and Bible-believing Baptist churches that use the Patch tapes, subtly and gradually moving them into the CCM sphere.
Books published by Ron Hamilton’s father-in-law, Frank Garlock, plainly condemn the use of worldly music to serve a holy God. Dr. Garlock observes: “It is absurd to think that one can unite Christian lyrics with the medium of the world (rock music) and expect the meaning and communication to remain the same” (Music in the Balance, 1992, p. 31). Yet this is exactly what Patch the Pirate is doing with songs such as “Lazy Bones.” Dr. Garlock says it is absolutely untrue to claim that music is simply a matter of personal taste (p. 7). He carefully describes the characteristics of worldly music. He defines rock music by its rhythm and quotes British sociologist Simon Frith, “The sexuality of music is usually referred to in terms of its rhythm--it is the beat that commands a directly physical response.” That is why rock music is so incredibly popular. It literally feels good; it affects people on a sensual level. And let us be reminded that rock music is not defined by how fast the rhythm moves. Rock music comes in a wide variety of speeds, but the slow or soft rock of “Lazy Bones” is just as much rock music as the soft rock of many of the Beatles tunes.
Consider the following warning by Dr. H.T. Spence, president of Foundations Bible College & Seminary. Dr. Spence is a fundamentalist historian and teacher who has taught music, history, and theology for 25 years. He received part of his music training at Bob Jones University: “The simple, soft music of Patch the Pirate Goes in Space has mutated into an eclectic fashion of contemporary sounds in The Misterslippi River Race (the first of the recordings which caused much alarm from many Fundamentalists) ... the next recording in the series, The Calliope Capers, literally increased the eclectic approach to the music, with just about every song written in a different style of contemporary music” (Dr. H.T. Spence, Confronting Contemporary Christian Music, Foundations Bible College & Seminary, 1997, pp. 138,140).
Don Jasmin, editor of the Fundamentalist Digest, adds this warning: “The Fundamentalist Digest editor firmly believes that children who become ‘addicted’ to ‘Patch’s’ music could develop a light frivolous approach to Holy Scripture and sacred Biblical truth. This does not mean that he believes Bible truth must be presented in a boring and dull manner! He believes that the strategy of Bill Mason and the Children’s Bible Clubs in Greenville, SC, is vastly superior in both its Scriptural teaching approach and musical methodology to that of Ron Hamilton and the ‘Patch the Pirate’ clubs” (Don Jasmin, Fundamentalist Digest, May/June 2000, p. 21, P.O. Box 2322, Elkton, MD 21922. 410-392-4569).
REPLY TO MAJESTY MUSIC ABOUT MY ARTICLE
June 18, 2000 (David Cloud, Fundamental Baptist Information Service, P.O. Box 610368, Port Huron, MI 48061, 866-295-4143, email@example.com; for instructions about subscribing and unsubscribing or changing addresses, see the information paragraph at the end of the article) -
On June 14. I published an article titled “Be Careful about New Patch the Pirate Tapes.” It was a gentle warning in which I expressed my growing concern with some of the newer Patch tapes.
One of the subscribers to the Fundamental Baptist Information Service sent a copy of the article to Majesty Music, and the following reply was received from Mr. John Leupp, Manager of Operations:
"Customer Service" <firstname.lastname@example.org
Thu, 15 Jun 2000 15:53:01 -0500
Dear Mr. and Mrs. -----,
Thank you for alerting us to the comments David Cloud has posted on his web site. I am familiar with some of the statements Dr. Spence and Don Jasmin have made, but we have never made a public response to them. The basic charge that Majesty Music is moving in a contemporary direction is so obviously false that we have just let the truth speak for itself and ignored them. They are both Christian brothers, and we are willing to turn the other cheek as long as we can.
David Cloud is the first person we have ever heard object to Lazy Bones in the nearly five years since it was released. He has quite an imagination if Lazy Bones easily conjures up "unwholesome images as that of a saucy woman sauntering across a stage." All that is necessary is to listen to the song to know how silly this charge really is.
