Filed Under (General) by Rob on 30-07-2014

Another ‘top ten’ for you today, based upon my day’s experience, and another 9 years living in this continent:

1. Smoke from a log fire – it’s just not the same as a bonfire or barbecue smell, but I love it! It also probably means that something tasty is being cooked!

2. Diesel – particulary from lorries, although a Peugeot pickup passed us today and was belching out an amazing quantity of smelly smoke.

3. Baygon bug spray – it does what it says on the tin, but it doesn’t half stink!

4. Sandy dust after a vehicle passes – close your mouths folks!

5. ‘Jungle Formula’ insect repellent – I’m wearing it now, and it’s a kind of a lemongrass-type smell I’ve grown to quite like over the years.

6. Open sewers – not pleasant.

7. Perspiration – it happens! But most of the time it’s fairly bearable ;-)

8. Strong ladies’ perfume – that’s the perfume’s aroma, not the ladies who are strong (though many are).

9. African rain – before you write in to complain, I know that rain itself doesn’t smell of much. But the smell of the streets, lawns, plants and trees after a rainfall is heavenly indeed.

10. Roast chicken – fresh in my mind as I just had some. On many street corners in a big African city, you can find folk roasting or grilling chicken, often on a rotisserie. Very tasty, and tonight’s dinner was not exception (even if it did take 90 minutes to arrive!

Thanks for reading.


1. How ‘outdoors’ everything is – people chatting on the streets, preparing food in their courtyards, selling all kinds of things, all outside. Streets are busy, active places. Few people own a car, and so the outdoors is where people meet each other. I guess it was like that in the West years ago too (though perhaps less in winter!)

2. How everyone is part of everyone else’s world. Unless you live in Yorkshire, you’re pretty unlikely to randomly address strangers in the street back home. Here, it’s completely normal. You can talk to anyone at any time, and you’ll never get that surprises – almost put out – look for ‘invading’ their personal space or peace and quiet. Community is still real here. I guess it was like that in the West once, too.

3. How nothing has a price (until you name it!) Visit a market in the UK, and you’ll see signs reading “Potatos £1.20 a kilo” or “Tomatoe’s £1″ (and, yes, usually spelt like that!!) On an African market, there are not prices – YOU name the price you want and they will tell you if it’s high enough. If not, you discuss the price until you’ve reached an agreed amount.

4. Palm trees! Now, I’ve seen enough of these to know that they are not the ‘symbol of paradise’ many Westerners perceive them as. That said, there’s something wonderfully beautiful about these plants, and vastly different from any flora which grows in British climes.

5. How much dodgy wiring there is everywhere. In Britain, health and safety has gone mad! However, it does mean that you can put a plug into a socket without worrying that you’ll get zapped by 220 volts every time! I NEVER touch a plug with bare feet in Africa (once was enough!)

6. The absence of carpets. Why would you want them in a hot climate anyway? Rather, a nice mosaic-tiled floor, or even just polished concrete, does the job!

7. Flat roofs and white concrete walls. Now, where I live, it’s pitched roofs and red brick walls in most places. Not in Africa. Of course, there are mud huts and all kinds of other permutations, but the white walled, flat roofed building is number 1 in Urban Africa.

8. The sounds of an African night. Where I live is pretty rural. However, the nights are still silent, as far as animal life is concerned. In Africa, you can hear crickets, cicadas, frogs, fruit bats and all kinds of other wee beasties, all singing a delightful cacophony from dusk till dawn.

9. How clapped out most taxis are! Of course, there are some nice ones, but in many cases a cracked windscreen, poorly-fitting doors, missing seatbelts or non-existent suspension are the order of the day. This is what makes public transport in Africa interesting, after all!

10. How many warm smiles you see, in spite of adversity. British people smile sometimes. But usually when you’ve told them a joke or when they’re really happy. Africans are either happier in general, or just smile more. I passed a beggar in the street today, with little more than a few coppers in his small plastic bowl. He gave me the best smile I’d seen in a long time. Maybe it was like that in the West once, too.

