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Christian Musician Magazinevolume 15, issue 6Cover: Steven Curtis Chapman50 Great GiftsProduct Review: Taylor's SCCSM Acoustic/Electric Guitar, Line 6 WirelessSelective Hearing: Prodigal God, House of Heroes, Caedmon's Call, Circleslide, Bebo Norman, The AftersColumns: Show Us Your Groove, Norm Stockton, David Owens, Roger Beale, John Standefer, Ask Joe, Roger Zimish, Rich Severson, Bryan Duncan, Keith Mohr, Jim Oas, Coda by Brian Doerksen & Christopher Greco
Citation preview
US $5.95 Can $6.95
NOV/DEC 2010Volume 15, Issue 6 Selective Hearing:
Prodigal God • House of HeroesCaedmon’s Call • Circleslide • Bebo Norman • The Afters
Improving Musicianship | Inspiring Talent
15th Anniv. Give-Away: Yamaha APX900 Cutaway Guitar74470 959620 5
1 1
Christafariand the Gospel-Reggae Revolution
God’s Beauty Rising
StevenCurtisChapman
50 Great Gifts
Product Reviews:Taylor’s SCCSM Acoustic/Electric Guitar
Helix HD’s HyperElliptical Winding process allows an increased number of wraps across the length of the stringwithout altering it’s diameter. More mass, tone & life eclipsing all others.
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44 IndieNoSpinZoneHowToGetRichand
FamousinChristianMusic
50 RewindBobKilpatrick-SetAside
54 CODALong,SatisfyingRoadto
Provision
Interviews
20 StevenCurtisChapmanGod’sBeautyRising
32 ChristafariandtheGospel-Reggae
Revolution
Let’snotunderestimatethepowerofideas.MaybeIshouldre-phrasethatto“let’snotunderestimatethepowerofagoodideas”.Thisissuewrapsupourcelebrationof15yearsofpublish-ingChristianMusicianmagazine.Man,whataninterestingandfulfillingtimeithasbeen.
Ihaveoftenbeenaskedhowitalloriginallygotstarted,soforthenextfewparagraphsI’mgoingtotakeyoubacktothebeginning.IwassittinginchurchonaSundaymorningandthevisitingPastorstartedtalkingaboutthedesiresofourhearts.HesaidthatoftentimestheLordwillgiveusideasbutwetendtohidetheminourheartandneveractuallystepoutandtrythem.Heaskedthecongregationtoallcloseoureyesandquietlythinkaboutanyideasordesireswehadthatwemightneedtobringforwardandactupon.
Ihadbeenmullingaroundtheideaofahipmaga-zineforChristianmusicians;onethattheywouldn’tbeembarrassedtoshowtheirnon-believingfriends.OnethatwouldhaveinterviewswiththeChristianartiststhatIfoundinterestingandthatwouldn’tshyawayfrommusiciansthatwereinthemainstreamworldbutwereChristianmenandwomen.Ihadthisinmymindwhenthepastorcalledbackourattentiontotheplat-formanddirectlysaid,“OK,nowwhatistheveryfirststepyoucantaketomakethishappen?Youdon’twanttodiewiththisideainyou,doyou?”
IdecidedrightthenthatIneedtotakeaswingofthebatatthisandthenextdaytheideawasstillchurninginsideme.Isatdownandplannedoutaneightpageblack&whitenewsletterthatIcoulduseasanexampleofwhattheconceptwouldbe.IthadaratherpoorlylaidoutlooktoitasIhadlittlegraphicexperience(andstilldon’tmindyoubutIhavereallysharppeoplehelpingmenow).OuroriginalnamewastheChristianMusicianInstitute(CMI)forthefirstyearorsobutIhadfolkscallingmeupthatwantedtocomeandlivewithustostudymusic,soIquicklyabandonedthe“institute”part.
AsIbegantoknockondoorsandtrytocastthevisionofthemagazinetoequipmentcompaniestheLordwasfaithfulinputtingotherbelieversinmypaththatstrategicallyhelpedme.Thatispointnumbertwoofthis“Letyourgoodideasbebornpeptalk”.Whenyoustepoutinfaith(eventhoughthereissomefearandtrepidationalongtheway)youmaygetsomeassistancefromunexpectedallies.ItneverceasestoamazemehowmanyChristianscamealongandhada“IwilldowhateverIcan”mentalitytohelpme.
Sothereyouhaveit.Itwasn’tanovernightsuccessbutstoneuponstone,brickuponbrickthemagazinegrew.Mysev-enthsubscriberwasGlenKaiseroftheResurrectionBandandhewrotemeanotethatsaid,“Brother,Ijustwanttoencourageyouinwhatyouaredoing”.I’llneverforgetthat.
Thatisourhopeforyou.Searchyourheartforyourpassionsanddreams.Seeifyouhaveagoodideajustwaitingtospringforthandifso,thentakeitoutforatestdriveandseewhathappens.I’mnotsayingtoquityourdayjobandbearockstar.I’mjustasking,“What’sthebigidea?”Been-couraged.ItcouldjustworkouttobesomethingveryfulfillingforyouintheLord!
MerryChristmas!Bruce&Judy
Christian Musician
Features 8 ProductReview
Taylor’sStevenCurtisChapmanSignatureModelAcoustic/ElectricGuitar
10 ShowUsYourGrooveExcellencev/sAttitude,
Confidencev/sPride13 BassicCommunication
IntrotoSoloBassArranging(Part2)
14 DrummingDynamicsDissectingAGroove
15 VocalCoach’sCornerAvoidthe’Noid!
16 GuitarWorkshop‘It’sChristmasTime’
18 ProductReviewLine6RelayG50
andG30DigitalWirelessSystems
26 SelectiveHearingProdigalGodHouseofHeroesCaedmon’sCallCircleslideBeboNorman
TheAfters30 50GreatGifts
forMusicians38 AskJoe41 GuitarFrom
A2ZStringBending
Part342 EssentialMusic
TheoryfortheChristianMusicianHarmonizingtheBlues
Scale43 AMusician’sDisposition
CONTENTS
4227S.Meridian,SuiteCPMB#275,PuyallupWashington98373Phone:253.445.1973Fax:253.655.5001
Email:[email protected]:www.christianmusician.com
Editor&President:BruceAdolphVicePresident:JudyAdolph,[email protected]
CustomerService:BrianFelix,[email protected]:MikeAdolph,JesseHill&CajLayout:MattKeesAccounting:DebiDavis
AdvertisingSales:[email protected].
coverphotobyTaylorGuitars
What’s the Big Idea!