Majesty Music, under the leadership of men like Dr. Frank Garlock and Ron Hamilton, has always taken a stand for music that is pleasing to the Lord and against the worldly music, both secular and CCM, of our day. Dr. Garlock has not just been fighting the battle for Biblical standards in Christian music--he has been leading the fight from the beginning. We have never changed from that original position.
Thank you again for your letter and your concern. We appreciate your continued prayers.
On Eagle's Wings,
Manager of Operations
REPLY FROM BROTHER CLOUD
Hello, Mr. Leupp. I am sorry that my first personal communication with you cannot be made under more pleasant circumstances.
I am aware that one of the subscribers to my Fundamental Baptist Information Service forwarded to you the small critique I published about the direction of some of the newer Patch the Pirate tapes. Your reply was forwarded to me, and I want to answer you personally.
Please understand that I have supported and promoted Majesty Music as long as I can recall since I was saved in 1973 at age 23. I still do. Majesty Music is listed in the “Helpful Music Resources” report that I maintain at my web site. Majesty Music is also listed in the back of my 1999 book Contemporary Christian Music Under the Spotlight. I have also frequently recommended Majesty Music to the readers of my monthly magazine, O Timothy. I am sure Majesty Music has received many orders through my free advertising. I have also advertised Dr. Garlock’s excellent book Music in the Balance and have personally purchased and given away copies of it; and in fact, a few years ago I obtained from him permission to include that book in our electronic Fundamental Baptist CD-ROM Library.
I say all of that to help you understand that I am not some enemy taking cheap shots at a ministry for which I have no personal concern.
Further, I do know enough to write on the subject of Christian music. I have a multi-faceted background in music; I lived in the rock and roll culture as a hitch-hiking, drug-abusing, Hindu-meditating hippy; and I have published one of the most extensive reports of the errors of CCM in print.
I felt that your reply was condescending toward me in the extreme. I tried to present my observations in a careful, fair, and balanced manner. I don’t believe your reply was in the same spirit. You basically dismissed me out of hand. It reminded me of the letters I have received from New Evangelical leaders justifying their various philosophies and activities. They commonly take a condescending stance that they are above reproach because they are sincerely serving the Lord, that it is unspiritual and foolish even to critique them, that the one doing the critique is a nobody who obviously represents an extreme minority, and rarely do they reply directly to the charges in question.
In my report I tried to express a simple concern about the direction of some of the Patch the Pirate songs. I realize that many other people will disagree with my assessment, but I have every right and responsibility before God to make such critiques (1 Thess. 5:21, etc.) and to give warning when I believe it is due (2 Tim. 4:2).
I stated that it would be wise for Majesty Music to avoid things that are questionable, to draw the line of music in the very safest place, to refuse to introduce anything that even hints of worldliness. I repeat that challenge. The very fact that many godly men with a knowledge of music are concerned about some of the Patch songs proves my point. It is not merely Dr. Jasmin and Dr. Spence and I who have a problem with some of the newer Patch songs. I personally know many godly pastors and evangelists, many of whom have a background in music, who have the same concern; and I am sure Dr. Jasmin and Dr. Spence could say the same regarding their perspective spheres of influence (which are considerable). If you were indeed drawing the line at the very safest point, a large number of godly men would not be concerned.
Let me refresh your memory with exactly what I said in the article:
“Some will doubtless protest that I have no right to judge Majesty Music by my own opinion of what is or is not worldly, that they themselves see absolutely nothing wrong with the new Patch tapes. I readily admit that there is much that is subjective about music, and that it is sometimes difficult to nail down precisely what is and is not wholesome. This being the case, isn’t the wisest approach to avoid all appearance of evil, to be certain that we offend in nothing? Instead of taking this wise path of avoiding every semblance of worldliness and maintaining only the most unquestionable standard for music, though, Majesty Music is pushing the musical boundaries for the fundamentalist and Bible-believing Baptist churches that use the Patch tapes, subtly and gradually moving them into the CCM sphere” (D. Cloud, “Be Careful about New Patch the Pirate Tapes, June 14, 2000).
