Rating: 
Summary: For a generation that does not understand liturgy!
Review: Thomas Day presents a very interesting theory as to why Catholics have become silent during the Mass. His comments at the current state of litugical music (as well as liturgy in general, seeing that the two are closely connected) are explained very thoroughly with very clear examples. While he certainly does not have much love for contemporary "folkish" church music and informal (sloppy) liturgies, he does not feel a 180 degree turn to the Tridentine Mass of old will solve the problem. I found myself laughing out loud as Day would discuss the exact situations present in my parish in a very witty and humorous way. If you think that "They Will Know We Are Christians" or "Here I Am Lord" is the best litugical music out there, then buy this book and open yourself up to 2000 years of Catholic tradition that Thomas Day very cleverly unlocks.
Rating:
Summary: A much-needed clarification
Review: When I converted to Catholicism, I did not anticipate just how much I would miss leaving behind the treasured and ancient hymns of old for the tripe that was being shoveled to me at Mass. Thanks to Thomas Day, I now have some understanding of how this came to be. Readers finding themselves -- or, rather, their ears -- painfully afflicted by the onslaught of mediocrity that is contemorary Catholic music can take comfort in the fact that Day suffers right along with us, provides some clarification as to who's responsible for this mess and some recommendations as to how we can remedy ourselves of this plague.
Rating: 
Summary: A pleasantly irritating read
Review: You can appreciate the honesty of the author, and he does raise some significantly good points. Unfortunately, they are marred with a conclusion that is as outlandish as it is unworkable as it is contradictory to the conclusions of the UCCB (United Council of Catholic Bishops).In short, Day says the solution is to do away with contemporary Catholic songs and focus on the chants and ancient Catholic hymns. While I agree that chants and ancient hymns are a treasured resource that should be unearthed, I submit that it is a very dangerous precedent to blanketly ignore today's new Catholic songs for liturgy. Here's why: Because all Catholic songwriters have a gift (from, ahem, Almighty God ) to be shared. And for those who DO wish to write for the liturgy, their songs must be considered. To not consider their songs is to basically have the artists (1) bury their gifts, or (2) cause the talented Catholic musicians to leave Catholicism and join a church that will embrace their gifts. It's terrible to say it like this, but it's the truth--some of the best modern Contemporary Praise songs have come from the likes of Annie Herring and Phil Keaggy, both of whom were formerly Catholic, and have found churches that appreciate their talents. Further, by ignoring today's offerings you are declaring that God is God of yesterday, but not today, and certainly not forever. I shudder at this conclusion, and so reject it. I personally do not like some of the offerings in the old NALR resource, but it's not because they are bad songs, but that they are both (1) a little dated, and/or (2) overplayed (usually by a lazy/inept choir musician who simply doesn't know better). THIS is the issue to address, and I believe is being addressed, by the liturgical publishers through seminars and books. Another interesting issue: Day complains about the confusion in "God as congregation" songs, as evidenced in "Be Not Afraid" and the verses of "Here I Am, Lord". Point granted. And yet, do not these very same songs mimic the Psalter, which has songs that do exactly the same thing? One of the most popular psalms, Psalm 95, is the morning psalm for the Liturgy of the Hours, and yet this does the same thing. Not every offering is appropriate for liturgy, but the author should be pleasantly surprised that many of the songs coming out of the missallettes fit his description as towards reverent singable worship that is faithful to Catholic Church teaching (David Haas is merely one example). Unfortunately, I believe that Day has created a false perception of the current musical trends, perpetuating a guilty-by-association myth. Let's dismantle them, study the writings of the UCCB, and move on.
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