Christian Musician Magazine - Jan/Feb 2013 by Worship Musician & Christian Musician Magazine

Improving Musicianship | Inspiring Talent

Al Perkins man of steel

Product Review Tyler “Princetone” Class AB 1x12 all Tube Combo Amplifier

Product Review Fretlight FG-507Acoustic Guitar & Teaching Method

Selective Hearing

JAN/FEB 2013 Volume 18, Issue 1 01

74470 95962

US $5.95 Can $6.95

Bob Bennett • Big Tent Revival • Warren Barfield • Jim Sonefeld • Mike Mains and the Branches • Eric Peters • Keith and Kristyn Getty “CM Report: Online Bass Instruction” by Eric Wylie • “The Tricky Nature of Attention” by Bob Bennett

FR NEW IS E SU E E!

Finding the Right Music Gear for Your Church Just Got Easier!

Get the Newest FREE Issue of Worship Sound Pro — the Ultimate Music Gear Guide for Houses of Worship! Call Today for Your FREE Copy! The Best Technology for Worship

Worship Sound Pro features the latest and most essential music equipment and technology for today’s houses of worship.

Exclusive Interview with Lincoln Brewster

The inspiring songwriter and guitarist shares advice on using music technology in your house of worship — and talks about his favorite gear.

Essential Guides for You and Your Volunteers In-depth, down-to-earth articles help volunteers, pastors, and worship leaders understand the ins and outs of the latest in worship sound technology.

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Lincoln’s Go-to Gear:

Real Live: e

practicals as well — the musicianship. I’ve said this for years, that all really good gear does is better re create re-create reality.”

Lincoln Brewster

TThis approach applies to recording as well as live sound in the church. “People say, ‘If I could just get Pro TTools, then I can make a record.’ Well, no. Pro Tools is just going to better reveal what you have. Pro Tools ddoesn’t make records; Pro Tools ALLOWS people to make re records.” He adds, “We’ve got to be careful of the “golden hhammer” syndrome. We don’t worship the tools. They’re ju just tools. We commit to being smart with what tools we nneed, how much we need to spend, be frugal, make wise cchoices, and then get after the task at hand and focus on ddoing a great job.”

on Music Technology in Modern Worship You would be hard pressed to name a modern worship leader and musician who has better utilized music technology than Lincoln Brewster. Renowned both for his songwriting chops and his virtuosic guitar skills, Lincoln makes the most of his cutting-edge music gear — while sharing the message with heart, grace, and humanity. Currently serving as the worship arts pastor for Bayside Church in Granite Bay, CA, Lincoln also continues to tour nationally. He has released seven full-length albums since 1999, including his acclaimed latest, Real Life. A new Christmas album is due out this year, and plans are in the works for a live album. It goes without saying that he has come a long way. Lincoln’s upbringing in Alaska was anything but idyllic. He grew up in a broken home, seeking solace in music. Gifted at guitar and other instruments from a young age, Lincoln poured his energies into improving as a player and performing live. By age 19, his talent and hard work got him noticed. Recording contract offers began coming in, but by then, Lincoln had let the Lord into his life and chose a different path. He played on a Steve Perry (formerly of Journey) solo album and toured with the singer for six months in the mid-1990s, but soon returned home — now in California — to be with his new wife and work with his church as a sound technician. Eventually, Lincoln moved to Nashville, working alongside his wife as a youth pastor. Upon hearing his production work during a demo session, executives from Integrity Media took notice of his talent and signed him to their Vertical Music label, and Lincoln relocated to California and began his work at Bayside Church. His experience on the platform, on tour, and behind the scenes gives Lincoln unique insight into what it takes to make technology work in the context of worship. As he points out, “I think that a lot of people have allowed for things to get overly complicated, and ‘technology’ for some people is a bad word — when technology is supposed to be our friend and help us out.”

Renowned singer, songwriter, and guitarist Lincoln Brewster’s acclaimed latest release, Real Life, is available now. To find out more about Lincoln and his uplifting new album, go to linconbrewster.com.

So, how would Lincoln approach gear and technology if he were starting from scratch? With an eye for effective sound solutions that don’t overwhelm the team or the budget, for starters. “”I think, if I were to go back to some of my earlier ministry days and start smaller, I would start with a good sound system,” he says. “The nice thing is that you can get some great sound systems that don’t cost a lot of money, that have a lot of flexibility, and are designed for volunteer use or for people who aren’t at a ‘professional-caliber’ level. Line 6’s new StageScape PA system is just phenomenal,” he says, pointing to the system’s intuitive touch-panel controls. “What a cool concept! Things like that which are now available are making it possible for churches that are smaller and don’t have the big budgets to come up with really great results.” He warns against looking to technology as the total solution, rather than an aid. “Before you have something in place the way you want it, it can often become your focus. Technology is definitely one of those things that offers that danger. So, we can consistently, day in and day out, be about, ‘Oh, if we just had this, or if we just had this.’ You’ve got to have the right components, but it doesn’t require as much as most people think.” He adds, “Once you get some things in place, I think a lot of people need to ask what they’re going to do with it. I think a lot of worship ministries, if you went, ‘Okay, here’s everything that you’ve ever needed. Ready, go,’ then some of them might freeze for a minute because they’re so not used to thinking about what they’re actually supposed to be focusing on.” He points to the bottom line: “I think that our focus has to be on: how do we get God’s people connected in an authentic way? How we get them worshiping? What’s going to make that experience work? I ask myself that every week when I’m putting my set together. I’m going, ‘Alright, Lord, what’s it going to take this week? What are the songs? Anything I need to say?’ And really focus on the experience from that angle and work on the

lassic ttones. “I’ve got two Custom Shop Strats that are sort Lincoln’s own setup pairs the latest technologies with classic of based around ’57s.” Rather than relying upon mikedd ampli amplifiers onstage, Lincoln opts to run his POD HD 500 rig direct. “Most of the dates I do on the road are fly dates; we’ve ggot to fly just about everywhere we go. I want something that sounds great, that feels great to play, and will give me con consistency every night. For me, that means being able starte I recorded some tracks on my very first album with to fly with it. So, for me, that’s where it [using the POD]] started. gr if I could take this on the road.’ And then the POD Line 6’s Amp Farm, and I remember thinking, ‘Gosh, it’dd be great rect wa came out. I started using it, and, back then, running direct was blasphemy. I’d have people show up after we’d play at a festival and they’d say, ‘How do you get your tone? I want to see your rig!’ And I’d go, ‘You don’t want to know, ’d show them. What I’ve found consistently is that people’s trust me.’ And they’d say, ‘No, no, I wanna know!’ And I’d ard. They Th just couldn’t get past the reality of what it was.” brains would not allow them to hear what their ears heard. strume system for his guitar. Lincoln also points to the He usually opts for a Line 6 G 30 or the G 50 wireless instrument m gives give worship groups, thanks to the handheld transmitter’s flexibility Line 6’s new XD 75 wireless microphone system ow good goo the models were inside the microphone. The fact that array of built-in mic models. “I was really shocked at how differ ones out and see which one worked was killer.” you could flip through a bunch of different mics and tryy different n-ears. “I think top to bottom there’s not a better company for For onstage monitoring, Lincoln depends on Westone in-ears. w my 5 drivers for backup. They sound awesome and in-ears. The UM Series is great. I carry around UM 3Xs along with they fit great.” When he heads into the studio, Lincoln uses a Pro Toolss HD ri rig outfitted with Waves and Universal Audio plug-ins. king “i He also uses plenty of outboard gear in addition to working “in the box.” Mic-wise, “I use a handbuilt ADK tube mic (CS67J) that’s based off of a U-67; it’s awesome. I’ve alsoo got a pair of Shure KSM 44s. I use them for vocals, but those mics work on anything.” rite guitar gui tones in the studio. And, speaking of getting guitar Lincoln also relies on Avid’s Eleven Rack to get his favorite rs, the Line L 6 James Tyler Variax. “I think every studio ought tones, he gets plenty from one of his favorite new guitars, ow spot on those models are. It was pretty stunning; I knew the to own one of those,” he enthuses. “It’s just amazing how believe guitar was cool, but at that point I was just a complete believer.”

Lincoln Brewster puts a lot of thought and experience into choosing the gear he relies on when he’s he s performing on the platform and recording in the studio. studio Throughout this issue of Worship Sound Pro Pro, you’ll find several products that are similar to the ones Lincoln prefers. Here are a few great examples!

Line 6 James Tyler Variax Fender Stratocaster

pg. 122

pg. 123

AVID Pro Tools + Eleven Rack pg. 96

Line 6 POD HD500 pg. 130

Line 6 XD-V75 pg. 22

ewster patches on both the POD HD Pro and Eleven Rack You can find Sweetwater-exclusive signature Lincoln Brewster ustome “for almost 24 years. I could tell even back then: systems. What’s more, Lincoln has been a Sweetwater customer x. If a church c well-run company, thought a little bit outside of the box. calls you up, ‘Here’s what we’re wanting to do,’ Sweetwater is able to really give them a comprehensive view oof product options.” Lincoln neatly affirms his path as a musical messenger when he paraphrased a quote by Martin Luther: “Aside from theology,” he says, “there’s not even a close second to music in terms of communicating God’s word to people.” He adds, “It’s obviously a very important part of what we doo as a church.” lincolnbrewster.com

Westone UM3X RC pg. 34

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* Merchandise sales available with upgrade to Nimbi Plus account. ©2013 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, Capture and Nimbit are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Studio One is a registered trademark of PreSonus Software Ltd. Mac, iPad and iPhone are registered trademarks of Apple, Inc. If you’re reading this footnote, the Mayans were sorely misinterpreted.

Capture multi-track recording software comes free with StudioLive.

Record it. Two mouse clicks in Capture™ records the whole service in stereo & multitrack. Add a marker to locate the sermon.

Virtual soundcheck. Before the praise band arrives, have levels and eﬀects set by playing back the recording you made at rehearsal.

Virtual StudioLive for PC and Macs comes free with StudioLive.

10:29 AM

8:00 AM

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Only with StudioLive …

Virtual StudioLive for iPad is free at the Apps Store.

Mix it live. Sit with your family in a pew and mix the whole service from an iPad®. Not just levels but scenes and presets, EQ, reverb and more.

10:31 AM

Powerful Studio One 2.5 comes free with StudioLive mixers.

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A free Nimbit account is included with Studio One 2.5 DAW.

Get it out to the world. Upload the service to the church’s Nimbit Facebook “store” where it joins the rest of the year’s sermons and concerts. You can also collect donations, sell event tickets and wearables* through the store.

12:30 PM

Polish it. Use Studio One Artist DAW to edit out some pauses and a cough or two.

12:00 PM

Features When Buying Your Next Guitar: The Romantic Versus the Practical… Long time readers will note that as your editor who tries to become transparent at times in these opening monologs that I often waver back and forth from two polarizing positions. 1). “Love One Woman… Many Guitars” - which promotes a desire to gather a good variety of guitars to be able to utilize the various tonal tools you need for the different styles/moods you play/record with. 2). G.A.S. (Gear Acquisition Syndrome) – the side effects of the “did I really need to buy that last guitar?” scenario. Sometimes in the fuzzy gray lines between those battling theories guitar romanticism comes into play. Guitar romanticism you ask? Yes! Do you know how many guitars sell just because popular guitar heroes play them? It is not always because of the guitar’s intrinsic design concepts or inherent electronics employed but simply because of an artist endorsement. “Well, if it is good enough for so and so, it must me good enough for me” is the rational. For baby boomers like myself (and quite a few of our readers), many of us have rock n roll guitar legends to thank for the guitars that we own and play. I can remember back on three separate occasions (over a 15 year period) I went out and bought a maple fretboard Fender Stratocaster after seeing Eric Clapton play live in concert. I wanted that slap-back bluesy tone that I heard in Eric’s playing. Well, today we are going to discuss two other aspects of guitar purchasing to consider when you are selecting your next guitar… the romantic versus the practical. I put this theory to the test just last week and I arrived at a conclusion that caught me off guard. Here is how it went down. Ever since I saw Stevie Winwood play decades ago (he was in the group Traffic and as a solo artist – not to mention the band Blind Faith which also sported Clapton as well) I noticed he was playing a Gibson Firebird. The shape of the guitar is quite different and they also offer reverse body’s of that unusual shape. Being such a strat guy (thanks again to Eric) I really don’t wander too much into other electric guitars for my personal playing. Les Paul guitars are too heavy for me personally and feel a bit unbalanced to hold, but I do see how having a dual humbucker guitar would give me a more complete choice of tones to select from – especially for some of the classic rock stuff I like. I have always said that it is good for a guitarist to have both flavors of guitars (single coil and humbucker pick-ups) at your disposal. So back to Stevie Winwood… I have always been intrigued by the look of the Firebird but I have never really played one for more than a minute or so. I was looking on Craig’s List and read about an old Ibanez “lawsuit” copy of a Gibson one for sale in Canada. I remembered the photo of Mr. Winwood playing his from an old album liner notes page or something and so before I went any further with it I went looking for advice. I called our resident vintage guitar guy and CM columnist Joe Riggio (Ask Joe column) and asked him about this old Ibanez I saw online. Joe informed me that for the price they were asking I might be able to find a real Gibson one that maybe had a neck repair done or a refinished paint job – something that would cut the value of one in half. With this theory I could possibly own a real Gibson verses a knock-off. I had seen one at Joe’s house before and I asked him about his. He told me it had good

Continued on page 32.