7
roduct eview venCurtisChapman.Thetoneisagoodmix,thebassisn’tover-bearing”.After10moreminutesofpickingandstrumming
Brianmused,“Ifeelinspiredjustplayingthisguitar,youwanttowritesongswithit!”Notabadendorsementeh?
StevenCurtisChapmanalsolikesthissizeguitarforanothergoodreason.“Withmymusicsometimesbeingrockandneedingaguitarthatcutsthroughawallofsound,it’sgottohaveamorecompactsound,”hesays.“The714sizehasagreatspotwithinabandsetting”.ToassistliveonstagetheSCCSMisequippedwiththecompany’saward-winning
ExpressionSystem®pickuptodialinpristineacoustictones.
IcanseewhatStevenissay-ingaboutabandcontext,butIfoundthebeautyofthisguitar
forme,wasjustsittingdownandplayingitonthefootofthebed.
Thereisacharactertothetone,abalanceinthesizeanda
joyinplayingthewell-craftedneckandfretboardthattotalsasumlargerthanit’sparts.Man,Ireallylikethisguitar.Forasinger
songwriterofSteven’sskillsyoucanseewhyhelikesit
too.Asforthemeaningfulartworkthis
SCCSMhonorstheChapmanfamily’sad-opteddaughterMaria(whotragicallypassedawayat5yearsold)byincorporatingdesigntouchesrecreatedfromoneofherlastcrayondrawings.Thepegheadfeaturesasix-petalflowerwithonlyoneofthepetalscompleted
inblue.Onthefretboardatthe12thfret,theword“See,”inlaidinher
handwriting,accompaniesasmallmother-of-pearlbutter-fly:acallto“see”beyondthe
immediateandtowardshope.Thefretboardalsoincludessmallmother-of-pearldotsonthebass
side.SoifyouaskmewhatIthink
aboutStevenCurtisChapmangettinghisownSignatureModelTaylor
Guitar,allIcansayis,“Itcouldn’thappentoanicerguy!”
Alongwithahardshellcase,theSCCSMcomeswithacustomguitarlabelandacer-tificateofauthenticitysignedbyChapman.TheguitarisavailableatAuthorizedTaylor
Dealersatasuggestedretailof$3,998.00Moreinfoatwww.TaylorGuitars.com
Wow,asignaturemodelguitarforStevenCurtisChapman.Thatisquiteanhonorforanymusician,butinthiscaseitismorethanfitting.StevenhasbeenplayingTaylorguitarsforover20yearsnowandasasinger/song-writerhasrackedupmoreDoveAwards(56)thananyotherChristianartists.Healsohas5Grammysand45No.1Christianradiosinglestohisname.
Hegrewupworkinginhisfather’smusicstore(ChapmanMusicinKentucky)andhasbeenaroundguitarsallhislife.Whenitcomestohissignaturemodelyou’llfindnotonlyhisfavoriteattributesthatmakeafineacousticbutalsosomemeaningfulartworkadorningthisguitaraswell.
Let’sstartwiththeinstrumentitself.ThisStevenCurtisChapmanSignatureModel(SCCSMforshort)isbasedona714model.ThisincludesTaylor’sStandardIIbracing.What?Waitaminute.Whatdoesthatmean?TheStandardIIdescribesthebracingpattern
ontheinteriorofthemajorityofTaylorguitars.It’san“X”pat-tern,withtheintersectionofthe“X”movedclosetothesoundhole.If
yousneak
afingerinside,youcanfeelwhereitcrosses.Eachpiecethatgoesintobracingthetopiscarefullyscalloped.Thenthereisareliefrout(asmallmilledpaththatgoesaroundtheinterioredgeofthetop).Thisroutallowsthetopgreaterflex-ibilitytomoveandinturn,produceamuchloudersound.
TheSCCSMfea-turesIndianrosewoodbackandsides(thegrainontheoneweareplayingisreallybeautiful)witharichtobaccosunburstWest-ernRedCedartop.Theappointmentsincluderosewoodforthebinding,ebonybridge,fretboardandpegheadoverlay,,athree-ringabalonerosette,abalone-toppedbridgepins,alongwithgoldtunersandbuttons,whichgivetheguitarawarmandinvitinglook.Theguitarfeaturesanall-glossfinishandcomesequippedwiththecompany’sExpres-sionSystem®.
Whenyoupickituptoplaythoughiswhentheexcitementstartstobuildforthisguitar.Itfeelsgreatinyourhandsandthe714seriesbodysizefitseasilyagainstyourbody.TheebonyfretboardandTaylor’sownprecisefretworkmakeyourfingersgladtheyfoundthisguitar.Theneckisfantastic!IsweartheedgeofthefretboardhasbeenroundedortaperedonthismodelforextracomfortbutTaylortellsmeitistheirstandardneck.Gofigure!IletBrianFelixourCustomerServiceManager(whoisquiteaguitaristhimself)playitandafteraboutsixorsevenchordshestated,“ThissoundslikeSte-
Taylor’s Steven Curtis Chapman Signature Model Acoustic/Electric Guitar by Bruce Adolph
8
9
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What’sthebalancebetweenplayinglikeyoumeanit,using100%ofthetalentGodhasgivenyou100%ofthetime,playingwithtotalconfidenceknowingthatGodhasequippedyouwell…andpride?Thisistheage-oldstruggleweasChristiansbattlewitheveryday.Theperfectbalancewearealwayslookingforinallthingsbutforthepurposeofthiswritingbetweenexcel-lenceandattitude,confidenceandpride.
Playingwithattitude…itcanbegood…itcanbebad.Itallcomesdowntotheheart.AreyougivingGodyourverybestbyplayingwithexcellence,bybeingseriousaboutyourplayingandputtingeverythingyouhaveintoitorareyoujustshowingoff.Oddlyenough,themoretalentsomeonehasthelesstheyhavetoshowoff.Peopledothattoboosttheirconfidenceandmakeupfortheirlack.
Nowjusttobeclear,weallmake
mistakesandweallinonewayoran-otherstrugglewithpride.Itjustcomeswithbeinghuman.Also,andequallyasdangerous,isourstrugglewithinsecurityandlackofself-confidence.Again,fortheChristian,self-confidenceishavingconfi-denceinChristinus.