If you like reading what Rob writes, try his book here.

worship leader

i. How have I chosen my songs?
Are your songs all lively, all calm, or a mixture of both? (Note the deliberate avoidance of the somewhat erroneous terms ‘praise’ and ‘worship’ here). And is there a progression in the songs throughout the service?

When you meet up with a friend, you first greet them enthusiastically and tell them how pleased you are to see them. Then you might sit down, have a cup of tea and begin a deeper, more intimate conversation. Finally, you will end with a positive farewell, saying: ‘It was good to see you’ or ‘I hope we meet again soon’. A church service often follows the same pattern: (i) Lively start (ii) Intimate middle (iii) Triumphant end. That’s why this format works well, but this doesn’t have to be overly prescriptive – be prepared to deviate from this depending on the type of service/congregation etc.

Are all your songs from the past five years? If so, aim for a more balanced set. Are they all from two or three decades ago? Are they all over 100 years old? Try and choose the best songs from all eras, depending on the theme of the service; this will enable more of your church to feel part of what’s going on.

#1 Hy.hymn choice

Beware of including too many brand new songs in one service. My rule of thumb is this: no more than one brand new song in any service. With this, I might also include a ‘semi-new’ song: one which has only been used once or twice so far. If there’s an opportunity to actually teach the new song just before the service starts, then do it.

Finally, remember to choose all songs carefully and prayerfully. A worship leader also has a prophetic role, and the songs you pick need to be inspired by the Lord, as well as based upon logic and understanding.

ii. Have I thought about the lyrics?
Do the words make sense? They don’t in all worship songs! If you are going for older songs, beware of archaic or plain ridiculous, language. For example, ‘Thy couch was the sod, oh thou son of God’ or ‘We soon shall hear the archangel’s voice; the trump of God shall sound, rejoice!’

In modern songs, the danger is more to do with lack of meaning, or superficiality. Be prepared to exclude a song on this basis, even if the tune and beat are catchy. A chorus like ‘Yes Lord, yes Lord, yes, yes Lord’ is rousing, but is there enough substance to it? You decide. Some of the older generation in my church object to songs which include ‘yeah’ or ‘wanna’ – this leaves me with something of a trilemma: I can sing them anyway, I can not sing them at all, or I can modify the lyrics to please everyone.

#1 Sheet Music

iii. Have I considered the flow of the songs?
It’s very common to run several songs together in a medley these days. If you are doing this, do the songs link well together in terms of tempo/beat/key? If not, plan how to make smooth transitions between songs – sudden stops, or changes to an unrelated key can break the flow, and hinder the sense of worship. (Here’s a good article, explaining how to transition between songs). And what about the message/theme of the songs? Is there a link, or could there be?

Finally, is there a logical progression to the songs, so that the congregation makes a journey towards Christ. For example: ‘In Christ Alone’ (Eb) to ‘Once Again’(Eb) to ‘My Jesus, my Saviour’ (Bb). These three go from recognizing who Jesus is, to meditating on his crucifixion and then to praising him for who he is. ‘Third person’ to ‘first person’ and then ‘second person’ is a good guide here (ie ‘He’ then ‘I’ then ‘You’).

iv. How am I playing the songs?
Firstly, are they in a suitable key for the congregation to sing? If not, be prepared to transpose! 10,000 Reasons is a great song, but in G major the highest note for the ladies is F# (top line of the stave), and this is too high for most singers. I always do it in E major; much more manageable. My rule of thumb for range is ‘A to E’. That is, ‘A’ below middle C as your lowest pitch, and ‘E’ on the top space as your highest (and an octave below that for the blokes, of course). Even a top ‘E’ is something of a chore, and I would prefer Eb, and only for a short burst.

Is the tempo too slow or too fast? Listen to a few YouTube examples if you are unsure. Does the feel/tempo match the mood of the words? One worship leader I knew used to do a bouncy stop on the word ‘holy’. Catchy, and jolly, but not reminiscent of holiness!

