(Adapted from an interview with Tony Cummings, Editor of Cross Rhythms Radio and Magazine in 2012)
Wayne Drain was born in 1952 in a small town in the foothills of the majestic Ozark Mountains located in a bend of the Arkansas River aptly called Ozark, Arkansas. Wayne has Scottish and Cherokee blood in his veins. His father owned a small truck company. Said Wayne, "We were pretty poor, but I didn't know that. I had a great Mom and Dad that loved each other and she loved the Lord. Mom was a Christian. My whole family was quite musical. Two of my distant relatives were country singers on the Grand Old Opry. I don't know if you've ever heard the names Jean Shepard and her husband 'Cowboy Copas' (stage name). They were distant relatives of my family who became quite well known. My dad's sister, Aunt Marie, was a talented singer who seemed to be on her way to the Grand Old Opry. She chose to get married and become a homemaker instead. My brother Kenny has been a songwriter in Nashville. My family always had this desire for some of us to be involved in music".
There were only two kinds of music to us, country and western. . . I have three brothers who are all younger than me. They’re all musical: drummers, guitar players. At our family gatherings after dinner we would all gather round and my grandpa would take out his banjo and one uncle would play a mandolin, another uncle played guitar. It seemed whoever showed up would join in on an instrument or on vocals. That's what we'd do all afternoon. I'd sit and watch. So it was quite musical, growing up. I had a good childhood, I played sports and I was all about wanting to be a baseball player until an Ed Sullivan show: I'm walking through the house and the Beatles come on and I think 'that's it - that's what I want to do right there.'"
With some high school buddies Wayne formed a band, the Stingrays. Like the British beat groups they copied, The Stingrays' repertoire was dominated by twangy guitar renditions of black R&B standards. The Stingrays with 14 year old Wayne singing lead played around their immediate area and even got to make a record, cutting a rudimentary version of Eddie Floyd's R&B hit "Knock On Wood". Wayne laughingly commented, "It was a hit in our town: of course I was in charge of the Top 10 radio countdown every day, so I'm sure there was a little bit of help there."
With styles of rock changing The Stingrays evolved by 1968 into The High Tide. Continued Wayne, "I remember thinking, 'I've got a better chance of making it at music than I do at sports', although I had an athletic scholarship offer later on. And so as I went along music became much, much more important to me and we got a lot of immediate feedback, which is good for teenagers. And you got the girls. I mean that was always an exciting by-product of being a musician."
Wayne recounted how he became a Christian. "I was raised in a very fundamental Pentecostal church, and it was a church that believed there was no assurance of your salvation unless you spoke in tongues. I could never seem to do that. I tried from the time I was five, and I finally gave up. I just thought it was not going to happen. So actually I went to church to please my parents until I was about 14. At that point I rebelled and just thought, 'Well if I'm not going to get to Heaven I might as well live the other way.' And that's sort of what I did for a while. But then there was a sweeping move of the Spirit going across our country when I was a senior in high school. I went to a Methodist Church that had just hosted a lay-witness mission with a bunch of my friends. We started getting together and just talking about 'is the Bible real, is Jesus real.' So I started getting interested again, but very cautious.
"When I was a freshman in college I went to a beer bust for a fraternity. That’s where a bunch of guys get together to pledge a fraternity and start drinking a whole lot of beer. Then they either start getting into fights or talking about their Moms or something. This one guy came in but didn't bring any beer, he brought some milk: a gallon of milk! I thought, 'What is this about?' He was the president of the student body of the university I was going to. He would later become my big brother in the fraternity. He started trying to witness to me that night. I saw it coming a mile away and I said, 'I've done all that, I've tried all that, it won't work for me'. He heard my story and he then said something very profound. He said, 'You don't have to speak in tongues to be saved.' No one had ever said that to me. And so two days later I knelt beside my bed and I said, 'Lord, if you're real, show me.' I had a real experience with the Lord that I'll never forget."
