Directory of Contemporary Worship Musicians - Way of Life Literature

8:47), and, “My sheep hear my voice” (John 10:27), and, “Ihave given unto them the words which thou gavest me; andthey have received them” (John 17:8).Along that time Talbot’s wife divorced him and laterremarried. In Come to the Quiet, Talbot seems to blamefundamentalism and a dogmatic Christian faith even for this(p. 6). In fact, he blames fundamentalism for just abouteverything, for his friends leaving him and his familybecoming “worried about” him and the fact that he “had hitbottom.”He claims that he “became a pretty terrible person to bearound,” but he can’t blame that on a strict Bible faith. If it istrue that he was a terrible person to be around, then it was apersonal issue.rough counseling with a preacher in the liberalAmerican Baptist Convention, Talbot began to soen his zeal.He also entered the contemporary Christian music world,which further tempered his fundamentalist enthusiasm.Contemporary Christian Music has always had a tolerant,non-doctrinal, ecumenical outlook. Talbot signed with BillyRay Hearn’s new label, Sparrow Records. CCM’s radicalecumenical philosophy is evident by the fact that when Talbotconverted to Catholicism and wanted to continue recordingalbums under Sparrow, Hearn was supportive. Talbot’s firstalbum as a Catholic was wrongly titled “e Lord’s Supper”; itwas actually about the Catholic mass. Talbot says: “WhenBilly Ray sensed the spirit of renewal that came through loudand clear on this album, he became excited about thepotential for ministr y to the broader Catholicmarket” (Troubadour for the Lord, p. 114).Talbot was receptive when the road manager of his bandgave him a book about Francis of Assisi. is set him on thepath to Roman Catholicism, mysticism, and interfaithdialogue. He read omas Merton, omas à Kempis, John ofthe Cross, Teresa of Avila, Bernard of Clairvaux, the Cloud ofUnknowing, and other Catholic mystical writings.354