8 Product Review by Joe Riggio Tyler “Princetone” Class AB 1x12 all Tube Combo Amplifier 10 Bassic Communication by Norm Stockton Developing Your Inner Clock (Part 6) 12 Guitar Workshop by John Standefer A ‘Happy’ New Years Resolution 14 Drumming Dynamics by David Owens Quick Charts 16 Vocal Coach’s Corner by Roger Beale The Ear of The Beholder

CONTENTS 34 The Indie Mechanics by Keith Mohr & Sue Ross-Mohr Time to Punt 36 Product Review by Bruce Adolph Fretlight FG-507Acoustic Guitar & Teaching Method 38 Ask Joe by Joe Riggio 41 Guitar From A 2 Z by Roger Zimish Stomp Box Maintenance 42 Is It You Or Him? by Bryan Duncan 44 Coda by Bob Bennett The Tricky Nature of Attention

18 Show Us Your Groove by Rick Cua Our Life of Worship 26 Selective Hearing by Shawn McLaughlin Bob Bennett Big Tent Revival Warren Barfield Jim Sonefeld Mike Mains and the Branches Eric Peters Keith and Kristyn Getty 30 CM Report: Online Bass Instruction by Eric Wylie

Interview

20 Al Perkins Man of Steel by Bruce Adolph cover photo: Amelia Moore

4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.christianmusician.com Editor & President: Bruce Adolph VP/Office Manager: Judy Adolph, judy@christianmusician.com Customer Service: Brian Felix, brian@christianmusician.com Street Team: Mike Adolph, Jesse Hill & Winston Design & Layout: Matt Kees Copyediting: Kevin Wilber Advertising Sales: bruce@christianmusician.com Published by the Adolph Agency Inc.

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JAN/FEB 2013

PRODUCT REVIEW

Tyler “Princetone” Class AB 1x12 all Tube Combo Amplifier By Joe Riggio Tyler Amplifiers is a company, started by guitar players who were fond of vintage tube amplifiers, but just couldn’t bring themselves to subject their beloved and prized rarities to the rigors of regular touring and stage use. Unsatisfied with the available options and current reissues of their favorites, they set out to re-create the original circuits of the past and construct them with the quality of workmanship that would withstand regular wear and tear of a working man’s (or women’s) tool of the trade.

modification of the original amps, back in the day, before it was taboo to alter any element of originality of a vintage piece. Many players prefer the more full sound that a 12” speaker delivers. LAYOUT

All front panel controls are identical to that of it’s original predecessor. You’ll find the usual pair of ¼” input jacks, one with a lower gain level that the other, VOLUME, TREBLE, BASS, REVERB and Tremolo SPEED and INTENSITY controls. Turning the amp One of their more popular models has around give access to the speaker jack, the become their take on the famous AA1164 input and output for the reverb tank, power version of the Fender Princeton Reverb, from switch and fuse holder. the black-face era of the 60’s. At a glance, the silhouette appears identical to the original. PARTS/COMPONENTS One obvious twist is the covering being The tube choice contributing to the preamp tweed, like that of the 50’s era amps. The section is a quad of JJ Brand ECC803S: particular one, in this review, is complete with a admirable modern-made version of a intended aging of the covering, including; vintage 12AX7 long-plate. With a meager nics, scratches, smokey-bar-room-discolor selection of good quality tubes, these days, and even a coffee cup stain on the top. A closer this is an excellent choice to attempt to bring look reveals a major turn from the original. A back the glorious sound of the by-gone tube 12” speaker replaces the 10” choice of the era. The 12 watt power section is a pair of original design. This is a commonly performed 6V6’s and a GZ34 rectifier tube, also from

JJ. The 12” speaker of choice is the Jensen Jet Tornado model that provides a lightweight neodymium magnet, as an alternative to a heavier, more traditional ceramic magnet speaker. TEST DRIVE I tested this amp with all of the usual suspect guitars at bay: a Stratocaster, Telecaster, Les Paul and an SG Special with P-90 pickups. The first audible sign of a well designed, simple tube circuit is the distinction of voices, or I.D. of each of these classic guitar designs. This amp delivers in spades a clear and classic reproduction each guitar’s voices. The 12” speaker definitely adds fullness where a 10” would fall a bit short, in the low end. Classic Fender clean tones abound here and make for a very familiar and comfortable playing experience. Both the Treble and Bass controls make it easy to dial in a natural voice for each guitar, as well. The over-all tone is warm with a smooth with a snappy sparkle, just what you would expect from the best vintage black faced model. . The Jet Speaker speaks very well at clean settings, including when feeding the front of the amp with low to high gain overdrive pedals. Turning the amp up into an overdriven volume setting yields plenty of tube break up, but gets a little fuzzy. I suspected that the speaker might be the culprit for the “bad” distortion, so I switched it out for one that I am very fond of and familiar with. After doing so, the speaker break-up was gone, leaving only the “good” tube distortion coming through. If you’re interested in overdriving this amp, I would suggest ordering with a different speaker choice to that with a more traditional and heavier magnet. CONCLUSION This is a great choice for those hungry for vintage Fender clean tones. At 12 watts, it’s also well suited for a stage that requires low volume and home situations where “cranking it up” has it’s consequences. In a world where that killer deal on a vintage amp is getting harder and harder to stumble upon, this is a fine choice to get there in a hurry. www.tyleramps.com MSRP: $1,349.00

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Developing Your Inner Clock (Part 6) Let’s hit the woodshed again! Similar to last time, we’re charging ahead in full “practical application” mode.

last time. As you may recall, it’s a two-bar phrase, C# and G in the 2nd ending) also inject a bit of although the only difference between the two funkiness. measures is the added eighth-note on the “and” of As before, play through Exercises 1 through Today’s exercises simply add pitch and phrasing beat 1 of bar 2. 4 with the click playing on the quarter notes at to the basic rhythmic practice figures from earlier Exercise 2 gives pitch to that rhythmic figure, but 100 bpm (slow down a bit if needed), then work in the series (making only occasional minor tweaks), extends the phrase with a variation in bar 4. The through them again while the click is playing just revealing actual usable bass lines! slide off of the last note in bar 3 sets up that bit of those backbeats from the 2nd staff. Remember Although we’re working on several aspects of our air in the line and can give the part a bit of attitude to not take the repeats literally (i.e., playing each musicianship at once (sightreading, timekeeping, if phrased lazily. The overall part involves a bit of figure only twice) – play each figure as many times technical execution of the bass line, musical harmonic tension and release with the chromatic as it takes to really internalize it. phrasing, etc.), please pay particular attention to walk-up from D to E, which could be effective in a Here’s that list of things to keep in mind: ensuring rhythmic accuracy – after all, that’s the funk rock or R&B context. main point of this series! :^) If you compare the rhythmic motif of Exercise 3 • Listen intently for flams (two distinct, nearlysimultaneous hits) resulting from your note with that in Exercise 1, you’ll probably notice that Exercise 1 is the same rhythmic figure we used not occurring precisely with the click. Keep they’re quite similar; the repeating the exercise and see if you can primary difference is the Bassic Communication execute it “flam-free”. Record yourself and rest on the downbeat of listen back critically. Developing Your Inner Clock (Part 6) beat 2. Isn’t it interesting how such a minor • Make sure to tap your foot on the quarter Metronome Clicks on quarter notes Norm Stockton difference can have such notes and assimilate both the tempo and how (Tap foot on each quarter note) a profound effect on the the various subdivisions feel over those quarter      feel of the rhythm? To notes. Ensure your foot doesn’t depart from my ear, Exercise 3 sets up those downbeats, regardless of the rhythmic Metronome Clicks on beats 2 & 4 a much sparser musical figure being played or metronome figure used. (Keep tapping foot on each quarter note)   statement.    • When working with ghost notes (as in Exercises Exercise 4 gives pitch 1 and 3), just mute the strings with your fretting to the rhythmic figure in Exercise 1 hand and pluck as normal. Ghost notes are     perfect here, as the click should disappear                 Exercise 3, while taking    some liberty in the 4th   when you’re locking with it. measure. This bass line Exercise 2 • Once these exercises are coming together, also leans toward the funk practice them at a variety of tempos – the         A-7    rock or R&B genres, and            slower tempos can be surprising challenging to    gives us an opportunity to play accurately.  work on our timekeeping 7 5 5 7  5 7 7 3 6 5 5 while also focusing on • Play them while dynamically alternating    5 between loud and quiet (gradually getting making the part talk! 3   Music is about emotive louder or quieter over the course of several                        repeats), striving to keep the rhythmic accuracy communication, right?  regardless of dynamic level. For overachievers 5 7  5 3 6 X 3 3  5 5 5   5  out there who might After you get comfortable playing with the click, be curious about the set up a basic eighth-note drum groove at 100 harmony of the Exercise bpm and play these exercises to it. The drum Exercise 3 1. 2.                             4 bass line: suffice it to pattern will likely be easier to lock with, as it        say that it incorporates E provides more subdivision than the click. Dorian (refer back to our Have a blast & groove deeply! Exercise 4 series on the modes for 2. 1. more on this), and does     E-7                        imply a chord motion to        (Adapted from curriculum    D and A7 in the 2nd and in the Grooving for Heaven 5   5 5  4th measures. The tritones 7 5 5 5 4 5 4 4 7 5 5 3   (notes that are 3 whole instructional DVDs)   0 steps apart, such as the © 2012 Stocktones Music Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. Recently departing from his long tenure as bassist with Lincoln Brewster, Norm is focusing on equipping bassists around the world through his new instructional site (www.ArtOfGroove.com), as well as freelancing (including tour dates with Bobby Kimball, former lead singer of TOTO). Also visit Norm at www.normstockton.com, Facebook, Twitter and Instagram.

JAN/FEB 2013

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Visit us at NAMM Booth #4284

“...Gallien-Krueger continues to astound.” Norm Stockton

Don’t miss the Norm Stockton Group Norm’s Clinic and Appearence Schedule 2012 at the NAMM Show! Unite Conference at WFX, Atlanta, GA Sept. 19-20 Unite Conference, St. Louis, MO Sept. 24-25 Virginia Bass Forum, Fredericksburg, VA Sept. 29 4th Annual NAMM Night of Worship Unite Conference, Pittsburgh, PA Oct. 1-2 Bass Specialties, Philadelphia, PA Oct. 3 January 26, 2013: Conference Unite Conference, Boston, MA Oct. 8-9

January 24, 2013:

2nd Annual MTD Charity Concert National Worship Leader Conference, N. San Diego, CA Oct. 11 Concerts with Bobby Kimball (TOTO), Pleasanton, CA Oct. 18-19 Bass Player Live, Hollywood, CA Oct. 20 And be sure to visit new instructional Instrumental Music, Ventura, CA Nov.his 7 website, ArtOfGroove.com. Christian Musician Summit, Redmond, WA Nov. 9-10 The Outtengrand Orchestra, Yorba Linda, CA - Dec. 1-2

Gallien-Krueger 2234 Industrial Drive Stockton, CA 95206 (209) 234-7300 www.gallien.com

MB212 II 212MBP

A ‘Happy’ New Years Resolution

It seems like we wax poetic around the first of every year with lofty goals of selfimprovement (or at least weight loss). Here’s a thought that I had recently. It’s tough to believe that we live in a ‘post-Christian’ America these days and that so many of the ways of life that we hold dear are vanishing. One response is to gripe and complain about it. Another is to become sad and melancholy and live in the past. I’ve certainly been guilty of those attitudes (maybe today). I often just want to escape mankind altogether – except

that I is one myself! Anyway, I got to thinking that Christians these days are often known by the rest of the populous as people who gripe and moan and escape into their own little fantasy worlds. We’re not so much known for what we believe in as what we don’t believe in. We’re not so much seen as people who love and care and live happy, fulfilled lives with a bright future. We are often perceived more as people who are against this, and hate that, and are closed minded bigots. We’re considered extremist and superstitious ( just

the opposite of how we look at it). Regular folks and Christians alike look at us and see a lot of what we’re ‘against’, and not so much what we’re ‘for’. A short list of what we are ‘for’ is; the love of a merciful God, a peace that knows no understanding, loving families, deep friendships, kindness, honesty, humility, thankfulness, and the brightest future of all – forgiveness and a good life here on earth - and then eternal life in heaven where all the troubles of this world will melt away! You can’t ponder what we are ‘for’ for very long without a big grin creeping across your face, a ‘countenance’ of joy that, in itself, is perhaps the most convincing evidence to the outside world that a Holy Spirit lives inside of us. So why not make it a point, a conscious effort, to eradicate those furrowed brows and worry wrinkles this year and replace them with a smile? Actually ‘be’ content in good times and bad, praising God in all things. You can ‘spread sunshine all over the place! Just put on a happy face!. Here’s a little excerpt of a tune to remind you... : ) JS ...If you’d like an audio file of me playing this TAB, email me at john@johnstandefer.com and I’ll send one...

