christian musician magazine - julyaugust 2010

US $4.95 Can $5.75

JULY/AUG 2010Volume 15, Issue 4 Selective Hearing:

Jimmy Needham • Mercy Me • Robert Randolph and the Family Band • Seawind • Lost Dogs • Caleb Quaye and The Faculty

Hawk Nelson…wants to take over

the world!

Improving Musicianship | Inspiring Talent

15th Anniv. Give-Away GHS Strings and Rocktron

Product Reviews:

Bedell MBCE-28-G Acoustic Guitar

Visual Sound’s Garage Tone Series Pedals

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40 IndieNoSpinZoneALittleBirdyToldMe

42 Rewind44 WitnessingtheFloodand

BeingCalled46 CODA

AWordToIndies:ConsiderYourAudience

Interviews

20 RobertRandolphandtheFamilyBand

32 HawkNelson…wantstotakeoverthe

world!

What a Plan – Summer NAMM in Music City

AsIflewintoNashvilleforSummerNAMM,IlookedatthebanksoftheColumbiaRiverthathadjustrecentlyoverflowedandcausedsuchwidespreaddamage,includinglossoflife.

IthoughttomyselfthatitwasgoodthattheSummerNAMMhadcometotownhereagain.Nashvilleisatouristcity,anditneedsfolkstoreturntohelpitrecover.

WhenIarrivedattheConventionCenter,thestaffatNAMMwasveryaccommodating,andIgottoworkimmediatelysettingupourexhibitbooththere.NAMMisaconventionofequipmentcompaniesdisplayingtheirnewwaresfortheretailersandwehadsomenewproductstodisplay.

Overthenextthreedays,Ihadsomereallygreatprovidentialencoun-ters;mypersonalphilosophythathalfoflifeisshowinguptoseewhattheLordhasforyouwasinfullswinghere.ItstartedthatfirstnightwhenImetNAMM’sPresident,JoeLamond.Hewasveryencouragingaboutnextyears’2ndAnnualNightofWorshipatWinterNAMMinAnaheim.Wehadco-sponsoredthateventthisyearwithourfriendsatWATS(Wor-shipArtsTechnologySummit)anditwasahugesuccess–PraiseGod!ItwascoolformetohearJoetalksopositivelyaboutit,asitisadesireofmyhearttokeeppresentingtheeveningconcert.

Thenextmorning,ImetthefolksatHalLeonardPublishing,whoaredistributingthewholelineofourChristianMusicianSummitDVD’s.WeunveiledthereinNashvilleaPointofPurchasedisplayforretailersthatholdsnotonlybothVolumesOneandTwooftheConferenceinaBoxsetsbutalsofivesingleDVDsthathaveworkshopsforAudio,Bass&Drums,Vocals,GuitarsandKeyboards/MusicTheory.Whatcaughtmeoffguardwashowmanyretailersontheconventionflooreitherwerewellawareoftheirlocalchurchesandthemodernworshipmovementorwhoactuallyplayedthemselvesonworshipteams.TheyweregenuinelyinterestedinourDVDs…waycool!

IhadmanydutiesatNAMMthisyear,andoneofthemwastolookforinstrumentsthatwecancovereditorially(re-viewsetc.)AtoughjobIknow,butsomebodyhastodoitJ

Oneofmy“finds”therewasFlaxwoodguitars(fromFinlandofallplaces),anelectricguitarwithaverydifferentapproachtodesign/materials.We’llreviewitinthenearfuture butsufficeittosaythatIfoundtheguitar

ergonomictoholdandajoytoplay.Itwasmyfavoriteguitaroftheshow!

ImetsomefellowbelieversatAc-cessCaseswhohadtwoorthreeprod-uctsthatcaughtmyattention.The

onlyoneI’llmentionherecouldcostyou$15,000.Theyhaveallleathergigbags(acousticandelectric)thataregreatlookingandaf-fordable.IsawaDoubleStratbagthatIthoughtIwouldpromptlytellLincolnBrewsterabout.Soifthey

aresoafford-able,wheredoesthe$15,000costcomein?Becausetheyaresogoodlookingyoujustmight buy a Harley Davidsontogoalongwithyourgigbaganddriveondownthehighway!

Christian Musician

Features 9 BassicCommunication

Chimes,Thuds&Swells(Part9)

10 DrummingDynamicsDrags

11 VocalCoach’sCornerNeverTooLatetoLearn

NewTricks!12 GuitarWorkshop

TheChurchandMusicalStyle

14 ProductReviewBedellMBCE-28-G

AcousticGuitar16 ShowUsYourGroove

TheBoy,TheBed&TheBass

18 ProductReviewTheVisualSoundGarage

ToneSeriesPedals26 SelectiveHearing

JimmyNeedhamMercyMeRobertRandolphand

theFamilyBandSeawindLostDogsCalebQuayeand

TheFaculty31 AskJoe37 GuitarFromA2Z

StringBendingPart1

38 EssentialMusicTheoryfortheChristianMusicianThirdsand

ChordsWithinKeys(DiatonicHarmonyrevisited)

39 TheOneWhoKnowsisinControl

CONTENTS

4227S.Meridian,SuiteCPMB#275,PuyallupWashington98373Phone:253.445.1973Fax:253.655.5001

Email:[email protected]:www.christianmusician.com

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Continued on page 14.7

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Greetings,OPurveyorofSublimeGrooves!:^)Ihopethisfindsyouwell.Aspromisedseveralissuesago,we’llbedivinginandexaminingthe“A”

sectiongrooveandmelodyfrom“Blessed”(fromPondering the Sushi)asanactualmusicalapplicationofthisideaofweavingvarioustechniquesintoasinglebasspart.Thebasictechniquesemployedinthisexample(mutedthumb“thud”,fingerstyle,slap,double-stops)werecoveredinsomedetailinrecentinstallmentsofBassic Communication,sopleasereferbackifyouhaveanyquestions,ok?

Aswediscussed,thissongisessentiallyabass&drumtune,exceptingapianothatcomesinduringtheB-section.Consequently,thebassfigureinvolvesjumpsinregisterandtechniquetosimulateanactualensemble

Chimes, Thuds & Swells (Part 9)

Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. He spends most of his time these days touring and recording with worship artist Lincoln

Brewster, but his recently-released 2nd solo project (“Tea In The Typhoon”) has been receiving widespread acclaim from media around the world. Visit www.normstockton.com and www.facebook.com/normstockton for much

bass-related info and fun. While there, be sure to check out Norm’s blog (The GrooveSpot) and register for his e-newsletter (the groove update) for tips, interviews, clinic invites, exclusive discount prices, and more.

playingthetune.Additionally,pleasebearinmindthatthebassinthistunecomprisesthemajorityofthesonicspace,soitismuchbusierthanitwouldbeifaquartetwereperformingthesong.

Let’stakeacloserlook!Harmonically,thesectionisbasicallyaG-7vamp.Morespecifically

(exceptingafewpassingtones),theentirepartimpliesGDorian(1-2-b3-4-5-6-b7).

Thefirst2eighthnotesareacontinuationofthebasicgroovecoveredinPart7ofthisseries.Playedusingthethumb“thud”technique,theyestablishthegroovebeforejumpingtothehigherregistertoplaythemelody.Themelodyisplayedfingerstyleandshouldbephrasedabitmoreaggressively

andlyricallyasreflectedbythevibratoandslides.Theendofthe2ndbarhasdouble-stops(2-note

chords)thatsimulatewhataguitarmightplayinanensembletreatmentofthistune.

Bar3resumesthegroovefromthetopofthetune,includingtheslappedlineinBar4.Bar5thenrees-tablishesthemelodicmotiffromBar1,followedbyavariation(Bar6).Bar7againreturnstothegroovemotif.

Long-timereadersofthiscolumnwillrecallprevi-ouslycoveringthis“themeandvariation”approach(or“repetitionwithvariation”)asareallyimportantaspectofgrooveandarrangement.

ThewrittenexamplealsoincludesreferencestotheuseofeffectswhichIemployedontherecordedversion.Whilefun,effectsaren’tcriticalhere;asyou’lldiscover,thetechniquevariationsandregisterjumpsalreadydramaticallyaffectthetimbreandcreatetheillusionofmultiplevoices.Butifyouhavestompboxeshandy,gototown!:^)Inthepast,I’veusedavelocity-sensitiveenvelopefilter(e.g.,Mutronpedal)whenperformingthissonglive.

Getthisunderyourfingersataslowtempoandyoucangraduallyworkituptospeed.Iencourageyoutousethisexampleasaspringboardforyourowncreativeexplorations!

Havefun&hopetoseeyouontheroadthisfall!(Adapted from curriculum in the Groovingfor

Heaven instructional DVDs)

© 2009 Stocktones Music

Bassic CommunicationChimes, Thuds & Swells (Part 9)

Norm Stockton

Exercise 1: Combining TechniquesExcerpted from "Blessed" ("Pondering the Sushi")(Funk Shuffle)

Low Bass"Thud"No Effect

Melody(Played 2 octaves above low bass)Effect: Octave Pedal

"Guitar" Chordal Approach(Played 2 octaves above low bass)No Effect

3 319 15

1717

1515

1716 17

1517

17

151515

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3


Slap Bass for Tonal Variation(Same register as low bass, but substantially different timbre)No Effecti

P

m

P T T

T

P

T P T T

P T

3 2 33

32

3 XX

13 3 3 X

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3

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5


Melody(Played 2 Octaves above low bass)Effect: Octave Pedal

319 15

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17 1414

1717 15

15 1415 13 17 13 13

14 1515

15

7


Slap Bass for Tonal VariationNo Effect

i

P

m

P T T

T

(Etc.)

3 2 33

32

3 XX

13 3 3

9

www.normstockton.com and www.facebook.com/normstockton




Lasttimewehadfunwithflamsaroundthekit.Thistimewewillworkondrags.I’mlayingthisoutabitdifferentinanattempttomakeiteasiertoread.Ihaveputsomeofthefootpatternpossibilitiesatthebottomseparatefromthedragexercises.MixandmatchthemwiththevariousexercisesandIencourageyoutocreateyourownfootpatterns.

Paycarefulattentiontothesticking.Ihaveusedlowercaselettersforallthegracenotes.Whenplayingthegracenotesmakesuretheyareclean32ndnotes.Alwaysuseametronomeandstartslow.

Blessings…….David

David currently tours with Fernando Ortega and has worked with Sara Groves, Bebo Norman, Crystal Lewis, Cheri Keaggy, Tommy Walker, Paul Baloche among others. He has played for Billy and Franklin Graham Crusades, Harvest Crusades, Maranatha

Worship Leader Workshops and for over 2 years he was the house drummer for the Los Angeles production of The Lion King. His home church is Plymouth Church in Whittier, California. www. DaveOwensDrums.com

Drags

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10

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Roger Beale is one of the nation’s foremost vocal coaches. He presently works with professional

singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his

students have won prestigious vocal competitions and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is founder and host of the Christian Singers Workshop (www.christiansingersworkshop.com), dedicated to the teaching of contemporary and commercial vocal techniques. Roger can be contacted at: The Voice House, PO Box 87136, College Park, GA 30337, (404) 822-5097, e-mail: [email protected], web site: www.thevoicehouse.com.

Iamtotallyconvincedthatteachersofsingingandtoday’sworshipleaderswhohaveadesiretolearnmoreaboutContemporaryCommercialSingingmustunderstandthevo-caltechniqueandperformancerequirementsfromthesingerspointofview.Inotherwords,theymustbeabletodoitthemselves.Observingsomeoneelseisnotenough!Thisarticlewilloffersomecontemporary-basedvocalteachingbooksthatincludeexercisesandsongstoassistinthelearningprocess.Thesebookswillofferado-it-yourselflearn-ingapproachthatcanbeadaptedforusedur-ingpersonalpracticetime,grouprehearsal,orgroupinstruction.

Manyofusdonothavethetimeorre-sourcestomarketCD’sofvocalexercisesthatsupportContemporarysingingskillswiththetechnique,artisticsupport,andapproachthatisneeded.ClassicalvocalexercisesaredesignedforandserveaClassicalmusicrepertoire.Peoplethatwillbementionedhavecreatedvocalexercisesandtechniqueexercisesforuseinpop,rock,jazz,gospel,R&B,countryandmodernmusicaltheaterstyles.Let’snowlookatthesebooksandaudiosupplements.

YearsagoagoodfriendofminehandedmeacopyofKarenOleson’sproductI’m Not Crazy, I’m Vocalizing.Thisprogramisaimedattrainingthedailycommutertosingastheywaitintraffic.Itevencomeswithitsownbumpersticker.Itisaveryfunandcreativeidea.Onceyoulistentoityouwillneverforgetit.HerfollowupproductI’m Vocalizing 2! with a World ViewisaCDandinstructionalbookthattakesthesingerthroughvarioussingingstylesincludingclassical.Theprod-uct’sstrengthistheinterestingaccompani-menttrackswhichmakesiteasytofeeltherhythmic“groove”thateachstylerequires.Theprocessusedisathreestepapproach.

Youfirstheartheexercisewitha‘guide’vocal.Thenyoucansingtheexercisewithaninstrumental‘guide’,andfinallysingtoanaccompanimentonlytrack.Oneexercisenottobemissedisher“alaMarchesi”.Thisex-erciseisanactualclassicalvocalizefromthe

wouldbeabletoimprovevocalskillswithoutchangingapersonalsingingstyle.Thisbookcontainstwenty-sixexercisesforwarm-upandvocaldevelopment.Basicandadvancedexercisesareavailableforbothhighandlowvoices.Itevenaddressesharmonyskilldevelopmentbyofferingtwoandthreepartexercises.Thisbook,likeElisabethHoward’sSing,alsousesnon-scientificterminologymixedwithpresentdayresearch,amislead-ingandconfusingmix.

ThereareseveralotherproductsouttherethatattempttoaddressContemporaryCom-mercialSingingsuchasMarkBaxter’sSinger’s ToolboxandmyownCDThe Vocal Licks-i-Con. Keepinmindwhileusingtheseproductsbyyourselfthatthereisnosubstituteforagoodtrainedsetofearsthatarelisteningtoyou.Agoodteachercandiscern,veryquickly,whatagoodhealthyvocalsoundisandcom-municatewithyouwhatthatsoundfeelslike.

AlthoughthenumberofContemporaryCommercialSingingteachersisontherise,theyarestillfewandfarbetween.Checkouttheproductsmentionedandusecommonsensewhenusingthembyyourself.Caveatemptor.Nowgosingwell!

celebratednineteenthcenturyvoiceteacherMathildeMarchesi.Thisproductturneditintoajazzscat!Karenalsoencouragessingerstohavefun.Agreatideaforallsingers.TheCDdoeshavesomeweaknesses.Itissome-timesstylisticallystiffandslightly‘pitchy’ontheguidevocals.Ifthatisbothersome,thesingercanmoveontothesecondandthirdversionsoftheexercises.

ElisabethHoward’sbookSing! includesfourCD’s.Herplainkeyboardaccompani-mentsaretheoppositeofKarenOleson’srathercreativeaccompaniments.ButMs.Howard’s‘guide’vocalsarepriceless.Elisa-bethisasingingchameleon!Sheperformsaplethoraofsingingstylesfromrocktoopera.Singersareencouragedtotryeachstylefirstinslowmotionandthentospeed.Timeisalsotakentoexplainthetechnicalandartis-ticdetailsrequiredbyeachindividualstyle.Ajarringweaknessofthisproductisitsconfus-ingmixofnon-scienceandmodernresearchscientificterminology.

ManysingersinterestedinlearningmoreaboutcontemporarysingingstylesmayfindBreckAlan’sbookThe Art of Body Singingrightdowntheiralley.Breck,withguitarinhand,guidessingerswithexercisesthatareinsup-portofnon-classicalvocalsounds.Hisstyleofspeakingis‘cool’andcasual,similartothespeechpatternsoftoday’scollegestudent.Hedoesrequirethelistenertoponderalotofnon-scientific,self-createdterminologysuchasbufferair,gushing,anddroolexercise.Singerswithnoformaltrainingmaynothaveaproblemwiththis.Atrainedsingermayhavetoreinterpretapreviouslylearnedvocallanguage.Butmaybe,justmaybe,thetrainedsingerwilldiscardpastlearningandtryonanewvocabularyandperformancestyle.