The High Tide band didn't last beyond high school. Explained Wayne, "The members graduated and went to different universities. I was exploring my faith when I went to a university about 75 miles away from my home. At university I joined another band called “Friend.” My faith didn’t seemed to be growing in the environment I was in. I tried out for another band at Arkansas Tech University 45 miles away. (It helped that my girlfriend June was there!) The new band was called Summerfield. That band was sort of a soul\jazz\Southern rock band. It was the era of horn bands like Chicago, Blood, Sweat and Tears, and Southern Rock bands like The Allman Brothers. We had a great horn section. I got the job being their lead singer when I was 18. We travelled around southern parts of the United States, and colleges. It was a really good band and we were beginning to write some songs. Everything looked like it was going to be a successful venture. Some money people showed interest in doing an album with us. Then one night we were playing a gig at a bar in Fort Smith, Arkansas, and I was looking around, looking at the people in my little entourage. They were people that I did not want to be around anymore. One was practicing witchcraft. Somebody else was a heavily into drugs and I thought, 'I don't know if this is what I want to do'.
"So I'm having these questions as I'm driving home that night. A conversation starts happening in my head. It went, 'This is going to be good, you're about to get everything you ever wanted, you know, the money, the girls, the music, the albums, all that stuff', and I'm going, 'Yeah, and I’m starting to get up for it again'. Then that voice went a little too far. It said, 'But you'll have to forget this Jesus stuff.' I kind of knew that probably was not God. . . I pulled the van over and I just stood beside the road on that stretch of highway and I said, 'Lord, show me what to do'. Then the Lord spoke to me. He said, 'Trust me and follow me.' Two weeks later we played the last gig that we had on the current contract. I quit the band. Within a few weeks the Jesus Movement hit the university in full swing."
The revival amongst tens of thousands of American young people known as the Jesus Movement had begun in California but was making a profound impact across many American states. Wayne, who had recently married his sweetheart June, was swept along by the exciting move of the Holy Spirit. "There was the revival happening out in Kentucky. There were some things going on up in Chicago. The Jesus Movement was all up and down the West Coast. Everyone wants to take credit of where it started. But these kids were very nomadic. Everyone was hitch-hiking everywhere and going from festival to festival. So these kids that got saved started going to colleges and high schools all over the nation. They just spread out near and far. We had a group of kids get involved with Campus Crusade when they came to our town and started witnessing on campus, playing their guitars. We started gathering together to hear what they had to say and a revival swept across our campus: college professors getting, students, jocks, band people, military people, everyone seemed to be getting saved. It was just a wave of the Spirit going across the nation."
Wayne continued, "I didn't have a church at the time, I was just going to school. What happened is a group of students that got saved. We began meeting every day at noon and on Thursday nights, because we wanted the weekends free to go and share testimonies in different churches. One Thursday night there were several hundred kids who came along. Then a TV truck with cameras showed up from Little Rock to do an exposé on us - they were tracking the Jesus Movement. And then a state newspaper did an article writing: 'There's a new Bible School in Arkansas, it's Arkansas Tech University'. When this hit the television & newspaper kids started hitch-hiking from literally all over the state to our meetings on Thursday nights. A lot of high school kids made decisions to come to Arkansas Tech University because of what was happening. People were getting healed and saved and things like that.
"After the initial campus outpouring, My wife and I became the de facto leaders because we had a house, that's all I can figure, and we grew out of that. We named ourselves Fellowship Of Christians. I knew if we went to a Baptist church the Assembly Of God kids wouldn't come; if we went to a Methodist church the Baptist kids wouldn't come; and we had all stripes of backgrounds including atheists, agnostics, Buddhists being saved. I saw in the Scripture where it said they were called Christians at Antioch and I thought 'Why don't we just do that? Why don't we just be Christians?' So our real name is A Fellowship Of Christians, but through the years it's become Fellowship Of Christians."
Wayne began to write songs about his faith and was singing them in coffee houses and high schools in the area. He met other Jesus Movement musicians like Russ Taff and the Sounds Of Joy, the 2nd Chapter Of Acts, Phil Keaggy and Paul Clark. Wayne recalled the era with warmth. "We would share testimonies and sing about Jesus and what He had done for us. We often seemed to have 12 out of tune guitars, but we'd play like our lives depended on it. Someone would give a testimony, 'I got saved today', or, 'I got rid of drugs today', or whatever. I seemed to emerge somehow as a leader. As I said, maybe it was because we had a home and people could come and could talk longer than just at a meeting. I was kind of high-profile on campus because I was singing in one of the best rock bands in the area. My wife was a majorette with the university band. The band director, Gene Witherspoon took a liking to me and asked me to sing 'Vehicle' by the Ides Of March backed by his 300 piece band. He helped me get the stadium so we could start having concerts and meetings in around campus. So many kids began coming! We would set up on a flatbed truck and play our Jesus music. I think, for whatever reason, people knew me: it might have been that my name was so funny - Wayne Drain - I don't know. And the other thing is June and I were the only married couple and had a home near the campus. So people had a place to come to. I remember waking up some mornings and I'd have no idea who these people were sleeping on my floor. It was a crazy time."