< Put On A Happy Face C. Stouse / L. Adams ~ Arr: J. Standefer

Check out John’s 5-DVD set ‘Praise Guitar Lessons’ at the ‘store’ page at www. johnstandefer.com. You get 52 video lessons similar to these CM articles, but you can see and hear the lessons! Includes charts. Also consider private lessons with John via Skype!

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Quick Charts The ability to scratch out a quick chart has helped me countless times over the years. There are days where I have a lot of music to learn in a short amount of time and there are no charts or very poor charts. Being able write a quick phrase chart or something a little more detailed is priceless.

first thing I noticed when I listened to the song was the extra bars at the end of phrases. I also thought that the drum patterns didn’t lay naturally for me. Knowing the Anderson’s usually play to tracks, I figured they would like to hear it exactly like the CD. My experience told me I should spend the time to write A few years back I was playing for a Franklin out the exact drum patterns so they were Graham event in Canada and one of the comfortable. artist’s drummers could not make it at the last Sometimes I write a much simpler chart that minute. I was asked to sit in but they could not shows very basic grooves and how many bars tell me what five songs of the ten on the CD of each groove. I call them phrase charts. The the artist would pick. With no rehearsal and chart here is a little more detailed and tells me only a short soundcheck, the only way I could everything I need to know to play the tune pull it off was to write charts for all ten tunes. accurately.

Make it a point to start writing grooves out. The more you do it the faster you get at it so the next time you are under the gun and can’t memorize a song your quick chart will help you ‘be over prepared and go with the flow’. Blessings

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 The chart I am showing you is a song called My motto this year is to ‘be over prepared Workshops and for over 2 years he was the house drummer Worship The Lamb by Jessa Anderson. You and go with the flow’. Having a chart for the Los Angeles production of The Lion King. His home can listen and download to it on iTunes. Jessa written out like this is extremely helpful in church is Plymouth Church in Whittier, California. www. DaveOwensDrums.com and her husband Jordan were guest artists at accomplishing that goal. As it turned out the

services I did recently. The only charts they Andersons were very comfortable with me had were lyrics with chords. Charts like those changing things up a bit but I was prepared to don’t tell me a thing about phrasing and the play it exactly like the CD.

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The Ear of The Beholder

Beautiful singing (bel canto) or ugly singing (brutto canto). Contemporary singers struggle mightily to define their vocal sounds. The sounds of their singing fall outside of the classical or “legit” singing parameters.

For instance, I had a student who needed a recorded accompaniment for a civic function. The song was Irving Berlin’s God Bless America. This student asked me to record a track for them. I then asked the student if she wanted me to play it in a key that would allow her to belt. She responded by saying, “No, I want to sing it like Kate Smith did.” If you have not heard the late, great Kate Smith sing this song, may I refer you to YouTube. When I informed the student that Kate Smith did truly belt God Bless America, she was more than shocked. “That’s not belt, it sounds too pretty,” was her response. For this singer, the term belting could not possibly describe the beauty of Kate Smith’s voice. To this student belting meant loud, unattractive sounds that are yelled, not sung.

Streisand and Linda Eder. Other singers who demands of the style you are working in. may use more of the chest voice function in their vocal production would include Liza Those that work with singers within the Minnelli, Bernadette Peters, and Bonnie Raitt. church or work with professional singers in the world of Christian music know there are On the other hand, pop singers do not potential dangers facing these singers. One necessarily use more chest voice in their might see a singer who goes beyond her vocal belting than Broadway singers. They tend to capacity to the point of hoarseness or worse. use irregular vibrations or “noise” within their We might see a young singer copy an older vocal tone. You can describe these sounds as singer’s sound who does not have the vocal raspy, breathy, fried, or twangy. Singers such tools to do so. You might meet a singer whose as Mariah Carey, Yolanda Adams, and Aretha manager tries to move them in a direction that Franklin put a tremendous amount of pressure is not vocally, spiritually, or artistically healthy. on their vocal folds with the style of belting You might run into the singer who ignores, or they use. They use range defying leaps, as even runs from, the need for qualified vocal well as assorted screams, shrieks, growls, and advice, either from a vocal coach or medical moans. Rhythm and Blues singers more often doctor. than not test the limits of their God-given Whether it is perceived as beautiful or vocal mechanism. ugly, every style of singing must have a vocal Under the heading of belting all of these technique that supports it’s stylistic and previously mentioned styles and subdivisions artistic demands. One technique cannot fall. How do we decide what is beautiful serve all styles. If a singer learns classical vocal belt singing or ugly belt singing? We techniques it will serve classical singing. This don’t! The old adage “beauty is in the eye technique will not serve the needs of the of the beholder” or in this case the “ear of Contemporary singer. We who work with the beholder” works very well here. The Christian singers need to support the style dictionary definition of beauty is “a quality of the singer rather than trying to turn a that gives intense aesthetic pleasure.” perceived ugly sound into a pretty one.

One of the problems in trying to define the term “belt” is that belting covers an enormous amount of vocal territory. By listening to this famous recording, one notices that Kate Smith uses a belt/mix tone that is chest voice There are people who gain intense pleasure dominant but still includes a large amount listening to Janis Joplin. They would label of head voice influence. For other examples her emotional blues singing as beautiful. of this style of belting consider Barbara Someone else listening to the same singer may find no pleasure at all and there is big chance they would label Janis Joplin’s singing as ugly.

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We must understand that beautiful or ugly singing is an aesthetic issue. Technical efficiency or inefficiency is a functional issue. We all know that classical singing can be produced inefficiently and contemporary singing can be produced efficiently. Our job as Christian singers, teachers, or worship directors is to see that all singing is produced efficiently within those artistic

Now go sing well! 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 an adjunct professor in the Fine Arts department at Point University (formerly Atlanta Christian College), website: www.point. edu. Roger can be contacted at: The Voice House, 1029 Peachtree Parkway, Suite 276, Peachtree City, GA 30269, (404) 822-5097, e-mail: voicehouse@ mindspring.com.

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Our Life of Worship by Rick Cua Am I preaching to the choir…probably, is this a valuable refresher…absolutely! Worship is more than music; it’s a way of life. It’s easy to think that worship starts and stops with the musical worship times we have at our churches. For many that’s the obvious worship form but there is much more. Below are 5 thoughts that will help us live a life of worship beyond just music. Sometimes taking a fresh look at the scriptures will help realign our hearts towards God in worshiping Him. It’s a bit of a bible study with brief comments from me. Meditate on these truths and see what God will do. 1) Realize That We Are Commanded To Worship God God makes His position on worshipping Him very clear. Believers around the globe universally understand this directive. Just look at the first two commandments and you will see that they clearly focus us on worshipping God alone. Exodus 20:1, 2a, 3 - And God spoke all these words: “I am the LORD your God…” “You shall have no other gods before Me….” Exodus 20: 4a - “You shall not make for yourself a carved image…” In Exodus 23: 25a we see that worshipping God brings a blessing. “Worship the LORD your God, and His blessing will be on your food and water...” Here are four more scriptures that speak directly to worship: Deut 11:1a - “Love the LORD your God and keep His requirements…” Matt 4:10b - “…Worship the Lord your God, and serve Him only.” John 4:23b, 24 - “…true worshipers will worship the Father in Spirit and Truth, for they are the kind of worshipers the Father seeks. God is Spirit, and His worshipers must worship in Spirit and in Truth.”

the blood of Jesus…let us draw near to God body. “In your anger do not sin”: Do not let with a sincere heart…” the sun go down while you are still angry, and Because of Jesus we have a standing do not give the devil a foothold. He who has invitation to move in close to the Father. Let’s been stealing must steal no longer, but must take that invitation to heart and bring Him our work, doing something useful with his own hands, that he may have something to share very best always. with those in need.” 3) Know That We Should Love God With “Do not let any unwholesome talk come out Everything We Have of your mouths, but only what is helpful for Deuteronomy 6:5 - “Love the LORD your building others up according to their needs, God with all your heart and with all your soul that it may benefit those who listen. And do and with all your strength.” not grieve the Holy Spirit of God, with whom 1 Peter 2:9 - “But you are a chosen people, you were sealed for the day of redemption. a royal priesthood, a holy nation, a people Get rid of all bitterness, rage and anger, belonging to God, that you may declare the brawling and slander, along with every form praises of Him who called you out of darkness of malice. Be kind and compassionate to one another, forgiving each other, just as in Christ into His wonderful light.” God forgave you.” Psalm 91-14 - “Because he loves me,” says the LORD, “I will rescue him; I will protect him, for There is a lot in the above three scriptures… meditate on the contents and draw closer to he acknowledges My name.” God in the process worshipping Him through Romans 12: 1 & 2 - “Therefore, I urge you, your obedience. brothers, in view of God’s mercy, to offer your bodies as living sacrifices, holy and pleasing to 5) Worship Him In Everything You Do God - this is your spiritual act of worship.” In the Old Testament there are three Hebrew Romans 6:13 - “Do not offer the parts of your words regularly translated into Worship body to sin, as instruments of wickedness, reverence, service & submission. Worship is but rather offer yourselves to God, as those not just words, but putting your love of God who have been brought from death to life; into action. Keep His Commandments, help and offer the parts of your body to him as widows and orphans, pray without ceasing, love one another, serve one another, forgive instruments of righteousness.” one another and so much more. As we take care of ourselves and treat our bodies as God’s temple we again are able to Matthew 6:21 says; “For where your treasure honor Him by bringing Him our best. To love is, there your heart will be also”. God is to Worship Him If Jesus is your treasure, your heart will continually be for Him through thought, word 4) Know That Our Obedience To God and deed. If we want to become more like And His Word Is Worship Jesus – Worship Him. WE WILL BECOME LIKE Ephesians 4:1-3 - “As a prisoner for the WHAT WE WORSHIP! Lord, then, I urge you to live a life worthy of the calling you have received. Be completely Not just a musical artist, Rick humble and gentle; be patient, bearing with knows the business of music one another in love. Make every effort to as well. Besides being a music keep the unity of the Spirit through the bond publisher, artist manager and of peace.” booking agent, he founded

Hebrews 12:28b – “…let us be thankful, and Ephesians 4:11-12a - “It was He who gave so worship God acceptably with reverence some to be apostles, some to be prophets, some to be evangelists, and some to be and awe,” pastors and teachers, to prepare God’s 2) Realize that God Has Enabled Us To people for works of service…” Worship Him Know your place and get in it! Ephesians 2:18 - “For through Him ( Jesus) we Ephesians 4:25-32 - “Therefore each of you both have access to the Father by one Spirit”. must put off falsehood and speak truthfully to Heb 10:19b, 22a - “…since we have his neighbor, for we are all members of one confidence to enter the Most Holy Place by 18

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and ran his own record label, UCA Records, in the 1990s which led to a position for five and 1⁄2 years as Vice President, Creative/Copyright Development at EMI CMG in Nashville. There he managed a large songwriter roster and exponentially grew revenue through film and TV licensing, song promotion and print music development. He is currently on staff as the minister of Pastoral Care and Visitation at Grace Chapel in Franklin, TN.

