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If a man is judged by the company he keeps, before breaking the seal on Songs One Through Six, we can probably surmise that Mason's work is substantive. Besides Mason, members of the Square Peg Alliance include: Katy Bowser, Jeremy Casella, Billy Cerveny, Randall Goodgame, Andy Gullahorn and wife Jill Phillips, Matthew Perryman Jones, Sandra McCracken and husband Derek Webb, Andrew Osenga, Eric Peters, and Andrew Peterson. 

Despite sharing acoustic roots and the sometimes cursed singer/songwriter label, The Square Pegs respective styles are diverse in terms of musical execution. These are artists that cling to creativity and originality with the passion of a long good-bye. It’s a confederation of artists who have hard earned reputations for crafting insightful, thoughtful lyrics which resonate profoundly, like secret, but well-worn trails. And despite a name that is short on instant credibility such as Derek Webb or Andrew Peterson, Chris Mason makes it obvious that he belongs with such an esteemed group, with his latest effort--the plain label Songs One Through Six. 

Whether by design or serendipity, Songs One Through Six provide us with a concept project that is remarkably linear. The first three songs illustrate the evolution of a terrestrial relationship. Meanwhile, the second three songs describe similar steps in a relationship with God; early tentative overtures fraught with fear, the warm healing that love brings, and in the end--full submission--because there is no other choice. 

Mason’s voice is a fine instrument. Vaguely reminiscent of co-producer Andrew Osenga’s plaintive moan, it’s a relaxed, controlled voice, yet intimately expressive. With such eloquent vocalization, a singer/songwriter might still communicate effectively with marginal lyrics. Even so, fusing Mason’s better than average lyrics with such affective utterance, we receive a vivid, comprehensive rendering.

Notwithstanding its lyrical eloquence, Mason’s pen is still gathering the seasoning that will eventually prevent the occasional poetic accommodation; those incidents when a word or phrase is settled upon as acceptable, when more time and reflection might have launched an unforgettable lyrical rocket. 

Songs One Through Six, despite containing cuts which vary in style, convey a consistent musical pattern from beginning to end. It’s a laid-back instrumental tone, slightly reminiscent of the 80s and early 90s alt-country movement, featuring the likes of Rodney Crowell, Rosanne Cash, and Emmylou Harris--though delivered with less urgency and attitude. It’s a mysterious, western vibe, prompting the listener to keep his six-shooter in range, warily looking ahead and around each corner. Andrew Osenga’s contribution on the bass is pivotal in supporting this presence, particularly on “The Waiting.”

The best song by a good margin is, “Reaching Out.” It resonates with intensity--unveiling intimate truth with such electric candor, that one is startled upon hearing such personal reflections wafting through the speakers. The song is written with such deep compassion and knowing empathy, that it provides comfort and healing to this listener. It’s this kind of writing that fuses an instant connection between singer/songwriter types and their listeners, facilitating a lasting bond, analogous to kinship. 

The song profiles a person overwhelmed by the shame of his own mistakes/sin. Divine perspective installs better vision; so much so that an emerging believer sometimes revisits personal sin that he knows intellectually, have been forgotten and forgiven. Instinctively, we understand that God’s forgiveness is perfect, while ours is unfocused and on its best day--a mere reflection. Truly, it’s easier to accept divine forgiveness than it is to muster forgiveness in ourselves.

    Our hearts long for healing our senses cannot find.

Eventually, Mason trades poetry for passion as even the words of a songsmith become inadequate for expressing the utter depth of pain, like the pitiful pangs Peter might have felt with his third denial. Congruently, Mason cuts loose with nothing short of three, “Ohhhhs,” which seem to represent anger, shame, but most importantly--surrender.

A special purple ribbon goes to Mason for the amazing hymn “Precious Lord, Thy Mercy Come.” Before I realized each song on this collection was written by Mason, I did a Google search to find out who wrote it; Isaac Watts, Charles Wesley, or maybe Fanny Crosby? Nope. Chris Mason.

Cason Cooley and Andrew Osenga deserve special mention for steering this project and for their hands-on musical service. Each song was given what it needed; never more. That kind of restraint is admirable when it would seem tempting to bring everything into the studio but the kitchen sink. The ubiquitous Paul Eckberg lends his considerable talents to “Second Chance.” 

I put in my order for “The Special of the Day” in one of my favorite restaurants. It was an easy choice. I’ve sampled almost everything on the menu and it’s all good. Still, I was pleasantly surprised by the subtle nuance and purity of the flavors of the dish I chose. Without hesitation, should you ever be in the neighborhood, I recommend my favorite restaurant.  And don’t forget to ask for “The Special of the Day.” 

Curt McLey 7/23/2006