By the late '70s Wayne's ministry was developing. He was particularly influenced by the music and ministry of Keith Green, Andre’ Crouch and the Beatles. He recounted, "We were all starting to realize that there was something beyond contemporary Christian music. There was something more. There was a special moment one night when Keith Green would just begin to sing beyond the lyrics, something coming out of his heart; or he would play and create a mood and then someone would get up and say, 'When he was playing I felt this', and I thought, 'That's what I want to do'. Then in 1979 I was invited to England for the first time and I went down to a thing that church leader John Noble was doing with Gerald Coates, John Menlove, Graham Perrins and Dave Bilbrough, people like that. All I'd seen so far was Jesus music, contemporary Christian music or church choirs.
"When I came over to the UK, everyone was talking about worship, singing directly to God not just about God. I remember walking in a room and seeing grown men worshipping with all their heart and I thought, 'This is what I want, this is what I was made for'. So I started writing some songs that were more for our church to sing. We did a little cassette called 'Praises From The South'. It was not very good—just a little backroom thing we made. But the little album had wings and people started making copies of it, much like they do today. We started getting invitations to surrounding states then Australia, New Zealand, England and Canada."
Without realizing what was happening, Wayne was being caught up in the early years of what was to be the modern worship movement. He explained, "Folks got that little cassette tape and would find my address and say, 'We want this music, can you come?', or I'd be at a conference or a festival. I used to lead worship in Lindale, Texas for a lot of the Jesus Go Fests."
In 1980 Wayne recorded a new worship album, 'Second Wind'. That album contained the first recording of a song which decades on is still sung in numerous churches, "Showers Of Blessing". 'Second Wind' came to the attention of Britain's Kingsway Music. Remembered Wayne, "They wanted to release the cassette. John Noble was going to do something with Rainbow Music, and the head of Kingsway was actually in his church then. But they said, 'You've got to change the title. You don't say 'wind' and get away with it very easily in Britain - change it to "Staying Power"'. And so they did a new cover, and that was I think the first bona fide cassette that was released in Britain."
In 1981 Wayne recorded another cassette album, 'Speak A Fresh Word'. Remembered the singer/songwriter, "That was probably the best one we did on our own. We recorded that in Dallas, paying for it ourselves. It was from that cassette Dave and Dale Garratt recorded four of the songs." Along with Calvary Chapel's Maranatha! Music, New Zealand's husband and wife team David and Dale Garratt were the first parties to establish a series of modern worship albums and songbooks. By the late '70s the Garratts' Scripture In Song releases were being distributed in Christian bookshops around the world. Wayne explained how he met up with David Garratt. "I went to an Easter conference in New Zealand where I met Noel Richards for the first time. I had a song I had written called 'My Feet Break Forth And Dance.' One night we sang it for like 45 minutes and folks just wouldn't stop. David Garratt was at that meeting and he was crawling across the floor towards his wife - I didn't know what he was doing - and he was saying to her 'We have to do this song, we have to do this song.' So he met up with me afterwards and we ended up writing for Scripture In Song. The Garratts recorded some of my songs on an album called 'A Sound Of Joy'."
By the early '80s Wayne was regularly visiting Britain. There he connected with a radical fellowship in Cardiff, the Springwood Church. The Springwood musicians were a worship team whose improvisational prophetic worship was in many ways to pioneer the use of spontaneous worship which has become part and parcel of the modern worship movement. Wayne has vivid memories of ministering with the Springwood musicians. "One night we were at a meeting in Bristol, where I was leading worship, and something started happening with the men. I started singing this chorus, 'We don't need to be wimps, we need to see ourselves as Christians, not as losers but as winners', and I started singing 'We're gonna win' - that was the chorus. These men just started going around, their fists in the air, little boys were getting lifted up onto their dad's shoulders, they were marching around like a group of bull elephants, and we were singing 'We're gonna win', and that went on for ever. I went home and wrote the rest of that song with my brother Kenny and a friend, Tim Green. That song became the title cut of the album 'We're Gonna Win'. Fletch Wiley was producing and arranging a lot of songs for the Garratts at the time. When we recorded it, Fletch helped out along with Jerry McPherson - guitarist that played with Amy Grant for a number of years. We had some really good musicians on that one."