ThelastbookwewilldiscussisAnnePeckham’sVocal Workouts for the Contemporary Singer.Thisproducthasniceaccompanimentsandfinedemonstrationsinging.Theexercisesarecomprehensiveandlaidoutinanorderlymanner.Abeginningcontemporarysingerisofferedafoundationinbothtechniqueandstyle.Aseasonedcontemporarysinger

Never Too Late to Learn New Tricks!

11

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callyperformedwithchoirs,pipeorgansandorchestras.Insoutherngospelcirclesthestyleleansmoretowardsbarbershopharmonyanda‘boomchuck’rhythm.Theninthecontem-poraryservicewehearverylittleelsethanover-simplifiedwatereddownpop/rocktuneswithmelodiesthatareseldomgoodmelodiesatall.Occasionallyareallygreatworshipsongarisesbut,frankly,itisn’tthatoften.Ifyoulookatthetop25songsontheworshiphitparade,you’llfindthemspanningover30years.Sorry,therejustaren’tthatmanynewtunesthatareevenmemorable.

So…whycan’twechangethis?Aftermillenniaofchurchhistory,whyismusicatchurchstillsonarrowanddull?Whydon’twewriteaboutalargervarietyofsubjects,andsingwithpassion?Whydon’twearrangeasonginanupbeatsambarhythm,oragracefulwaltz,oraheartfeltcountryballad,orasoftbossanovalovesongtotheLord?Whoexcludedtheblues,andswing,andfolk,andbluegrass?Andwhataboutthehundredsofothermusicalstylesthatareoutthere?Andwithachordencyclopediacontainingthousandsofchordalharmonies,whyhavewenarrowedourselvesdownto4-chordsongswherewedon’tevenuseall3notesofatriadanymore?Whathappenedtomemora-blemelodieswithhooksthatmadeyouactu-allywanttosingsongsoverandover?Whataboutsongformwhere,besidesthechorus,therewereversesandbridgesandintrosandendings?Andifwereallyareintothe‘seeker’mentalityoftryingtomakechurchanenjoy-ableexperienceforthenewcomer,whynotpollthemastowhatkindofmusictheylike-andthendesignourworshiparrange-mentstomatchtheneed?Interestingly,thebiggestsellingformofmusicinAmericaiscountrymusic.Whydon’twedoanAllisonKrausestyleworshipset.I’dbealloverthat.Ofcourse,you’dhavetobeopenmindedandthenfindwriters,arrangers,singersandplay-erswhoweregoodenoughtopullthatoff.Seemypoint?

The Church and Musical Style

Whatis‘church’music,anyway?Isitastyleofmusic,orisitdistinguishedmorebythesubjectofthelyrics?Isitdeterminedbythekindofinstrumentsthatareplayed?Doesithavetodowithwhowrotethemusicorwhenitwaswritten?Itisratheramazingtomewhatmusicisacceptedinchurchesandwhatmusicisn’t,eventoday.Andwhatisthecriteriaforselectingchurchsongs,musi-calstylesandinstrumentation?Andwhodecides?

WhenIlookatthemostancientOldTestamentreferencestomusic,Ifindseveralinterestingprecedents.First,themusicwasledandperformedbyfull-timeprofessionalmusicians.Apparently,thethoughtinthosedayswasthatGoddeservedtheverybest.Also,judgingfromHisdescriptionofhowHewantedthetemplebuiltandsuch,perhapsHewasn’tthatintosettlingformediocrityeither.Notealsothattherearescripturalmentionsofwind,stringedandpercus-sioninstrumentsveryearlyonaswell.Notonlythat,butwhenGod’speopledefeatedanenemy,theywouldimmediatelyadopttheenemy’smusicalinstrumentsintotheirworshipofGod-withoutprejudice.ThereisawholebookofthebiblethatisdedicatedtothesongsthatweresungtotheLordandtherearepassagesthatindicatedthesingingwentondayandnight.Further,themoodofmuchofthemusicseemstohavebeenjoyfulandthankful,downrightparty-likeattimes.Still,welearninEcclesiastesthatthereisatimeandaseasonforjoyandsorrowandeveryemotionalsituationthatbefallsman.ItisalsoclearinDavid’swritingofthePsalmsthatthemusicreflectedthewholehumanconditionandexpressedthefullrangeofemotionsassociatedwithit.

Then,forsomereason,thechurchwentthroughcenturieswheremusicbecamenarroweddownintoaformthatwasveryreverent,butratherdarkandgrimandone-dimensional.Then,withtheappearanceofMartinLuther,musictookaturnagainasthe‘hymn’wasintroduced.Lutherhimselfwrote

manyofthefirsthymns,Hewasn’treallyamusician.Hesimplywrotelyricsandappliedthemtothetavernsongsoftheday.I’verunontonumerouspeoplewhothinkit’stotallysacrilegioustosing‘AmazingGrace’tothetuneof‘HouseoftheRisingSun’.ThoughIpersonallyamnotinvestedintheidea,Ican’tsaythatit’swrong.You’dhavetogobackandarguethatissuewithLuther.Atanyrate,Luther’shymnswerenewandupliftingsounding,partlybecausehewasbringingoutthemessageofgraceinhislyrics,butitwaspartiallyduetotheGermanbeer-drinkingsongstyletoo.

IguesswhatI’mgettingatisthatIdon’tbelievethereisa‘right’or‘wrong’musicalstyleatchurch.AndIdon’tbelievethatthereare‘sanctified’vs.‘pagan’musicalinstru-mentseither.Therearejustinstruments.Don’t’getmewrong.I’mnotsayingthatanyoldmusicisOKatchurch.Myissueisthatmusicalstyleandinstrumentationaren’tthedeterminingfactors.WhatseparatesChristianandpaganmusicisamatteroftheheart.ChristianmusicmusthavelyricsthatshowloveandhonorandworshiptoourCreator.Thereshouldbenovileintent,hate,lust,jealousy,pride…well,youknowthelist.Thelyricinachurchsonghastobeedifying.Andifitisaworshipsong,itshouldexaltGod.Butit’snoteviltouseanelectricguitarinworship,ortoplayachorusinaReggaestyle.Withthatsaid,letmesharesomeofmyper-sonalobservations,opinionsandvision.

Beingaprofessionalmusicianfornearlyfivedecades,I’veplayeddozensofstylesofmusicandhavebeenexposedtohundredsmore.Tome,musicalstylesarelikethecolorthatmakesmusicbeautifulandinterestingandcompellingtoplayandsing.Withoutthisvariety,Iwouldhavequitmusicaltogeth-eryearsago.Inthechurchtoday,thereareonlyafewstylesofmusicthatarebeingused.Inthetraditionalservicewemostlyencoun-terhymnsthatareanywherefrom100to300yearsold,writteninstylesthatarenolongerusedinpopularmusic.Themusicistypi- Continued on page 45.

12

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Longtimereadersandmaybeevencasualon-lookersofChristianMusicianmagazinefindoutprettyquicklythatIlikeguitars…it’snosecretandcontrarytowhatsomefriendssay,Idon’tignorekeyboardsalltogether…it’sjustthatguitarsaremorefunJ

NotonlydoIlikeguitars,butIlikethestoriesbehindthecompaniesthatmaketheguitars.Somearesteepedintraditionandsomearegoodstoriesthatneedtobetold.Thenew/oldBedellGuitarsCompanyisoneofthosegoodstories.TomBedellownedandrantwomusicstoresasateenager(thatwonmeoverallready).Hestartedimportinghisownbrandofguitarsbackthenbutafterafewyearstheresponsibilityofgoingtocol-legeandworkinginthefamily’snon-musicrelatedbusinesscameknockingonhisdoor.Tomwenttocollegeandthendidthefamilybusinessgigformanyyearsbuildingituptoveryprofitablesituation…andthenatretire-mentagehesolditforaboat-loadofmoney.TomandhiswifeMollystartedtotraveltheworldasvacationersandalsoasphilanthro-pists.Allthewhilenotstrayingfromtheirhippieupbringingandtheircurrentcom-panymotto“Peace,LoveandRockn’Roll”.

Tom’sdesiretogetbackinthemusicbusinessresurfacedwhenhesawamusicstoreforsaleinColorado.Heboughtitandnextcamethedesiretomakehisownlineofguitarsagainbutthistimewithsomestrongfinancialbacking;hisown.Tom,MollyandtheirteamwenttoChinaandfoundareallygoodmanufacturer.Theydidn’tstoptherehowever,astheymadesurethatthework-

win-winbusinessmodel.Oncethequalityoftheinstrumentswason-linethenTomdidsomethingelsethatimpressedmeasanoldmusicstoremanager.Hegavetheretailersgener-ouspaymenttermsforbeingadealer.Hethenstartedplacingalotofprintadsintheguitarmaga-zines(isthisguyaftermyownheartorwhat?).IspokewithTom at the NAMM Show and heisgenuinelyafriendlyguy.ThenameofhiscompanythatownsBedellGuitarsisTwoOldHippies,ahomagetohiswifeMollyandhimself.Coolstoryeh?

OK,nowlet’slookattheguitar!Theyhavetwoguitarlinesatdifferentpricingandcomponentslevels.Weselectedanorchestrasizedcutawayacoustic/electricguitarfromtheirPerformanceSeries.Inthislineallthewoodsaresolid(backandsidesbeingIndianrosewood)andthebracingundertheAAASitkasprucetopiscleanascanbe.TheMBCE28GsportsaroundedcutawayandaFish-manGT-4pick-upsystemalongwithgold

allofthosesolidtonewoodsstarttoageandopenupthatthisinstrumentwillblossom

intosomethingreallyspecial.OverallimpressionisthatBedellwillset

thestandardforotherfolksmakingtheirguitarsoverseastofollow.WiththepriceofAmericanguitarsgettingsoexpensiveTomandMollymightreallyfindanichethatworkswellforthemhereandforyoutoo.YougetalotofguitarforyourmoneyintheBedellapproach…“Peace,LoveandSaveaFewBucks”mightbeanothermarketingsloganforthepublictohear.

ThisPerformanceSeriesMBCE28Ggui-tarcomeswithBedell’sdeluxehardshellcase(itevenhasabuiltinhygrometertohelpyoukeeptrackofthehumidityforyourinstru-ment)andalistpriceof$1,849.00(streetsforaround$1,250.00orso).

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Bedell MBCE-28-G Acoustic Guitar by Bruce Adolph

Grovertuners.Thenutwidthis1.7”.ItseemstomethatBedellhastakenon

thestrategythatiftheeconomicsbehindgui-tarbuildingisgoingtotakeyoutoChina,then

let’sbuildthebestguitarwecanmakeinChinaoranywhereelseintheOrientforthatmatter.

Thecraftsmanshipissomething.Fromthefretworktothewoodbindingandthestylizedpeacesymbolontheheadstock…thevibeisunderstatedquality.Thefeelissolidandwhenyoustartplayingtheguitaryoucan’thelpbutsensethatthisguitar“wants”tobestrummed.Whenyoustrumhardwithzealitresponds!Itismuscularandrhythmic.Ifyou’reafinger-styleplayerdon’tworry…allofthenuanced

balanceofbass,midsandtrebleisthere…butthereissomethingaboutthisguitarthatreallyworks

whenyoujumponit.Thiswouldworkwellintheworshipbandplayingalotofthoseopendroningchords.Remembertheorchestrabodyshapehereissmallerandmorepersonalthanadreadnought,butthevolumethat

comesoutofthisguyismorethanadequateforitssize.Editor’s side note: If you like even smaller Parlor sized guitars, Bedell makes a really good one there too.

Beinganewguitarthesoundiscrispandclearwithaniceroundedbass;butalittlebittight.Yougetthefeelingthatonce

ersinChinawererespectedandtreatedwell.Thephilosophythat“happyworkersmakebetterinstruments”isa

Next,IranintotwoguysIusedtoknow

fromthekeyboardworld,nowhelpingCasiolaunchtheirlineofproboards.Thekeyboardactionontheseblewmeaway.Plus,foraversatileprolevelkeyboard,thecostwasamazinglylow.Thisistrulyagoodtimetobeamusician.Iwasthinkingtomyself,“Maybeit’stimeforahomestudiokeyboard–JudydoeslikeitwhenIplayouruprightpiano.”

Anotherunexpectedsurprisewasanewcompanydedicatedtomakingjustacousticharpguitars.Iknowthislookslikeaturnofthecenturyitem–andImeanthecenturybeforethelastone–butyouhavetoadmitthatwhenyouplayoneofthesebadboysandpluckthosebigbassstringsitgetsyourmindswirlingwiththearrangementpossibilities.Itdefinitelywill

notfitintheoverheadcompartmentofanairplane.

AtUSMusic’sbooth,Iranintoanotheroldfriendandasweweretalking,Ispotted

aJayTurserBeatlebassknockoff.Ittookexactlytwominutestofall

inlovewiththisone.Itismadeand

pricedwell.I

hadanoriginal

1960’sHofnerBeatlebasswhenIwas16yearsoldthatmyfatherhadgivenme,andholdingthisbassontheshowroomfloortookmebackquiteafewyears.TheywerekindenoughtoarrangeformetobuyitandIpickeditupfromthemonSunday–whichwasFather’sDay.Prettycool,eh?IwanttoteachJudyhowtoplayitsowecansitdownandplaysomesongstogether.ShelovesalloftheoldMaranatha

worshipsongs.Thisshouldbefun!Whileinthatvicinityoftheconven-

tionfloor,Imetthemarketingman-agerforPhonicandheshowed

meanew16-channeldigitalmixingboardthatisgoingtoenterintotheHouseofWor-

shipmarketloadedwithfeaturesandyouguessedit–areallygood

retailprice.Wewillreviewthisinthefutureaswell.SpeakingofFront

ofHouseguys,ournew“LoveOneWoman…ManyFaders”t-shirtwasahitattheshowtoo.Soundguysdon’t

getalotoflove,sowhenyoueventhinkofthemwithat-shirttheyareapprecia-

tive.Ha!Ittookmethreedaystoget

achancetowalkintotheTaylorbooth,butIwasgladIdid.Theyhaveanewstudent/travel/fun

guitarcalledtheGSMini.ItismadeinMexicoandsportsacurvedwoodbackandanewplug-inpick-upsystemoptionthatamonkeycouldinstall.Ididn’tseeanyactualmonkeysintheirbooth,butiftherewereany–they

couldinstallthatnewpick-up…alotof

SoundCheck (cont. from page 7)

Continued on page 35.14

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GrantNorsworthyisacreative…there’snoquestionaboutthat.Everythingabouthimpointstohiscreativegift,hisoutoftheboxthink-ingandjustplaininterestingapproachtoeverythinghedoes.Nowhere’sthetwist…he’sato-tallybuttoneddownguyaswell.Yougottalovewhenthathappens.He’sgottheleftandrightbrainfiringonallcylinders.IknowGrantasabassplayerbutmorethanthataloverofChrist,hisfamilyandthemantleofcommunicationhewearssowell.

Grooveisaboutwhatyouchoosetoplay.NOTwhatyoucanplay.Grooveisaboutcreatingpartsofacoherentpicturethat,whencombinedwiththeotherinstruments’parts,createsacompletepicturethatmovesandengagespeople.WhetherIamplayingbass,acousticguitar,singingorleadingtheband,thepictureIthinkaboutismythree-

year-oldboyMaxjumpingupanddownonmummyanddaddy’sbed.Ifthesongisuptempo,thepictureor‘movie’isinrealtime.Ifit’saslower,moreemotivesong,it’sslo-mo.Itreallyhelps!

Max-mybounding,joyfullittleman-isthemelodyandthelyric;hemustbethemainfocusofthearrangement.Theaudi-enceorcongregationrecognizes,connectsandsingsalongtothelyricandthemelody.(Thisisespeciallyimportantinthecontextofcongregationalsinging).Themattressisthebassanddrums;justlikemymattresshasamummy’ssideandadaddy’sside,sothebassanddrumsarereallytwohalvesto

onewhole.AndjustasthemattressisthefoundationthatspringsMaxintotheair,thebass/drumunitiswhatprovidesthefoundationalgrooveofthesongandmakesthelistenerfeelandmovetothemusic.Afterthattheguitars,keys,andanythingelsearejustblankets,sheets,andpillowsthataddcolorandshadeandmakeamoreenjoyableover-allexperience(andfortherecord,guitaristsandkeysplayers,noonecanenjoyabedwithoutapillow).The Mattress

Themostessentialcomponentofanysong’sgrooveisthatthebassanddrumsworktightlytogethertocreateasolidfoundationforthemelody.Justasamat-tressmalfunctionwouldsidelineMax’strampolinetime,asloppybass/drumcomboquicklydrainsthefeelandmovementofasong.Bassists!Weneedtobeingood,com-municatingrelationshipwiththedrummer.Musically,thedrumsandthebassshouldthinkandplayasone.