Awhilebackwewereleadingwor-shipatalargeeventwithmanydifferentdenominationspresent…allkindsoffolksfromallbackgrounds.ThebandwasacompilationofwonderfulmusicianseachsoldouttoGodanddeterminedtogiveGodtheirall.Theworshipportionwasbeautiful,everyoneengagedandwor-shippingGodtogether.Weweretotallyprayedupandpreparedbothtechnicallyandinourhearts.WeencounteredtheLordthenleftthestagefeelingblessedandgoodaboutwhatwehaddone.Soonafterweheardthatamanwhowastherewasdisappointedwiththeworshipandthoughtwewereshowboatinginsteadofworshipping.HesaiditseemedlikeitwasallaboutusandnotaboutGod.Whenweheardthiswewereobviouslyheartbro-kenandexaminedourselvestoseeifanypridehadsnuckin.Wedidn’tdisregardhiscomment.Weshouldalwayslookatourselvesfirsttoseeifthereisanytruthinwhatsomeoneissayingandwedid.OurconclusionwaswegaveGodourbestandhonoredHimwiththetalenthegaveusandwithourworship.
TheanalogyIoftenmakeisthatofanNFLfootballplayer.Let’susetheChris-tianforthisexample.HepreparesforthegameandgivesGod100%ofwhathehas.Herollseverybitofexperience,practiceandprayerintogoingouttheretowinforhisteam.Noonecomplainsexceptiftheythinktheplayerisfallingdownonthejob.AssumingwearedoingitforGodandnotpridefullyseekingourownglory,themusicianontheotherhandhastodealwithpeoplewhoarenotworshippingbuteasilydistractedbytheenemy’svoicetellinglies.Thedevilwilldoanythingtopreventordistractusfromworshipping.YearsagoaPastortoldmethatifwearejudgingtheworshipwearenotworshipping.That’sapearlofwisdomI’veneverforgotten.So,ifI’mhearingsomethinglessthatgoodcomingfromtheworshipteamIguardmyselffrombecomingacriticandpressintoworship-pingGodevenmore.
It’sagoodthingtofeelsecureaboutyourplayingandenjoythatfeelingwhichspursyouon.Ithelpsyouplayevenbet-terIbelieve.Likeanathletewhoisinthe“Zone”youareplayingwithexcellence
andnotheldbackorhandicappedbyalackofconfidence.Ontheotherhandifyour“feelinggood”ismotivatedbyprideyou’rereallygoingbackwardsinsteadofforwardandasthewordsaysyouareheadedforafall.“Pridegoesbeforede-struction,ahaughtyspiritbeforeafall.”Proverbs16:18.
Musicians…wehavebeengivenmuchandmuchisrequiredofus.Wehavetheabilitythroughourmusic,God’smusic,tochangesomeone’smind,helprighttheirpathandgenerallyliftthemupforallthatGodhasordainedfortheirlives.WehaveaBIGresponsibility.Lackofpreparationornotdeliveringourbestoneveryoccasioncanhinderthat.Also,let-tingpridecreepintowhatwedocanbeaseriousdistractionandalsohinderGod’sworkatleastasitpertainstoourpartoftheequation.
Regarding Each Musical Opportunity We Have:
1) Pray & Prepare Your HeartPriortoyourmusicalsetprayandpre-
pareyourselfforwhatGodisgoingtodothroughyourmusic.Showingupspiritu-allyready,aswellastechnicallyreadyisessential.Wehavesomanydistractionsinlifethatit’sitmorenecessarythanevertobedeliberateandpurposefulinoureffortstocenterourselvesontheLordlettingalldistractionsmeltawaywithonlyHiminoursights.
2) Pray Collectively With The BandNothingdrawsyouclosertogether
thanthefellowshipofprayer.Alwaystakethetimetogatheryourteamandpraybeforeyouplay.Beforeyouplayyouarewellrehearsedandreadytogo,sounityinprayerisallthat’sleft.Pleasedon’tskipthispartortakeitlightly.DoYOURpart…GodwillalwaysdoHis.
3) Focus & PlayPuteverythingoutofyourmind
exceptthemissionathand.“Wedemol-ishargumentsandeverypretensionthatsetsitselfupagainsttheknowledgeofGod,andwetakecaptiveeverythoughttomakeitobedienttoChrist.”2Corin-thians10:5.
So…havingpreparedwell,beingprayedupbothindividuallyandcol-lectivelyandwithnoprideorpersonalagendalurkingunderthesurface…goahead…playlikeyoumeanit…anddon’tlookback!
Excellence v/s Attitude, Confidence v/s Pride
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“Matt Kees is a very musical songwriter/producer/mixer and a very good friend of mine. I love hearing his work as he is one of the best in the business. I always look forward to working and making great music with Matt.”~ Gregg Bissonette(LA session drummer and member of Ringo Starr and his All Starr Band)
MIX
MASTER
PRODUCE
Produced By Matt Kees - AD.indd 1 11/3/10 8:10:04 AM
Chris Tom
lin and his 1999 Collings O
M42 SBSerious Guitars | www.CollingsGuitars.com | (1) -
Chris Tomlin and Collings Guitars
Spreading the Word
“Players at my clinics and concerts are always floored by the tone, punch, clarity and headroom of my GK.”
Norm StocktonLincoln Brewster
POWER TO GROOVEwww.gallien.com
Welcomebacktoourintroductorylookatsoloarrangingforbass.Again,thebenefitgoeswaybeyondwhetherornotyouantici-pateeverplayingsologigs–theprocessofevaluatingmelody,harmonyandrhythmasnecessitatedwhenarrangingapieceforsolobassisinvaluableforone’sunderstandingofmusiconsomanylevels.
Ihopeyou’vehadachancetoassimilatethepreviousinstallmentofBassic Commu-nicationwherewefocusedonthemelody&harmonyoftheversesectionfromthetradi-tionalChristmastune,Angels We Have Heard On High(Gloria).
We’llcontinueonwiththefirstpartof
Intro to Solo Bass Arranging (Part 2)
Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. He spends much
of his time touring and recording with worship artist Lincoln Brewster, but his 2nd solo project (“Tea In The Typhoon”) released this past fall has been receiving widespread acclaim from
media around the world. Visit Norm at www.normstockton.com and on Facebook & Twitter for much bass-related info and fun. While there, be sure to check out his blog (The GrooveSpot) and register for his e-newsletter (the groove update) for tips, interviews, clinic invites, exclusive discount prices, and more.
DVDorLevel1ofmyonlinecourses(oranyotherresourceyoucangetyourhandsonthatilluminatesbasicdiatonicharmonyinanunderstandableway).
Playthroughandgetthispartofthecho-rusmelodyunderyourfingers(beautifulline,isn’tit?–wishI’dwrittenit!).Afteryou’veas-similatedit,trytoaddtherootsofthechordsasyouplaythroughthatmelody.Again,we’llworkonsmoothingitoutandphrasingit“solo-esquely”later–justtrytogetthosetwoelementstogether.