Wayne looks back on his years with Scripture In Song with a mixture of affection and amusement. "They had a little stable of writers that were friends, like Ramon Pink who wrote 'We Place You In The Highest Place', Bob Fitts who went on to be with Integrity and wrote a number of songs, myself and a few others. The Garratts really were helpful in developing our songwriting. David was ruthless. He had certain rules: 'No minor sevenths, under no circumstances do I want a minor seventh. Bob Fitts wrote this great song 'Blessed Be The Lord God Almighty' that started off with a minor seventh. So David changed his mind!"
Why was David Garratt opposed to minor sevenths? "It could have been an integrity thing, because he was always harping on 'We don't want to manipulate emotions with music, we want to draw people to the Lord honestly.' There are certain chords you can hit that will evoke certain emotions, and he wanted to be pure. I remember him saying over and over, 'If God does something, let's let God do something, let's not manipulate it.' So it could have been that. I think he thought those kind of chords. . . I know he thought the minor chords for a lot of the Jewish music was boring and made him sad, so he didn't like a lot of minors. And he thought that the minor sevenths and the minor ninths just created this sort of melancholy mood that he thought was more man-centred. I think he's moved on from that since. 'Blessed Be The Lord God Almighty' became a pretty big hit."
Although he was very reluctant to take up the role, Wayne eventually became a leader of the Fellowship Of Christians. He admitted, "I kept waiting for a real leader to come in, I was just holding things together until the real leader came. I was a business and economics major in college and I just thought I'd be a businessman after the music thing ran its course. Then I got a degree in elementary education, stayed a little bit longer at university because we didn't know what we were doing yet. So I thought, 'Well I'll get another degree and stay another couple of years' so I did that. By that time, I just deeply cared for the folks at the church. I'd led a lot of them to the Lord and walked with a lot of them through tough things. For the first time in my life I cared for someone other than myself. I had a real love for them.
"Then I went to a meeting at Little Rock and this guy prophesied over me, about the two things I'm doing to this day - 'You'll pastor a great church and you'll prophesy to the nations'. Something shifted in the core of me and I thought, 'That's who I am. I'll lead this church and I'll prophesy to the nations.' And that's what I've done all these years. I've been in the same church all these years and I'm their senior pastor. We're in some kind of transition right now and it's time for me to do some other things for the next few years. Basically about two months out of the year I'll be away in another part of the world doing something on the prophetic side. Music has always been a part of it, worship has always been a part but now, a lot more, I'm excited about raising up younger men and women to do what God's called them to do."
With his role as a church leader touring and recording decreased. Also, family commitments took their toll. He explained, "We started having children and that yanked a knot in my tail for a couple of years. I had to figure out how to do that. I was really focused on the church. The festivals were starting to change and starting to dry up a bit. It was more about the local church. The Fort Lauderdale guys came on the scene and it was all about the local church and when I came to England it was all about the house church. So my focus shifted from recorded music and concerts to just leading worship at my church or at conferences. It was kind of the era of the conference, so I led worship for Bob Mumford and Derek Prince and some of those guys. I did some things with Graham Perrins and the Springwood musicians - but I didn't record much during that time. My philosophy was, when I have the songs, God will give me a way to record them. But I put songwriting on a back burner for a while."
Suddenly in 1994 things came off the back burner. He recounted, "I was flying to New Zealand and I was burnt out. I was thinking, 'I don't want to do this anymore. I want to get a real job and just get up in the morning and go to work and come home and forget about it.' I was flying to New Zealand to do this Nations conference with Scripture In Song. I met a guy there that I hadn't met before named, Kevin Prosch. When he got up and led worship that night and it was another one of those moments. He and I were on the stage together with a bunch of other friends when Kevin started singing prophetically over the congregation, especially over Australia. It just made chills go up my spine. I said, 'Lord, what is this,' and he said, 'This is what I'm doing now.' So I said, 'Do you have something you want me to say?' and he said, 'I want you to go to specific nations and say, "The time is now".' I said, 'The time is now for what?' and he said, 'You just go and say, "The time is now".'