Thefirststepforbassistsistobegintoviewthekickdrumasessentialemphasistoyourbassrhythm.Hittingyournoteat

exactlythesametimethatthedrummerhitsthekickgivesyourplayingpunchandcreatesatightsoundthattheaudiencecanfeel.Thatwillnotbepossiblewhilebassandkickareplayingsloppynotesinrandomrhythmicdisorder.It’sgoodtoplayparticular,agreedkick/basspatternsandtocommunicateaheadoftimewiththedrummerabout

whereandhowpatternsmightchange.Havingthenotesfromkickandbass

togetherisanimperativestartingpoint,butwedon’thavetoplaythesamerhythmsallthetime.Butifyourbassrhythmisgo-ingtobedifferentthanthekick,itshouldbeintentionalandpurposefulinthatitachievessomeeffectthatsupportsthemelodyandbuildsgroove.Communicatewiththedrummerandcomeupwithpartsandrepeatedpatternsandrhythms.With-outthistypeofliaisonit’shardtocreateaconnectionwiththeothermusiciansandwiththelisteners,thegroovediestragically,andthemelodyisleftwithnomattressto

bounceon.The Essential Arsenal

Alotoftimesbassistsseemtoodistract-edwithlicksandruns,highnotesandfancystuffandneglecttheirroleinthegrooveofthemusic;they’retoopreoccupiedwithtryingtobeapilloworablanketandforgetthattheyneedtobehalfthemattressthatsupportsthewholesong.Asongisoftenbestservedbythebassistplayingjust thebassnoteofthechordplayedaswholenotes,halfnotes,quarternotesoreighthnotes.Althoughrunsandmorecomplexrhythmsmighttickleyourear,manysongssoundbetterifthebassistusessolidevenlyspaced,evenlyweightednotes.

Thismeansthatbeforeyoudoanythingelseonbass–walking,flurries,takingajauntuptheneck,anything–youshouldworkwithametronomeordrummachinetogetsolideighthnotesintoyourreper-toire.Howeversimpleeighthnotesmightseemtoyou,theyareoftentherightchoiceforareallygood,deepgroove.Muchcanbeaccomplishedintheemotionofasongbychanginghowthebassissubdividingtherhythm.Forexample,switchingfromwholetoeighthnotestoelevateachorusshiftsgearsintheintensityofasonginaverysignificantwaythattherestofthebandandthelistenerswillfeel.The Musician’s Goal

Intheendthebassistneedstobeaser-vanttothesongasawhole,whichinturnfulfillsthegoalsofbestservingtheband,thepeopleweplayforandourCreator.Fo-cusongettingasolidrelationshipwiththekickdrumandpracticingeffectivequarterandeightnotesfirst.Oncethetwohalvesofthemattressareworkingtogether,therestofthesongcangetmovingandgrooving.

The Boy, The Bed & The Bass

Formerly the bassist with CCM bands such as pc3 (Paul Colman Trio) and SONICFLOOd, Grant Norsworthy is a Grammy® nominated and Dove Award

winning musician and speaker. Originally from Australia, now based in Nashville TN, Grant is also an outspoken advocate for Compassion International. For more information: www.grantnorsworthy.com

Hitting your note at exactly the same time that the drummer hits the kick gives your playing punch and creates a tight sound that the audience can feel.

16

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Chris Tom

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Havingproventhemselvesintheindustryforanumberofyearsnow,thegoodfolksatVisualSoundhavedoneitagain.Thistimetheyhavetakenittoanewlevelwithalineofbudget-friendlypedalsthatsoundsurpris-inglygood.Therearefivemodelsintheline:theOilCanPhaser,ChainsawDistortion,DrivetrainOverdrive,ChopperTremolo,andAxleGreaseDelay.EachoftheGarageTonesareclassic-soundingpedalswithveryuseabletones.

TheOilCanPhaseroozeswiththeclassicanalogphasersoundsthatplayerslove.TheOilCanhasseparateSpeedandDepthknobsandisactuallyquitesonicallydiverse.Thesoundsareallwarmandlush,anddependingonwhereyouplaceitinyoursignalchain,youcangetallkindsofcooleffects.

NextwehavetheChainsawDistortion.WithitsthreeknobscontrollingDrive,Tone,andVolume,theChainsawisactuallymuchlessaggressivethenthenamewouldimply.Thetoneisactuallyquitewarmandmusical,withoutjustbeingahead-severingdistortionpedal.Youcangofromsubtlebreakuptosoaring,butwithagoodamountofwarmthfromeachsetting.TheChainsawalsohasitsownvoice.Itisn’tacloneofanything,whichisrefresh-ing.Whatitis,though,isagoodsounding,multi-purposedistortion.

TheDrivetrainOverdriveisabudget-friendlyversionofthe

company.Oneofthethingsthat

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GarageToneseriesistheChopperTremolo.Budgettremolopedalsthatactuallysoundgoodcanbescarceattimes.This

isnotthecasewiththeChopper.Lov-ersofvintagetremolotonewillbequite

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andDepthcontrolsonewouldexpect,butVisualaddedacoolWavecontrol.Thischangestheoverall

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ticularoweittothemselvestoexperimentwiththeWavecontrolforsomerealhipvariationsonclassictone.

Finally,theAxleGreaseDelaybringsuptherear,butbynomeansdeservestobeover-looked.WhatiscoolabouttheAxleGreaseis

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20

Family TraditionBy Steven Douglas Losey

The pedal steel is wailing, singing, and praising to an old traditional hymn as all ten strings are purposefully strummed. While the congregation dances, claps, and stomps, Robert Randolph connects with his Maker.

It’s been called enlightenment, ushering in the Holy Spirit, and divine anointing, and he and the Family Band have it. Gifted to lead, and musical virtuosos as well, the band plays funk, gospel, rock, jazz, pop, R&B, and soul divinely; they whip out styles and grooves faster then you can say “Amen!” Whether it’s leading a congregation or gigging with Eric Clapton, the band strives to bring a message of hope to the masses.

Robert Randolph is blessed and he knows it, learning early on at the House of God Church in New Jersey that music is a gift from God. He ran with it. He discovered secular music like Earth, Wind and Fire, Muddy Waters, and the Allman Brothers; then his ears were opened to hearing Stevie Ray Vaughn, which changed his life.

Robert Randolph and the Family Band are just that: his cousin Danyel Morgan plays bass; his cousin Marcus Randolph plays drums, and his sister Lenesha Randolph serves up vocals. The family tree is deep, and they are rooted in the finest gospel, funk and R&B traditions.

How do you and your band switch genres so effortlessly?

All credit really goes to growing up in church and having been able to play in a pentecostal church setting where I grew up my whole life. That’s where I learned how to play music. Whether it’s an old hymn, a traditional, or some new contemporary like the Winan’s or Kirk Franklin, all of that ranges in the church and it happens every Sunday. As players, we always had to adapt musically to each different thing. Of course, the older people want a different style of playing when they’re singing the hymns, because you have to slow it down and make things more beautiful. And with some of the contemporary gospel, I have to be more on my toes with different chord structures. That’s really where it comes from; as I’ve gotten older, I’ve come to find that the best musicians are guys that have come from church, because of that same kind of training. In our church, we’ll do a choir song. Then the preacher will sing a song from the thirties, and lead in to contemporary. So you have to really be on it.

And you were the leader?

In the House of God Church where we all grew up, the pedal steel is usually the leader of the band, the leader of the musical part of the

service. The steel guitar player really dictates the mood, what’s being created, knowing when it’s time for the spiritual dance. We have to be ready all the time.

You and the Family Band have always felt like one big church service...

Well, that’s really what it’s always been for us. Sometimes people like to criticize because they ask, “Where are you singing about God and Jesus in the lyrics?” The truth is, if anyone is really listening to any of our songs, they would hear that all of our songs are spiritually and mentally uplifting. Regardless of what other people have said, I’ve had thousands of emails from people in jail, people thinking about killing themselves, and through the music and the message and the vibe and energy that we bring, they have been uplifted. So many people have told me that they were lifted from that frame of mind that they were in.

Why do you think that is?

Well, Steve, I’m not preaching from the Bible during our set, but I do know why. For some weird reason, so many people have gotten afraid of going to church. We go out and bring that experience to people. We say, “You should go to a church

on Sunday; you should join a youth group or something.” We simply tell them that will make them a better person.

How do you create that uplifting vibe?

If you talk to some of the older people in the church that I’ve grown up around, they would say that I’ve been giving the anointing. I’ve talked to people like Pastor Paul White and Marvin Winans and Bishop Eddie Long, and they have said the same things. It just

21

where you’re at. While we’re on the road, sin will happen, but we’ve all got family to answer to no matter how famous we get – our grandmas and aunts and mothers and fathers are there to answer to. When we make mistakes, we get home and there’s prayer. We have aunts and uncles that get on the phone with us on tour and say a prayer for us. It’s the people that think they can do no wrong that are usually hit the hardest by the devil. When you know you’re doing wrong and you seek help, that’s when you know

you’re in the right frame of mind. There are people that just seem like Mr. and Mrs. Holy Holy Holy while the devil is busy in their lives; the people that don’t even recognize the wrong in their lives are the ones that are really in trouble.

How do you best portray Christianity in the mainstream?

It’s all about being who I am all of the time. We are all striving to be like Jesus, the man who walked the earth and did no wrong; we are all striving to be like that. Through

comes out. People tend to lose focus of what they’re playing music for sometimes. God has really anointed us as a band to do this. I don’t know how; I just know when we play and it feels right, it seems to have that anointing on it.

How do you avoid sin on the road?

I’ve really come to find out that whether we go to church or Bible Study, life is a rollercoaster that needs to be taken day by day. The devil is going to attack no matter

22

whatever testimonies that we have, through the trials and tribulations that I’ve gone through, when I’m in front of people on that stage it just comes out.

So just be a light?

Out here, doing what we do, we meet all types of people, Steve. We meet devil worshippers and the lot; there’s really nothing that I haven’t seen. There was a young lady that told me that she doesn’t even believe in God, that it was a bunch of baloney. She said she just liked coming to the show because it made her feel good. That’s not a coincidence. I encouraged her to find a church. There’s a line in the song I wrote, “I Still Belong to Jesus”, that probably offends people, but it was meant to. It says, “The finger pointing preacher screams/ he’s hunting sinners in his dreams/ but Jesus didn’t start no war/ He reached His hand out to the poor.” For that reason, so many people have become scared to go to church. So many preachers at so many churches have become the judge of us being a good or bad person. I asked one minister, “If you spend all your time doing that, then what is Judgment Day for?” I said, “If you’re already telling me I’m a sinner, then there’s no need for me to tell you I’m saved. If you’ve already judged me, then what’s the point of standing before Christ one day and asking if I can come in.” I feel strongly that their job and our job is to preach The Word and give their testimony and lend a helping hand to people.

Why is there so much confusion about God in the mainstream?

The devil is powerful, and there’s always ways of tricking people with things like the Internet. Kids have so much access to those types of things; the Taliban has their own channel that you can look at every day. There’s so many more ways of reaching people and fooling people now. But, for as many hate groups as there are, there are a thousand more examples of the Light and where it is and who we should be and what we should do.

That’s a lot of responsibility...

As musicians and songwriters, we have the power of the microphone, and I don’t understand why urban artists use that power to do the wrong things, especially back when America was going through segregation and those type things.

God made it.

We Walk This Road feels like a tribute to so many traditionals...

We were able to take these early American songs like “Traveling Shoes” that we’ve all sung in church at some point, and really do our thing. “Bones Dry Bones” was an old field recording that we used, and the segue is in there as well. We were able to take that song into the context of thousands of years, because some of that stuff never changes. To be able to write lyrics using the inspiration of that old recording, to use that to uplift people for today, was the proudest moment of recording this record.

The Dylan cover, “Shot of Love”, is amazing.

That was a powerful song for us. We were looking for songs that would tell the story of this record, that would really cover a hundred years of American music. It had the message that we really needed, that we’re all walking around needing love. To be able to record such powerful guitar all around – through, over, top, and underneath the song – created a vibe to make people listen and want to get into the lyric.

You and your producer T-Bone Burnett really had a vibe in mind?

Talking to him, we realized how important it was to get people moving, to get them into this message of showing each other love. Most of the songs were written

I think about how far we’ve come at this time, but we’ve also gone backwards. There were guys like Stevie Wonder doing a whole record about coming together, and Bob Marley and the Beatles as well. Michael Jackson had songs about that very thing – “Man in the Mirror”, “Black or White” – those were uplifting tunes to better man and woman walking this earth. If the biggest artists in the world could do it, then all of these artists today should be, but they don’t even make the attempt. By the end of the day, who are we to judge whether or not Michael Jackson is a Christian or not.

It’s always amazed me to watch these urban and rap artists who spout violence, and hate and sex, and thank Jesus when they win a Grammy! Isn’t that something, man?

Listen, it’s so funny that you said that. I hear those artists thank their Lord and Savior the Lord Almighty, Jesus Christ. I see them going through struggles and they question God. I want to ask them if they do know that God is out there?

Blood runs thick in your band?

Of course it does. My cousin is Marcus and plays the drums, and Danyel plays the bass; even my sister sings in the band now. We’ve all grown up in the church and we’re family. The way we play, the way we sing, the way we write – for some reason it’s just magical. It just doesn’t come that way with other people; that’s just the way

Adam Agee, Stellar Kart • Andy Davis/Randy Williams, Jeremy Camp • Hector Cervantes/Juan DeVevo, Casting Crowns • Derek Mount, Family Force 5 • Matt Hoopes, Relient K • Sameer Bhattacharya/Jared Hartmann, Flyleaf • Jon Foreman, Switchfoot • Jon Schneck/Matthew Thiessen, Relient K • Justin Cox, Firefl ight • Ben Kasica/Korey Cooper, Skillet • Mac Powell/Mark Lee, Third Day • Noah Henson, Pillar • Pete Prevost, Sanctus Real • Jonathan Steingard, Hawk Nelson • Barry Graul/Mike Scheuchzer, Mercy Me • Jeremy Holderfi eld, Seventh Day Slumber • Tim Rosenau, TobyMac • Tim Skipper, House of Heroes • Jeff Owen, 10th Avenue North • Paul Zach, Remedy Drive • Jack Parker/Mark Waldrop, David Crowder Band • James Mead/Nick DePartee, Kutless • Anthony Armstrong, RED • Justin York, Steven Curtiss Chapman • Jason Roy, Building 429 • Trevor McNevan, Thousand Foot Krutch & FM Static • Eric Miker, Decemberadio • Todd Agnew, Todd Agnew Band • Luke Graham, Since October

© 2010 PRS Guitars photo of Jason Lee © Jannis Lootens Photographic | www.jannislootens.nl

From all of us at PRS Guitars, thank you for your support.

PRS_CCM_Ad.indd 1 7/8/10 2:40:34 PM

24

when we were watching the early debates of McCain and Obama. As Americans, we just wanted somebody to tell us the truth, how we could get through this state of depression and people losing jobs and their homes.

Talk about some of your special guests moments?

All of the guests were never really planned. Word just started to get out, I talked to my friends, T-Bone talked to his people, and they just wanted to come down and hang out and see what we were doing. That’s what happened with Leon Russell and Ben Harper. I remember thinking, “I’ve got the great rock and roll legend Leon Russell playing on a song called ‘Salvation.’” The same thing happened with Ben Harper; we had this Blind Willie Johnson song, “If I Had My Way”, that so many

24

people have recorded. He came in and said he knew exactly what to do with it. He went in and sang these choruses and these lyrics and we changed the story from Samson and Delilah to the story of Daniel and the lions’ den. I just wanted to say that we need to burn this place down and go to heaven already. [Robert singing] “If I am this way, I’ll burn this building down, burn this building down.”

Please tell me how you get your incredible guitar tone?

I guess it’s all in the magic of the fingers. I watched the guys who played before me at the House of God Church. We can all get on the same guitar and none of us play the same. When we were young, our parents and grandparents would pray for our hands and anoint them at the end of every Sunday service.

What about gear?