Al Perkins

man of steel

by Bruce Adolph

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photo by Amelia Moore

Sitting down with a living legend like Al Perkins was a real treat for me. We met at our Christian Musician Summit conference in Nashville. He had sat in with the Blues Counsel and played a rocking version on his steel string guitar of the classic rock tune “Crossroads”. Al was going to teach a workshop for us on steel guitar later that day but I saw a window of time in the schedule where I could interview him. I am so glad I did. This man of steel was there for the birth of two music genres… Country Rock and the Jesus Music Movement and after all these years he is still going strong! Let’s get to know him together… CM: Al, please tell us how you got started in music in the first place?

a super gifted guy who is a terrific pedal steel and regular steel player. Al (Petty) started playing in a very popular band around West Texas and at times he would take me (and an older student) out to demonstrate his school of music and we would play instrumentals. One day he noticed that I wasn’t really playing what was on the tablature. He said, “I’d like to talk with you after class and if your father picks you up I’ll need to speak with him too”. So I thought to myself, “Well, that was fun while it lasted but I’d rather play baseball anyway”. So my Dad arrived and we both went into his office and he told my father that he noticed that I was not reading the tablature but playing the song by ear. (He would play it for us before we would take it home) He told my Dad that if he could afford to get me private lessons that he could teach me much faster by ear. My Dad was a truck driver and not making a ton of money, but he said “yes” to the private lessons… well that was a turning point in my life.

Al Perkins: On Sundays a radio show called “Hawaii Calls” would air and we would listen to that very exotic music and the steel guitar was prevalent in it. Plus in West Texas everything was Western Swing and Country music and a little bit of Bluegrass at that time. It was still a dirt road on our street and my Dad happened to be home on a Saturday when a man knocked on the front door to ask us if we were interested in taking guitar lessons. My Dad answered and said, “My son might be interested”. My father tried to persuade me by saying that he thought that girls like these And the next thing that came along in my “musician type people” but at about eight life was that my teacher Al had moved to El years old I didn’t even like girls, so that was the last thing I cared about. (laughing) I usually wanted to play baseball on the sand lot but I said that I would give the guitar a whirl. After I started taking lessons, my father wanted to buy a better guitar from my music teacher. His recommendation was an arched back guitar with white binding (I still have that guitar). It was probably made by Epiphone but it was named Video and came out of New York. My father wanted to learn a few chords so he could play along with me but the problem with me is that I really didn’t like practicing (and I still don’t!). When I did practice I did what my mother called “diddling” and she would say, “Stop that diddling and play a real song”. So I would play a real song until I would get bored with it. But one day they gave us some lessons on tablature and my teacher at the time was 19 or 20 years old. Al Petty was his name and he was

morning television show. I played two tunes on the show and someone had the foresight to place that on a lathe and make an acetate one-time cut of those songs and gave it to me… I still have it and now and it is saved on digital. CM: Now how did you break into professionally playing from there? AP: I went to high school out in Odessa, Texas and in my senior year I was still playing with older guys who did country music. The pedal steel had become more popular by that time. That is another story of the dedication my Mom and Dad had for my music. The first pedal steel that was commercially made was the Fender 1000. It came out at $1,000.00 and my parents bought me the first one that came into a West Texas music store! Back then a new car cost around $2,800.00 so this was a big sacrifice by them and I thank the Lord for that.

Then all of a sudden the Beatles came out and I started listening to the Ventures and anything I could get my hands on out in West Texas. We didn’t have a lot of black Rhythm & Blues (which would have been a good influence to have) but I did hear more of the bands like the Beatles and I started playing my Dad’s guitar. He had bought a little Les Paul Junior for my younger brother but he never used it so I started playing that. In my senior year there was some guys up on stage at a Pep Rally playing a Ventures song. I later asked one of the fellows (Bob Eldridge) if I Cajon, CA and was playing in Smokey Rogers could come over and play some rhythm with Band (which was one of the big western swing him and learn. We went into Junior College bands in Southern California). I got to go out together and we would play all the time on a Continental Trailways bus by myself at during breaks in school. I was off of the steel 11 years with a steel guitar under my seat guitar for seven years playing guitar with rock sitting next to a sailor. I stayed for 10 days out bands and I went out to California in 1968 there and I got a chance to play on a Saturday CHRISTIANMUSICIAN.COM

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with a group called The Sparkles. In 1969, I came back home and joined another group called Foxx. They found out that I had played pedal steel and bought one for me to play… it was an eight string Fender 400. We were playing a club in Dallas that had a small stage. So the owner placed a small extension that protruded into the dance floor for the pedal steel to sit on. I would go out and play a couple of tunes on it each set. Then this band from East Texas found out that there was this longhaired guy playing steel guitar in town. They were named Shiloh and Kenny Rogers offered them a recording deal out in California. They wanted me to go with them and record this new Country-Rock style of music. I told them that they were crazy since everything else was heavy rock and psychedelic music. But I went to rehearse with them and it felt so good that I said, “OK, I’ll give my notice to the other band but I’ll need a steel guitar”.

to meet with Stephen at his hotel. He told us about his next album and asked us to come and record on the country part of it. A few weeks into this, Stephen asked Chris Hillman & I to join this new band he was forming called Manassas. We committed to the band and went over to Stephen’s place in England from January into March 1972. While there we rehearsed the songs and started off a world tour. Drugs, booze and egos did the band in so Chris and I went on to the SoutherHillman-Furay Band. Both Richie Furay & Chris came to Lord about that time.

recording other bands there as well. It was a blessing to me. One thing led to another and I produced a lot of Maranatha! Records and I did some for Myrrh and Word Records too. Then Billy Ray Hearn came along with Sparrow Records and I worked with Terry Talbot and Barry McGuire. We actually did a little Byrds/ Beatles sounding band there called Ark that I played in. They just recently connected with me about doing something new. I did that for 4 or 5 years steady and then I took a tour with Michael Nesmith (The Monkees) to Australia and did a live album. We ended up also doing CM: Richie’s first Christian album “I’ve Got a record for West Coast steel players. Later, a Reason” was instrumental in leading me after Debbie Boone had her hit with “You to follow the Lord. Where did you go from Light Up My Life”, I played with her band and wore a tuxedo! there?

This was 1970. I had met Bob Rissi in 1969. He used to work with Leo Fender designing the Fender amp conversions from the early tweeds to the piggyback amps. Then he went to Rickenbacker and designed a Beatle kind of amp called the “Transonic”. Bob called the repair guys at Fender to see if there was a steel guitar there, well lo and behold somebody had either died, forgot about it, or couldn’t pay for the repair. Anyway, they had left a Fender 1000 exactly like the one my parents had first bought and it was available for just the repair bill of $250.00! So I was off to join Shiloh.

In the mid 80’s, Chris Hillman and I went out as a duo for a few years playing at folk festivals. Later we added Bernie Leadon, Jerry Scheff & David Mansfield. We were all Christians, so we did a labor of love album called “Ever Call Ready” as a tithe kind of thing. It was rereleased recently on Sierra Records. It first came out on Maranatha!/A&M Records. From there I joined Dolly Parton’s Band for three years and then I also produced an album for Chris Hillman called “Desert Rose”. In the late 80’s, I moved to Nashville where Emmy Lou Harris asked Sam Bush and I over to her Christmas party. CM: Sam Bush? Wow. AP: You remind me of Sam. CM: When I go to the Wintergrass Bluegrass festival in Washington I do get that comment from folks. AP: You two need to meet (laughing) At the party she talked to us about forming a band. Later that band won a Grammy for her “Live at the Ryman” album.

AP: During the recording of the second SHF album at Caribou Studios, I learned at lot from Tom Dowd about producing and engineering records, mic placement, what After Shiloh I was asked to join the Flying kind of levels to put on tape, etc. When I Burrito Brothers. Those two groups began was home I traveled back and forth 55 miles opening up session work for me. Once we to Calvary Chapel in Costa Mesa for church. had a night off near Cleveland and went to I started seeing a lot of the Christian bands see Stephen Stills’ “Memphis Horns” tour that that were playing there and they asked me to was in town. After the show, we were invited record a band called The Way. Then I started (members were Richard Bowden, Jim Ed Norman, Don Henley, Mike Bowden... Al is facing the oncoming band).

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CM: Way to go! I don’t know what order they came in but I know you had the chance to work with both Bob Dylan and the Rolling Stones too. AP: Yes, the Stones were kind of an offshoot from the Manassas thing. Stephen Stills had known them over in England and he had asked a couple of them to play on his Manassas record. The Stones were in the States and I was still living in Los Angeles at

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the time. They asked me to come to Sunset Sound Studios and play on the “Exile on Mainstreet” record. “Torn and Frayed” was the song I played on. They had a vocal mic set up in the studio and back then I would usually just set up at the end of the recording console because most studios had tube limiters and I could get a pretty good sound going direct with that. I asked if they had a vocal track that I could play to and they said, “No, we don’t but Mick is going to sing the vocal”. Well the idea was for me to feel like I was in a live setting so they plugged a vocal mic right into the board

and Mick did his stage routine, dances and all, right around me and my steel guitar! The funny thing about is that I was having a rough time concentrating not only from Mick but I had finally sold that old Fender 1000 and had gotten a 11 string ZB Custom steel with lots of knee levers. They told me that I could stretch out all I wanted to and I’m thinking to myself, “I am stretching out!” (laughing again).

conversation, I used to take witnessing tracks out on the beach and come up to strangers and usually there was a weird response. But by just being friends and listening to people, many times you can hear something in the conversation that will allow you to introduce a remedy or a comment from God’s Word. We can also pray for boldness so we can take advantage of the opportunity when the Lord I met Bob Dylan at a Bible Study. Roger opens the door. McGuinn had become a Christian and we CM: Well you showed up in our magazine were at a friend’s house (Larry Myers) who before when we were interviewing Richie taught one of the Vineyard Furay. He told us about the Fish symbol that School of Doctrine classes. you placed on your guitar and how it used Dylan was taking the courses to really bother him and that he didn’t even but was pretty quiet that want a Christian in the band but later on he night. We talked a little bit in came to you for answers in his time of need. the kitchen and he mentioned AP: Yes, he had a friend who was into Krishna that he was working on a and I knew that there was a spiritual battle new (gospel) album – the going on. One day Richie and his wife listened one that he got so much flak to a tape I had of Chuck Smith talking about from his Jewish friends and the Book of Revelation. It really got his wife’s from record label executives. interest up but it wasn’t until after some really Anyway it was around that trying times that Richie got locked in with the time that I got called to Lord. Topanga Canyon Studios. We were playing along, CM: And now Richie has been a pastor for learning the songs, but after over 25 years! we ran through it the control AP: Yes, he’s been a blessing to many! room would say, “Alright, CM: Last question here, what do you think we are going to do another the role of a steel guitar player is in the band? song”. Little did I know that they were recording the first AP: I think the thing is that you have to be and second takes while we complimentary; you have to weigh the song were rehearsing them. So I and weigh the mood of the song. And really said, “But, wait a minute...” compliment what the Spirit is telling you to (laughing) I haven’t heard do. If you are listening that way through your those cuts in a long while but heart and what is going through your mind too, it seems that you can know what is good I hope they are OK. taste and what isn’t. On a side note… after I had heard the “Slow Train But sometimes it is just like B.B. King said, Coming” record I told a friend (paraphrased) “Just the right note at the right of mine that we might as well place is better than 10 notes at the wrong pull off the side of the road place”. and stop playing because CM: Yes, you are right. Al, thank you so much Bob had said everything a for your time here. person needs to know to get saved on that record (and he AP: You are welcome! said it so well too). find out more at www.alperkinsmusic.com CM: What have you found that works best for you to be a witness for Christ when you are in a situation where there are a lot of non-Christian players?

photos above from the Christian Musician Summit in Nashville, October 2012. Al is sitting in with Blues Counsel... Bottom photo, Phil Keaggy looking on as Al plays.

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AP: I am learning that people know where you are at by your lifestyle, (and people notice more than we think) It works best if the Holy Spirit is allowed to tailor the

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selective hearing by Shawn McLaughlin

Joy Deep As Sorrow Bob Bennett Independent www.bob-bennett.com

10 years later. That JOY DEEP AS SORROW is every bit their equal, coming almost 35 years into his ministry, is a testament to Bennett’s gift as well as his staying power.

