Is this the link you were looking for?
http://65.36.178.3/culture/library/view.cfm?recnum=4265

I was disappointed to see that, just one month after such a great issue of "Pastoral Music" on Gregorian Chant, the following issue contained calendar listings for Call to Action events. I don't think PM has ever listed a CMAA event, at least not in recent memory. I guess they think CtA is more in line with the mind of the Church than the CMAA?

I agree that one should not directly attack a given composer, but individual hymns seem fair game. Another of his compositions, "Anthem," is to me the paragon of bad hymnody: unfollowable syncopation, vacuous theology, affrontive politics, and a dated style that begs to be laid to rest on an orange shag carpet. Even still, in the world of church musicians, little surprises me anymore. That's why I generally prefer liturgical music written by people who have been dead for a while.

What does it profit to do so here, though? In person, people can't stop me from bringing up bad Catholic music. I'm always making a jerk of myself when I talk to someone who doesn't support sacred music. But does it profit us anything here to engage in a hate-fest of Hurd and his works, with no dissenting opinion? This is the same fight we had over Haugen some time ago. No one here is going to willingly use Ashes or Anthem. So there's no point in bringing it up.

Although let me say for the sake of discussion that it'd be great to use Hurd's paraphrase of "Parce Domine" and then, when people love it, switch to the real thing and tell people "Oh, Hurd just released a new version of that song in Spanish, let's sing it! Oh, but we don't have the accompaniment for the Spanish version, so we have to sing it without piano..."

Gavin:

The profit comes from the "mouth of two or three witnesses" and then the mouth of the church itself. And it is always good to be specific about the content you are discussing and leave the composer's name out of it unless questioned.

e.g., When I presented my comparison to the publisher, I did so by first going to my own Archbishop with my concern. It was all carried out in formal letters. He then directed (in a formal letter) me to "approach the publisher with charity'. The introductory line of my letter to the publisher went something like this:

I am writing to you at the recommendation of Archbishop _____. (Then my comparison was presented.) Also, I went to the publisher, not the composer, although it was the composer who sent me a four page defense on the position of the text as the publisher quickly passed the hot potato onto him.

That is how one, in a sense, speaks on behalf of the church. Of course, I will grant you, this was a gross and obvious errancy, and it becomes more difficult to effect change when things are not so black and white.

Thanks for the link Oblash, that's really all I wanted.
I don't mean to bash the dude, it's just pointing out the error of that particular hymn.
I do think it's necessary spread knowledge so that others may make better choices. I honesty didn't know about this dude at all until this hymn was pointed out.
I think that if we can bring up errors of the day like this particular hymn and discuss why and how it is erroneous ;then we have a better understanding on how to take action to remedy the problem.
Francis, thanks for the idea on writing the publisher. I was thinking over doing this myself but was unsure how to go about it.

A. We're talking about the work of Tom Conry, not Bob Hurd.

B. Mountain. Molehill. Nevertheless, I removed my jab.

I suspect most of you are way too young ('ceptin' for Francis, me and CharlesW) to know just who the heck Tom Conry is. Conry is an anachronism; I've mentioned elsewhere his own past penchant for his self-identification as being a Berthold Brecht of American post V2 liturgical music, with a strong pinch of Kurt Weill for good measure. He was, even in '79 when Ashes and Anthem hit stride, bellicosity personified. He latched onto Oosterhuis/Huijbers like a rhemora and NPM and OCP and Anaheim CCD catapulted him to the forefront. One has to remember the times, the post Vietnam hubris of the left was strong, especially in BerriganChurch. Conry was the anti-Landrey, anti-SLJ's. He wasn't nice, he wasn't palatable, he wasn't equivocating and he let the world know he knew it all and better than you and anyone else. He bounced from Newman Center to Newman Center and, like all things NALR/G&P, is vestigially represented in OCP's BB/MI. The comparison with Mathew Fox is spot on. Rory Cooney is likely the last of his philosophical successors.
Bob Hurd is decidedly not in the same camp as Mr. Conry.
All that said, there are some Conry gems that still have merit that I'll still program: I Will Not Die and I Will Lift Up My Eyes. But I'm more likely to program "Let there be peace on earth" or "How Great thou art" than I am "Anthem." That is to say, never. And I'm still trying to figure out how one can get Psalm 23 to sound so angry? Oh, I forgot, it's Conry's setting. Nevermind.

Actually, I was going to weigh in on the musical compositinos such as Anthem because my parish has bought into the OCP marketing ploy hook, line and sinker, to the point of going to OCP-sponsored musical conferences. Unfortunately, these conferences only serve to promote OCP and not anything remotely having to do with sacred music.

When I have chosen music, I have examined the hymns in line with the parameters that the Church gives us, along with, what I call, the Benedictine (as in Pope Benedict) sound test. Does it offer the Triune God fitting worship, or does it celebrate the community? it is focused on I/Me/Us/We, or is it centered on HE? If the songs fails on one or both questions, then, it is not fitting for use in the Mass.

Songs like "Ven al Banquete/Come to the Feast" and "Amor de Dios/O Love of God" focus more on the community, rather than on God. Plus, the settings are good for light pop, but, not for the Holy Sacrifice. Unfortunately, these songs are contrived and for the masses and not at all suitable for the Holy Sacrifice of the Mass. It upset me to have "Ven al Banquete" used as the entrance for Holy Thursday and Corpus Christi. The song really doesn't convey what the mystery of the Holy Eucharist is about.

Forgive me for asking, but, wasn't Conry the one who wrote "I Myself am the Bread of Life". I used to like that song when I was much younger until I dissected the lyrics and found them to be questionable and not at all about what the Euchrist truly is.

Thanks for the correction.