I use a Fuchs Amp. It’s a head with a 4x10 cabinet that I use live. In the studio, I ended up using a Fender Jeff Beck rig which was a combination of two different sounds, which is why I was able to get so many different ranges of beautiful tones on this record. I also really love to use this new effect by Crowder Audio called Prunes and Custard. It’s like a phaser/distortion/EQ filter all in one. You can strip it down to get this cool distortion without a lot of the mid-range in the notes. That was how I got that sweet distortion in “Traveling Shoes.” It was the perfect distortion, where it fit right in the range of following the singer perfectly.

What do you want people to take away from We Walk This Road?

I just want people to be musically uplifted and happy that young African Americans like myself and the family came along to make a statement in these times that we’re living in, that we aren’t following the same trends as everybody else. We really wanted to take the old gospel stuff and take it to another place, a place where it would appeal to not only younger people but older audiences as well.

��

CONFERENCES 2010

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i m p r o v i n g s k i l l e i n s p i r i n g t a l e n t

PAUL BALOCHE

PHIL KEAGGY

THRIVING MUSICIAN SUMMIT Sacramento, CA September 17 & 18, 2010 marks our 4th year www.ThrivingMusicianSummit.com

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SONGWRITER & VOCALSBOOT CAMPS we will host Boot Camps at select CMS conferences... it’s a 1-day event the day before for songwriters to inspire their talent... or vocalists to improve their skill www.SongwriterBootCamp.com www.VocalsBootCamp.com

We exist to provide practical training, equipping and resourcesfor musicians, worship leaders, technicians, pastors, songwriters, and independent artists

in order to improve skill and inspire talent for God’s glory and His kingdom.

THRIVING MUSICIAN SUMMIT ARTISTSwith more to come

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LINCOLN BREWSTER

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CMS 2010 - ad-v4.indd 1 4/12/10 1:15:46 PM

http://www.christianmusiciansummit.com

selective hearingNightlights

JimmyNeedhaminpop

ThankGodforthatvoice.Itiswhatsepa-ratesNightlightsfromjustanotherJasonMrazwannabealbum.Since

JimmyNeedhaminsistsonwearingthatbowl-erhatandhaspopulatedhisnewdiscwithmorereggae-lightandpoptunesthanpastprojects,theMrazcomparisonsareinevitable.Thankfully,Needhamhasthetypeofsoulful,grittyvoicethatonlycomesaroundonceinagreatwhile(thinkasomewhatmutedStevieWonderorMarcBroussard).That,plushispredilectionforclassicR&B(“TheReasonISing”,“GraceAmazing”)giveshismusicmoreemotionalaccessibilitythanthealmostnov-eltyqualityoutputofhiscounterpart.“JustAHeartbeat”isaverycrediblestabat“FabFour”stylebaroquepopandlendstheprojectawel-comechangeofpace.Whilethesinger’sguitarprowesstakesabackseatonNightlights, carefullistenswillrevealsomeverytastefulrhythmworkthroughout.Needhamisaverycapableartistwithaboatloadoftalent.Alittlelessreli-anceonhisinfluenceswillallowhimtoreachhisconsiderableartisticpotential.

The Generous Mr. Lovewell

MercyMeINO

Why?Thiswasmyresponseafterlisten-ingtothis“TaleofTwoProjects”fromChris-

tiansupergroupMercyMe.Knowingthatthealbumcarriedaconceptlooselybasedonacharacternamed“Mr.Lovewell”whotriedtoimpacttheculturearoundhimbyshowingkindnessinhisactionsandcompassioninhiswords,IsettledinforwhatIthoughtwouldbethemost“outofthebox”releaseofMercyMe’scareer.Fromtheelectronica-lacedopen-ingrocker,“ThisLife,”throughthefourthcut–theeerie,bassdriven“CrazyEnough”(whichvaguelyresemblesfellow“Crazy”practitioners,GnarlsBarkleyandSeal)–therecordtotallylivesuptothepre-releasebuzz,creativelyyetsimplycommunicatingthejoysoflivingalifethatcompelsotherstoseekoutholiness.Thetitlecutframestheconceptwellamidstthetypeofsunny,harmony-ladenpopthatELOandJellyfishdidwithsuchaplomb,while“Move”tacklestheage-old“fishswim-mingagainstthestream”themeasitchannelsthebestaspectsofmid-70’sBeeGeespop-funkandmarriesitwiththefervencyofMaroon5.Afterallthiseclecticism,itfollowsthatitwouldbetimeforthe“standardissue”Mercy

Mepowerballadthatwillbeontheradioformostofthenextdecade,andthebanddoesn’tdisappointwiththemajesticpop-worshipof“AllofCreation.”Thebandbeginstogetbackonthe“variety-train”withalovelytuneofencouragement,“Beautiful”thatfusesetherealorganictextureswithtastefulprogrammedbeats.Fromthispointon,however,theyaban-dontheproject’sthemealtogetheranddecidetoreverttotheirstandingasthekingsofChristianradioplaywithabunchofpsuedo-worshipsongsthatwill,nodoubt,playtotheCastingCrowns,StevenCurtisChapman,JeremyCampandChrisTomlinfansoutthere.Unfortunately,thissuddenshiftindirectionleftmewondering“Whatintheheckjusthap-penedhere?”Thisisclearlyabandthathasthemusicalingenuitytomakeakilleralbumallthewaythrough;.thefirstfourcutsfuelthatspeculation.Yet,aslongastheycontinuetoapproachtheirmusicwithaneyetowardcon-ventionandcommercialcalculation,theywillforeverbeknownasaverypopularband....justnotaparticularlyuniqueorartisticone.

We Walk This RoadRobertRandolph

andtheFamilyBandWarnerBrothers

Aftertwomoder-atelysuccessfulrecords(“Unclassified”and“Colorblind”)thathave

positionedRobertRandolphandtheFamilyBandsquarelyinthe“JamBand”category,they’veseemedtorealizethatthestudioisnotadequatelyequippedtotranslatetheirliveenergytothevinyl(ordigital)format.Instead,Randolphhastakenagood,hardlookattheband’sgospelandbluesroots,addingcolorandgroovetoacarefullycollatedgroupofclassicblues,pop,andgospelsongs,aswellasafeworiginalsthatsharethesamecreativeenergy.We Walk This Roadhasasoundthat,invibeandtexture,makesupforwhatitmaylackindynamics.You’renotgoingtopopthisCDinatapartyorblastitwhileyoucruisedownthestreetwiththetopdown.ItismuchmoreeffectivelistenedtowithapairofreallygoodheadphonessoyoucanhearthesubtlemusicaltouchesandbaskinT-BoneBurnett’srichproduction.Asaguitarplayer,RobertRan-dolphhasreallymaturedonthisalbum.Hecanripoffasolothatwouldshamemostaxe-mentwicehisage,yetheknowswhentolaybackandbeapartofthesong,withouthavingto“be”thesong.Nevertheless,therearestillsomejaw-droppingmomentsinterspersedhereandthere.Amongstthesonghighlightsare:“IfIHadMyWay,”theoldReverendGaryDavischestnutthatisgivenproperreverence,evenasitissuitablyrevvedupformodern

consumption;aslinkycoveroftheBobDylancut“ShotofLove”thatisawashinthe‘wet’ambiancethatBurnettmanagestomakesocompelling,aswellasoneofthose“jawdropping”guitarmoments;“IStillBelongtoJesus,”whichstartsoutsoundingeerilylikeFleetwoodMac’s“Dreams”beforeadvancingtoasoulfulpopchorusthatborrowsliberallyfromBackStreetBoys“IWantitThatWay;”JohnLennon’slesserknownanti-waranthem,“IDon’tWanttoBeaSoldierMama,”whichagain,benefitsfromBurnett’suniquetex-turalexperimentationaswellastheFamilyBand’suncannyabilitytolaydownagroovethattakesholdofyoursoul.Thiscuthasthesamevibe(and,often,bassline)asMarvinGaye’sclassic“What’sGoin’On”.Finally,thealbum’sclose,“Salvation,”isabeautifulballadthat,likemostoftherecord,managestosoundclassicandcurrentsimultaneously.Tothatend,RandolphandBurnettcomeupwithaneffectivetack,segueingfromtracktotrackwithsprinklingsofclassicoldbluesandgospelrecordings.WhilemanydifferenterasofAfrican-AmericanmusicarecelebratedinthesongsandsocialmessagesofWe Walk This Road, theyareknittogetherbyastrongthreadofdevotion,hopeandthedesiretoupliftthespiritsofthedowntrodden.SomelongtimefansofRRFBaregoingtomisstheguitarrave-upsandextendedfunk-jamsthebandisknownforinliveperformanceanditmightbewiseofthelabeltoreleaseaconcertalbuminthenearfuture.However,asfarasstudioreleasesareconcerned,themoremuted,butinfinitelymorepurposefuldirectionofWe Walk This Roadissomethingthebandshouldcontinuetopursue.

ReunionSeawind

www.seawindjazz.com

Ifyoumissthesoundofthe70’saf-fordedbysuchpopjazzgroupsasPabloCruise,

AmbrosiaandToto,youwillsurelybeexcitedtohearthereuniondiscbytheestimableSea-wind,thefinestgroupofitskindtheChristianmarkethaseverproduced.However,theseguysmadequiteamarkonthemainstreammusicscene(specificallyLAstudiosessionwork)overthecourseoffourdecades.As“in-demand”asanyofthepreviouslymentionedgroups,Seawindwasnotedfortheirin-the-pocketgrooves,brightdistinctivehorncharts,andPaulineWilson’sclearvocalpresence.Reunionrevealsabandwhohasn’tlostastepsincetheylastrecordedyearsago.Thegroovesareinviting,themelodiesindelible,andthehornsareascleverlyarrangedaseverand

by Shawn McLaughlin

26

http://www.seawindjazz.com/

http://www.seawindjazz.com/

oftenaddalittlegrittothelaconic“Island”feelofmostofthedisc.“KeptByYourPower”,“DevilisaLiar”,and“EverythingNeedsLove”areprimeexamplesofthebandinfullbloom.Ifyouareasuckerforabsolutely“sick”musicianship,thenyouwillwanttopickupReunionrightaway.

Old AngelLostDogs

StuntRecords/FoolsoftheWorld

www.thelostdogs.com

OntheLostDog’snewestopus,Old Angel,

thebandfollowsthesuggestionofleader/residentgeniusTerryTaylor,andwritesofthethrill,disappointment,discoveryandfailureofsearchingforone’sdreams.Thisthemeisplayedoutonthemetaphorical“GloryRoad”or“OldAngel,”themythicalpathtothepotofgoldattheendoftherainbowasrepresent-edbyRoute66,thenowneglectedhighwaythatrunsfromChicagotothesunnyshoresofSantaMonicaCalifornia.Twoyearsago,thebandheadedoutonatourdowntheoldhighwayandbroughttheirlaptopsanddiarieswiththem,takingcopiousnotesalongtheway.Therecordisastudyinbrokendreamsandthedevastatinglossthatbefallsthosecursedwiththehumancondition.Theopen-ingcut,“IsraelitesandOkies,”parallelsthejourneyofthechildrenofAbrahamsearchingforthepromisedlandwiththatofDustBowlerahomesteadersheadingoutwesttoseek

theirownredemptionfromoppressionandpoverty.Butinsteadofbeingconfrontedbyburningbushes,mannafromheaven,plaguesoflocustsandthetemptationofgoldenidols,Americantravelerscomeincontactwithgiantjack-rabbitstatues(“GoodbyeWin-slow”),outlaws(“WickedGuns”),itinerantmigrantworkercamps(“DustinMyBowl”,“PearlMoon”),waitressesindiverestaurants(“DeadEndDiner”)andthetemptationofrealgold.The‘Dog’smusicalaccompanimentisperfectlysuitedforthehard-luckcharactersandoftentragicsituationstoldinthelongconceptalbum.Theband’sblendofAmericanmusicforms(country/folk/blues)istemperedwithveryaccessiblesongwritingandadashofrockflavorinappropriatelyricalsettings,liketheacerbic,outlawtale,“WickedGuns.”Thebeat-poetinspiredjazz/rockabillyraver,“America’sMainStreet,”boastsTaylor’sspokenwordlyricandanhilarioustubercularlaughatsong’send,perhapsinspiredbyheavysmokersJackKerouac,WoodyGuthrieandAllenGinsberg,whosespiritsinformthetrack.GuitaristMikeRoedoesyeoman’sworkonbothcuts,managingthetrickofsoundingcut-tingedgeandtraditionalsimultaneously.Old AngelisthesecondLostDogsalbumtofeatureSteveHindalongasamember,andhehasfullyintegratedintothegroup,contributingnofewerthansixsongsaswriterorco-writer.UsuallydominatedbyTaylor’ssongs,each‘Dogcontributestothedisc,andtheresultisasoundthatsoundsasorganicallycohesiveasany‘DogsreleasesinceLittle Red Riding Hood, featuringthedear,departedGeneEugene.One

reallycoolfeatureofthediscisthatthelyricalvoicealternatesbetweenmodernnarrationandthecolloquiallanguageofthesong’schar-acters.Thestunning“PearlMoon(HoovervilleCamp1933)”fallsmostlyinthelattercamp,butridesthestrengthofoneofTaylor’sfinestpoeticlyricsintheserviceofasadtaleofafamily’sfailuretoescapethehopelessnessofoneofthemid-west’smigrantworkcamps.Alsoaffectingisthelovely“DesertFlowers,”atruetaleofwitnessingtheheartofGodintheNativeAmericanchildrenoftheNavajotribeattheRedSandsSchooljustnorthofWinslow,Arizona.ThecuttakesonaPeterGabriel-likeworldflavorthankstostatelypercussionandNativeAmericanlyricsaspartofthechorus.Inthe“TricksDogsPlay”department,thebandoffersup“DeadEndDiner,”apop-rockmasterpieceasengagingasanythingyou’dcurrentlyhearontheradio.Neartheendofthealbum,thesongtakesplaceneartheapexofRoute66inCalifornia,andthemusicmir-rorsthesoundoftheSantaMonicasunandsurf(thebandmembersareHUGEBeachBoyfansandthissongprovesit)asittellsthetaleofawaitresswhoissoresignedtoherfateinlifethatwhensheisshownsomeattentionbyafella,shenotesthatheis“sortahandsomeinanuglywayandshe’salmostsurethatheain’tgay.”Thebandgetscleverastheyplacethewaitress,Dinah,inthekitchenandthensing“Hey,it’sfeefiefiddly-i-ayFeefiefiddly-i-o,”echoingthemainverseoftheAmericanclassic“I’veBeenWorkingOntheRailroad,”effectivelyandhumorouslyconnectingthepresentwiththepast.Thecutisrifewith

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classicDaugherty/Roe/Taylorharmonies,Roe’sbest‘BrianWilson’falsetto,andaninsanelymelodicbasslinethatsoundsdistinctlyliketheworkofTimChandler,whodoesguestonthealbum.“CarryMe”isasongofresignedsurrenderattheendofthejourney,asRoebeautifullyemotes:

CarrymeI’mtooproudtocrawlCarrymeI’mtootiredtorunCarrymeOverMojaveUndertheNavajosunCarryme

Old Angel,then,isaboutlifeandtheag-ingprocess,dealingwith“progress”andlosswhilethe“progressive”(i.e.moreconven-tional)threatentopushthemoreexperiencedaside;thematurityandwisdomofthepastarelefttothefewwhocontinuetoseekoutthe“beatenpaths”orthe“off-roads.”Witheachrepeatedlisten,therecordappearstobeametaphorfortheLostDogs’ownjourneyintheChristianmusicbusiness.Eachmemberoftheband(and,again,especiallyTaylor)hashadanenormousinfluenceonthewholeofChristianmusic,butespeciallytheChristianalternativescene,whichwould,arguably,notevenexistwithoutthetrailstheseguysblazedinthe70’sand80’swiththeirbands:DanielAmos(Taylor);The77’s(Roe);TheChoir(DerriDaughertyandHindalong);andAdamAgain(GeneEugenevideocollection.