Haveablast!:^)(Adapted from curriculum in the Grooving
forHeaven instructional DVDs)
© 2009 Stocktones Music
Bassic CommunicationIntro to Solo Bass Arranging (Part 2)
Norm Stockton
Melodic/Harmonic Analysis: Chorus (1st Section)"Angels We Have Heard on High" (Trad. Christmas Carol)
E Ionian"5"
E
C# Aeolian (Natural Minor)
"Root, b7, b6, 5"
C#-
F# Dorian"b3"
F#-
B Mixolydian"Root, b7, 6, 5"
B7
16 18 16 14 13 14 16 14 13 11
3
E Ionian"3"
E
C# Aeolian (Natural Minor)
"b6, 5, 4, b3"
C#-
F# Dorian"Root"
F#- B Mixolydian"Root"
B7
13 14 13 11 9 119 9
thechorussectiontoday.Thisshouldbeareallyfamiliarpartofthesongtomostofyou–think“Glo-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-ria”.:^)
ThebasicchordmotionbecomesI–VIm–IIm–V7(halfnoteperchord).Simi-lartolasttime,you’llfindboththedefaultapplicablescaleandtheintervalsfoundinthemelody(relativetotheunderlyingchord)inthetextabovethestaff.Ifyouhaveanyquestionsaboutanyofthis,Iencourageyoutocheckouteitherthemodesectionfrommy2ndinstructional
13
Lasttimewetalkedabouttheimportanceoftranscribingdrumparts.Westartedwithsomethingfairlysimple.TodayIwanttodiscusshowtolearnagroovethatseemsverycomplex.IhavetranscribedDavidGaribaldiplayingTheOaklandStrokefromaYouTubevideo.YouhavetoloveYouTubeforallthevisualandaudioinformationwecanaccessforfree.It’sabeautifulthing.ThisversionoftheOaklandStrokeisanextremelydifficultdrumgroove.Let’sfigureouthowtobreakitdownsoitislessintimidating.
TypeintoYouTube:TowerOfPower-OaklandStrokeandWhatIsHip.Itran-scribedthisfromtheendofthevideo(about7:40intoit)whereRockoPrestiaisansweringaquestion.HehasDavidstartthegroovebyhimself.Iamassumingthat“1”isthefirstnoteplayedbyGaribaldi.Itranscribedthefirst2bars(becauseitwasabitdifferent)andthenthenexttwobarsistherepeatedgroove.
Tomakethislessconfusingweneedtofindsomethingthatisconsistentthrough
David currently tours with Fernando Ortega and has worked with Sara Groves, Bebo Norman, Crystal Lewis, Cheri Keaggy, Tommy Walker, Paul Baloche among
others. He has played for Billy and Franklin Graham Crusades, Harvest Crusades, Maranatha Worship Leader Workshops and for over 2 years he was the house drummer for the Los Angeles production of The Lion King. His home church is Plymouth Church in Whittier, California. www. DaveOwensDrums.com
Dissecting A Groove
out.ThefirstthingInoticedishishighhatpart.Thebasicrhythm(exampleA)isthesameexceptforbeat4ofbar1andbeat1ofthesecondbarwhereheopensthehat.Thisisagoodstartingpointandgivesussome-thingtolatchonto.
ThenextthingIdidwasplaythefirst2beatsofthegroovewithoutthesnaredrum(exampleB).ThenIaddedthesnarewithouttheghostnotesandthenaddedtheghostnoteslast(exampleC).Itsortofhasasongofeeltoit.
Thenextrealdifficultpartwasthelast2beatsofthesecondbarsoIplayedthatwith-outthesnare(exampleD)andthenaddedthesnare(exampleE).
Thelastexampleisthelast2beatsandthefirst2beatscombined.ThesesectionsseemedtobethemostdifficultformesoIjustloopedthemuntilIwascomfortable.Playingthisasaonebarloopsoundsprettycool.
Thenextstepistopiecethewholething
together.Thisisnotaneasytaskbutbygettingtheharderpartsputtogetherfirstitshouldbemuchmoremanageable.
Remembertostartataslowtempoandpayattentiontodetail.Dissectingadrumpartthiswaycanmakeaveryintimidatingdrumpartmuchmoreapproachable.
Tillnexttime……David
A
B
C
D
E
F
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Roger Beale is one of the nation’s foremost vocal coaches. He presently works with
professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management
and care of the professional voice. Many of his students have won prestigious vocal competitions and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is founder and host of the Christian Singers Workshop (www.christiansingersworkshop.com), dedicated to the teaching of contemporary and commercial vocal techniques. Roger can be contacted at: The Voice House, PO Box 87136, College Park, GA 30337, (404) 822-5097, e-mail: [email protected], web site: www.thevoicehouse.com.
Thereisawell-knownmediacreated“star”thatexistsinaworldthatIdonotoccupy,whowenttocourtrecentlyonthechargeofbeingcriminallyannoying.Cantheydothat?Peoplecanreallybearrestedforbeingannoying?Whoknew?Howcoolisthat.
Withoutgettingintotheluriddetails,let’sjustsaythe“star”hadabittoomuchofanadultbeverageandmadeaspectacleofherself.Shewentbeforethejudge,fined500dollarsandwassentencedtosomecommunityservice.
Here’swhatIwanttoknow,cansomeonebearrestedforbeingannoyinginallfiftystates?Ifitis,wecouldhavean-noyingsingersandmusiciansarrestedforbeingcriminallyannoying.Anovelidea,don’tyouthink?
Howmanytimeshaveyoubeentoaconcertandsomebodyonstagereallyannoyedyou?Myfirstexposuretoanan-noyingperformerwasattheMississippiRiverFestivalbackinmyuniversitydays.Herewewerehavingagreattimelisten-ingtoSha-na-naintheheatandhumid-ityneartheconfluenceoftheMississippiandMissouririverswhentheperformerknownasBowserclimbsontopofatwelvefootSteinwayconcertgrandpianoandproceedstodanceandsingontopofitfortenminutes.AtleasthehadonConverseChuckTaylorsneakers.Ifoundhisactionsveryannoying.MaybeitwasbecausethegreatpianistVanCliburnhadperformedonthatsameinstrumentnotmorethanaweekbefore.Wherearethepolicewhenyouneedthem?