Is that a wild-eyed, silly, unreasonable challenge?
My concerns are very personal and began with my own family, Mr Leupp. I have four children. The oldest is a missionary. Two are still at home. The youngest, 16, is an adopted daughter who is educationally delayed. She operates on roughly a 10-year-old level. I have purchased several of the Patch tapes for her, and she loves them (though some of them we have had to reject). On one of my recent preaching trips I obtained the Mr. Zion Marathon tape for her from a church bookstore, and a few days ago I walked past her bedroom and heard “Lazy Bones” playing. She was singing along as she does with all the Patch songs. I couldn’t believe what I was hearing. I took the tape from her and played the song for my godly wife. She agreed with my concern. I then played the song for some godly, experienced pastors. They, too, shared my concern. It was this incident that motivated me to publish the article in question. Majesty Music is responsible for the influence of their music. If they are helping create an appetite for worldly music in the hearts of a generation of children, even in a minor way; if they are gradually moving the line of demarcation from worldly music, as I believe they are beginning to do, everyone concerned at Majesty Music will answer to God for it. One of the greatest problems among Bible-believing churches today is the phenomenon of gradualism. Worldliness and ecumenical philosophies and charismatic music and many other injurious things are gradually making inroads into fundamentalist churches. This makes the problem difficult to detect and even more difficult to correct. With all of my heart, I believe Majesty Music’s Patch the Pirate tapes are beginning to be on the problem side of gradualism in the area of music.
You might think that it is “silly” to say that the underlying music is fit for a nightclub, but I don’t believe there is anything silly about it. To my great shame, I lived a very wicked and worldly life before I was saved, and I know far too much about worldly music and wicked environments.
In your reply you spoke of “turning the other cheek.” You are confusing persecution with correction and reproof. Dr. Jasmin nor Dr. Spence nor I nor any other person who has expressed concern about some Majesty Music song has persecuted you or tried to injure you (or any one else at Majesty) in any way whatsoever. Godly reproof is a mark of Christian charity. It is one of the most difficult things to give, because it is so frequently misconstrued and so commonly despised. Many times, though, the Bible commands Christians to reprove one another when we perceive there are spiritual problems and to judge all things by the Word of God, and that is precisely what we are doing. Nothing more nor less. Again, your reply reminds me of the hundreds I have received from CCM supporters. Many of them, too, perceive correction and reproof as persecution.
I stand by the article. If I was wrong about Dr. Garlock not being directly connected with Majesty Music today, I will be glad to correct that if you will tell me what his current position is.
The Lord’s blessing and grace be with you and with those who make decisions at Majesty Music.
A concerned friend in Christ.
Director, Way of Life Literature
Note: I received no reply to my heartfelt and spiritually earnest communication with Majesty Music.
REPLIES FROM READERS ABOUT PATCH THE PIRATE TAPES
July 1, 2000 (David Cloud, Fundamental Baptist Information Service, P.O. Box 610368, Port Huron, MI 48061, 866-295-4143, email@example.com; for instructions about subscribing and unsubscribing or changing addresses, see the information paragraph at the end of the article)
Following are some of the replies I have received from readers about my article “Be Careful about Newer Patch the Pirate Tapes,” published June 14, 2000. The concluding reply is a challenge that was recently sent to Majesty Music by a missionary:
“We agree wholeheartedly with your analysis. We will not let our children listen to these new tapes anymore. I have seen my small children start to dance around in a sensual way with some of the upbeat songs in these new tapes. Unfortunately, many fundamentalists have put their trust in Ron Hamilton and think that anything he has produced must be safe for their children. Oh, how we need discernment in these days!”
“We have a lot of Patch the Pirate tapes and the majority of them are good. However, I have noticed a slight change as noted in your article. One of the newest tapes, there is a song entitled, ‘Banana Man’ The beginning of the song is almost identical to a Latin style rock song I have heard. I don’t know the name, but the tune is almost identical.”