A treatise on humanity’s long-standing efforts to throw off the shackles and evade the self-tyranny of the human condition in an attempt to be more like God, JOY DEEP AS SORROW is the latest from the ever-perceptive, singer/songwriter, Bob Bennett. Bennett has spent most of his illustrious career writing about the point where man’s fallibility and God’s divinity intersect, often, by telling stories that direct a magnifying glass at his own life as an imperfect follower of Christ. JDAS begins with the title cut, sporting a folk melody with a walking blues feel, as the songwriter, using contrasting images, questions why things in life that bring sorrow seem to invade our souls much more readily than the deep joy of God. This cut contains one of my favorite lines ever from Mr. Bennett as he posits, “I want to step into a pile of good and leave it on my shoe”. The record continues to mine this theme to some extent, interspersing songs that read as prayers of gratitude and devotion (“Birth of a Song’, written by Steve Bell, “Two or More”, “God is My Shepherd” and “God is a Moveable Feast”) with more contemplative meditations (“Faithful”, “Playing the Part of Me”, “Strange Joy”, “Broken Beauty”) encouraging listeners to look at their struggles as an opportunity to refine, as well as be recipients of God’s transforming Grace. The lovely “You Went Ahead” is Bennett’s tribute to his friend, Roby Duke, which he composed for, then sang at Duke’s memorial service. The cut features some lovely vibe-like keyboard accents that contrast with producer, Roy Salmond’s, atmospheric guitar work. The song is a poignant reminder that death is a much greater struggle for those who are left behind to grieve than those now seated at the right hand of The Father. “Panhandled at the Western Wall” is a simultaneously amusing and disturbing, true story of a time that Bennett traveled to the Holy Land and found himself at the intersection of the sacred and the seamy, being asked for money as he worshiped at the Western Wall. JDAS, for all it’s lyrical meat, is just as depth filled in its musicality, as Bennett continues to refine his appealing amalgam of pop melodies - “Faithful” and “God Is My Shepherd” have the type of recognizable, stirring melodicism that never leave the brain -, folk form, jazz expressionism and, even, a little blues flavor for good measure. Roy Salmond is, as Bennett calls him, “The fifth Beatle” on the project as he marries intuitively spare yet multihued production with peerless chops on a myriad of instruments. Bennett has already released two of the faith based medium’s greatest albums, IMHO, with 1982’s MATTERS OF THE HEART and SONGS FROM BRIGHT AVENUE,which followed

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The Way Back Home Big Tent Revival Independent www.bigtentrevival.com Steve Wiggins disbanded Big Tent Revival more than 10 years ago but, through a series of “Godbreathed coincidences” he and the band felt led to reconvene for another go around with THE WAY BACK HOME. Those wondering which stage of BTR’s career the new album might sound like can easily look at periods in all of their past work for points of reference but it definitely has a much more consistent Americana feel than their past output. Some might even call this BTR’s “country” record but I think that is too simple. There is that influence but it is simply a strong flavor in a much richer stew. After 7 years as a lead worshiper at Harvest Fellowship in Southern California, Wiggins is allowed to channel his inner storyteller a bit, telling tales that speak more to how a believer should live than as songs of worship. The band opens with “Hope for America” the record’s most commercial cut, both from a musical standpoint with Wiggins’ most pedestrian rock arrangement as well as lyrics that seem calculated to appeal to the Christian’s deep seeded sense of Patriotism. Thankfully, it is a well executed song that won’t sully the airwaves for which it seems destined. It is all uphill from there, however, as “Chevrolet” and “Doghouse” take an amusing look at different situations, the former a tale of young love and how we often hold out for “the right one’ while looking through the wrong lens while the latter is a comical story of a husband acting like a cad and reaping his just rewards. “Lost Boy” is the flat out rocker of the album, featuring blistering guitar work and a face-melting riff from guitarist, Randy Williams, that recalls in equal part “All Along the Watchtower” and “Driver’s Seat”, the 1979 single from onehit wonder Sniff and the Tears. The song draws inspiration from the life of Harvest Fellowship pastor, Greg Laurie. The muscular, Memphis soul groove of “Flight 605” accompanies the idea of going home to a place that you’ve never been, easily identifiable by the Christian longing for their heavenly dwelling place. Notable guest spots include - the typically angelic vocals of Vince Gill on “Open Up Heaven” a lilting country waltz that looks at our dependence on God to bless the work of our hands – and the recognizable vocal strains of Mac Powell (Third Day) and Bart Millard (Mercy Me) on a faithful, yet superb cover of The Band’s classic “The Weight”. In fact, The Band is a pretty

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good reference point for THE WAY BACK HOME as they were always equal parts folk, rock & roll, blues, country and gospel (at least in form). A very welcome return for a band that had a pretty strong following in its day, THE WAY BACK HOME does a solid job of connecting with listeners wherever they may be in life while presenting a view of what it should look like as a believer, living one’s life out in this world. Redbird Warren Barfield Noble Mountain Records www.warrenbarfield.com, www.noblemountainrecords.com Anyone who listens to Warren Barfield’s new, REDBIRD recording, expecting more of the soulful pop/rock of his debut, REACH or WORTH FIGHTING FOR, are in for quite a surprise.....a VERY pleasant one in my estimation as Barfield takes an artistic leap forward on an album that is lyrically motivated by stories derived from his own life.. While there was always easily recognizable talent in Barfield’s work, his albums (especially the last two) suffered from the typical interference often associated with large label business and got away from the artist’s natural inclination for storytelling into a more corporate worship lyricism that plays well on Christian radio but doesn’t relate all that well to people who are seeking significance. With complete autonomy to present an album that reflects his own artistic vision, Barfield creates , with REDBIRD, a work of true worth and beauty.....a stunning Americana/blues/gospel/soul record that unveils a startling new vocal delivery that reeks of vulnerability and confession. The title, also a cut on the album, was written for Barfield’s wife and two children. It refers to the Redbird, which “is not a migrating bird. While other birds are chasing comfort and fair weather, the Redbird is consistent and constant. It is strong through the cold, wind, rain and snow. The Redbird marks out its territory with song and protects it,. It is loyal for life.” This metaphor sums up the overall tone of the album, while there are a few other themes than run throughout. While constancy with family is very movingly portrayed via the beautiful folk melody of the title track, as well as the lovely storytelling of “They Don’t Make ‘Em Like They Used To” and the stirring album closer, “For Now”, lack of movement is another key theme of REDBIRD. “The Right Time”, “Just Let Go”, “Love Does” and “Last Try” are each variations on the same theme...one of forward movement and finding one’s purpose, while staving off complacency and self comfort. These are each

fine songs, trading in folk, soul and blues idioms that perfectly enhance the immediacy and urgency of the lyrics. Barfield teams up with Bear and Bo Rinehart and Seth Bolt, from Needtobreathe on “The Right Time” and “Last Try” the former a supple soul charmer with an easy soul gait and tremendous bassline (and stellar banjo work from Barfield), while “Last Try” is a delicate folk/ blues with atmospheric electric guitar accents that wonderfully mirror the desperation for purpose that the lyrics effectively convey. “Love Does” is a gospel/blues take on the idea that biblical love is more of an action than an emotion and highlights tasty musicianship, including Barfield, himself on Mandolin. The album opener, “The Time Is Now”, featuring a welcome appearance by producer/cowriter, Wayne Kirkpatrick, is a bracing call to stand up for and make known one’s beliefs, especially in a culture that is currently at a crossroads. Barfield sings this something akin to a mighty oak being felled, as he starts the song in his lower register, in a very confessional tone, building dynamics up to the chorus where he unveils an open throated roar of raw, stark power. Another highlight of the album is the beautiful, delicate “Once You Find Love” which features a duet with his wife, Megan, on what should become a modern wedding standard for years to come. The album ends with “For Now” a benediction that perfectly sums up the connecting ideas of purpose and family that Barfield has explored so skillfully throughout Redbird. “For now, I’m a king, you’re a queen and we’re raising our crown/For now, I defend, you mend this mountain is safe and sound/Every tomorrow waits

for now” It should be mentioned that, while this album can’t possibly be identified as anything BUT a gospel album, so intrinsic is the message in each carefully worded phrase, it still doesn’t contain one overt mention of Jesus. The fact that it positively REEKS of Christian ideal and values is a testament to the power of a testimony....and Barfield wields his here with a simplicity and skill rarely seen by a CCM artist, which should relate to anyone who is seeking a deeper relationship with Christ.

package, but these songs definitely are born of the artist’s experience and tell of his thankfulness for God’s sovereignty and goodness. The best songs on FOUND are the opener, “I Decree”, which states Sonefeld’s convictions with boldness and “The Shelter of Your Wings” speaks of the safety of God’s care and provision. While the record certainly isn’t particularly unique or sonically adventurous, it does show an artist, eager to share his story in real terms, with honesty and humility.

Found Jim Sonefeld Sonitime Records

Home Mike Mains and the Branches Platinum Pop

Though this may not be familiar to any but the most faithful followers of this huge 90’s band, Jim Sonefeld is a founding member, drummer and songwriter in the multiple platinum selling group, Hootie and the Blowfish. After living a life of fame, fortune and, the sometimes accompanying debauchery, Sonefeld came to a saving knowledge of Jesus Christ, largely through participation in an Alcoholics Anonymous group. So, it follows that his solo debut, FOUND would be full of songs of simple devotion and profound thanks for delivering him from the evils of excess, into a relationship with a loving Father. The songs on FOUND are not too far removed from what “Soni” as he is fondly called, was a part of with his band as acoustic guitars, mild folk/country flavor and solid mid-tempo rhythms and melodic song structures are all part of the

Mains and his band are a real find. In a veritable sea of cookie cutter music and banal lyrics the stellar blend of emotional, indie rock and pop song smarts earmarks the group as a definite entity to keep a watchful eye (and ear) on. With music that, in form, can draw comparison to such bands as Anberlin, Copeland or Mae, the band also adds influences as diverse as The Hold Steady, Weezer and The Beatles, as exquisite pop touches integrate with Mains idiosyncratic, but emotion filled vocals to create a perfect blend of music for the head AND the heart. The best part of the record, however, is the way Mains communicates his reliance on Christ’s redemptive power to allay the fears, doubt and struggle that the flesh is prone to. “I’ve got a crucifix above my bed/ So I forget not

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to pray when I go to bed/ But that can’t save me/ No, that can’t save me/ It’s not the wood that saves, it’s the man who came and wore it/ It’s not the cross that saves, but the man who came and wore it/ And he wore it well, he wore it well.” Mike Mains and the Branches is a band that holds creativity at a premium while giving a voice to the narrative of the broken but hopeful. You can’t ask for much more than that.

what you need to know about this record. It was written during and after a particularly tough year in Peter’s life. It is a witness that, through the pain and confusion of trials, there are still moments of joy and faithfulness that make the difficult times worth going through. Tellingly, this album is far more uplifting than it is reflective, though it has elements of both. Musically, Peter’s has two gifts that propel this album far above the norm. His voice, which is as true, pure and healing as rain after Birds of Relocation a long Midwestern drought and an unerring sense Eric Peters of melody and pop songwriting smarts. These Independent gifts are evident all the way through the record www.ericpeters.net but especially on the wonderful, 60’s psychedeliatinged “Today Dream” which is a song encouraging Another album destined fathers to be present in the lives of their family, for dozens of year end and the joyful charmer, “Different Separate Lives” “best of” lists, BIRDS OF RELOCATION is the a rumination of how tethered together humanity most recent release from Eric Peters, a musician is in spite of AND because of their differences. who has been around for quite awhile, but never This cut features sturdy, melodic guitar lines amidst received the attention his art is due. Here is calliope-like keyboards and seems to celebrate

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the type of smart, soulful pop-rock of acts like Elvis Costello. Squeeze, Crowded House and The Rembrandts. The final track, “Fighting for Life” ends the record with a final coda, a defiant volley against the tyranny of the flesh and the darkness and inevitability of struggle that leaves the listener with a sense of peace and victory. “I go into the darkness carrying a light, I will have no fear because I’m not alone, I got angels’ voices and friends who love me for who I am. So when the waters come, I fly above this flooded earth looking for a sign of life, And I relocate on boughs of hope, Like a living soul, remembering: In a little while, in a little while, The ghosts return to noise. Oh, but not right now, not right now, The sky must be enjoyed.” Hymns for the Christian Life Keith and Kristyn Getty www.gettymusic.com A husband wife team from Ireland, The Getty’s have gained notoriety for Keith’s collaborations with Stuart Townend, including the modern worship staple, “In Christ Alone”, portrayed here as a duet between Kristin and Allison Krauss and a disc highlight. Coupling the theological density of hymns with the earthier tone of Irish inflected folk/pop, the Getty’s create wonderfully singable songs that a variety of denominations should feel comfortable singing. “A Mother’s Prayer” was written by Kristyn and is beautifully essayed, in Gaelic, by Moya Bennan. “Kyrie Eleison” was written for the historic Lausanne Congress in Capetown South Africa and carries the familiar sway of African rhythms, while “Before You I Kneel” was written ans a Prayer for productiveness and features the familiar melody of “Wauchet Auf” by J.S. Bach weaving in and out of the arrangement. “Simple Living” is the Getty’s at their most charming as the lilting Irishfolk melody is enhanced by Ricky Skaggs sprightly mandolin playing. Perfect for at home listening as well as congregational performance, Hymns for the Christian Life is a wonderful addition to the hymnodic cannon of the modern church.