Trythisoneonforsize.AchurchIwasvisitingafterdoingaclinicforthemhadinvitedaworshipleaderfromNash-villetoleadtheminworship.Hetookthestagelookinglikehisclothesneededtobereplaced,repaired,oratleast,washed
erstobewareofbehaviorsonstagethatrepulseyouraudience.KeepinmindwhatPaulsaysin1Corinthians,“Beallthingstoallpeople”.Iknowyouthinkthatisoutofcontext,butwhenperformingwemustattempttobeappealing,notoffputting,anditdoesnottakemuchtoputsome-bodyoff.
Totakethisthoughtanotherstepfor-wardaperformermustalwayskeeptheau-dienceinmindbefore,during,andafteraconcert.Manytimessingersperformwithonlythemselvesinmind.Rememberthatyouraudiencegaveuptheirtimeandtheirmoneytocomeandhearyourmusic.Sopleasedoitforthem.Theperformanceisnotaboutyou,it’sabouttheaudience.Sopleasedon’tgetaticketforbeingannoy-ingwhileperforming.Nowgosingwell!
andironed.Hisjeansdidnotfit,hadholesinthekneesandwerethelo-riseorhip-huggertype.Thismandidnotneedtobewearingthistypeofbluejeans.Whenhestoopeddowntopluginhisguitarhiswornoutt-shirtrodeupandthelo-risejeansrodedownhisbackside.Youguessedit;wegotmoonedinachurchservice.Iwascriminallyannoyed.
AnotherincidenthappenedwhileIwasobservingaChristianbattleofthebandsthatastudentofminehadentered.IwasenjoyingthemusicalgoingsonuntilabandcameoutthateveryonewastalkingaboutbecausethathadadealwithNike.Iguessitwasforcoolshoesbecausetheirmusicwasverylackluster.Whentheygotonstageandplayed,itquicklybecamemusicallyannoyingbecausetheyhadtunedtheirexpensivePRSguitars(thatstandsforPaulReedSmith)toanopentuningthatallowedthemtoplaytheIVandVchordswithaonefingerbarre.The‘I’chordhadnofingeringsatall,sotheyjuststrummedtheopenstrings.Icouldn’tbelieveit.Theydidnotknowhowtoplay.Theywerejustgettingby.Thatwasmusicallyannoying.Butwhatwasworse,asusuallyhappens,theywon.Thejudgesshouldhavebeenticketedforbeingannoying.Let’shearitforLaw and Order!
Wemightwanttoalsoconsiderthepeopleattheconcertorworshipserviceswholeavetheircellphoneson,oruseitasaflashlightduringthemostmeaningfulpartoftheconcert.Book‘emDan-0.May-bewecouldtakethecriminallyannoyingcitationtoanewlevelandwecouldallhavecitizenarrestpowers.Butifevery-bodycouldclaimsomeonewasannoying,thatwouldbereallyannoying.
Thisarticleisnotbeingwrittentoseemcrotchetyorsarcastic.Itiswrittenforsing-
Avoid the ’Noid!
15
‘It’s Christmas Time’
Believeitornot,theChristmasseasonisuponusagain!NoticeIdidn’tsay‘holidayseason’or‘wintercelebration’.Idon’tactuallyhaveanythingagainstSantaorthetradi-tionofdecoratingtreesorgivinggifts.But…ChristmasIS aboutthebirthofJesusandnomatterhowhardcertainpeopletrytorewritehistory,that’swhatthistimeisallabouttoChristiansworldwide-“Christ’s-mass”,thebirthofChrist.Ofcourse,thereiscontroversyastowhenJesuswasactuallyborn.Itseemslikelythatitwasn’teveninthewintertime.Truly,however,thetimeframedoesn’tmakeanydifference.AsbelieverswesimplywanttocommemoratetheeventofGodbecomingflesh,livingamongus,teachingusandheal-ingus.And,mostimportantly,Heprovideduswithforgivenessofsinandthegiftofeverlastinglife!That’snosmallthing,anditcouldhaveneverhappenedifJesuswasn’tbornintoourhumanworldonthat‘Christ-mas’day.Imaginethecuriosityandaweoftheshepherdsthatnight.Thefearandjoyallatonceastheyaskedthequestion,‘Whatchildisthis?’Thistimelesscarol,sungothemelodyof‘Greensleves’,isonethatworksoutverynicelyonguitar.Ihopeyouenjoythislittleintermediatearrangement.
NEWS:InthepastfewmonthsI’ve really been develop-
ing my websiteatwww.johnstandefer.comtoincludemanynewfeatures,includingdownloadableTABarrangementsofvarioustypesandstylesofmusic.Thesedownloadsincludeprintablecomputer-generatedTAB¬esaswellasperformancenotesandanaudiofileofthetune.SinceI’venowcomeintothemodernagewith‘computermusic’IamutilizingthenewtechnologytoproducetheTABinthisversionofWhatChildIsThis.Youmightwanttovisitthewebsiteandseewhatelseisthere.It’sstartingtoaccumulateandtherearemanynice,inexpensiveTABsavailablealready,withmoretocome.
Also,I’mpublishingane-newsletterthatcomesouteveryothermonthwithloadsofcoolstufflikefreevideoguitartips,adealofthemonthfrommystorepage,an‘AskJohn’forumandlotsmore.Forexample,I’vebeenbetatestingequipmentforLloydBaggsforsometime,havebecomeanartistendorserandamnowsetupasadealerforL.R.Baggsproducts.Anyway,dropinatthesiteandsay‘hi’andsignuptobeonthenewsletterlist!
ThelatestdevelopmentisthatI’verecordedaChristmasCDcalled‘Christmas Guitar’.It’sareallyacoolcollectionof16Christmasfavorites.OvertheyearsIhavedevelopedlotsimaginativeChristmasarrangementsinmanystylesandnowI’vefinallygottenthemrecorded-usingallmyfavoriteguitars!ByThanksgiving,theCDwillbeavailableatmysite.AndforthoseofyouwholiveinthePortland/Vancouverarea,I’llbedoingabigChristmascon-certonDec.18thtoo(detailsandticketssoontobeavailableatthewebsite).
Have you seen John’s free ‘Praise Guitar Lessons’ online yet? Go to CCLI TV and start the weekly lessons today. And make sure to look over John’s calendar at www.praiseguitar.com to find an
event near you where you can hear him live.
Arrangement Copyright by John Standefer Music 2010. All Rights Reserved.