“Your article and reply to Majesty Music is right on target. I appreciate the straightforward, yet kind spirit in which you wrote it. As an American missionary, it grieves me to see so many independent Baptist churches that stand strong on many doctrines in these last days, yet they seem to have a real ‘blind-spot’ when it comes to discerning the ‘gradualism’ of worldly music creeping into the churches. Our family is planning a short furlough to the U.S. next year, and I know music in the churches will be one area I have to warn my children about. Our family has enjoyed much of Majesty Music’s ministry. But I fully agree with your advice to use caution concerning some of the more recent Patch the Pirate tapes. The break-beat and rumba rhythms, though subtle, are found in several songs on the ‘Calliope Caper’ tape. Though these songs are very tame compared to CCM, they fuzzy the lines instead of taking the high ground. Thank you for your warnings.”
“Your article about the new Patch tapes are exactly right. I play the guitar some, the piano some, and have had many hours in singing training. My wife has a master’s degree in music from Hyles/Anderson College, and we have both noticed the change in their music. One of my good friends went to the Peabody conservatory of music and was the youngest member of the Cincinnati Symphony Orchestra. Frank Zappa was one of his teachers there, and he has the best music training of anyone I have ever been around. He met with Ron Hamilton a few weeks ago concerning music, and he said he is using a lot of secular people to do his work and Bro. Carson said his music has slipped a lot.”
“I have a very strong position that is in opposition to ‘Patch’, but for reasons not mentioned in your article. ‘Patch’ is based on Non-Reality. This is a very dangerous foundation upon which to ‘minister’ to young people. Bible-believing Christianity is REAL, not fantasy as presented by ‘Patch’. Nowhere in the Bible do you find Bible truth presented in fantasy form. This false method of ‘evangelism’ or ‘teaching’ leads young people into a fantasy world, not into the reality of true Christianity. To add to this error, the hero ‘Patch’ is a pirate. I can find no pirate in all of history that is good. Is this calling ‘good’ ‘evil’? This type of ‘ministry’ is a bane on the church. Dobson does the same thing with his ‘Odyssey’ program. I would like to see someone research this and present it through your medium. I deeply appreciate your ministry. God bless you, my dear Brother.”
“I have to say that I do agree on your stand of erring on the side of caution -- and avoiding even the ‘appearance’ of evil. When it becomes difficult to tell where the line is then you have gotten too close -- and once being too close it is too easy to fuzz the lines and cross over too many times and get too comfortable in those ‘gray’ areas. I guess we seem to forget that we are in a war against Satan constantly. Music is very powerful. I use to be a professional rock ‘n roll musician. I am too aware of the pull/power of it. I will continue to pray for you and our brother and sisters on this issue. Keep up the good work, it is not going unnoticed.”
“Dear Majesty Music Staff,
“I want to take a moment to thank you for the wealth of edifying, uplifting, Christ-honoring that Majesty Music has produced over the years. We are independent Baptist missionaries, and your music has been a blessing to our family here on the mission field. We recently purchased some vocal and instrumental tapes/CDs, and are enjoying them very much.
“I do have a request, though, that I wish you would prayerfully consider. I have been concerned with the gradual change in music standards in the Patch the Pirate tapes. It seems that in recent years, more and more contemporary rhythms and styles have crept into the music. The early Patch the Pirate tapes had music that was clearly distinct from the world’s kind of music. But it seems that some of the music is changing to a more modern sound.
“For example, on the Misterslippi River Race, the song ‘Big Toe’, bears a close resemblance to the secular tune of years ago, ‘Big John’, sung by Jimmy Dean. Mild by comparison to today’s CCM, but nevertheless, moving in a direction more resembling the world’s music.
“On the Calliope Caper, the song ‘Hippocritter’ has a definite rumba rhythm in the verse. Even the innocent ‘I Want to Marry Daddy’ song has a subtle 8-to-the-bar boogie-woogie rhythm on the second verse.