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

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MAY 3 & 4, 2013 The Chapel at Crosspoint, Buffalo, NY

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Online Bass Instruction back in time and review the lesson again. Thanks the bass guitar. All four of Norm’s Grooving for to the continued growth of Internet technology, Heaven videos are available for streaming *or* Be honest…Have you ever been frustrated we have a solution to both concerns. you can download them at extra cost. That’s during a church service or rehearsal where you another 7 hours of lesson materials! In all, there knew what you wanted to play but couldn’t? There is a new industry of online instruction. are many months or even years of lessons. Unique Or have you been asked to come up with Here we are looking at three sites for bass to Norm’s site are the instructional videos for his ArtOfGroove.com with Norm something different to play and couldn’t? Most players; solo CDs, songs he’s done with Lincoln Brewster, Stockton, AdamNittiMusicEducation.com with and interviews with other professional Christian of us reading this magazine spend our Sundays on stage as part of the worship team. Do you Adam Nitti and ArtistWorks.com with John musicians. For worship team members, the song feel like you give your utmost every week, or Patitucci. All three musicians have decades of videos are very helpful if you play Lincoln’s music. do you feel like there’s still room to grow and experience teaching and playing at world-class For fans of Norm’s CDs, it is great to get a behind mature as a musician? (I certainly do!) If we’re levels. They’re great instructors and have well- the scenes look at his songs. One of the bass players on our worship team is currently a member honest, we all have musical shortcomings that organized sites. could be addressed, but how do we go about Working with online lessons obviously requires of Norm’s site. I am definitely seeing a difference in his playing and his efforts are paying off. doing that? Adam Nitti’s site is the newest of the three sites having opened in early December. His site includes an extensive library of instructional content that includes text, photos, videos, and lesson charts. New content is regularly being added. Adam formerly taught through MusicDojo from 20032012 and six of his classes from that site are available here. Each of these courses contains 20 lessons with extensive content. A Virtual Advisor helps you navigate your way through the lessons and identify the lessons most relevant to your experience and John Patitucci Adam Nitti Norm Stockton playing level. Adam’s site also includes a feedback First, we need to practice. We need to take a computer, Internet connection, and speakers/ forum where members can communicate with time outside of rehearsals working on our craft headphones. You’ll need to be able to watch Adam and upload videos for review. Interactive and that takes time. But what do we work on the videos and look at the charts online. All MasterClass webinars are forthcoming and will be when we practice? If we want to progress, it is three sites use streaming content, meaning you’ll hosted twice a month. Both the Feedback Forum unlikely the exercises that got us to where we need to be connected to the Internet to watch and MasterClass webinars are only available to are now will get us to a new level. There’s always the video from the site. It also helps to have Premium subscribers. more to learn. Finding a teacher is a great way your amp or similar set up with the computer For a brand new site, Adam has done an to help us pinpoint our challenges and give us so you can hear yourself and the online content. exceptional job, and it is highly structured. For fresh ideas. Each site has a tremendous amount of content those wondering what to study or what to study next, his Virtual Advisor is an excellent tool. Sometimes finding a teacher is easier said with months (or years) worth of lessons. Each site also has something unique to offer. Finally, John Patitucci has his Online Jazz Bass than done. There may be no one in your area,

by Eric Wylie

or their rates may be outside of your budget. I know it can also be frustrating to come home from a lesson and realize you didn’t fully understand your homework or forgot a piece of homework. (Speaking as an instructor, it is equally frustrating to have a student forget their homework!) It would be great if we could go

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One of the main elements of Norm Stockton’s site is his 60-lesson Groove course, which also makes up the core of his private lessons. Most lessons have a combination of text, photos, videos, and lesson charts. One of the new video offerings is a course for new bass players called Groove Bassics, a crash course in grooving on

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School through ArtistWorks. ArtistWorks is a much larger music education site with other bass instructors (Nathan East teaching electric bass and Missy Raines teaching bluegrass bass), guitar teachers, drums and so on. John’s site includes hundreds of lessons at multiple skill levels aimed at the upright bass. The lessons

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are heavier on video content and include Sound Check (cont. from page 7) transcriptions. Some lessons also include sounding replacement pick-ups and a welldownloadable accompaniment tracks. The done neck repair and that is how he had gotten unique aspect of John’s site is that you can record it for a good price too. I planted the seed that yourself playing a lesson and John will record a if he ever wanted to sell his, I was interested. feedback video for you. This is about as close A few days went by and I ended up talking to real-time personal instruction as you can get. Be aware that any of the other members can see to Joe again about some amp reviews he your videos and you can see theirs. That can was writing for us and I asked him about his feel a little intimidating, but you can also learn Firebird. He said he was now open to selling it from their feedback. There is also a forum and and I quickly said, “Do you mind if I come and a chat section, which gives John’s site more of play it”? He countered with the perfect takea community feel. You’re learning along with the-puppy-home reply of, “Why don’t you take it for a few days and really see if it works other musicians. for you”. Well-played Joe! He then threw in Each site has its own pricing structure. In a killer line, “It feels strangely comfortable to most cases, membership payments are play”. Now my curiosity was fully engaged :) made automatically. In other words, you are The next day I swung by his place and picked automatically charged on a regular schedule. You need to manually cancel your subscription. it up. Here is where I will know if the romantic Norm’s site is the least expensive at $9.99 a picture in my head was just that or if there was month. That’s a heck of a deal for world-class something to it. Will the guitar fulfill what I was instruction and Norm’s low price is intentional. hoping for and be a practical tool I can use? It is meant to be within almost anyone’s budget Or will it be a let down of sorts and I’ll need and if you’ve been a reader of this magazine for to return it to Joe and tell him it just wasn’t my “cup of tea”? The day before I had stopped in a very long, you know how good Norm is. music store and played a regular body Firebird Adam has three pricing options. There is a and it really didn’t speak to me, but Joe’s was a one-week pass for $14.95 and that subscription reverse body style… so only playing it would is not automatically renewed. The intent is to tell. give visitors a chance to try out his site without Driving home I now had to consider how do greater commitment. There is a standard access I present this new line of thinking to Judy. I level for $24.95/mo and premium access at hadn’t had a chance to tell her anything about $49.95/mo. Adam also offers quarterly and this and even though she is the inspirational annual memberships at a 10% and 20% discount, woman in my “Love One Woman… Many respectively. Guitars” t-shirts (and has always been really John’s site starts at $90 for three months and cool about me and my guitars) just walking in offers six and twelve month memberships. The the door with an unannounced audition of an six and twelve month memberships come at a electric guitar when I already have a very nice slight discount. This is the most expensive of one was a topic that needed to be discussed. the three sites, but you are also getting personal Do I sneak it into the house and play it first video instruction from the teacher. to see if I really like it before covering this All three sites offer tremendous educational ground with Judy or do I come in and boldly opportunities. Like one-on-one instruction, share it with her right off the bat? I voted for the more effort you put in to learning, the more the bold approach (no since slinking around you’ll get out of them. Let’s be honest again… here :) This one is a 1996 model so it is almost If you want to take your playing to a higher 17 years old and it comes in a large brown level, you need to make an effort. Thanks to the Gibson rectangular case. I walked in the door Internet, the tools are literally at your fingertips! and plopped the case down by the chaise lounge in our living room and went upstairs For more information (or to sign up) go to: to say hi to her. About 20 minutes later Judy www.artofgroove.com, came downstairs to start cooking dinner and I www.adamnittimusiceducation.com, or followed her a bit apprehensively. www.artistworksbass.com She noticed the guitar case and asked, “What’s that?” I could tell by her tone that she was curious from the get go and that was a good sign. I was upfront and told her it was a guitar Eric is a bass geek and works that I wanted to try out first and then consider for Warmoth Guitar Products, purchasing from Joe. I said it was pretty cool Inc. He is also active as a music looking and then I got a spur of the moment educator and performer in the idea (thank you Lord). I asked her to open the Pacific Northwest. case with me. She came over and unlatched the hinges. These Gibson cases have a really nice pink silk dust cover and she was impressed with

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that. Then I asked her to uncover the Firebird. I was thinking to myself, “Well, this is going good so far” but I was not prepared for what happened next. She pulled back the cover and said, “Wow, this is really beautiful! Bruce, you know I have a 1966 Gibson acoustic guitar and you already have an acoustic guitar and an electric guitar… will you buy this guitar for me? Then I’ll have two Gibsons!” I was shocked and happy at the same time. I wish that Judy would play more guitar and she plays a few chords every once in a while but what this really meant to me was that I would have the opportunity to play this Firebird 95% of the time. I told her, “Yes, I would gladly buy it for her but I still needed to check it out first and make sure it is something that is right for her, me… us!”. I spent the next 45 minutes playing the guitar for her while she cooked dinner and I really found this guitar to be “strangely comfortable to play”. I was smitten by it and I was genuinely surprised by Judy’s response to it. How cool is that? While the guitar case was open on the floor our dog Winston came by and Judy told him that this pink cushioned case with the matching pink dust cover was his new bed. Winston jumped right in it and laid down. It was a riot. This was going to be a good purchase that the whole family can enjoy! The next day I called Joe and told him how the “take the puppy home” story had turned out and that we would be honored to purchase this fine instrument from him. The romantic picture of this guitar that I had in my head turned out to be just what I thought… this is a cool guitar and looking at this woman who inspired our “Love One Woman… Many Guitars” t-shirts showed me in another tangible way why I loved her. She later told me, “Bruce, this guitar you got me… is for you to play for me”. What a cool attitude. I love that about her. Maybe I am a romantic at heart… just ask the Gibson Firebird! In His Grip! Bruce & Judy

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Time to Punt by Keith Mohr & Sue Ross-Mohr

A punt is a long kick downfield, after which the opposing team gains possession of the ball and attempts to advance it from the end point of the kick. It is the choice used when scoring is unlikely. It is a strategic play to have the ball deeper in opposition territory. Now understand this, it is not necessarily the only choice left, it is a chosen move to gain a better position on the playing field. The opposing team has the ball, but now you have a chance to get it back with a much better field position than before. So, what is your current field position as an artist/singer/songwriter? Have you chosen to strategically punt as of late or has your choice always been to play it safe, and to just keep doing what you’ve always done? Think about this old adage “If you do the same thing tomorrow that you did today and expect different results, that is the definition of insanity.” Maybe now is the time to change the game plan in your career of an artist/singer/songwriter. For example, consider these risky scenarios: RISKY PLAY 1 Co-writing. We’ve all heard the saying, “two heads are better than one.” We even realize this, as we work on our articles together, bouncing ideas off of one another to define and refine the content. In our experience with Christian songwriters, we find that some think of their creations (songs) as ones that have come from deep within, crafted uniquely by their hand and mind. Other Christian songwriters have told us that they sincerely believe God has given them their songs verbatim and that nothing, therefore, should be changed, added, or revised. So putting on a team shirt with a co-writer and joining him on the field will surely change this mindset and open up new avenues of discovery to the creative process. However, you may find yourself in a position where the other person ‘doesn’t agree’ where the song is going and insist it needs to go another route. Risky business for sure! Are you willing to take that collaborative chance? It may be time to think-tank and get some interactive plays going on. We agree, wholeheartedly, that we never finish learning until we take our last breath, and then it will be time to enter Heaven 101.

no problem finding the location. Unfortunately, we were running late and when we finally arrived, there were six fields! Of course the coach couldn’t answer his phone while the game was in progress. (Tried thatJ) Ever feel that way? You are so close, yet so far! Trying to ignore the “I told you so!” stare from our middle child, we started to employ a “process of elimination” strategy. Ok, the colors of the shirts were blue and white. That knocked out two fields, as there were red on both of those. Our child’s home team was comprised primarily of 3rd grader’s and their field was smaller in size. Finally we heard the loud, familiar cheer come out of our home team’s huddle as they excitedly began the game and we immediately ran to the field that sound was emanating from. Our child would not have done very well if we had led her to the wrong team. She wasn’t fast enough for the 6th grade team and was more advanced and developed than the pre-schoolers. All of this to say, where do your songs fit? Are you writing to the correct audience? Do your songs relate to the right team? Could you possibly have a gift for Pop music, but your songs can be tweaked a bit to hit the Country realm and have a bigger audience there? Take a second look around you at the field you are on. Some try to play in the big leagues but are still learning how to throw and catch. It is unrealistic of them to think they can play competitively at that level. Does your skill level, and overall depth of talent match your “field of dreams?” RISKY PLAY 3