"Within my quiver of arrows I had music or preaching, and so I wrote the song 'The Time Is Now'. Some other songs came and I put that album together very quickly. My younger brother produced it. It wasn't a great recording, but I believed in some of the songs. I ended up going to four nations. Then in '94 I'm over in England, watching proper little English guys pogo around the room and laugh and laugh and laugh. My wife calls me from home about that time and says, 'Something's happening here. Two of the elders went up to talk today and they fell on the stairs and began laughing.' I said, 'Well June, this may not be the Devil, the same thing's happening here'. Then I realized, 'Oh, this is what's happening. The time is now, the time is now for a refreshing'. I didn't know what it was until that moment but those seminal things happen. I got to see what God was doing with Kevin and then he and I did some concerts together in Hawaii and different places. We found a real kindred spirit: both southern boys and both from similar backgrounds. It was all about the prophetic inspiring the music and the music carrying the prophetic. So I became all about that. That's where the album 'The Time Is Now' came from."
The Toronto blessing, as the time of refreshing came to be called, gradually ebbed away but there were still plenty of significant times of ministry ahead for Wayne. One was in 1996 when Kingsway Music were to release a various artists album which contained one of Drain's most influential recordings. The ancient Irish hymn "Be Thou My Vision" with its English translated words by Mary Elizabeth Byrne and verses by Eleanor Hull had long been a hymnbook favourite. But it took Wayne Drain's arrangement with its thudding bodhran rhythm which took the song into modern worship circles across the globe. Wayne explained how his recasting of "Be Thou My Vision" came to be featured on 'Worship Together Live 2: Sweet Rain'. "I'd been with a friend, Phil Keaggy, in America. On a lot of his concerts he would do a hymn. I didn't come up in a background with hymns, so much, so it was kind of a new world for me.
"Then I found 'Be Thou My Vision', but I didn't like it in 3/4 so I thought, 'What would it be like in 4/4 and could we blend ancient and modern?' Around this time Les Moir (Kingsway Music executive) started talking to me about the 'Worship Together Live 2' album. I said, 'I wonder if we could put decks together with ancient Irish instruments'. He got excited about that and said, 'We need to do this. There is a church down in Bognor Regis called Revelation Church that's experimenting with a lot of stuff. Let's go down there'. So we went down and featured Nick Haigh, a champion Irish fiddle player to also play the bodhran. They found a little hotel down there which had pretty good acoustics. We invited a bunch of friends in and that's where we recorded. Kingsway had the recording studio set up in the back room. Had some great musicians that night."
Wayne Drain’s rendition of "Be Thou My Vision" turned out to be one of his most popular songs getting regular rotation on the radio playlists in Britain and Europe eventually becoming #1 in Europe. Wayne was asked to participate in the Champion Of The World worship concert at Wembley Stadium in 1997. Wayne has vivid memories of that historic event. "Part of me was thinking, 'What am I doing here?' I'm about to go on up from underneath the stage and I'm hearing 45,000 people and I'm a little panicky to be honest. Then Nathan, this young guy from my church who was with me, put his hands on my shoulder like he was the dad and said, 'You were born for this' and I go out there like 'Yes I was'. I've never felt another tinge of nervousness. We played a couple of songs and I remember it was one of the most magical days. I mean together with Delirious? Matt Redman and Noel Richards: it was just one of those days that everything came together and egos were checked at the door. It was a really good day! It was a highlight for me, it sure was."
In 1998 Kingsway released Wayne's 'Come Away'. The prophet/songwriter spoke about the project. "I wrote that song during a kind of a stressful period and the Lord spoke into my heart and said, 'You need to come apart before you come apart'. Then I looked in the Scripture where he called his disciples away from time to time. So I went on a spiritual retreat and just tried to reassess things as I do occasionally. I wrote that song 'Come Away', and some other songs came. The idea for 'Sweet Rain' came when I was laying on my face on a carpet in a church and there was a spirit of repentance there. So I'd written 'Come Away' and 'Sweet Rain' and some of those songs and went to Les and said, 'I think I've got enough songs for half an album, maybe'. We mixed those songs with the live songs from ‘Worship Together Live 2’. “That's how 'Come Away' came into being. One of the nicest things I heard about that album was from a school teacher in England. She played 'Sweet Rain' every year to her students and every year some kids got saved when they heard it. She played the song to tell them about salvation and she did it for like 10 years and wrote me a letter about it."