“These things are not blatant, glaring shifts in music style; rather they are a very gradual slide toward a more modern sound. I am the first to admit that I could never create ONE good children’s tape of the high quality and caliber of the Patch the Pirate tapes and I praise God for the prolific music writing of the Garlocks and Hamiltons. I love so many of their songs. But I am concerned that in these last days Christians are being lulled to sleep and are unaware of the subtle and gradual ways Satan is slithering into Christian homes and churches, so slowly that it often goes unnoticed until we look back and realize how far we’ve drifted from our original position. Please don’t use the world’s ungodly, sensual rhythms and styles, no matter how ‘tamed down’, when producing music to exalt Christ. Skilled musicians like the Garlocks and Hamiltons know that certain rhythms (break beat, back beat, boogie, etc.) elicit a physical response in the body. I pray they will be cautious to steer clear of these in their future productions, as well as take steps to return to their original music standards.
“Again, I praise God for the overwhelming majority of good, godly music produced by Majesty Music, but we all know that a little leaven leaveneth the whole lump, and it is the little foxes that spoil the vines.
“There are, it may be, so many kinds of voices in the world, and none of them is without signification” (1 Cor. 14:10).
“Abstain from all appearance of evil’ (1 Thess. 5:22).”
ANOTHER WARNING ABOUT PATCH PIRATE MUSIC
September 26, 2000 (Fundamental Baptist Information Service, P.O. Box 610368, Port Huron, MI 48061, 866-295-4143, firstname.lastname@example.org; for instructions about subscribing and unsubscribing or changing addresses, see the information paragraph at the end of the article)
The following word of caution about some of the Patch the Pirate music is from Alan Ives, Director of Concord & Harmony (Oshkosh, Wisconsin). Brother Ives is a man of God and a Christian musician. He and his wife, Ellen, have produced some excellent music albums for God’s people. Alan knows music. He is trained both in secular and Christian styles. Before conversion he played in a rock and roll band. The Ives spend most of their time traveling to churches, preaching the Word of God and ministering in music. They are based out of Wyldewood Baptist Church.
I realize that in publishing this mild warning, Brother Ives and I will be branded as unloving, nit-picking, divisive, etc., etc., etc. That was the response from many who should know better when I published “Be Careful about New Patch the Pirate Tapes” on June 14, 2000. I have freely advertised Majesty Music albums for years and continue to do so; I appreciate all that Ron Hamilton and Frank Garlock have done to promote wholesome Christian music. But when I issued a mild warning about what I perceive to be a worldly direction in some of their music, I was treated like some sort of nutcase. Some charged me with the often used but never defined accusation of “shooting our own wounded.” I was criticized for not “following Matthew 18,” when in reality Matthew 18 has nothing to do with analyzing published material, which is all that I am doing when I critique Patch the Pirate tapes. If someone publishes material that influences large numbers of people, he should expect to be critiqued publicly.
When I did try to communicate with Majesty Music and Ron Hamilton, I was completely ignored.
Be that as it will, I intend to continue to lift my voice in warning when I see the world creeping into Christian music. I believe this is a battle worth fighting.
The following is Alan Ives’ critique:
Dear Bro. Cloud:
I have before me most of Ron Hamilton’s children’s tapes. I am not so sure that he is slipping away, but rather that he has never held the same “position” we have. I hesitate to say anything, and have not said much at the churches, except that I do not recommend every song he has put on tape. We have had his tapes on our table for sale. Our children listened to most of the “Patch” tapes. He has covered important character traits, with great imagination, much variety, and quite a bit of pirated plagiarism. I could not dream up or produce such a grand volume of children’s material. Because we make tapes as well, I could look like a jealous musician. That is not the case, but we have kept guidelines for ourselves to assure that our music does not drift back to my childhood 50’s and 60’s styles (or earlier.) These are my observations on Brother Hamilton’s work, which we took note of, just to remember not to do the same. He has always made use of a light “shuffle,” where the 8th notes are uneven, played as a quarter-note, eighth-note triplet throughout the piece. And he has used Caribbean/Latin-American dance rhythms, always in an unobtrusive manner, but still “dance.”