Is every verse the same, or have you thought about varying the instrumentation/dynamics in each (and noted this down, so everyone remembers)? What about cutting the instruments for one chorus, and singing three-part harmonies? This mustn’t be overdone (tempting as it is), but once or twice in a service can be very effective, and the same goes for instrumental interludes.

Position of band

v. Am I prepared?
How much preparation have you put into the music? Has the band rehearsed together? If so, when, and how long for? If you are winging it, it will show at some point. Also, what proportion of your rehearsal time was devoted to prayer? None at all? One minute at the start? The first half hour of the rehearsal? You know which I’m going to recommend!

What is being done to allow the worship band to really gel together? As well as regular rehearsals and prayer, why not organize a social day, form a Bible study group, hold some informal jam sessions, or have a meal out together. The more comfortable you are with each other, the better you will perform together, and being spiritually in tune (no pun intended) with each other and with God will make a world of difference.

vi. What about intros and outros?
How are you starting the song? Strumming the opening chord and beginning immediately is neither helpful nor conducive to worship; if you do so, you’ll leave the congregation behind, and they won’t be able join in until half way through the first line. Our aim is to lead the congregation in worship, so anything which makes them feel uncomfortable, confused or alienated will hinder worship. So, there needs to be a cue of some kind, which says ‘the song is going to begin now’. This can be a musical, vocal or visual clue (or, ideally, all three at once). A musical cue would be a chord sequence which signifies a lead in (ie IV-V); a vocal cue means saying, ‘Let’s sing’, or reciting the first few words of the first line. A visual cue means you’re looking at the congregation with that anticipatory look: head up, taking a breath, eye contact with them.

How are you ending the song? There usually needs to be some way of signifying the ending – slowing down, repeating the last line two or three times, or an instrumental ending. In the same way that the congregation needs preparing for the start of the song, they also need to know the ending is coming, rather than being surprised that it’s all over so suddenly. Will you resolve a dominant chord, or just leave it hanging? Back in the 80s and 90s, the latter would never have been acceptable; these days, it is more and more common (and I quite like it!)


vii. What about amplification?
Now, I don’t want to teach granny to suck eggs, but have you thought about how many instruments need lines, and how many vocalists need microphones? Do you need fold-back monitors? Do you have a sound man who can balance these effectively? In a very small gathering, you might go for an unplugged set. In some medium-sized churches, the sound system isn’t always up to mixing an eight-piece worship band with a drummer. Personally, in such a case, I’d rather use a smaller band or three or four and have them well-amplified, than a large band where nobody can hear each other.

And, in terms of microphones, don’t try and use a ‘Britney mic’, unless you’re performing at a Britney’s standard! It may look ‘cool’, but unless you can go through every song without having to communicate verbally with your band, then a head mic is not for you. And even then, you may still feel led to do an a capella verse or repeat a chorus, and you’ll need to turn away from my mic to tell the band this. One worship leader made a mistake when singing through one of these mics, and promptly groaned loudly. This was, of course, heard by the entire church. With a mic on a stand, he’d have turned away instinctively and the congregation would hardly have noticed!

Eyes looking

viii. Where am I looking?
You basically have three choices of where to look: (a) At the congregation, (b) At each other, (c) Into your sheets of music. The amount of time given to each of the above should be in that order: ie congregation first, each other second and your printed music third. As it is, many churches settle for (c) (a) (b), or worse still (c) (b) (a). In fact, I’ve seen groups which exclude (b) altogether! In order to achieve this, you also need to position your band in a way that everyone can have eye-contact with everyone else, whilst still facing roughly towards the congregation. A ‘V-shaped’ formation works well for this.