GivingcredencetothemusiciansthatpavedthewayforthecurrentcropofyoungstersCANbedoneintheChristianmarketbut,itsimplyisn’t;andthatisashame.EspeciallywhenlisteningtoamasterpiecelikeOld Angel andrealizingthattheseguysarestillmakingmusicasvitalasanybodyoutthere:astheLostDogs;withtheirownbandsandsolo,inthecaseofRoeandTaylor.TaylorhasbeenplyinghistradeintheCCMindustrysincetheearly“JesusMusic”daysof1975,ifnotearlier.Ifyouaskmusicianswhotoday’sgreatestlivingsongwritersare,thechancesthathisnamewillcomeuparebetterthanyou’dimagine.Asalyricwriter,Hindalongisnearlyasrespected.DaughertyandRoearenosloucheseitherandRoewoulddentmorethanafew“bestguitarist”lists.WhytheseguyshavetotoilinrelativeobscuritywhilepeoplewithaneighthoftheirtalentdominateChristianradioisbe-yondmycomprehension.OK,rantover.Now,gobuytherecordingsofthesemusiciansandshowthemhowgratefulyouare.

Out of the BlueCalebQuayeand

TheFacultywww.Amazon.com

Onhissecondsolodisc,legendaryguitarist/songwriterCalebQuaye(fromEltonJohn’s

well-regarded70’s&early80’sbandaswellasnotablestudiowork)tradesinhisrockdudsforthemoreunderstatedfineryofthesmoothjazzgenre.Whilethatmonikermaystrikefear

intheheartsofsomeseriousmusicfans,letmeassureyouthatthereisenoughdynamiteinthisman’saxetorenderthosefearsmoot.AcoupleofcharacteristicsseparateQuayefromotherguitaristsintherock/jazz/bluesrealm.First,histoneisstunning,whetherslightlydistortedinmoreaggressivesettingslikethefinalsoloonthetitlecut,thecarefreegrooveof“WalkingbyFaith,”thealmostprog-rockframeof“PullingDownStrongholds,”orshimmeringasinthelovelyacoustictinged“ChangingSeasons.”Second,herarelyifeverrecyclesriffshehasusedbefore;hecomesupwithsomethingnewandfreshonvirtuallyeverysong.Heisalsoaremarkablyempatheticguitarist;thatis,hisphrasingseemsperfectforeachmood,everymusicaltransitionhiscrackbandplays,nomatterwhatthefeelofthesongis.Infact,‘feel’isaverygoodtermforthetypeofguitaristQuayehasbecome,whilerecognizingthathestillpossessesastonish-ingtechnique.IfthereareanydownsidestoOut of the Blue,itmightbetherelativelackofdiversityinthesmoothjazzgenre,withmanyofthetemposandharmonicarrangementslackingthebiteofa‘harder’jazzcontext.Yet,thesheergeniusofQuaye’sgiftoffersplentyofmeatforanyaficionadoofgreatguitar

playing.Out of the BlueisavailablethroughiTunesorAmazon.com.

Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ

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volor alitati issequi

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ommo dem harciis ea cus nisti consect oreped

is nulpa velenia ssintis enda sam ressi net

dolupti od molut vel id que pa simporerum autem il eum id que voluptatur aut ut quam di

doluptis estiaerem fuga. Eperitatium hil eni iumquib erspis i

pienihita eiciatium repe rerna-

ti dolest, comnia que ma volorior

ia quidign ihicae num labore, corum facea ipid

min essi

adit alit, to tem que moloribus magnias as endunt escia nam, ut qui dicilla bore

perum

eos eos min prorumq uametur aborept ionecto volore

ius volo doloribus et et eatis dolenda

velitiumqui ut re plignis sae volorendit re vellu

pta nem vellor remporpore la

cestia volupta

volorem autatibus idestias aut est volum qui idebis ma ne diore debitione peribusam harum

quae alic tem fugit occumque nitiore moluptae ipsa a

ut denda quosam quide dia sae. Et

veles moluptur? Qui sus enia comnima ioruptat laborestin nus volento consequunt aped

ese con natincit fugias voluptatem ea autatur magniae cerupti atureperum arum hit

liqui aut quiandignate plissit aspedior simoluptas estota

s reri

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WhatkindofguitarshouldIpurchaseformychildthatislearningguitar?

ThisiseasilyoneofthemostcommonquestionsthatIhearfromfolksthatIrunacrossincasualconversation.Ihave

heardittwice,thisweekalone,sohereitgoes:

Youknowhowoverwhelmingitis,evenasanexperiencedguitarplayer,walkingintoahugecorporateguitarretailstore.Thehugeinventoryisdesignedtoenticeyoursensesenoughtomakeyouspendsometime,tryingtotakeitallin.Well,imaginewalkingintothat,asafirsttimebuyer,withnoexperience,tryingtofigureoutwheretoevenstart.Ihopethisanswerhelpssomeofyou,inthatsitua-tion,choosewiselyforyourlearningguitarstudent.

ProfileInmyopinion,kidsthatarelearningfit

intooneoftwocategories;1.Thebeginnerthatisonlyintheearlieststagesoflearningand2.Thosethatarefartheralongandshowsignsof“stickingwithit”.Thelattermostlikelybeingsomeonemakingtheirfirstorsecondpurchase,asunupgrade,orasanalternativetoborrowingorrentinganinstrument.

Manyfolksassumethatspendingtheleastamountofcashisthekeytoahappypurchase.However,Iusuallyonlyrecom-mendthatrouteforbuyersinthefirstcategory,asabetterinvestment,overrent-inganinstrument.Spendingtoomuch,beforeastudent’sseriouscommitmenttolearnhasbeendisplayed,mightnotbethebestinitialmove.Avoidshoppingforguitarsattoystoresor“mega-marts”.Thelowpricesandtheconvenient“onestop”canbetempting,butyouwillbefarbetteroffpurchasingfromarealguitarstore.It’sacompetitiveworldoutthereandyouwillfindinexpensivechoices(around$100orunder)frombothsmallerandlargermusicorguitarstoresthatwilloffersomelevelofsupportandtrade-invaluelater.Infact,thesmallerthestore,themorelikelyyouareto

receiveongoingservice.Whenthestudenthasshowngrowthandisexcitedtomoveon,theybecomepartofcategory2.

Category2peoplearethosewhohaveshownsignificantgrowthandcommit-ment.Theirteacherwillbethebestjudgeofthisstage.Ifyourfirstpurchasealignswiththisstage,Irecommendpurchas-inganacousticguitarthatismadewitha“solid”topratherthanonemadewithalaminatedor“plywood”top.Bewareoftheterm:“genuinespruce”asopposedto“solidspruce”.Yes,evenguitarmakersaresavvywiththeol’marketingtricks.Solid-topguitarshaveamuchmorefullandresonantsoundqualitytothem.Thepricerangeofthesestartataround$250-$300andgoallthewayuptothestars.Personalbudgetwilldeterminewhereyoufitinthishugewindow.C’mon,whatstudentwouldn’tbemotivatedbyasweetAmeri-can-madesolid-topguitar?

SizeManybeginnersareconcernedwiththe

sizeoftheguitarthattheywillbelearn-ingon.Onlyinthecaseofaveryyoungstudent(under12),oraparticularlysmall-framedone,doIrecommendgoingwithasmallguitar.Inthosecases,considertheYamahaJR1MiniFolkGuitar.Itisoneoftheonlyreasonably-pricedsmallguitarsthatwillsufficebetterthatatoy.Ifthestu-dentisofthetypicalsizeofa12-year-old,theyarebetterofflearningonafull-sizeguitar,toavoidawkwardtransitionlateron.

IguessitshouldbeclarifiedthatI’mtalkingaboutacousticguitarshere,andnotelectric.Mostteacherswillagreethatthisisthebeststartingpoint,ifyourstudentisatallopentoit.Therearemanymoreopin-ionsthatwecoulddiscusshere(includingleft-handedness,callmetogetanearfulaboutthatone),butthesearethebasicsthatshouldhelpyoumakeawisechoice.

QQAA

Joe Riggio is a professional guitar repairman/technician and recording engineer, based in Tacoma, WA. He owns and operates “Service Guitar Repair” and “House Of

Sound Recording Studio” He has a deep love and knowledge of vintage guitars, as well as modern and loves to share his passion with others. He can be contacted at [email protected], website: www.ServiceGuitarRepair.com

Ask Joeby Joe Riggio

31

mailto:ServiceGuitarRepair@gmail

http://www.serviceguitarrepair.com

http://www.worshipmusicianmagazine.com

32

Hawk Nelson is an original. The band. Not the person. Because we don’t know if there is such a person, but we do know there is a Christian band that goes by that moniker. They have released four studio albums so far, toured endlessly, been a perennial favorite on the Christian festival circuit, and have a new album that features a Pug wearing what appears to be 3-D sunglasses on the cover, called Live Life Loud!Yeah, that Hawk Nelson chatted with us

recently and in between the laughter and merriment we found heart and soul. But

more laughter. Jason Dunn is the lead vocalist and the

most outspoken of the group. Jonathan Steingard plays guitar, Daniel Biro plays bass, and Justin Benner supplies the beats.“We’ve all got different personalities,

but they all work really well together,” explains Jason. “Jonathan here is a tech guy. Justin loves what he does and he brings joy and spirit to the band. Dan is a numbers guy and embraces the business side of things.”

“And Jason takes care of us,” adds Daniel. On stage, after the chat session has

ended and the band cranks up, Jason will declare, in a live life loud kind of way, that “Some bands say they are a Christian band, and some bands say they are Christians in a band. But I say you can’t have it both ways. You have to live on one side of the line or the other. You either stand for Christ or you don’t. You either walk the walk and talk the talk or you don’t!”Nothing comes softly with Jason. We

an interview by Bob Waller

33

witnessed his declaration about Christian bands and his desire that his audience walk with Christ in their lives after earlier asking him in this interview about comments on the internet and elsewhere that Live Life Loud is a bit more serious album for Hawk Nelson.“A bit more serious? Who says those

things?” asks Jason. Laughter erupts in the room. “I have never, as an individual, I’ve never

come across as a serious person,” he continues. “Honestly though, everyone has a serious side and I think there is still a lot of fun element to that record. Personally, it’s my favorite one so far, to date.”“I think we tried to go in a couple of

different directions simultaneously,” comments Jonathan. “Like we did a hymn, ‘Tis So Sweet, toward the end of the record, and that is something we kind of toyed around with doing for a long time but never really got around to. But we also goofed off more than we ever have before. Like, we did a ukulele song, so we went further in both directions–more extreme, and that was somewhat intentional.”Where does the inspiration for their work

come from?“It’s always different for me,” replies

Jason. “Originally, when we first started, our first record, Letters to The President, we were brand new on the scene, and we had no idea what was going on, we just had songs. It was like 19 years of stuff you had in your mind, like as a kid, all these random thoughts and random songs. And that was the first record. “The second record, you kind of realize

you have to try and say something as a band, but we were still real young and all pretty green to the whole process. So then you start writing from your listeners’ point of view, what a listener would want to hear. So I kind of base all my writing off that kind of thing.“Trying to stay youthful when you are not

as youthful as you used to be,” continues Jason, “that is a bit of a challenge right there. I’m trying to pretend I’m in high school right now.”Laughter erupts. With album titles that include Letters To

The President, Smile/It’s The End of The World and Hawk Nelson Is My Friend, you have to wonder about the songwriting process for this band.“It’s always different,” says Jason. “For

most of the songs, the initial idea will come from either Daniel or me, and then we’ll bring it to a talented source who will make it sound really good. “There is absolutely no shame in admitting

you write with other people,” Jason adds. “I think every new and young band should do that because you can have all the talent in the world, but when you can have a second opinion or someone else’s ear, it makes a song completely different.

“I’ll bring in songs that in my mind are incomplete songs, and they’ll go, ‘Well, why don’t you try this chorus, or this verse with it?’ I would never have looked at it from that point of view before, and it’s unbelievable what that does. So I am a big fan of co-writes.”“If you look at some of the most

successful songwriters out there,” inserts Daniel, “they are pro-active in songwriting with other people of the same caliber and above. You know, you never have arrived. It’s a process that is ongoing.”Still talking about songwriting, Jason

says, “The other day, we were doing some writing and we were talking about certain writer’s strong points, and I feel I am a pretty solid verse writer. That is one of my strong points, but another guy we write with said ‘My strong points are bridges.’”Jonathan perks up, adding, “Yeh, he

said he was ‘really strong at bridges, but wishes he was strong at hooks!’”More laughter.Following the song writing process is,

of course, the recording process. They make it sound so simple. Jason begins by saying, “Justin will lay down a nice fat beat, followed by some nice bass playing by Daniel, and then Jonathan will go in with his guitars.”“That’s when the songs will really

shape up,” says Daniel.“And then I get to be the last guy to go

in,” responds Jason. “I purposely don’t go in for the drum, I purposely avoid the bass, and I come in for the end of the guitars, and by then I feel like, oh my gosh, this is so beautiful. “It is like a shock, especially where

it has come from the initial idea. As a writer, in your mind, you can hear how the song sounds in your head, but in production it is like, wow, I did not expect it to sound this awesome, and that is a beautiful thing. “I’m so glad I get to enjoy that part

of it,” Jason continues. “And then I get to lay down the melody and the vocals and it becomes a piece of art and it comes together and it is so glorious, and I cannot wait for that to happen again.”Originally hailing from Canada,

the Hawk Nelson members now find themselves based in Nashville. “I think if it affects us at all, it is a positive thing,” said Jason. “We are all there now.“I was the last to make the move to

Nashville and for two years I was flying to meet there. I was feeling the distance and it wasn’t great.”Jonathan chimes in, “For me, it is

inspirational because I go to church and all of a sudden I see Rick Cua playing bass up there on Sunday morning and he is phenomenal, and a nice guy.

You are just around all these people with so much talent. It is really nice to have people to look up to.” “In LA, everyone is an actor or actress, or

aspiring actor,” states Jason. “In Nashville, everyone is an aspiring musician and they all want to be heard, which gets a little monotonous at times, but I understand completely. I like Nashville so far.”No rock band worth its salt can carry on

without touring. Just as with most bands, Hawk Nelson members have plenty to say about touring.“What we have learned is first to enjoy

what you are doing,” starts Jason. “Have fun, because we’ve been on some pretty awesome tours, but we’ve also been on some pretty horrible tours, and it’s all about the main core. “If you have ‘family’, it makes a

difference, and these guys here are my BFL, my Brothers For Life. It would be a whole different ballgame if I was with a different band, and I hope we all feel that same way. When you are on those tours, and you are six weeks in and burned out, it’s not always easy, but you have to count your blessings and take everything one day at a time.”Jonathan adds, “I think it is super

important to find ways of having a great time doing what you do. If you are on a particular tour, where maybe you are missing home or not getting along with someone on the tour or something, or you are sick, I think it’s important to actively take steps and ask ‘How can I make this more enjoyable for myself and the other people on my team?’“Maybe that means organizing more

trips away from the venue during the day, or organizing trips on an off day. If you don’t love touring, you are not going to do it very long.”Jason declares, “And for us, it has been

eight years now. That’s crazy!”As previously mentioned, Hawk Nelson

is a fan favorite on the Christian festival circuit, having appeared at countless festivals over the years. “We’ll be out there again this summer,” declared Jason. “I’ll be having a beautiful time making beautiful memories with my beautiful friends here.”We inquired about the gear that Hawk

Nelson members use in the studio and on stage.Drummer Justin stated, “For me, I am

currently endorsed by Pro Mark sticks, Pearl drums, and Paiste cymbals.”“I like Fender basses,” said Daniel. “They

just seem to work for me. I have an Ernie Ball that lives in John’s house in the studio that I think is cool sometimes. I used it on the first record. I use the classic Ampeg head with HM cabs. It is a tube sound that I like. I keep it pretty simple. I use the Elixir Nanoweb strings.”Jonathan listed his gear next. “On the last

record, I used a 70’s hundred watt Marshall, an old Plexi. I used also an AC30, my Bad Cat Hot Cat 30, an Orange Tiny Terror and a JCM 800. All of that was through an Orange 4x12 cab with Celestion vintage 30’s. I use GHS Boomers strings, the 12 to 52’s.”Jason’s turn, and he does not

disappoint. “I just use a black microphone.”Laughter again.We asked about Hawk Nelson’s

association with TOMS Shoes, the California company that provides a new pair of shoes to a child in need when someone purchases a pair. It is part of the operating vision of the company.“TOMS Shoes never approached

us,” stated Jason. “We just knew what they were doing, and actions speak louder than words, in my opinion. We saw what TOMS Shoes were doing for these kids in third world countries. “Basically every kid that does

not have a pair of shoes, TOMS is sending them a pair of shoes, which I think is awesome, and which is why we contacted them and said,

‘Hey, we love what you’re doing. How can we be a part of that?’“A lot of people know that for

every pair of shoes you buy, they are going to send a kid a pair of shoes.”“It’s simple,” adds Daniel. “It’s not

complicated, and it is built-in to the very fabric of what their business is. It is on our website and we’ve done some in-store events.”What does the future hold for

Hawk Nelson?“We are doing a lot more

International shows this year,” explained Daniel. “Australia, the Netherlands, and even Switzerland this summer.”“We’ve kind of always just been

domestic, but now we want to open up the floodgates,” remarked Jonathan.We want to take over the world!