A‹ G/B C G/B E‹ A‹ F E
8
A‹ G/B C(„ˆˆ2) G/B E‹ F(„ˆˆ2)/A E A‹
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C D(“4) G/B E‹ A‹ F
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E A‹7 C C©º G(„ˆˆ2)
28
E‹ F(„ˆˆ2)/A E A‹
What Child Is This
Traditional
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2 0
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02000
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2 0
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02000
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0301 0
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041
022
022 3
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2013
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432
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5
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SincetheG50camehighlyrecommendedbyMikeRoss,Market-ingDirectoratSweetwater,Iknewithadtogreat.LikeMike,Iwastremendouslyimpressedwiththeaudioqualityaswellasthebatterylife–uptoeighthoursontwoAAbatteries!
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Aimee Herd: Your latest album’s title is Beauty Will Rise. Out of one of the hardest things that a person can experience in this life, beauty really has risen.Steven Curtis Chapman: It has
been a real gift… Music has always been the place where I grapple with or come to terms with so much of what I know, or hope to know about God and His ways. And, those have been more mysterious than ever. Shortly after Maria went to Heaven,
someone mentioned in passing that since this happened to “the Chapman family, can you imagine the songs that will come out of it.” I understood what they meant, but honestly I couldn’t even fathom it at that point. I felt: how can you even think I’d be able to put into four minutes, and into words, this huge pain and loss and grief. There’s just no way. It was unfathomable to me that I would write a song about it, in fact, I wasn’t even sure I would write songs again at least for a while. I felt like God was so deep, and so mysterious to me—I know so little of His ways.And, for everything I thought I
knew [about God]—I was afraid to go back and listen to my songs. I thought, “Am I going to have to go back and strike through half of them, saying, ‘No, don’t believe that anymore, don’t believe that...’?” But, thankfully, I began to let my
own psalms come out. It’s really what I feel like these songs [on Beauty Will Rise] were—very much like David in the psalms, crying out to God, “How long? Where are You? What are You doing? I don’t get it, I don’t understand it, I don’t know how I’ll survive it... but I trust You.” And, like Job, saying, “God, You give and You take away, but I’m going to bless Your name, even though I don’t understand anything about Your ways or what You’re doing right now. I’m going to trust
Ever since the tragic accident of that late spring day in 2008, when their four-year-old daughter Maria went to Heaven; hearts have gone out in sympathy and concern for the Chapman family. Since then, the Scripture passage found in Isaiah (“To comfort all who mourn…to give them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness…”) has been the text of what God has been doing in this beloved family’s life, as they’ve journeyed through grief and found beauty in the midst of it. I caught up with Steven via cell, in the middle of life’s everyday busyness, and he graciously shared a little about his latest project—borne out of the sadness of loss—and how God has used it so powerfully.
God’s Beauty Rising: an interview with
By Aimee Herd
You, and I’m going to declare it, even if my heart doesn’t know what it believes, I’m going to say it in faith.Those songs started coming out
in me, and not with any intention of making a record. It was really that journey of saying, “How do I always wrestle with these mysteries of God, how do I always wrestle—in hopefully a redemptive way—with God and His ways?” Well, music has always been a part of that. When I’m grappling with a truth, or I’ve come to a new revelation of something about God—usually a song comes out of that. As I gave myself permission, and
God gave me permission to be as honest as I needed to be; these songs began to come. Now, being able to hear how those songs have met people where they are, in a place of loss and a place of grief, that’s been a part of the healing process. It was an important part of the process writing the songs, and speaking them out there, but then to hear them come back with the fruit of comfort, healing and hope for other people...Scripture talks about us having “this
hope as an anchor.” It literally feels like that for all of us—not just those who have had such a huge loss like that of a child, but in just the grief of living in this world, with the effects of the fall all around us, and the pain that we live with—this hope that we have is like an anchor. A lot of times we feel like we’re
in this hurricane and we’re drifting out to sea, and we don’t know if we’re going to be thrown against the rocks and smashed into pieces or what. Then there is this anchor that we can drop and hold onto. I think that’s what these songs and this album have been—not just for us, but thankfully, I’m hearing that it’s been that for other people too. That’s the goodness of our God, and
that’s how He works in those things. AH: Absolutely, and I have to tell
you, it was just a couple months before Maria’s accident that I lost my big brother to cancer, and your album has really been a part of the healing process for me too, so, thank you.SCC: Oh wow. Well you’re very
welcome.AH: Steven, a few months prior
to Maria leaving, there were some things that happened in her life that took on new meaning after she was gone. The songs ‘February 20th’ and ‘See’ are about that. Can you talk about those songs and the stories behind them? SCC: February 20th, while it was
hard in the subject matter and what I was saying, it was easy to write in that I was just telling the exact events of that day, there was no poetic license being used. It was exactly that day, a few months before Maria went to Heaven that she was sitting on the floor putting her shoes on, getting ready to go to preschool. She was getting ready for her spring program—she was going to graduate from preschool literally just a couple weeks before she would go to Heaven. [Her class] in her Christian preschool had been learning songs for the program.Out of nowhere she asked her mom
if God really did have a “big, big house with lots and lots of rooms,” and a “big, big table with lots and lots of food?” The Christian music fan out there will recognize those lyrics from Audio Adrenaline’s Big House. Her mom told her it was true, and Maria said she wanted to “go to God’s big house, I want to live there.” We were able to talk with her, trying to take that little teachable moment to explain [the Gospel], not knowing where it would lead, and certainly not assuming that it would be the moment when she’d accept the Lord, because she was only four.