To do this you’ll need to learn your chords/words/tune well enough. Once you do, you’ll free yourself of the restraints of sheet music, and be able to truly worship God, and lead the congregation before His throne.
Remember: you have to have eye contact with individuals in the congregation as you sing – there will always be some people looking at you – look back at them as you sing, just as a good preacher, teacher or public speaker does. This is especially important at the start/finish of every song.

ix. How are my humility levels??
Lead by example, and in love and unity. Although the buck stops with you as the ‘leader’,
this should not be a hierarchical position, where you laud it over the rest of the band.
Avoid saying things like: ‘Well, I’m in charge, so we’re doing it this way whether you like it or not’; this is only likely to offend or hinder your musicians. Rather, say something like: ‘Can we try it this way, and see what we think?’ Then, once you have, ask the whole band whether they’re happy with the new way of playing it. If some aren’t, either be prepared to withdraw it, or say something like: ‘Can you humour me this time, please, and if it falls flat in the service, we’ll never do it like that again.’ It’s all about relationships, people skills and building bridges. You can do it!

focus on christ

x. What is my main focus?
Is it musical excellence, entertainment, or performance? We should always strive for a high musical standard, but Christ is the reason for this, not our praise or merit. So, our music should be so good that people don’t notice it. Does that make sense? In other words, if everything flows musically and is free of wrong notes, awkward changes and uncomfortable faces, then the entire church will be able to focus on Christ through the music, and everything will be leading towards Him. So, remove anything which could distract from the Lord – this includes how you dress, comments you make between songs, and solos which focus merely on your talent. Always remember: ‘He must increase, I must decrease.’

Rob Baker is a musicologist and worship leader, who has been involved in church music for the past 30 years. His book, Adventures in Music and Culture, describes his discoveries about African music and worship, and his thesis, about Vodún music in Beninese churches, can be read here.

Filed Under (General) by Rob on 18-05-2014

No, it’s okay, you don’t have to choose one of the above! Rather, these describe three excellent weekend events coming soon to a grassy area in southern England…

Firstly, next weekend (24th & 25th May) it’s the Big Church Day Out at Wiston House, West Sussex. It’s like a two-day non-stop open air Christian ‘rock concert’, with top names including The News Boys, Rend Collective, Third Day and Matt Redman.

Then from 20-22nd June, it’s the CVM Gathering – a blokes’ weekend in a field near Swindon. An awesome occasion with pleny of social interraction, activities, worship and teaching. You certainly don’t have to be a Christian to go, and there is beer involved, so bring your mates and a tent and come along!
CVM Gathering 2013 1

And finally, at the beautiful WEC Centre near Gerrards Cross, it’s GoFest2014 from 27-30 June. GOfest is for anyone interested in Christian missions (and, let’s face it, that should be all Christians!) More great worship, teaching and a great atmosphere. There’s also a youth and children’s programme, and in the ‘Global Village’ you can check out lots of missionary organizations and see what grabs you.

So, what are you waiting for? Book your tickets now!
Also, I’ll be at all three events (being as I’m a man, a musician and a missionary), and would love to meet you.


Here’s another ‘sneak preview’ for those who have not yet got hold of a copy of my book. This was when I worked with the Bassar – or Ncam – people in Western Togo (Chapter 5 in the book):

“Whilst they are busy working on their songs – and as they ‘know the ropes’ by now – I take a few minutes to climb up the hill which continues behind the hotel. It’s a pretty steep one and there’s no time to make it to the very top today. However, I get far enough to admire a truly impressive view of Bassar, way down below, and the plain beyond it: lush, green and flat, extending to the horizon, many miles away. Parts of the distant horizon are marked by the undulations of tiny mountains, which I know are actually huge. Bassar itself is a mass of rectangular buildings with rusty brown roofs and small windows, punctuated by mango trees, teak trees, even a good number of coconut palms. The streets are long, straight and pale brown, and white smoke is rising from various locations across the town. Ladies are walking to or from the small market with bowls on their heads; muscular men, pouring with sweat, are chopping wood; children are playing with old motorbike tyres and old men are sitting in the shade watching the world go by. Weary, world-worn donkeys are pulling carts through the muddy streets as motorcycles whizz by, and small clusters of wandering sheep – like tiny balls of cotton – roam aimlessly through the town. Makeshift poles made from branches – not one of them straight – carry electricity to most homes, a mass of twisted cables dangling haphazardly between each. In one place, a lorry is unloading large sacks of charcoal and in an open grassy area, young people are playing football with great energy. This strangely idyllic view is somewhat spoilt by two large antennae, one at each end of the town, both painted the usual red and white. It is only then that I notice how many homes are equipped with television aerials; one or two even have satellite dishes!”