Is music sincerely your strong point, or does it take a supporting role next to your stronger gifts? We heard the story of a young man whose life-long desire was to be a quarterback. He spent every waking hour practicing throwing passes. He was good, but his statistics weren’t as high as others trying out for the same position. He was a positive man, though, not willing to give up. He watched videos, studied the moves of the pro players and spent hours pouring over play books. At one of his games, a scout from a major university was in the stands. He was super impressed with this young man and asked to speak to him after the game. The young man was excited for the attention. Here was his big chance. He was going to go all the way. He RISKY PLAY 2 could see the headlines in his minds-eye, “Small Are you writing in the right genre? Are you even town hero makes it big as first-string quarterback on the correct field? We remember a time when at I’VE MADE IT University.” With a smile on his one of our children was scheduled to play tee ball. face, he sat down next to the scout and the first The directions to the field were very clear. We were words out of the recruiters mouth was, “Boy, you familiar with the area and thought we would have

JAN/FEB 2013

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sure can run fast, looks like you cover 40 in 4.4. You would make an excellent wide receiver.” Sound familiar? Sometimes we are on the right field, but are playing the wrong position. We’ve worked with artist after artist, who, after going through The Discovery Process©, found out that their true talents were not taking center stage. When they started to put together their plan of action, it became apparent that music was a supporting role. Some saw that their strong point was photography and utilized this to tell a story through their music. Others realized that being in the studio as a cowriter, brought them hit after hit as they composed with a few other songwriters. Still others walked into the role of lead singer, after realizing their gift was not backup, but out in the front, using their gifts to wow the audience. So to instant replay, maybe it’s time for a serious huddle with your team to ask some of the important questions above. What would be the best play to incorporate into your singer/ songwriter career? Should you step back and punt? The biggest part of all of this comes from taking time to look at and study the plan that you have set up in advance. Take some direction from the hyperbole above. A team doesn’t just run onto the field without a plan. Have you run along for the past years without a game plan in your hand? If so, and if that hasn’t been working very well for you, get out the drawing board and make note of the field. Then begin positioning the right players in the right plays. Move things around to fit your current strategy. The plan will work if you work the plan. Creatively His, Keith Mohr and Susan-Ross Mohr INDIEMECHANICS www.indiemechanics.com

Keith Mohr and Sue Ross-Mohr of “The Mohr Creative Group” have years of experience serving independent Christian artists, musicians and songwriters. Keith founded www. indieheaven.com in 2002, the leading portal for Christian independent music. Sue Ross-Mohr founded www.theinnervizion.com in 2003, a creative promotions /marketing/ consulting service to individuals and companies worldwide.

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Fretlight FG-507Acoustic Guitar & Teaching Method By Bruce Adolph What is a Fretlight guitar you ask? Well the idea in a nutshell is that the actual fretboard you play on lights up on the fret markers where your playing hand is supposed to go… thus leading you into a teaching experience bar none. Optek master it (sign me up for that!). has pioneered this method of For songwriting applications you teaching since 1989 and with the can dial up every inversion on the neck recent advances in technology their strategy of teaching guitar along with it’s applications of a certain chord. That is a cool thought. has really come of age. What about bending notes you ask? I asked And now the Fretlight’s unique Advanced that same question. The LED lights actually Polymer fretboard LED learning system has raise up to different heights to display how been installed on an easy-playing concert- far of a bend you need to make… these guys thought this through. styled acoustic guitar. As Fretlight quotes, “Visualizing your guitar’s fingerboard as a musical roadmap is one of the keys to stellar playing”. I can buy that. So how does it work? Just connect the FG-507 to your computer with USB and load the included Fretlight Studio software disc. From there you have a gateway to learning all kinds of scales, chords and riffs. Even full songs – they visually come to life right under your fingers tips. So whether you’re a beginner - or have been playing for years - learning new songs is fast and accurate. With the FG-507 you get a Lennon and McCartney interactive video lessons chocked full of Beatles songs. Cool stuff to get your feet wet with! But can you teach an “old dog new tricks”? There are several DVD’s available right now that when you pop then into your computer will guide you through learning. You watch your computer and you can slow down and manipulate the lesson to make sure your left hand is fingering the right notes and/ or chords. It is pretty cool and it allows you to learn at you own speed. If the song starts taking off on you – just slow it down. If you want to learn a certain Eric Clapton solo you can loop a phrase over and over until you

JAN/FEB 2013

Another feature I have to mention is that you can download thousands of guitar tabs from the internet that are Fretlight ready and utilize them in your training program. Will this guitar replace your existing acoustic guitar? No, not really. The FG-507 is a good entry-level acoustic guitar made in China. It actually plays pretty well for the money. The sound isn’t going to make you sell your Martin guitar however but that is not this guitar’s purpose (especially for the low price tag it has). The big pay-off with the Fretlight is it’s teaching capabilities. If you have priced guitar lessons lately you will see that in a very short time the money you spent on lessons will add up to you owning this Fretlight system that between your LED lit fingertips and your personal laptop computer – you will learn a ton of applicable guitar skills and be adding songs to your play list like crazy. I spoke with Rusty Shaffer (the CEO of Fretlight) and they are actively pursuing teaching videos in the Christian market place that they can encode with the Fretlight system too so when you play a DVD on your computer they will light up on the Fretlight guitar as well.

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Lincoln Brewster and Paul Baloche would be two artists that I would like to see have their teaching DVD’s encoded right away. All in all, Fretlight has a desire to improve guitarists skills and if you know anything about us… you know that we are on board with that idea… as we always say, “Improving Skills; Inspiring Talent”. This system will work great for beginners but don’t stop there… the applications for advanced players and for advancing your playing no matter what level you are at is significant. There are 120 back-up tracks that you can play along with, light up your preferred scales and riff around to your heart’s content with bass and drums lending support. Way cool! I found the system easy to adapt to and once you start realizing that your fingerboard really is a roadmap, you can use this Fretlight guitar to drive all over the place. They also make several electric guitar models as well. Retail for the FG-507 is $379.99 and it comes with the Fretlight Studio sSoftware (Mac and PC compatible), Beginner 101 & 102 interactive video lessons, and the Hal Leonard Fretlight Ready Lennon & McCartney Acoustic guitar play-along video, your connecting USB cable that attaches to the computer from your guitar, wrenches, guitar picks and Humidipak automatic humidity control system. More info www.fretlight.com

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Q A

Ask Joe by Joe Riggio

What is the difference between a speaker cable and an instrument cable? Are they interchangeable?

On the outside, both of these types of cables can Lately, my “D” string on look very much the same. my acoustic guitar has been The difference is what things going “dead”, after just a few look like on the inside. An minutes of playing. I have instrument cable is made replaced the string twice up of single wire, called the and it still does it. conductor (+) surrounded by a sleeve of bare wire, called the shield (-). The shield is What you might be sometimes stranded and sometimes woven experiencing is quite into a braid. Generally the braided shield possibly a simple case of a will be more effective in keeping the audio bad batch of strings. What quiet from hum. A speaker cable is made up has been a fairly common of a pair of equal wires, one (+) and one (-), phenomenon, over the years, seems to be much more common these days. I’m guessing running side by side, without a shield. One will “work” in place of the other, but will have that you are replacing the “bad” string with another, from a new set, that is from the same significant issues. Using an instrument cable as a speaker wire will cause the cable to heat “bad” batch. You may have to resort to a whole new set, from a different manufacture up and eventually fail, while causing stress run. I have also seen a similar case, in which a on the amplifier to potential damage. Using particular new string will sound fine, but will a speaker cable as an instrument cable will cause nasty hum to the audio. not have proper intonation, as you play up the fretboard.

Q A

What does it mean that my neck has a 9.5” radius?

The radius is referring to the curvature of the fingerboard. The 9.5 figure means that, if you were to draw a circle with a 9.5” radius, the curve that it makes would match that of your fingerboard. The desired radius of a guitar is a matter of personal taste and preference. In general, players find that a larger radius (or flatter fingerboard) makes for easier upper string bending, without fretting out.

images are courtesy of www.warmoth.com

JAN/FEB 2013

Q A

Is it safe to re-string my 4-string bass with the largest strings of a 5-string set, or is that too much tension for the neck?

This is creative way to access the low notes of a 5-string bass on a 4-string instrument. It’s known as B-E-A-D and is perfectly safe. I do highly recommend that you have the bass set-up properly to insure that the neck is adjusted properly and that it plays in-tune with acceptable playing action. 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 ServiceGuitarRepair@gmail.com website: www.ServiceGuitarRepair.com

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Stomp Box Maintenance The one thing most guitar players have in common is the use of some type of pedal effects, from individual Stomp Boxes to a multi effects pedal or a combination of both. We all have these things we step on to add in our creation of sound. Every type of effects pedal has a knob or a button and an off and on foot switch that we engage with our feet or turn with our hands. The fact is anything you step on or turn with your fingers is going to get dirty and suffer some type of abuse and can be neglected whether we mean to or not. After days, weeks, months and even sometimes years of use these things can break down so a little bit of maintenance and TLC can go a long way to increase the life of your gear. The last thing we need is added pressure during a live performance when suddenly there is no sound or the tone has changed for the worse coming out of our amp.

all the way. I would bypass or take each pedal out of your chain one at a time to see if one is failing. If you use batteries it could be as simple as an old or dead battery that needs changing. If you do find a pedal that is giving you trouble look at the input and output jacks along with the AC adapter jack, they may be loose or have a cold solder joint inside the unit that may be causing a short and will need to be fixed. If you are hearing noise when you turn a control knob it could be dirt, oxidation or be corroded, it may need a good cleaning or to be replaced. Maintenance, Cleaning and Fixes

change out the part for a new one. Keeping the top and bottom of your effects clean and free of dirt or dust will help stop any debris from getting into the pedal and prevent problems with noisy switches and pots. Wipe off your effects with a dry lint free polishing cloth or you can use canned air to blow the dust out. I have used “Endust for Electronics Wipes for the surface and their canned duster spray to remove dust and lint. When using the spry you only need to spray short quick blasts, the can will get cold so don’t over do it.

Check List Check your patch cables often. Cables Here is a list of items you should have on sometimes are the first thing to go bad, I have hand in your gig bag maintenance kit a box of “to be fixed” myself with cables that need to have the ends re-soldered. It is best · Extra Cables, guitar and short patch cables not to get the cheap cables. Your cables are · 9 Volt Batteries the main link in your sound. A better cable · Tape (electrical, duct and gaff) Sights and Sound to Watch for will not color your sound, it will last longer · Polishing cloth, electronics wipes Dirt builds up on the face and bottom of and may even come with a life time warranty. your pedals, besides just looking bad the If you are using 9 volt batteries in effects · Screwdrivers (flat and Phillips head) dirt can work its way into the unit. You may and in your guitars do not use an offbeat hear a popping sound when turning on or inexpensive 9 volt battery. Most imported · Contact cleaner off the effect, a crackling, scratchy or noisy 9 volt batteries are not the same specks as · Q-Tips sound when adjusting pots (Volume, Gain, the major brands, they may be a little bigger · Soldering iron with solder Tone, Effects, etc. Knobs), a drop in volume, in size and the positive and negative pole an intermittent signal or sound cutting out, a spacing may not be in the same position as · Extension cord, power strip change in tone or added distortion. your plug. Duracell or Energizers 9 volts are · Pocket knife, scissors, wire cutters Troubleshooting

It is best to do your trouble shooting at home or at rehearsal before your performance. If you have an issue with your rig the first thing I would do is bypass your pedal board and plug straight into the amp. This will determine if the problem is with the amp, your guitar or with your cable or wireless system if you use one. Check your power supplies aka “AC adapter or wall wart”, make sure you are using the proper one for your unit as not all AC adapters are the same. Check that it is plugged in all the way at the outlet and on at the jack. Check that it is not cracked, broken or smells like burnt plastic. On your pedal board check for loose or broken patch cables by wiggling the cable and make sure they are plugged in

the best choice.