That’s what it comes down to,” exclaims Jason. “There are more places we need to get out to and play.”Somehow, you just have to

believe that Hawk Nelson will one day actually take over the world!

HAWK NELSON

SHUBBThe best capo for intonation for the past 30 years

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To even begin to address tuning issues, a capo must be totally adjustable.

Adjustability made easy

Some capos require that you manually apply the same amount of pressure each time in order to get acceptable results.

With the Shubb, once the adjusting screw is set for your instrument, you will get the same results each time.

record, I used a 70’s hundred watt Marshall, an old Plexi. I used also an AC30, my Bad Cat Hot Cat 30, an Orange Tiny Terror and a JCM 800. All of that was through an Orange 4x12 cab with Celestion vintage 30’s. I use GHS Boomers strings, the 12 to 52’s.”Jason’s turn, and he does not

disappoint. “I just use a black microphone.”Laughter again.We asked about Hawk Nelson’s

association with TOMS Shoes, the California company that provides a new pair of shoes to a child in need when someone purchases a pair. It is part of the operating vision of the company.“TOMS Shoes never approached

us,” stated Jason. “We just knew what they were doing, and actions speak louder than words, in my opinion. We saw what TOMS Shoes were doing for these kids in third world countries. “Basically every kid that does

not have a pair of shoes, TOMS is sending them a pair of shoes, which I think is awesome, and which is why we contacted them and said,

‘Hey, we love what you’re doing. How can we be a part of that?’“A lot of people know that for

every pair of shoes you buy, they are going to send a kid a pair of shoes.”“It’s simple,” adds Daniel. “It’s not

complicated, and it is built-in to the very fabric of what their business is. It is on our website and we’ve done some in-store events.”What does the future hold for

Hawk Nelson?“We are doing a lot more

International shows this year,” explained Daniel. “Australia, the Netherlands, and even Switzerland this summer.”“We’ve kind of always just been

domestic, but now we want to open up the floodgates,” remarked Jonathan.We want to take over the world!

That’s what it comes down to,” exclaims Jason. “There are more places we need to get out to and play.”Somehow, you just have to

believe that Hawk Nelson will one day actually take over the world!

HAWK NELSON

SHUBBThe best capo for intonation for the past 30 years

is still the best today!

[email protected]

707-843-4068

learn more atwww.shubb.com/bestcapo

To even begin to address tuning issues, a capo must be totally adjustable.

Adjustability made easy

Some capos require that you manually apply the same amount of pressure each time in order to get acceptable results.

With the Shubb, once the adjusting screw is set for your instrument, you will get the same results each time.

http://www.shubb.com/bestcapo

applicationshere.ThelasttreasureItookhomewithmewas

anewplectrum(guitarpick)calledV-Picks.Nofrictionand

greattoneinstantly.$4.00apopbutwortheverydime

ofit.Iuseonethicknessformyacousticandanicethickoneformystratthatmakesittalk.Wow!Theyhaveaneatfamilytesti-monyontheirwebsitetoboot.

Iranintothreedifferentpersonali-

ties–allofwhom

IlikedalotandwishedIcouldspendmoretimewith.FirstwasDerriDaughterly(TheChoir,Lost

Dogs,producerandengineer).DerrigavemethenewCDofTheLostDogsandtoldmethatthenewChoiralbumwouldbeoutsoon.IknewDerribackinLosAngeles

whenIwasrunningamusicstore21yearsago.

NextwasMikeHuckabee,formerGov-ernorofArkansas,currentTVprogramhostonFOX,avidbassplayer,andoneofasmallgroupof75peopleorsowhohaseverbeen

onthecoverofChristian Musi-cianmagazine.Ihadnevermethimbefore,soitwasanhonor.HetoldmethathehadgottengoodfeedbackfromfolksaboutthatcoverstoryinChristian Musi-cian.Thatwasanunexpectedcom-pliment.Igavehima“LoveOneWoman…ManyBasses”t-shirtandhesaidwithabroadsmile,“Oh,mywifewilllikethis.”

Howcoolisthat?Ifanyofyoueverseehimwearingit,pleasegetapictureforme.

ThelastpersonIbumpedintowasGordonKennedy.GordonwasasessionguitaristinNashvillethathasplayedonsomanyChristianartistsrecordsIcouldn’tevencountthem.HeisalsoaGrammyaward-winningsongwriterandproducerandhehaswrittensomebigtunesforverywell-knowncountryartistsaswell.Heisthenicestguyandhetoldmetheyarejust

wrappingupthenewRickySkaggsrecord.Ifthingsgowell,maybewecandoaninterviewwithGordonandRickytogether.Nowthatisacoverstoryjustwaitingtohappen.

More“chance”meetingshappenedthanIhaveroomtolisthere.AsIwritethis,IamontheplaneflyinghometoJudyinSeattle.MyfeetmaybesoreandIsuredomissmywife,butIamgratefultotheLordforwhatHedidforus.IshowedupforSummerNAMMandHedidtoo.Whataplan!

Untilnexttime…Bruce&Judy

L e a r n m o r e a t w w w . l r b a g g s . c o m / v e n u e

C L EAN YOUR STAGE • C L EAN YOUR TONE • CONTROL YOUR SHOW

V E N U E D I

ACOUSTIC ARTISTS

Say “Goodbye” to separate pedals and cords and “Hello” to versatile and great sounding EQ, feedback suppression and chromatic tuner all in one amazingly roadworthy pedal.

SoundCheck (cont. from page 14)

35

http://www.lrbags.com/venue

BUYSWAPSELL

SundaySept. 19th

9:30 am - 4:30 pm

Kent Commons525 4th Avenue North

Kent, WA 98032Directions call 253.856.5025

Admission $700

Enlarged Exhibit AreaOn-site Food and Drinks

Exhibit Tables $5500 eachFree Workshops and Clinics

GuitarsMandolinsLap SteelsAmps • UkesBanjos • Pedals

VintageUsedNew

The 19th AnnualSeattle-TacomaGuitar Show 2010

For information or booth reservations call 253.445.1973

The Seattle-Tacoma Guitar Show4227 S. Meridian PMB C-275Puyallup, WA 98373

[email protected]

http://www.seatacguitarshow.com

Stringbendingisoneofthemostbasicandeffectivetoolstohaveinyourguitarplayingvocabulary.Stringbendingcangivetheeffectofaslideorpedalsteelguitarasadoptedbybluesandcountryplayers.YoucanemulatethesoundandtechniqueofotherstringedinstrumentsliketheJapaneseKotoandeventhesoundofatrainwhistle.Byaddingatouchofstringvibratoyoucanaddthecharacterofahumanvoicesingingoremotionalfeelingstoyourstringbendingportrayingjoy/laughingorsorrow/crying.

Thestringbendingtechniquecanbedonewithyourfingersalongwithatremolobarifyourguitarisfittedwithatremolo.Bendingyourstringscanbeaworkoutforyourfingersdependingonthegaugeofstringsyouuse.AlightgaugestartingwithahighEstringof.09willbeeasiertobendandyoucanachievemoreofanote-pitchspreadfromyourstartingnote,awholestep(tone)orgreater.Us-ingheavierstringsstartingat.12onthehighEstringwillbemoreofaworkoutonyourhandsalongwithlessofanotespread.

Nowsomeofushavebeenplayinglongerthanothersandhavebeenap-plyingstringbendinginourplaying.Ifthebendisnotexecutedtohittherightnoteyoumaycomeupflatoroverbendandhitthenotesharp.Tobendthenotewithaccuracyyourfingersneedtoknowhowfartogotoreachthecorrectnote.Youcanbendthestringineitherdirection,upordown.Thismaydependonwhereyou

String Bending Part 1

Roger is a member of the Audio and Praise teams at Freedom Life Church in Kissimmee Fl. Endorses Greg Bennett Design Guitars by Samick , G&L Guitars, BBE

Sound and PedalTrain Pedal Boards. Is an award winning guitarist from the “Songwriter Showcase of America”. For music, videos and more surf to www.rogerzimish.com, www.youtube.com/zguitarchannel, email: [email protected]

areatontheneck,whatfingeryouareusingtobendwithandyourownstyleorpreference.Whenusingyour3rd(ring)fingertobendupanddown–release,youcanplaceyourmiddleandindexfingersonthestringtosupportyour3rdfingerwhilebendingthenote.

InthefirstExample(Exp1)wearegoingtostartbygettingourearsusedtothesoundofthenotes.Startwithyour3rd(ring)fingerandplaytheBonthe7thfretofthe1st(highE)stringthenplaytheC8thfret.Listentothesoundofthe2notes.Thisisahalfstep.NextinExample2playtheBonthe7thfretandbendthestringuptomatchthepitchoftheCahalfstephigherthenreleasethebendbacktothestartingnote.NextinExample’s3and4youwillbelisteningforandplayingawholestepBtoC#.YoushouldplaytheseExamplesinother

positionsandstringsontheneck.Example5isariffinthestyleofLincoln

Brewsterusinghalfstepbendswithyour3rdfingeronthehighEstringandyourfirstfingerontheGstring.YouwillalsoseetheGmajorarpeggiodescendinginthereaswell.YoucanseepartthreeofArpeggiosintheMay/June2010issue.Wewillcovermoreonbendinginfutureissues.MayyouplayskillfullytillnexttimeandGodBless.

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Rich Severson, guitarist, clinician, author, band director, former GIT instructor. To preview Rich’s music and guitar educational products go to www.GuitarCollege.com and www.99CentGuitarLessons.com

ThissubjectissoimportantforyourmusicianshipthatIdecidedit’stimetoreviewit.Knowingthechordsfoundinallthekeysmakesplay-ingontheworshipteamsomucheasierplustransposingtootherkeyswillnolongerbeabigdeal.You’llalsobeabletorecognizethesimilari-tiesofchordprogressionsofyourfavoritesongseventhoughtheyareindifferentkeys.Thisistherealpayoffforthiswholeprocess.

Let’slookattriadsanddiatonicharmony,soundsbig,butit’snot.“Diatonic”simplymeansscalerelatedandharmonyistherelationshipofsounds.Let’slookagainatthemajorscale

“D” Major scale=DEF#GABC#Droot234567root

Nowlet’sstackathirdaboveeachofthenotes.Justplaceeveryothernoteontopofeachotherastheyoccurwithinthekey.

A third above F#GABC#DEF#“D” major scaleDEF#GABC#DScale degrees1234567root

Nowlet’stakeacloserlookattheintervalsfoundoneachscaledegree.

The3rdovertheroot(orthe1stdegree)isamajor3rdbecauseitoc-cursnaturallywithinthekeyhowever,the3rdoverthe2nddegreeisaminorintervalbecauseithasbeenlowered½stepfromthe3rdfoundintheEmajorscale.Rememberweapplythe“yardstick”orthemajorscaleofthebottomnotestomeasurethedistancebetweentwonotes.(EtoG#wouldbeamajor3rdthereforeEtoGisminor3rd)

Aminorintervaloccursonthe2nd,3rd,6thand7thdegreesofthescalewhereasamajor3rdisfoundonthe1st,4thand5thdegreesofthescale.Let’slinethemupsoseewhattheylooklike.

A third aboveF#GABC#DE“D” major scaleDEF#GABC#Scale degrees1234567Maj = major min=minorMaj min min Maj Maj min min

Ruleof3rds.3rdsbuiltonthe1st 4thand5th degreesareMAJOR And3rdsbuiltonthe2nd, 3rd, 6thand7th areMINOR

Isn’titoddthatwithinamajorkeytherearemoreminorintervalsthanmajor!

Let’smovetoTRIADS now. Triadsaresimplya3notechord.Thediatonic(scalerelated)triadsoccurnaturallywithinakeywhenweplaceonemoreintervalofathirdontopofwhatwehavealreadydone.

One more third aboveABC#DEF#GA third aboveF#GABC#DE“D” major scaleDEF#GABC#

Nowwehavethechordfactorsbutweneedtolearnabouttriadstoactuallyunderstandthemandtoanalyzethetriadsastheyoccurwithinthescale.Theterm“factors”referstochordswhiletheterm“degrees”refertoscales.

Somethingtoremember:Whenweplayatriadlikean“E”chordontheguitar,we’replayingsixnotesbutit’sstillatriad.Ifyoulookcloselyatthenotesyou’llfindmanyofthenotesarerepeated.

Thereareonly4typesoftriads,Major,Minor,AugmentedandDiminished.Eachtriadhasaformula.Theformulasareagainmeasuredwithouryardstick,themajorscale.Amajorchordortriadis

Thirds and Chords Within Keys (Diatonic Harmony revisited)

simplytherootor1stwiththe3rdand5thdegreesofthescalesoundedtogether.ThereforethefactorsofaDmajorchordwouldbeD,F#,andA.Herearemoremajortriads;rememberwearesimplyusingtheRoot,3rdand5thineachmajorscale,startingfromtherootandofcourse,beingnamedbytheroot.

Ema=EG#BAma=AC#EF#ma=F#A#C#Bma=BD#F#Gma=GBDC#ma=C#E#G#

Theothertriadsareformedbyaltering(raisingorlowering)the3rdor5thorboth.TheminortriadformulaisRoot,b3rdand5th.Flatthirdorb3rdsimplymeans,loweredthird,inotherwordstolowerthe3rdone1/2step.ThereforeaDminortriadwouldbespelledD,FandA,theF#isloweredtoanFnatural.Here’stheruleformajorandminor:Ifthe3rdisasharp,itbecomesanaturaltomakeitminor.Ifthe3rdisanaturallikeaCmajortriad,C,EandG,itwouldbecomeC,EbandGtomakeitminortriad.

Theformulasfortheaugmentedanddimishedare:Diminishedtriad=Root,b3rd,b5thandAugmentedtriad=Root,3rdand#5th

IknowthiscanbeconfusingsoletmeshowsomeexamplesinD.

Dmaj=DF#ADmin=DFADdim=DFAbroot35rootb35rootb3b5Daug=DF#A#root3#5

Noticethatwhenweplaceanotherintervalofathirdoverthefirstthirdweareactuallyplacingthe5thofeverychord.Here’ssomethingIfindinterestinginthemakeupofmusicthatGodcreatedandmanonlydiscovered.Ineverymajorchordthereisfirstamajor3rdfromtheroottothethird(DtoF#)butthenaminorthirdfromthe3rdtothe5th(F#toA),whereasinaminortriadfirstthereisaminorthirdfromtheroottothe3rd(DtoF)andamajorthirdfromtheb3tothe5th.(FtoA).Thereisabalancebetweenmajorandminorineverymajorandminorchordbutthechordssoundverystable.Onthecontrarydiminishedandaugmentedaremadeupofevenintervals,diminishedistwominorthirdsandaugmentedtwomajorthirdsbutbothofthesechordssoundunstable.Inotherwords,youwouldn’tendasongononeofthesebecauseitleavesyouwantingtohearanothersound.Thelawsofnaturearecomingintoplayhere.

Untilnexttime,mayGodblessyourwork.Rich

Richhasa6CDaudioprogramforlearning,hearingandmemoriz-ingmusictheorycalled“TheoryForTheRoad”whichcanbefoundatwww.GuitarCollege.com.Itexplainseverythingindetailandincludesaudiomusicillustrationsonkeyboardandguitar.

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Bryan Duncan... CCM artist for thirty years. With the Sweet Comfort Band, then solo and now with the Nehosoul band. Owner of Red Road Records and Host of Radio Rehab at www.radiorehab.com inducted into the Christian music Hall of Fame in 2007.

KevinThomson,bassplayerandfounderoftheSweetComfortBand,diedonMay30th2010.“Knowledgeispower,”heusedtosay;“Theonewhoknowsisincontrol.”Ismilenowbecausehenevertoldthebandwherethegigwas!“Howmuchfurtheristhisgig?”wewouldask,andhe’dalwayssay,“Fourmoremiles.”Itbecameoneofthestandard“Kevin-isms”wewouldquoteforyearswhenwedidn’thaveaclue.