Order your copies here (UK) or here (USA) and enjoy ‘a good read’ which (apparently) ‘will transport you to Africa’.

If you have read it, please write a brief review if you can. Thanks!

Working with the Bogo People of SW Togo was a rewarding and culturally-rich experience for me (and for them). Read an extract from my book Adventures in Music and Culture below and be inspired!

Ch.4 Bogo people dancing

“I find a sheltered mango grove a short walk away and we agree to reconvene there after lunch to record the songs. By the time I get there, the whole area is teeming with people; maybe as many as a hundred. Amazingly, the village folk have agreed that my workshop people can use the traditional barrel drums, and say it is no problem for them. This is quite rare; it can sometimes take years before local non-Christian musicians agree to such a step – or even the Christian ones! This will really enhance the music and also make it something the people of Sassanou will be pleased to hear.

A group of ladies is dancing enthusiastically and singing one of the new songs, as the drums beat out their syncopated accompaniment. It is great to see the joy on everybody’s faces – these people have never worshipped God in their mother tongue until now, and it shows! One lady shouts out: “Jésus nous prend tout!” meaning: ‘Jesus takes everything which is ours’. In other words, even their local music can be used for His glory.

This is the point at which I realize: I’m living through new and exciting events here – this is ground-breaking stuff! I must share these experiences with the world – it’s a story too great not to be told! And so from that very moment I resolved to make my ethnomusicological adventures into a book, so that others could share in my unforgettable experiences.”

Buy your copy here (US) or here (UK).
Thanks for reading!

Here’s part of a page from the March/April edition of Idea Magazine, where my book is reviewed. (See it at the bottom of the page there?)

Book Review

See the review here (on page 31)

Meanwhile, here’s what it says:

“This is an intriguing little gem of a book. It is part travel journal, part adventure story, part musical treatise. Baker is a ethnomusicologist and the book charts his travels and experiences in Africa. We hear about various journeys and the way local Christian expressions are using local music. Baker’s insight is that we need to use the music that means something to people. Then we can add extra meaning to the cultural patterns and resonances of the existing stuff. Too often missionaries land and try to get local folk to sing American soft-rock Christian anthems – but these lack depth in a local context. Baker’s book is really good on painting pictures and showing how music and culture are intertwined. He shows how Christianity thrives when culture is involved and this is a wake-up call to evangelicals who get all sniffy about culture. What strikes you most is just how likeable and engaging Baker is. His lovely little book makes a great travel companion. This book is like sinking into a comfy armchair. It is Billy Graham meets Michael Palin. A rare treat.”

Thanks Steve Morris for the cool review!

Don’t forget, you can buy your copy here (UK) or here (USA)

Or contact me and I can send you a signed copy for the RRP (+£1.40 p&p in the UK).

Thanks for reading!

“Adventures in Music and Culture” was released on 15th December 2012 and I’m pleased to say that folk are really enjoying reading it! Below are extracts from feedback I have received so far.

Front Cover

“Excellent travelogue. Well written with infectious energy. An absorbing read with just the right level of detail…as well as some laugh out loud moments. It also has some thought provoking points on culture. Recommended!”
(Male, UK, 19th December 2012)

“The book captures very well indeed the general experiences of Western expatriates working in not just the two countries covered but the whole west African region. Laced throughout with good humour. The book lies well alongside those written by well known travellers in the region such as Gerald Durrell.”
(Male, UK, 20th December 2012)

“It was a really interesting and enjoyable read!”
(Male, USA, 1st January 2013)

“It’s a good read.”
(Male, UK, 1st January 2013)

“A brilliant book about [Rob's] experiences in Benin & Togo. If you have an interest in music, travel, mission or African culture then I’d suggest you add this to your reading list. It’s a really fun and interesting read.”
(Female, Scotland, 6th January 2013)

“I’m really enjoying the book. It’s bringing back a few interesting memories of Africa.”
(Female, Australia, 6th January 2013)

“Very easy to read and I’d highly recommend it, especially if you have an interest in Africa, travel, music in different cultures and/or how God uses music to help people’s faith to grow.”
(Male, UK, 7th January 2013)
If you’re in the USA, order your copies here or here.