21
But the more I talked with her, it was so evident she was really connecting with it, and it wasn’t just a song she’d learned—it was really something in her heart. So I asked her if she wanted to talk to God about it, and it was amazing—we were able to pray together—she asked Jesus to come live in her heart and to let her come live in His house whenever she would leave this earth. We assumed it would be many, many years in the future...but that was an incredible gift. So, it was February 20th, 2009—one year later—that I wrote that song. I sat down at my piano and cried many more tears of hope, and loss and grief, and I wrote that song. And then, See, was very much like
that, from a personal experience, but it happened after Maria went to Heaven. It was a couple of days after the accident that we went home to get some clothes together for the memorial service and the funeral (because we were staying with some friends). We’d been begging God to tell us tangibly what we knew by faith: just let us see something, a dream or a vision, [to let us know she was okay and she was with God]. A few friends had shared with us that they had seen a vision (these were friends who don’t normally see things like that) of Jesus coming down and taking Maria in His arms. It was encouraging to us, but we needed to see that for ourselves. So, on our first trip back home, we
were walking through the kitchen and each room with friends on either side just holding us up, as we collected a few things. We came to the room where Stevie and Maria had their little art table where they would for hours cut pictures and glue and glitter (they loved doing that). All the things were cleaned up except one little piece of paper on Maria’s desk, and on it she had drawn a flower. It had six petals, and only one petal was colored in, which—at the t i m e — l o o k e d unfinished to us. I noticed something on the back of the page b l e e d i n g th rough , because
photo byDale Manning
22
she’d used marker. So, I turned the paper over, and on the back she had written the word “See” with a little butterfly. That was amazing in itself, and it brought tears to my eyes, because I felt it was Maria and God whispering together—almost giggling—saying, “See? It’s okay, Daddy! God does have a big house, and you’re going to come see it, but while you’re here, look and ‘see’ eternally. Don’t see the pain, but see what God is doing in this.” It was just so huge for us, but the other part that made it even more amazing is that she only knew how to write 3 or 4 words—she could write “I love you,” “Mom,” “Dad,” and her name. She hadn’t learned other words yet, and certainly had never written “see.” We are convinced it was really a message from God through Maria’s hand.AH: Wow! Steven, I know as
you’ve shared this story of what happened and how God is carrying you through in various articles and even on TV, I know that God has used it very powerfully. When I watched your family interviewed on the Larry King Show, you could see he was visibly moved...what ways have you witnessed the Lord using this testimony to touch others? SCC: Well as you were asking this
question, my first thought went to that Larry King interview, because he was so impacted by our family, our honesty and our pain. He responded by saying something like, “I wish I had your faith, or a faith like yours, it’s remarkable and amazing to me.” We even had the opportunity to share, Caleb my son said, “Well Mr. King, you can have this faith, if you’ll receive it and believe it.” It was an incredible opportunity to share that and to watch God work. It’s been time after time like that—watching God do that kind of thing. AH: Looking at things from a
real, like “this is life.” It wasn’t in a pristine recording studio but life was going on all around me. Somehow that made the process really honest and really vulnerable I think. AH: Now, on another musician-
oriented note, you have a new signature line of guitars with Taylor, tell us about that.SCC: Yeah, I was blown away.
They called me after Maria had gone to Heaven, while we were in New York, doing some interviews. I’ve played Taylor guitars for years, they’ve been so wonderful to me and I love their guitars. They called me and said, “We want to do a signature guitar with you; you’ve played them for so long and people kind of associate you with Taylor guitars. We’d like to make a guitar that is really your guitar, specific to you, and make that available to people. What would you like to have?” My immediate thoughts were, I’d
love to put Maria’s flower in the headstock, because it had come to mean so much hope to us. It’s got six petals, (we have six children) and one petal is colored in blue—Maria’s favorite color—and all the other petals are still waiting for their color. We really felt that was God saying to us, “One of your children is complete and whole, the rest of them are waiting for their color.” So it has that, and her little word “See” engraved in the 12th fret with that little butterfly that she drew. So it really is her guitar more than mine, but it was a great way to honor her, and the hope that we have knowing that we will see her again. And then it’s my favorite kind of guitar, it’s a 714 Taylor Cedar-top guitar, with a Sunburst finish. (I had only owned one Sunburst guitar of theirs prior, and I lost it when I jumped from the back of a cab to get into a building before I remembered I had my guitar, and it was gone!) I always wanted another Sunburst Taylor guitar, and this seemed like the right time to get that. So, there are a lot of reasons why this is a very special guitar. AH: You have another very special
project that has come to fruition and that’s Maria’s Big House of Hope in China.SCC: Oh yes. Maria’s Big House of
Hope has been another one of those incredible gifts for our family to put a little wind in our sails and hope in our hearts. It’s a place that reminds us of God bringing beauty out of the ashes. It was originally started as Shohanna’s Hope, after our first adopted daughter, but people had such a hard time pronouncing it
songwriter’s point of view; was it difficult to come up with the music to fit the very personal lyrics you had for this project, or did both come to you together? SCC: They really did come
together. It was a strange thing, because there’s never been an easier album to write, but at the same time, there’s never been a more excruciatingly difficult album of songs to write. There was no laboring with “what chord do I go to here?” It was partly because I threw every rule out the window;
never once did I think “will this work for radio?”... or “will this fit the mold of what people will be expecting me to do next?” You never want those questions to cloud what you do but they’re always in the back of my mind—I always wrestled with them. For example, I’d try to forget that I wrote Dive, and Cinderella because then you’re thinking, “...is there a ‘Dive’ on there, or a ‘Cinderella’ on there?” There was always a little bit of battle going on with that. But with this album, those thoughts were never even a consideration. This was not an album, it was not me writing songs to record. This was me pouring my heart out—it didn’t matter to me if I never changed chords in a song, or if it was the most boring, uncreative music. None of that mattered. What mattered was; “what’s going on in my heart, God, and how do I say this to You? If somebody else happens to hear it and it encourages them, fine, but I’m not writing this for anyone else—it’s between us.” I think that set me free to just let the process happen naturally, albeit painfully.AH: As you began to play through
these songs, you recorded them in somewhat unconventional ways and places...SCC: Yeah, that was the other
part that was so non-traditional. Normally, I’d go into a recording studio, and worry about how it sounded... “was that a good vocal performance, etc...?” But, Beauty Will Rise was written and recorded in hotel rooms, dressing rooms and other places on the tour I did with Michael W—which was incredible because Michael was such a dear friend and such an encouragement to me during that time. So, I’d be recording it in my hotel room, waiting for the lady vacuuming the hallways to be done bumping into our door with the vacuum cleaner—just crazy stuff like that made it so
photo by Dale Manning
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and saying right, that we changed the name to “ShowHOPE,” to reflect what we actually do, which is to show hope to orphans. We give grants and financial help to families who are trying to adopt. We’ve been able to help parents adopt children from over 45 countries now. That’s been amazing, because when we started out, we had no idea where it was going to go, we just wanted to help a few families see their dream of adoption realized, who otherwise couldn’t afford it. We’re not an adoption agency, but we help “build the bridge” by helping families with the financial part of getting those children adopted and into their homes. There have been over 2,500 families now that we’ve been able to help and 2,500 orphans that have been brought into forever families that are Christian homes where they’ll hear the Gospel. As we’ve traveled back to China,
we partnered with a lady who’s a doctor and her husband, who have done work for several years rescuing dying orphans, giving them medical help that allows them to be able to be adopted. In some cases, they are rescuing orphans who are dying alone in the corner of some orphanage; they give them care and make them comfortable, loving them and letting them die with dignity. We saw their work and said “this is something we want to be a part of.” In China, you can’t always preach the Gospel, but you can totally DO the Gospel there. So, we—ShowHOPE—built a facility there, and after Maria passed away, we set up a little memorial fund in her name that would go to
24
help orphans, and through that, we were able to complete the bulding of that special care facility in Lui Yong China, which is called Maria’s Big House of Hope. It’s got six stories, it’s a 60,000 square foot facility, and it has a full operating room and surgical theater for surgeries.