Theonewhoknowsisincontrol.KevinfollowedJesusChrist.HisfavoriteSCBtune,ofcourse,wastheonewiththelongestbasssoloinit!“GetReady”wasastapleintheband’ssetthroughsixalbumsandelevenyears.Weclosedtheshowwithiteventothelastconcert.Thesongisaprocla-mationofthereturnofChristandperhapsthemissionstatementofSweetComfortBand.GetReady!

Ifourchoiceoffoodisanyindicationofwhoweare,“Kev”wasanall-meatburritowithextrasauceandaBigGulp.Buthewasanevangelistaboveall.WhenImethimin1972,hewasdoingahomeBiblestudy.IwasanominalstudentatSouthernCaliforniaCollegeinCostaMesa,andaclean-cutrunawayfromtheeastcoast.Hehadanafrobackthen,andwhencomingtoseeme,stoodoutontheChristiancampuslikeahippieatthemuseum.TheJesusmovementhadcaughtfireinSouthernCalifor-niabythen.IwassingingsoloatthecircustenttheycalledCalvaryChapel.MondaynightwasabigBiblestudynightthere;maybe3000peoplewouldshowwhocouldalsohearthenewJesusmusicbands:LoveSong,ChildrenoftheDay,BillSprouse,andCountryFaith.

KevhadheardmeplayacoupleofsongsoneMondaynightandcametoseemeaboutsingingwithhisbrotherandhimself.Inowdon’trememberourfirstgigasSweetCom-fort,probablybecausehedidn’tsay.Butwhatfollowedwasaneveryweekendtriptosmall

The One Who Knows is in ControlBy Bryan Duncan

churches,prisons,andhighschoollunchtimeconcerts.Kevinwasthebookingagent,manager,anddriveroftheWinnebago,andalsotheheadroadie!Heliftedalltheheavystuffandpridedhimselfonhisstrength.HeusuallysetuptheP.A.systembyhimself,whichweblewupalmosteverymonth,andintheearliestdaysheranthesoundfromthestage.Ialwaysthoughtthebasswastooloud!

ItwashisvisiontopresenttheGospelinanewway,andeveryconcertcontainedanevangelisticmessagefromthebassplayer!SweetComfortBandbroughtanewJazzrockinfluencetoJesusMusicbutKevinThomsonwaspurehardrockatheart.HelistenedtobandslikeMountainandMobyGrape.Itwasn’tthathehatedballadssomuch,ashejusthadanaversiontowholenotes,whichledtotoomuchdowntimeforthebassplayer.You’llnoticeinthesong“ILoveYouWithMyLife,”thebiggestSweetComfortBandballadofourcareer,thatthebasslinebouncesallthewaythrough,muchlikeKevininrealtime.

Inconcert,hewouldoftendeliverhisfavor-itemessage,thestoryofJesusintheGardenofGethsemane.HewouldelaborateupontheRo-mansoldierswhocametotakeJesus,theirsizeandalltheirgear,butwhenJesussaid“Iam,”thesoldiersfellback-wardsontheirbacks.Hewouldquotefromscrip-ture.“Jesusdidn’thavetodieforus,”hewouldsay.“Hecouldhavejustcalledouthisnameoverandoverandthetroopswouldhavegottentiredandgonehome.”

YoucouldseeKev-in’sinnerstrengthmostwhenhespokeofJesus.“Jesuswasn’tawimp,”hewouldsay.“Nobodytakesabeatinglikethatandthencarriesacrossmostofthewaytohisowncrucifixion.”InKevin’seyes,Jesusisthe

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allknowingsecondpersonoftheTrinity,Godintheflesh.“Theonewhoknows,”andwhohasallthecontroloverlifeanddeath.Hebelievedit,helivedit.Whoknows,perhapsKevinfellonhisbacktooatthevoiceofJesusproclaiming,“Iam.”TherewasnodoubtwhoKevinwaslisten-ingtofortherhythmoflife.

Intheend,Kevinhadhisowncrosstobear,andyetsomethoughtsomethingmightbewrongwithhim,becauseheneverwentthroughthedepressionthatcomeswithquadriplegia.Butthenmaybeknowledgeispowerheretoo!Kevinknewthat“theonewhoknowsisincontrol;”eventotheendofhislife,hewassteadfastinhistrustofasaviorwhodoesn’texplainourcircum-stancestous.“Sweetcomfort”wasthedescrip-tionofKevinThomson’shopeinJesus.There’sanewbasssolointheheavenlyangelband.

KevinThomsonBassSoloSCB“GetReady”http://www.youtube.com/watch?v=-EhcPuwBvZg

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Unlessyouliveunderarock,orstilluseatypewriterandsendsnailmail,I’msurebynowyouhaveheardof“Twitter.”Twit-terisasocialnetworkingplatformthatprovidesusersanonlineinterfacetosharetheirthoughts,news,location,oranythingviashortbitsofinfothatcanbesharedwithnumerous“followers.”Followersarepeoplewhohavechosentoreceiveyourupdatesandkeepupwithyou.Youcanalsofollowothersandtheirexploits.ThechallengingthingwithTwitteristhatitonlyletsyoutouse144charactersforeach“tweet.”A“tweet”iswhatisreferredtoasanupdate,orapost.That144numbermakesitverychallengingforme,becauseIliketoreadmyselfintype:)

ThewayIuseTwitteristosharemythoughtsontheChristianindiemusicmis-sion,andkeepmyfollowersinformedonwhatIamdoingsotheycanlivetheirlivesvicariouslythroughme:)Perfectforego-centricpeoplelikemyself!ThecoolthingisyoucansetTwittertoreceivewhatyoupostonFacebook,andviceversa.Forexample,IhavemyIndieheavenFacebookpage(www.facebook.com/indieheaven)connectedtomyTwitterprofile(www.twitter.com/keithmohr)whichisconnectedtomypersonalFacebookprofile(www.facebook.com/keithmohr).WhenIpostanINDIETIPonmyIndieheavenFacebookwall,itpostsitautomaticallyonmyTwitterprofile,whichthensendsittomyFacebookpersonalwall.Italladdsup!Ihaveover2100followersonmyFacebookIndieheavenfanpage,over500followersonmyTwitterprofile,andover4300followersonmypersonalFacebookprofile.So,whenIpostsomething,lotsofpeoplereadit,andsometimes,theyevenrespondtoit.

WithmyINDIETIPS,Iliketowritethingsthatchallenge,motivate,andevensometimesirritatepeople.Hereticsgetthemostatten-tion,whichmeansthis...“Peoplewillengageotherswhostirthemandprovokethemtoac-tion,whetheritbepositiveornegative.”I’velearnedthat“engagement”isthenameofthegame!Forthosewhorespondtomeposi-tively,Ithankthem.Forthosewhorespondnegatively,Itrytowinthemover.Thethingisthis,atleasttheyareresponding!ThisisatacticIhaveusedforalongtimetogetintrospective,introvertedartistic-creativestocomeoutoftheirshellsandengageme.Ofcourse,youruntheriskofnotwinningsomeoneover,butthat’sOK.Therearealwayscasualtiesofwar:)I’mnotonearthtobeeveryones“bestfriendforever,”I’mhereonamissiontobringtruthtocreativeChristiansandhelpthemreconcilethetensionofselfandChrist.

Beforethisarticlegetstoolong,hereis

anexampleofoneofmyINDIETIPSandhowitisacatalysttogetpeopletoengageme.ThisparticularengagementoccurredwhileIwaspenningthisveryarticle,asIsharedmythoughtsonaverytouchysubject.

INDIETIP:WhyisitmanybelieveGodGIVESthemtheirsongs,yetTHEYwanttosellthem?

IimmediatelyreceivedthisreplyonmyFacebookwall:

“God gives me my songs and He signs over the rights to them :) I’d have some really cool songs if God actually gave them to me!”

Anotherpersonrespondedwith:“We are interested in “selling” our original

music to established artists to record, in hopes of that financing our traveling evangelism ministry.”

IaskedthemifGodgavethemtheirsongs.Theirresponsewas:

“Absolutely and without a single doubt!”Ithenaskedthemthis:WhywouldyousellwhatGodhasgiven

you?IwonderhowthatmakesHimfeel?DoyouputHisnameonyourcopyrights?

Ihavenotheardbackfromthemyet.I’msuretheyareponderingmyquestions.Seehowmyinitialpostandfollowupresponsefulfillmymission,whichistohelpcreativesgetthelightsturnedon,asitpertainstotheChristiancreative.Now,myresponsescouldbeseenassnarky,judgmental,evenmeanspirited.That’sOK,becausemyresponseswillbringengagement.Andthatisthenameofthegame!

Shortlythereafter,anotherpersonen-gagedthediscussion,theyposted:

I think God gives different things to different people. Maybe one can sing but doesn’t recieve songs himself. Maybe one has been gifted as a lyricist but doesn’t sing. I think it’s a way to get more out there, for HIS glory!!

Irespondedwith:Godgivesusopportunitiesandinspira-

tiontocreate.It’suptoUStocreate.Theyrespondedwith:Totally agreed :) I’m thinking of myself in

this situation. I would want to be used no matter how He chooses to do it. It may be a humbling thing to do only one or the other

Irespondedwith:NotsureIagreewithbeing“used.”For

myself,Idon’tlikebeing“used.”Ienjoypartneringwithothersinamutualbeneficialrelationship.KnowwhatImean?

Theyrespondedwith:I meant being used by God ;) He has shown

me personally so much about being used for Him, by Him and for His glory alone. I am at the point now where I will sing what He has given me, let someone else sing if He calls it to happen, and He has. I know the ideal situation would be writing

AND singing, I have just learned that that is not always gonna be the way. Maybe the motives behind sharing those songs is the actual issue.

Irespondedwith:Idon’tlikethatterm“UsedbyGod.”I

considerthatrelationshiptobemutuallybeneficial.GodwantsmetohaveanactiveroleinHis-Story.AndIneedHimformyveryexistence.Webothbenefitfromthecollabo-ration.Itisapartnership.It’snotallGod,it’snotallme,itisacombinationofboth.Itkeepsmeaccountable,becauseifIamnotobedient,thepartnershipends.WhenyouthinkGodgivesyouthisandthat..thereisnoaccountability.Itwasgiven,andthatisthat.Notquite.

Anotherpersonrespondedwith:I’ve heard some pretty awful songs that God

has been blamed for... I mean, credited with...Ifollowedupwith:Youbetcha.Metoo.Usually,thesongs

thatpeopletellyouGodgavethemarenotallthatgoodfromanartistic/creativestandpoint.It’sbecausetheydidnotworkthesongover,andsettledforthefirstversion.SinceGodgaveittothem,itmustbeperfect.umm..whatsupwithdat?

Inclosing:Nowthatissomegreatengagementfora

Sunday!Ofalltheplacesthesefolkscouldbeonlineoroffline,theyhavechosentoengageme.Throughoursharing,thelightsmaygetturnedonformanyothers.Italsoprovidesmeaplacetosharemyexperienceandthoughtswithmany.Anditallstartedwithashort“tweet.”Thetweetisaseed,whichcanleadtoincrediblefruitifthetreeistendedtoandcultivated.

Asanartist,orasongwriter,bethinkingofwaystoengagepeopleusingthesocialnetworkingtoolsavailabletoyou.Aspeopleengageyou,theylearnhowyouthink,whatmakesyouunique,andtheycomebacktoyourprofiletimeandtimeagaintoseewhatyouarethinking.It’slikecatstoagoodbowlofmilk!Andcatslikebirds:)

Oh,ifyoudon’tyetfollowmeonFace-bookandTwitter,youarecordiallyinvitedto!Keepuptheexcellentfaith-work!KeithMohr

Indie No Spin Zone

A Little Birdy Told Meby Keith Mohr

Keith is founder/president of Indieheaven.com, an organization for independent Christian musicians, song writers and artists. For more info, visit: www.indieheaven.com. Keith also holds conferences and a website called Indie

University. Visit: www.indieuniversity.com for more info. Keith is the director of Provision, Intl. a non-profit for Christian Musicians. http://www.provisioninternational.com/artists. Follow Keith on Twitter: www.twitter.com/keithmohr, Facebook: www.facebook.com/keithmohr, and www.facebook.com/indieheaven

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http://www.duesenbergusa.com

Rewindby Jim Oas

WellI’mbackforroundtwoandgladtobeherewithyou.InthisissuewearegoingtotakeaglancebackatWhiteHeart–oneofthemosttalentedandsolidChristianbandstogrowupinthe80’s.Althoughtherewasarevolvingdoorofmembersthroughtheyears,thecoregroupheldtogetherfor16yearsand14albumswithembersglowingbrightlyandmusicremainingfresh.IsoclearlyremembermyfirstconcertwiththematSeattle’sPara-mountNW,itsetmyheartonfire–sobuckleupandhangonaswe‘rewind’to1982.

Itwasintheearly1980swhenagroupofThe Bill Gaither Trio(TBGT)backingmusi-ciansdecidedtoformasideproject–abandwhosemusicwouldreachouttoyoungpeoplewiththemessageofChrist.TouringwithTBGTgainedthemexperienceandsome

income,butitwasn’ttheonlymusictheyhadontheirhearts.Thegroupformedwithsixmembers:BillySmiley,MarkGersmehl,DannHuff,DavidHuff,GaryLunn,andSteveGreen.Theircountdowntolaunchtimewas1982.Saybye-byetotheBillGaitherTrioandletsgiveitupforWhiteHeart.

Theirselftitled1stalbumwaswellre-

ceivedandwithpriorroadexperienceundertheirbelts,theybroughtgreatstagepresencetothetablewhilepresenting‘rockmusicwithamessage’.Theystartedgainingafanbasethatgrewwitheachrelease–witheageryoung‘unslookingforanalternativetothesecularbandswhohadgreatmusicianshipandsongwritingability,butnomessageofhope.Thisbandbroughtallofthatandmore,withthemessageofhopeinJesusChrist;thiswasWhiteHeart.

However,itwasn’tlongafterthefirstre-leasethatbandmateSteveGreenfeltthecallonhishearttoleave,feelingthatrockmusic(evenwithChristianlyrics)wasnotwheretheHolySpiritwasleadinghim.Hesubse-quentlylaunchedanadultcontemporarysolocareerthathasbeenveryhugeforhim.ButhedidhangaroundandsingBGVocals’sonVital Signs.ThenewleadvocalistonboardwasnowScottDouglas.Asyouwillseebytheendofthisarticle,WhiteHeartlaunchedmorethanafewsolocareersalongthewayas

thebandgrewandmorphedintoaseasonedgroupofmusicians/writers/producers.

Theband’ssophomorereleasecamein’84withVital Signs.GuitaristDannHuffleftshortlythereafterandevenrecommendedareplacementleadguitarist,aschoolbudnamedGordonKennedy.Dannwentontoformthehardrockband,Giant,(andthe

albumkickeda,uh,er,wellitwasagreatal-bum).Dannalsobecomean‘A-list’studiosessionplayer.Thelistofcreditshehasdonesessionworkforistoolongtoprinthere,butIwillstartwithKeithUrbanandendwithGeorgeBensonwithafewdozenmorein-between.

WithWhiteHeart’sthirdrelease,Hotline,hittingthestreetsin’85,

itensuredthatthebandbecameahouseholdnameforthosewholistenedtoChristianmu-sic.ItwasalsotheyearthatDavidHuffleftthegrouptopursueotherinterests,includingstudioworkandtouringwithMichaelW.Smith.Helaterjoinedhisbrother,Dann,informingtheaforementioned,Giant.ItwasaboutthistimethatScottDouglasalsoleftthegroup.