In 2001 The Hudson Taylors were formed. Wayne spoke about how the renowned acoustic trio of singer/songwriters first emerged. "We were at a conference where Noel Richards and I were to lead worship. Just as we were leaving for the conference we learned that we had lost our guitarist due to a scheduling conflict. Noel invited Brian Houston to come over from Ireland. But we all got there late and didn't have time to rehearse. We were going to have a full band and Brian was going to play electric. We said, 'We don't have time to rehearse. It's five minutes and we've got to go lead worship here. So let's do everything in E and do songs we know.' So we just grabbed three acoustic guitars and went out and started playing. God really moved and a girl named Amanda Collins prophesied over us that 'there's something here, you guys need to record'.
"So The Hudson Taylors were born. Someone said, 'Let's go road test this a little bit.' So we went to America to a bunch of churches that Noel and I knew. We were writing as we went, writing songs together and bringing songs that we had. We all had little batches of songs. We wrote some songs together and others we just brought in and sang together. For the 'Hurricane' album Les Moir put together a great team. We recorded the rhythm tracks with Derri Daugherty in Nashville, some great musicians there. And then we did the vocals down in Eastbourne. I hope this doesn't sound arrogant but I was really proud of that album. The integrity of the songs and the sound and the blend of voices made it something special for me. So when someone says, 'Have you got one album you want people to hear', I say, 'This one'. I'd been waiting all my life to have one which I could say without reserve, 'You can listen to this one'."
It was to be nine years before The Hudson Taylors followed up 'Hurricane' with a second album, 'The Lord Bless You And Keep You'. Speaking about the album Wayne commented, "It's more of a collaboration than the first one. The first one we were still like two crawdads in a pipe trying to figure out a way round each other. So it was like Brian with Wayne and Noel and Noel with Wayne and Brian and it wasn't as much of a collaboration, although the live concerts were. 'The Lord Bless and Keep You' album is more of a collaboration. We co-wrote a lot of the songs and we sing each other's songs. It feels more like a band to me. Some of these songs folks are really starting to pick up and sing in other churches, which is always satisfying to me."
So is there another Wayne Drain solo album coming along soon? "I've thought about that. I'm writing some songs and my attitude is the same: when I feel like I've got the right songs for the right time, God will open up the right door. I'm not methodical in that I've got to write three songs every month. For me, I write a song when I feel like I have something to say, or more specifically when the Lord has said something to me. I'm primarily a lyricist. I write with Noel Richards a lot as we work and travel together. He's got a real gift of melody. So he'll come in with this truckload of melodies and I'll go through, 'No, not that one', and then, 'That's it'. I'll have lyrics for that melody and that's sort of how we do it. It's really easy to write with Noel and I can concentrate on the lyrics and he brings in a great melody. I don't know if I'll do another one or not. I've never known between albums if I would do another one. I just wait and see."
Anyone who has been privileged to see Wayne live will know that this minister of the Gospel takes every opportunity to prophesy to people in the audience. I asked him whether at each gig he expected to get prophetic words every time? He responded, "I open myself up to that, I don't try to make that happen, it just happens when it happens. What I'm hearing prophetically and what I'm seeing more and more is that music and miracles and the prophetic will flow together. I think what I'm hearing currently is that it is a season to start sharing the Gospel. So at some recent Hudson Taylors concerts I've given an opportunity for people to be saved. We've had 10 saved in the first three concerts on this tour. Sometimes the Holy Spirit shows me who they are and gives me a name or a key phrase. Last night we had four get saved and this little eight year old girl went home and led her 10 year old brother to the Lord! The Mom Facebooked me today to tell me.
"To me, life was getting very complicated and I read that book Simplify.' I said, 'Lord, how do I simplify?' and he said, 'Well if you keep it about the Gospel, everything else will be in balance'. So then these words started coming, like 'There's someone here named Jane, and you need to get right with God tonight'. I wouldn't say it that abruptly but there would be a Jane and she would get saved. Prophetic in the early days was more exploration and pioneering: it seems to be more purposeful now. It's more about whatever time we have, let's use it. Let's let it be about the Gospel of grace. There are so many hurting, broken and isolated people right now that I think the encouragement that 1 Corinthians 14 talks about coming through the prophetic and the comfort and the edifying, it's what I tend to move in more now than ever. The fiery Keith Green thing, just pointing at everybody and, you know, 'get right or get left', 'turn or burn', was kind of prophetic back in the early days of the Jesus Movement. But today it's seems to be more about a real loving God, a real God of grace inspiring the prophetic in me."