In the UK, order your copies here or here.

For other countries, try ordering from the above links, or contact me directly and I can post you a copy. Meanwhile, please share this blog post with friends who might be interested in reading the book. Thanks!

Filed Under (General, Song of the Week) by Rob on 16-11-2012

…and sorry for the long delay. This was partly due to a bug in WordPress, which wasn’t allowing me to upload the audio correctly. I’m glad to say this is now rectified and I have at least three more songs to share with you before the end of 2012!

So, here’s “We fix our eyes on invisible things”, which sounds like a contradiction in terms, but that’s what faith is all about. I just love the harmonies in the chorus!

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

We fix our eyes on invisible things
Looking to God for the strength that He brings
We walk by faith and not by sight
Touched by his power, and bathed in his light

We live in a world
of many distractions
Always filling our minds,
Bb___________Asus4 A
Controlling our actions

We shall walk by faith
and walk not by sight
Always trusting our God
To know what is right

He works in all things
As He promised he would
Not to cause us harm,
but all for our good

We live every day
in the hand if our Lord
He deserves to be praised
Worshipped and adored

…so make sure you ask Santa for a copy!

Yes, I’m thrilled and excited to be able to share my African travels with you all, and to open people’s hearts and minds to the fascinating world of ethnomusicology. It will be available on the Ambassador International website soon, in paper and electronic form. Meanwhile, here’s an extract from the introduction to whet your appetites:


At last – I have an interesting job! One to which people respond: “Oh, how fascinating,” or: “Tell me more about what you do!” Although there’s not much money in it, it’s a job which is exciting, enriching, pioneering and intriguing. At times it can be frustrating, exhausting – even dangerous, but is never boring, tedious or repetitive, like some jobs I’ve had.

I used to have a job which I enjoyed, but which nobody else found particularly exciting. I would almost dread the inevitable party question: “What do you do for a living?”
“I’m a French teacher,” I would reply, shamefully.
“Oh, right. Where do you teach?”
And that was one of the more interesting responses. The bravest (or most foolhardy) would reply: “Ah oui! Un kilo de tomates, s’il vous plaît!” Others would merely reel out a string of random French words, presumably in an attempt to impress me: “Ooh là là! Gerard Depardieu, Arc de Triomphe, Joe le Taxi, tarte aux pommes…” However, by far the most common response inflicted upon me on such occasions was the likes of: “I was rubbish at French in school,” or “I had a terrible French teacher who wore corduroy, smelt of garlic, and gave me a ‘D’ grade even when I did my best.” How can the conversation spontaneously evolve following such a statement? And so my job was the definitive conversation stopper; I may as well have said I watched paint dry for a living (which would, in fact, probably have sparked off more interest).

So, this is why I’m delighted to have a job which is not only interesting to me, but for which other people show a genuine interest. It’s a job they can scarcely pronounce, let alone define or describe: I am an ethnomusicologist. “What does one of those do?” you’re asking yourself. See, you’re doing it too already!

Without going into too much boring detail, there are two main types of ethnomusicologist. The first is the secular type, who studies world music for the same reason Sir Edmond Hilary climbed Everest: because it’s there. Of course, this kind provides much vital information about music in culture and many useful anthropological insights along the way. The second type is the missionary ethnomusicologist or ethnodoxologist, who does the same kind of research as the first, but then applies this to Christian mission. “So, I’ve found this fact out about their music, how can I use it to help encourage local Christians and their churches?” The results – as I hope you’ll see – are often stunning, as people begin using their music, rather than something pertaining to a foreign culture.