Whileholdingleadvocalistauditions,oneofthosetryingoutwasaWhiteHeartroadie,RickFlorian.Toeveryone’ssurprisehewasagreatleadvocalistandto boot;heknewthebandandthemusicwell,makingthechangeveryquickandpainless.Rickre-mainedacorememberofthegroupthroughtherestofthediscography.Justasasidebar,itseemslikewitheveryalbumrelease,abandmemberdeparts.Hmmmm,maybetheyneededayearwithnoreleases?(smile)

Hereisalistoftheplayersandtheirwin-dowofopportunitywiththegroup:BillySmiley 1982-1998 GuitarsSteveGreen 1982-1983 LeadvocalsMarkGersmehl 1982-1998 Keyboards/

vocalsDavidHuff 1982-1985 Drums/

percussion/vocals

DanHuff 1982-1984 Guitar/leadvocals

RickFlorian 1986-1998 LeadvocalsGordonKennedy 1985-1990 Guitar/

vocalsScottDouglas 1984-1985 LeadvocalsGaryLunn 1982-1985 BassChrisMcHugh 1986-1989 Drums/

percussionTommySims 1986-1990- Bass/vocalsBrianWooten 1991-1995 GuitarsAnthonySallee 1991-1994 BassJohnThorn 1995 BassMarkNemer 1990 Drums/

percussionKevinMills 1996-1997 BassJonKnox 1991-1996 Drums/

percussionMikeMead 1997 DrumsBarryGraul 1996-97 Guitar

OfficialDiscographyofWhiteHeart(Thereisalsoalistof‘liveandunofficial’compilationalbumstoo).1982 WhiteHeart1984 VitalSigns1985 Hotline1986 Don’tWaitForTheMovie1987 EmergencyBroadcast1989 Freedom1990 Souvenirs(withLittleDrummerBoy)1991 Powerhouse1992 TalesofWonder1993 Highlands1994 NothingButTheBest:RadioClassics1994 NothingButTheBest:RockClassics1995 Inside1997 Redemption

Trivia:HowmanycoversofContempo-raryChristianMagazine(CCM)didWhite

42

Heartgraceduringthe1980s?Answer at the end.

WhiteHeartcontinuedtotourthroughtherestofthe1980sandwellintothe1990s–actuallyprettymuchnon-stop.Theystillhadagoodfanbasebutsaleswereslipslidingsomewhatbecauseoflabelchanges.MovingtoCurbRecords(primarilyCountrymusic),WhiteHeartwastheirtestmarketinChristianmusicandtheydidn’thaveagooddistributionnetwork.TheirfinalshowwasatGreatAmerica,SanJose,Ca.in1997.

Aftermanyyearsofrecording,touringandcoremembersinvestingtheirtime/tal-entsintoupandcomingbands(StephenCur-tis,GeoffMoore,MargaretBecker,Newsboys),WhiteHearthasbeenona13yearsabbatical,neverhavingofficiallyretired,atleastnotinprint.Theremainingcoremembers,Smiley,Gersmehl,Florian,havebeenpursuingper-sonalinterestsandcareerspaths.

Whatarethethreecoremembersdoingnow?RickFlorianisarealestateagentintheFranklin,Tennareaandalsocontinuestosingonvariousrecordingprojects.MarkGersmehlcontinuestowritemusic,releas-ingsoloefforts,andworksaroundthecoun-trywithchurchworshipministries.BillySmileystartedhisproductioncompanyin1990–doingasoloprojectwithguestWH

playersFlorian,McHugh,Wooten.HiscompanyalsosignedJustifide,Hu-man,SkyHarbor,andformingNorthernShoreProductionswithstudiosinbothFranklin,TN,andScottsdale,AZ(dang,ishebecomingasnowbird?)Smileyalsohashisownlabels;Cul-de-SacRecords(Rock),SouthernSkyeRecords(Country),Devo-tionMusic(ChristianandWorship),andShadowlandMusic(Pop).Healsoisinvolvedwith–WorshipHymns–with10albumsfocusingonbringingHymnsintoourculture.Ireckonheain’tlettin’nograssgrowunderhisfeet.Eh?

NowletmeposeaquestionthatIknowmanyarethinking,“WillWhiteHearteverperformtogetheragain?”Well,funnyyoushouldask.AlthoughithasbeenmorethanadozenyearssinceWhiteHeartlastper-formedtogether,thetimeisathand.ThisAug7thinFranklin,Tenn,theywillplayattheWhiteHeart “Freedom” Reunion Concert,raisingmoneyforanadoptionandfostercareministry.Thelineupfeaturesallofthe

membersfromtheFreedomalbumtour.Formoreinformation:FaceBookWhiteHeart“Freedom”ReunionConcertorgotowww.whiteheart.com.

Untilnexttime,“Second star to the right and straight on ‘til morning.”

PeterPan,Capt.JamesT.Kirkandme;JamesOas<><

Email:oasj@embarqmail.comListofreferencesavailableuponrequest.PhotosusedcourtesyofJames Oas Photog-

raphyPs...here’stheTriviaanswer:4covers

ofCCM

43

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ForthoseofuswholiveinandaroundNashville,nothingcouldquitehavepreparedusforwhatGodhadinstoreonMay1stand2ndof2010.Theweatherforecastershadbeenpredictingheavyrain,butastormseasoninTennesseecanbeprettyhairy,soI,likemanyothers,wasn’ttooconcerned.LittledidIknowthatthenext48hourswasgoingtochangemanylivesforever.

OnSaturday,May1stmywifeandIweretryingtocomebackfromtakingourdogtothevetwhenwerealizedtherealbeginningofthisstorm.Itwasheavytosaytheleast,andonthewayhome,oneofthemajorinterstates–ourprimarywaytogethome–hadalreadybecomenearlyimpass-able.Thiswasat1PMonDayOneofthisthousand-yearflood.Godtookcareofus,though,andwefinallymadeithomeafteranhour,forwhatshouldhavebeena15minutedrive.

Oncehome,Iwasunderrecordingdead-linesforamajorproducerinAtlantatohavesomesessionsdone,soIwasinmystudiotry-ingtorecord,butkepthavingtoshutdownduetothelightning.Iwasirritated,asIwasengulfedintryingtowrapthesession;thenmywifecalledformetowatchwhatwashap-peningonthenews.Fromthatpointon,thesessioncouldwait.IwalkedintowatchtheimageofahousefloatingdownInterstate24.Thiswasnowsomethinglikenoonecouldremember,andweweren’teventhroughDayOneyet.

Theraincontinuedmercilessly.BytheendofDayTwo,partsofthecityflowedlikeriverswherewaternevereventravelledprior,andtherewasaveryrealconcernthattherivercouldcrestandflowintotown.InthemiddleofthenightbetweenDayTwoandDayThree,thatispreciselywhathappened,andthehorrorthatcouldnotbeconceived

wasnowreality.Ourcityandanumberofhistoriclandmarkswerenowunderwater.

LikeeveryoneelseinNashville,Iwasblindsidedbytheimagesonthetelevisionthatkeptpouringin.TheSchermerhornSymphonyCenter,GrandOleOpryHouse,andotherswereliterallyunderwaterandthoughttobedestroyed.TheimpactonthemusiccommunityincreasedevenmorewhenpeoplerealizedthatSound-Checkwasalsosubmerged.SoundCheckhousedanincrediblenumberofmusicalin-

strumentsandgearbelongingtoartistsrang-ingfromKeithUrbantoKebMo,andthegearwaswipedout.Ashorrificasthiswas,thiswasonlyonesmallpartoftheoveralldamage.

Forthenextfewdays,IfellintoadeepdepressionwonderingwhatIwassupposedtodotohelp.Everyminute,Iwashearingaboutsomeoneelseaffectedbytheflood.Likemostmusicians,Iamnotmadeofmoney,soaftermuchprayer,Idecidedtodo-natemydown-loadproceedsfrommysolocareertothecause.Itweetedaboutthisandotherartistsfollowedsuit.Wegotchattingandbeforeweknewit,wehadlaunchedanon-profitdedicatedtohelpingourfellowmusicians.Godhadshowedusthewayandtheroadhadbecomeopenforwhatwasnext.

Sincethatcrazyweekend,theoutpouringandsupportforthecharitynowknownas

LowNotesforNashvilleexploded.Musiciansandmanufacturersalikeheardthecallandsteppedup.Throughcontinualdonations,wewerenowhelpingpeoplewhohadlostev-erything.Wewereabletogivefellowbassistswholosttheirgearnewequipmentsothattheycouldprovidefortheirfamilies–anditdidn’tendthere.Majorartistsweredonat-ingtheirowngearforustoauction,andthehighpointwasabenefitconcertfeaturingfourteenofthetopbassistsintheindustry.Thecallwasheard.Todate,wehaveraisedover$50,000andcounting.

Justhowmuchwaslostisstillbeingdeter-mined.Numbersinexcessof$1.5billiondol-larswasmentionedbeforetheendofthefirstweek,butthatwasonlyformajorproperties.Thetruelosswasmuchmorepersonal,butsoisthesurvival.Nashvilleshowedthemostba-sicChristianfundamentalpropertyinlovingthyneighbor.Everyonesteppeduptotakecareofourowninthiscity.Godwashere,andob-viously,thiswashisplan.Westilldon’tknowwhatallHehasinplaceforNashville,butthe

waythecityisrevivingisawe-inspiring.Thebattlecry“WeAreNashville”driveseveryoneonadailybasis,andwillforyearstocomeaswecontinuetorebuild.LifeisslowlyfindingthenewnormandGod’spres-

enceisfelteverywhere.Thelossseemstragic,butthewayfaithhasbroughtusallthroughisoneofthemostencouragingthingsIwilleverwitnessinmylifetime.

GODbless,S

Witnessing the Flood and Being CalledBy Sean O’Bryan Smith

44

I’mafraidI’mgoingtohavetoofficiallyclimbuponmysoapboxnow.So…mypleaisthateveryChristianmusicianwouldstopthemerry-go-roundforafewminutesandactuallythinkaboutanewdefi-nitionofchurchmusic.I’dliketoseemusicatchurchbecomewildlyvariedandcolorfulandexpressiveandeven,dareIsay,unexpected!Surprising!Imagineworshipbeingexciting-musicthatpeopleofallagesandmusicalpersuasionscan’twaituntilnextSundaytoresume.Howcouldthisbeaccomplished?Considerwhatyoucoulddo.Exam-inethemusicyoulike(evenoutsideofworship).Whatmakesitgood?Specifically,whatisitaboutgoodmusicthatcompelsyou?Howcouldtheseelementsbebroughttothesanctuaryandusedtocompeltotherestofthecongregationinworship?Searchthisout,gleanthegoodstuffyoufindandbringittothealtarwithyou.Talktoothers.Askquestions.Examineyourtalentsandthetalentsofthosearoundyou.DecidetoreallyutilizeyourtalentsfortheLord,andthengoforit.Pullyourselfupbyyourbootstraps.Learn.Openyourmindandspreadoutmusically.Practiceyourinstrument.Getcreative.Beavisionary.Deviseaplan.Leadothersbyexample.Beasparkforchangeandfantheflameatyourchurch.Makeadifference.Startyourownworshipmusic

revolution!

Have you seen John’s free ‘Praise Guitar Lessons’ online yet? Go to CCLI TV and start the weekly lessons today. And make sure to look over John’s calendar at www.praiseguitar.com to find an event near you where you can hear him live.

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CODANomatterhowtalentedorspirituallygifted

youmaybe,anessentialpartofthefoundationforyourartistrymustbeyourabilitytocon-nectwith,buildandmaintainyouraudience.Traditionally,ChristianandGospelaudiences---liketheircounterpartsinothernichegenres,includingcountry,jazzandblues---developadeepconnectednesstotheirartists,pledgingtheirloyaltytothecareersoftheirfavoritesingersandmusiciansfordecades.

That’soneofthethingsIlovethemostaboutourmusic.Thequalityofthesingersandmusicians,alongwiththepoweroftheGospelmessage,engendersthatkindoflong-termloyalty.Andbecausethechurchremainsthemostconsistentforumforourmusic,theongoingconnectionbetweenproductandaudienceisreinforcedweeklyinministryset-tingsaroundtheworld.

Inmanywaystheconceptofaudiencehasneverbeenmoreessentialforindieartists

thanatthismomentinthehistoryofthemusicindustry.Inthecurrentindus-tryclimate,moreofthemarketingresponsibilitiesrestupontheartistandmanagement.Inotherwords,itisnowYOURroletoaccuratelyidentifyandconnectwithanaudienceofconsum-ers.Muchofyour

abilitytobreakthroughandmaintainyoursuccesswilldependuponjusthowwellyoufulfillthatrole.

Itiscrucialforusasindiestobroadenourconceptofaudience.Ratherthannamelessfacesinadarkenedperformancehalloranon-ymousattendeesatyourministrydates,youraudienceconsistsofthoseindividualswhochoosetoembraceyourbrandinallofitsdimensions---buyingyourmusicandmerchandise,visitingyourwebsitesandmusicpages,joiningyoursocialnetworks,followingyourblogs,aswellasattendingyourperformancesandevents.

Withthosethingsinmind,I’dliketoofferafewkeystoproperlyindentifyingyouraudience:

Key #1: Understand your natural connections.

Fromaspiritualperspective,weareallblessedwithskills,talentsandgiftsthatmeetaspecificneedwithintheBodyOfChrist.ForChristianandGospelartists,thegiftisnotsimplylimitedtothegeneralgiftofsong.Instead,Ibelievethatforeveryartistorworshipleader,thereisaspecialgracetocommunicatetoaspecificgroupofpeoplewithintheBody.

Wecanbegintodiscoverthatspecificgroupbyreflectingupontheformsofmusicweperformbestaswellastheformsofmusicthatbringusthegreatestresponsefromaudi-ences.Awordofcaution:Oftenthatcanbequitedifferentfromtheformsofmusicweenjoythemost.Thematureartistlearnstodis-tinguishbetweenhispersonalmusicaltastesandthestylesandsongshecommunicatesmosteffectively.

Considerthis:Inyourmomentsofgreat-esteffectivenessinmusicministry,whichpeoplehadthemostpowerfulresponse?Whatgenderandagewerethey?Arethereothersharedqualitiesyounoticedaboutthosepeople?Inwhattypesofvenueswereyouduringthosetimesofgreatimpact?

Askyourselfquestionsliketheseandre-flectdeeply.LiketheimageslowlyappearingonaPolaroid,overtimeyoushouldbegintoseethefaceofyouraudience.

Key #2: Develop your distinct message.

Ifyoutrulydesiretohaveasignificantimpactwithyourmusic,itisnecessarytodevelopyourdistinctmessage---auniquepointofviewthatinformsyourartistryoneverylevel.

Inreality,thatdistinctmessageisthebiggestdrawforanyaudience.Itisthecoreofyourbrand,thefeaturethatdistinguishesyouthemostfromeveryotherartistoutthere.Morethanimage,morethansound,morethantalent,thestorythatanchorsyourartistrywillattractandmaintainacoreaudience.

Interestingly,asyoudevelopandeffec-tivelycommunicateyourdistinctmessage,youwillbegintoseepatternsintheindividu-alswhoaredrawntoyourmusicandwhochoosetoattendyourperformances.

Key #3: Research your effectiveness.Drawingthepeopleisonlyhalfthestory.

Theotherhalfistheabilitytounderstandwhomyou’veattractedandwhy.

It’snotnecessaryforyoutohaveamar-ketingdegree,nortounderstandtheintrica-ciesofmarketingmetricstobeasuccessfulartist.Nevertheless,aswemoverapidlytowardanall-indiemarketplace,themostsuccessfulartistsandmanagementteamswillbethosewhocloselywatchandreflectonthequalities---includingage,gender,location,class,andchurchbackground----ofthepeoplewhoattendtheirevents,buytheirmusicandvisittheirsites.

Quitesimply,themoreyouunderstandaboutthepeoplewhoareimpactedbyyourartistry,themoreeffectivelyyouwillbeabletocontinuetoattractlargenumbersofotherpeoplelikethem.

Youshouldbebuildingmailinglistsbygatheringinformationatyourmerchandisetablesatyourliveperformances.Youcanalsolearnquiteabitofinformationfromlook-ingattheprofilesoftheindividualswho’vejoinedyourfanpagesandbyreviewinginformationaboutthevisitorstoyourartistwebsites.Inaddition,webmanagementap-plicationslikeHootSuiteoffertheabilitytomeasurethestatisticsconnectedwithyourtweets,postsandlinks.

Thatmayseemtooscientificforyourcreativetastes,butwhenyouthinkaboutit,it’smerelyutilizingthetoolsofthisagetodogoodministry.InChristianandGospelmu-sic,ratherthansimplyfocusingonachievingsuccess,weshouldbecommittedtoconnect-ingwithandimpactingpeople.Themoreyouembracethatnotion,themoreyouwillwelcometheopportunitytoproperlyidentifyandunderstandyouraudience.

A Word To Indies: Consider Your AudiencebyMonicaA.Coates

Monica Coates is a 17-year veteran of the Gospel music industry with experience in artist management, publicity, radio promotions and A&R. She is the author of TheBeginner’sGuideTo

TheGospelMusicIndustry (Paul Marchell Publishing) and writes the weekly blog the GospelIndustryTipOfTheWeek (www.monicacoates.com).

46

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christian musician magazine - julyaugust 2010

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