The following marks the 157th and final post in my “Sunday Setlist” series, outlining the music that I have used for Christian worship services. I continue to direct music at The Table, a modern Anglican service of St. George’s Episcopal Church in Nashville, but will no longer be posting my song selections here due to a changing focus of this site and the best use of my time for St. George’s. Click here if you wish to view the archive of any of my previous setlists

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But Mary stood weeping outside the tomb. – from John 20

This Easter morning at The Table, Sam reflected on Mary Magdalene’s weeping at the tomb of Jesus. This was our set of worship music.

  • Walk-in: instrumental music provided by Rob Higginbotham and Don Fishel
    • Come Thou Fount of Every Blessing (Wyeth / Robinson)
    • Be Thou My Vision (Hull / Byrne)
    • Theme from Legends of the Fall (James Horner)
    • The Way Home (Rob Higginbotham)
    • Still Afar (Rob Higginbotham)
    • Alleluia, No. 1 (Don Fishel)
  • Jesus Christ is Risen Today (Wesley / Williams)
  • He is Risen (Kendrick / Baloche)
  • Offertory: Amen (Because He Lives) (Cash / Gaither / Ingram / Maher / Carson / Gaither / Tomlin)
  • Doxology: to the tune of “Jesus Christ is Risen Today”
  • Sanctus: Sanctus (Jonathan Riggs)
  • Communion: Abide with Me (Maher / Crowder / Ingram / Redman)
  • Happy Day (Hughes / Cantelon)

The Table Troubadours

  • Jonathan Riggs – leader
  • Karlton Scott – drums / percussion
  • Michael Majett – bass
  • Rob Higginbotham – guitars
  • Don Fishel – flute
  • Steve Morley – keys / vocals
  • Darci Wantiez – vocals
  • Cory Willoughby – audio engineer
  • Jim Williams – slide operator
  • Ashley Heren – slide designer

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I heard the voice of Jesus Christ. Satan, your kingdom must come down!

Photo belongs to Amazon.com

Here’s another great bedtime autobiography: Bossypants by Tina Fey. Light, easy, and laugh-out-loud funny, Fey describes her nerdy growing up years to being one of the smartest talents in comedy. I enjoyed reading about her experiences as a kid at drama camp, studying improv at Chicago’s famous Second Citywriting for Saturday Night Live, and producing her comedic satire 30 Rock. Underlying every tale is her experience as a woman in the man’s world of television – and especially, comedy. Witty and well-written, this was a delight.

I read the Kindle version myself, which has the advantage of not having to look at the freaky cover whenever I picked it up. But, there are some pictures, doodles, and quirky footnotes that the Kindle makes difficult to read. The award-winning audiobook can also be found on audible.com.

My main takeaway: Another reason why I need to study improv at some point in my acting career.

Over to you: Have you read this book? What are your thoughts?