1985 - Kidnapped On I-Land: “Will U. Waite” is a very mild “soft shoe.” “Do It Now” is calypso-style on the chorus, syncopated like a song from the Caribbean Islands.
1986 - The Great American Time Machine: “The Gratitude Attitude” has mild syncopation in the melody. “The Sunday School Song” is another “soft shoe.” In “Good Old-Fashioned Work” it isn’t the actual music, but the vaudevillian feeling they give it with a honky-tonk introduction, not to mention making Thomas Edison sound rather dull and stupid.
1987 - Misterslippi River Race: “Ballad of Big Toe” of course, is a take-off from three 60’s songs-- “Alley-Oop,” “The Monster Mash,” and “Big, Bad John.”
1988 - The Calliope Caper: Both “He Gives Me Joy” and “Peace Be Still” employ bass beats on the “and” of “2” and the “and” of “4”---60’s rock technique---and mild syncopation in the vocal of “Peace...” “I Want To Marry Daddy” and “Skin” use the boogie-woogie rhythm like the old song so many children play on the piano, “Heart and Soul,” which is definitely an immoral song. (I have the lyrics.) “Hippo Critter” is more calypso. “Great and Marvelous,” which song I like, nevertheless has the title words syncopated. I don’t believe all syncopation is wrong, but it sure leads to more bodily emphasis. Literally taken, and stretched to its conclusion if it could be so, “I Want To Marry Daddy” becomes an incestuous wish, though I am sure nothing like that was meant. The old song portraying the same idea was “I want a girl just like the girl that married dear, old Dad.” The old song said it right-- “like the girl.” Word choices do matter.
1989 - Camp Kookawacka Woods: “Clean It Up” is a Latin-American/Spanish rhumba. “Great and Mighty” - mild syncopation, on the title words again. “The Peanut Butter Song” uses that “ba-boom” bass rhythm, playing on the first and third beats, but adding the “and” of “2” & “4” before each of the aforementioned beats. Very mild swing, but swing it is, same as the boogie.
1990 - The Custards’ Last Stand: “Chocolate Fever” is more boogie-woogie, done ever so lightly and cheerfully. “Yours Forever” has a funny line: “then you taught me how to fly” --- you figure it out!?!?
1991 - The Friendship Mutiny: “Walk With The Wise” has syncopation, more than usual for his songs, with a definite 50’s feel (chord progressions the same, too.) “Friendship” - soft shoe. “It’s Me” - the “Heart and Soul” style always makes the piece entertainment instead of ministry.
1992 - Once Upon A Starry Knight: “Tickle Bug” - (?) feel-good. “Happiness Came Looking For Me” -- The “Heart and Soul” boogie-woogie is a feel-good rhythm, but it is carnal.
1993 - Down Under: The only problem I found here was “Turn Them Into Friends” ---same old “Heart and Soul” boogie.
There are tremendous songs of great value that have come from Ron Hamilton’s pen, and who could know the good it already has done, and will do in the future. But even the song, “O Rejoice In The Lord” was “stolen” from the folk-rock ballad “Today.” Both in melody and chord structure it is embarrassingly close to that song.
I can remember a day when ten-year-old boys and girls sang “Then I Met Jesus’“ and “Under His Wings” at junior camps. Today, it’s “Wiggle Worm” and “Little By Little.” One item not to forget is that though many of the children’s songs teach Christian character, that is not the same as praising the Lord, where our song addresses the Lord, or is a prayer, or tells others of the Lord Jesus. We have moved to the left some over the years.
Whatever you might do with these comments is O. K. with me, and you may put my name to them, if there is cause for that. We have taught the same principles over the years and have never named “Patch the Pirate” unless someone specifically asked. My comment always went to state that he is a pirate in his borrowing of tunes and voices, and that some of his songs employed mild syncopation, boogie, and rhumba/calypso/Latin-American dance rhythms. I have appreciated his good songs very much. I am not being picky, but discriminating; no malice or slander, just a categorizing of some rhythms. There are worse offenders all around; your e-mail prompted my comments.
In Jesus’ Love,
Bro. Alan J. Ives
July 18, 2000
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