If you have a noisy volume pot first try turning it back and forth in a quick motion several times from the full off to full on position. This may loosen up any dirt that has settled in it. When cleaning input and output jacks or volume pots on effects or on your guitar do not use WD-40! Get a spray cleaner specifically made for electronic equipment switches and potentiometers “Caig DeoxIT” or a TV Tuner/Control Cleaner and Lubricant from Radio Shack will work. Spray a short quick shot of cleaner into the pot and rotate the pot back and forth to work the cleaner in, wipe off any excess over spray with a dry cloth or a Q Tip. In most cases this will do the trick but if you still have an issue you should

· Flash light By following some of these maintenance tips you should have a stress free performance and get on with making the music you are created to. More tips to come. Have a Great Creative New Year! Roger Zimish is a freelance guitarist/indie artist and clinician based in Orlando, FL. works tv production at Universal Studios and worships at GODS House Orlando. He has represented Audio-Technica, Greg Bennett Design Guitars by Samick, G&L Guitars, Visual Sound and PedalTrain Pedal Boards. Contact Roger: Email rogerzimish@yahoo.com, www.rogerzimish.com, zmanguitara2z.blogspot. com, twitter and facebook.

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JAN/FEB 2013

IS IT YOU OR HIM? by Bryan Duncan

Do I love “YOU” or do I love “HIM?” And when does “Him” become “you?” If I’m worshipping “Him” wouldn’t I say “You” to Him? I know for sure I’m singing to Him about you! But you may not know that unless I refer you to Him. This is the ongoing struggle in Christian writer’s world since before the dawn of “You Light Up My Life”. Churches are mostly suspicious if your song sounds too much like God could be your girlfriend. God forbid that you might see love for Him IN your love for others. Or speak to God directly even as you are in front of them. “But why not just say ‘he lights up my life’ if that is the true intention?” someone asked me in a discussion. Well first of all God is with me all the time; I don’t talk as if He’s not standing here at the moment. “Maybe it’s giving your listener the chance to make a decision for themselves” I suggested. If you haven’t checked the fine print in the definitions of “Proclamation” vs “Declaration” you should be seriously confused at this point. So, are we singing to the choir or the congregation? I’d like to think both! But then, maybe nobody’s listening. In the evangelistic circles I’ve swirled in, we’ve had a tendency to believe that it is our job to “make” people believe. Well that explains

the high burnout factor in ministry work. “No one comes to the Father except he be drawn by the Holy Spirit,” I read after several years in Christian music. And all this time I thought I was convincing people.

convictions. What you say in every word will define to someone where they place you in their own files of integrity. Jesus too, managed to irritate the irreligious and inflame the icons of faith at the same time. They both wanted A friend told me once “anything you can talk to hear something different. And the current people into is something the devil can talk ‘em surrounding may create a different story for your song than was intended. “He touched out of.” me” doesn’t go over quite as planned if you’re If you are sharing to anyone about a singing it in bar. relationship with God, that would include You and Him. The trouble is, there’s a third person in Here’s where your own ethics must stand alone. the room tryin’ to figure out who you are talking The temptation to use “God talk” to appease to. I always smile when I recall the comment, “If those who are concerned about the legalities of you talk to God people say you’re religious; if the declaration will, in the end, stifle your God given talents to create from a place of pure Joy. He talks to you people think you’re crazy!” But consider too that to “streamline” your lyrics I lost an evangelistic opportunity with a huge to be intentionally vague so as to appeal to a church denomination once. “WE want YOU wider audience sounds a little suspect as well. to talk to THEM about HIM” was the concise What are your intentions? In the end I think evangelists comment to me over the phone. “We I need more than one way to be trustworthy. both have the same desire,” I said to him. “I guess Anyone can say anything in dramatic fashion. it’s a matter of delivery”. Neither is wrong, but Certainly the actor can play Jesus if he has the one is a declaration and one is a proclamation. script. And a writer can create a fictional story I tend to speak directly to God and You, based on non-fiction. using the term “You”. It removes a distance is The truth for me is that I mostly see God’s love the only way I can put it. It’s not something I’ve for me in my relationships with His people. And taken lightly either. You pay a price for your my relationships with people surely point out my need for a relationship with God to survive it. Most of us need a demonstration of how a relationship with God works. Singing words to God in front of others is the way I do that. The real conundrum is that my proclamations of love often fit more than one dynamic. I feel my love for God most when I am loving those around me. So does that make the song illegitimate for church? Depends on the agenda I guess. Not everyone is at the same mile marker on the journey. I sing faithfully from the place I’m in. Maybe it’s simply my own life’s diary. But who hasn’t been tempted to read someone else’s? “You can feel the ‘self-edits” in your writing,” a publisher said to me once. “You are afraid to just say what you feel,” he adds. “Stop trying to protect yourself. You are killing the passion”. So . . . is it just ME, or do You and Him have a familiar connection in songs regardless of how it sings?

Bryan Duncan/ Singer / Songwriter/ author / Publisher. Radio Show host for RadioRehab.com Inducted into the Christian music Hall of Fame in 2007. 40 years, 22 albums, Dove and Grammy awarded. www.bryanduncan.com 42

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CODA Within the past couple months before this issue’s publication, my life has been a whirlwind of activity. After a tough year-and-a-half, things appear to be picking up again. After finishing recording a new album, I then rode the post-production roller coaster of design, manufacture, and release. Of course, when I write “release”, what I mean is “selfrelease” as in “available only from me”. Twenty-five years ago, if I was a 57 year-old musician I’d be working in a non-music job for a kid named Skippy, wearing a neon vest of some sort. With today’s DIY aesthetic, I just might get to ride into the sunset with a guitar in my hand!

I find the most instructive Bible story to keep in mind when thinking about these things is in Luke 14:7-11 (Phillips). Jesus has just done a nice bit of Healing-on-the-Sabbath to demonstrate that sometimes “doing the right thing” can actually trump the doing of other right things. As He notices guests jockeying for position at the table of the hosting Pharisee, a story comes to Mind: Then [ Jesus] gave a little word of advice to the

I attended my second KindlingsFest, elbowto-elbow with inspiring artists of every discipline. (Read about Dick Staub and the amazing community he’s rallying to nurture Artists worldwide: http://www.thekindlings. com/.) For the first time in my 35-year career, I was on a magazine cover … this very one. Obviously the editorial team doesn’t make cover decisions based on newsstand sales! The other significant thing that happened was my very first trip to Christian Musicians Summit Northwest. The chances are pretty good that if you’re reading this you already know of this Gathering and its shared lineage with this magazine. If not, Google “cms northwest” and that should get you to more info. I played some music along with Billy Batstone and Alex MacDougall, led a couple workshop sessions, attended others’ sessions, compared notes, and generally thrived on the conversations and happy semi-chaos throughout. On Friday night before a David Crowder Band concert I was surprised onstage with the news that I was the 2012 recipient of the Roby Duke Creative Life Award. I didn’t see it coming. They totally got me and I cried like a little girl. Apparently it was something to see but I don’t remember much as I was busy being overwhelmed. I suppose there will be video somewhere, so enjoy me losing it if you must. All of that background to get to my chosen topic: the tricky nature of attention for a Christian musician. As I often point out, no matter how good and right our main motives may be in getting up in front of people to play and/or sing, it’s just not an activity that suggests a deep desire for anonymity. So, if by definition, we’re engaged in something that involves attention, then how do we conduct ourselves when the demands of the Gig meet the guidance of the Gospel?

JAN/FEB 2013

THE TRICKY NATURE OF ATTENTION by Bob Bennett

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guests when he noticed how they were choosing the best seats. “When you are invited to a wedding reception, don’t sit down in the best seat. It might happen that a more distinguished man than you has also been invited. Then your host might say, ‘I am afraid you must give up your seat for this man.’ And then, with considerable embarrassment, you will have to sit in the humblest place. No, when you are invited, go and take your seat in an inconspicuous place, so that when your host comes in he may say to you, ‘Come on, my dear fellow, we have a much better seat than this for you.’ That is the way to be important in the eyes of all your fellow-guests! For everyone who makes himself important will become insignificant, while the man who makes himself insignificant will find himself important.” This certainly runs headlong in the other direction of how we operate, not only in music, but in the whole of our culture. And yet it must be noted that Jesus Himself, except for specific times where He avoided crowds for prayer and solitude or escaped pursuit because timing wasn’t right, He moved in public, spoke, taught, and certainly garnered a lot of attention. So, as with most things, the rub is apparently a misuse of something that can otherwise, in a healthy, balanced context, be quite useful. Of course, we’re such scam artists by nature that our “humility” has the potential to become a potent source of pride and self-delusion. Jesus seemed to have little patience for that sort of thing. I harp a lot about keeping one’s personal/professional mission statement as much a secret as possible. To my mind, it’s not something you lead with … except in acting it out as best you can. Not only is talk cheap, but once you blather on and on about your own humility, you’ve rendered the whole notion of humility practically useless. Kind of like announcing in a loud voice how well you’re keeping silent. You pray for it, you cultivate it as best you can, you turn outward to focus on others. But you don’t print it on your business card or include it on your resume. I don’t care what all the

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marketing gurus say. Over-confidence is as unseemly your strengths and gifts may be, others climbed the mountain first. I have people whose work I fervently as under-confidence. admire. I don’t have to protect the Bob Bennett So, how can we deal with our own legitimate Franchise by not enthusiastically endorsing what desires to be recognized, appreciated, valued, they do and then telling others about it. understood? How do we deal with the attention 4) Don’t live by your own press kit. Whenever we want when we finally get it? possible, weed out the cringe-worthy stuff. Some of Here are some suggestions (in no particular order the things I read in musician bios are unbelievable. of importance): Written like the Artist’s Mom wrote it. People that 1) Try to remember who you are the other twenty- you’ve never heard of, that have never played plus hours of the day when you’re not on a stage/ outside their county are “changing the world”, platform. It’s a poorly kept secret that musicians’ lives “breaking new ground”, “taking music to new heights outside the gig are just not as together and seamless of creative expression”. Sheesh, folks. If you’re going as we would want to portray. Try not to agonize to use quotes, get them from people that aren’t your over that disparity, but to be honest with yourself Aunt Betsy for goodness’ sake. Let what you DO be that it exists. Go home, take out the trash, do a load your calling card. Stick to facts, err on the side of of laundry. You get to do an extraordinary thing, modesty when you can. but the majority of your life is just not going to be 5) Recognize that the heavy-lifting part of anything fodder for anyone’s reality TV format. that gets done for the Kingdom is simply not done 2) While we’re told that God knows the number by you. You’re in there pitching, of course. But it is of hairs on our head, He apparently doesn’t always the faithfulness of the Holy Spirit who enables and guarantee they’re going to be there. Meaning that empowers ministry to occur. Ministry in the Church our genuine importance to our Heavenly Father or in the pub down the street where you’re gigging is never to be confused with the conditional and to pay the electric bill. sometimes very-up-and-down importance and 6) Recognize that music is a little like gravity. It’s benefit to other people. When we make the mistake properties are operative even when someone of thinking that others’ acceptance and appreciation doesn’t quite know how it works. Even if they affirm of us is some kind of indicator of their health or they don’t believe in it, it still operates. Many of status in the Faith, we’re doomed with a capital “D”. our brethren view music as a means to an end. 3) Be constantly aware of your influences and try to Sometimes a nice end is envisioned, other times be generous with your praise of and enthusiasm for (and no one will mention this in polite company) it’s others’ work. By so doing, you communicate that you about putting people in the seats of the sanctuary. see yourself as part of a larger community. Whatever

There’s not a lot of practical difference in the thinking that goes into filling the seats of the arena downtown. There was a brief flicker of time where I was that guy, but now I can’t put large numbers of ‘em in the seats anymore, so I’m simply on a different track. So I do house concerts, small-scale events, things that I can do that matter. 7) There’s always a way to be gracious when being complimented. There’s always a way to thank someone for their encouragement without invoking the “Aw shucks, I’m just a worm for the Kingdom” tactic. I tell people how much I love my job, how fulfilling it is to be a part of what the Holy Spirit might do when I’m singing in a room, what a true honor it is for them to give time and attention to what I can offer. Let people know that you know how important their presence and attention paid to you are worth. Folk musician Christine Lavin has a wonderful quote where she says that most people in the music business fall into one of three categories. 1) Liza Minnelli (“Love me, love me, love me.”), 2) Suzanne Vega (“I’ll let you watch me.”), and 3) Bruce Springsteen (“I’m one of you.”). In this case, I think the Boss models it correctly. We spend a lot of time and formative effort hoping to be noticed, to be appreciated, to be understood. Again, I don’t do this because my ego is small and timid. But when attention comes at whatever level, I try to remain seated in the proper section of the Wedding Celebration. If the Promoter decides it’s time move up, I’ll follow when I get that word. If not, I’m still at the feast.

Matt Kidd (Phil Wickham, Shane and Shane, and Robbie Seay Band)

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ARTIST PHOTO CREDIT: COURTNEY DONDELINGER

JAN/FEB 2013

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CHRISTIANMUSICIAN.COM 12/20/12 10:34 PM

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