We took our first medical team over there this summer, and they did 11 cleft lip and pallet surgeries. It was an amazing trip; we held and played with a lot of orphans that are getting healthy and in the process of being adopted. And we also held one little boy named Tyler, who had very severe CP, who had been abandoned in a state-run orphanage. He’d been brought in and they loved him and nursed him as best they could, but he kind of gave up the fight. But, we got to hold him and pray for him, and Stevie Joy—Maria’s sister—whispered to him in his last few moments of life, asking him to go tell Maria that she loved her. All this is going on at Maria’s Big House of Hope and we get to be a part of it. It’s a pretty special
place. People can see pictures and videos of it at www.showHOPE.org, and they can partner with us if they want to. AH: Is there anything specific
you’re working on project-wise for the future?SCC: Well, we’re on tour this
fall, doing “A Night With The Chapmans.” My wife—Mary Beth—has a new book called, “Choosing to See.” It’s my wife’s whole life journey, and about choosing to see God even when He’s showing up in really different ways. I think it’s honest and very powerful; she’s written a beautifully broken book. On the tour, she is going to do something she swore she’d never do; she is going to get up and talk, sharing a little of her story, and we’re also going to be on Women Of Faith together; she’ll share there too. I’ll be playing, and then our two sons—Caleb and Will—will also be out on tour with us, and they’ll be opening with their band. Caleb’s band just finished opening for Casting Crowns’ last tour. It’ll be different from anything I’ve done before, but I think it’ll be a really special night. In the meantime, I’m kind of
recording songs here and there. I did a new song for a Veggie Tales Christmas movie that’s coming out. And, probably I’ll be recording something after the first of the year. I think I really want to go back and re-record some of my previous songs, but in a
more acoustic style, kind of like the Beauty Will Rise record. It was just so good to play music like that, with a little different kind of treatment. So, I think it will be a sort of “Greatest Hits” kind of record, but in a different style. I think it would be really fun to do, and I think people would enjoy hearing those songs that they have stories connected to, but done in a little different way.
Please visitwww.stevencurtischapman.com
and www.showhope.orgfor more about Steven, his music
and their ministry.
photos by John Price
MAY13 & 14 2011
at the Chapel at CrosspointBuffalo, NY
A conference forChristian musicians, leaders
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[email protected] 1 10/25/10 9:20:53 AM
selective hearingProdigal God
BrianDoerksen/ChristopherGreco
Selfreleasedwww.prodigal-God.
comSomeprojectsareso
densewithmeaningandfraughtwithartisticintegrity,thatonlyanalmostthesis-likereviewwillgiveanappropriateglimpseintowhattheartististryingtocommunicate.Unfortunately,thismagazinehasn’tthespaceforsuchareview,soI’lltouchonsomeofthefabulous,newProdigal Godanddirectyoutotheprojectweb-site(www.prodigal-God.com)formoreinformation.
First,BrianDoerksen(pronounced“Dirksen”)hasalwaysbeenoneofthefewworship-orientedmusicianswhomIcantrulycallanartist.HiscreationshaveallbeenfarmoreconcernedwithbringingabouttruecommunionwithourMakerthanshiftingunitsorstimulatingradioplay.FromhisearlydaysinVineyardchurches,Doerksenhasgivenussomeoftheworld’smostdistinguishedworshipsongs,including“LighttheFireAgain,”“Re-finer’sFire,”“Come,NowistheTimetoWorship”and“YourNameisHoly,”justtonameasmattering.LongpossessinganartisticvisionthatfaroutstrippedthelimitsoftheChristianmarketplace,Doerksenhascreatedhisfirstmusicalwithhisfriend,co-lyricist/scriptwriterChristopherGreco,basedonthefamiliarstoryoftheProdigalSon.Theyarereleasingitthroughawebsitecreatedespeciallyfortheprojectandareseekingtostageafulltheatricalshowafterfirstproducingamoviebasedonthecreatedsongsandlibretto.Thisrecordingismerelythehourandahalfofmusictheduocreatedforthemusical.
“Prodigal God isthemusicaltaleoftwobroth-ersandonewastefullyextravagantfather.Anewmusicalexperiencebasedonthefamiliarparableasseenthroughtheeyesoftheelderbrother.”Thisisthebriefsynopsisprovidedbytheauthorsonthewebsiteandgivesapeekintotheuniquewaythatthetwohavere-purposedthestory.Iwon’tspoilitforyou,butsufficeittosay:Itwillgiveyouanewperspectiveonthetruemeaningofthewordprodigal(whichthedictionarysaysis“wastefullyextrava-gant”)andwhothetrueprodigalinthestorymaybe.Thenarrativeisalsotoldfromtheperspectiveoftheolderbrother,againallowingusalookatthescripturewithafreshsetofeyes.Withouttheinher-entlimitsoftheworshipgenretoholdhimback,Doesksengivesusamusicalexperiencethatisbothvariedandfullofimmensevigor;itsoundslikehehadthetimeofhislifewritingthesenumbers.Sepa-ratedintotwoacts(discs),Doerksenisaffordedthefreedomtoessaynumbersinavarietyofstylesandmusicalshades.“LittleBrother,”therecitative-like
openingnumberhasstartlingrockdynamics;thestory-song“AFather’sLove”hasCelticinfluences.There’salso“TwoSons”andtheflamenco-inspired“Extravagantly”–andthat’sjustthefirstfoursongs!Thestory’smaincharactersarevoicedbyDoerksen(theeldestson),RonKenoly(thefather)andColinJanz(theyoungerson);Janzhimselfistheyoungersonofawell-regardedCanadianfamilyofmusi-cians,whobearsastrikingvocalresemblancetoPaulBaloche.ItistrulyinspiringtohearDoerksenstretchoutonthiseffort,ashissubtlewaywithmelodyisexpandedtofitthegrandtheatricaltenorofthesetunes.Plus,hischaractergetsthechancetoreallyrockout,amusicalcostumethatfitsDoerksen’srough-hewnvocalsquitewell.Itisinterestingthattheyoungerbrotherisgiventhelighter,fun-filledmusicalmomentswhiletheelderbrothersingsthedarkermaterial.Kenolyisusedsparingly,buthisdeep,mellifluousbaritoneisperfectfortheauthori-tative,yetmercy-filledcharacterheplays.Thebandisextremelydexterous,ablyessayingallstylisticshiftsandturnswithaplomb.Prodigal God producersPhillipJanzandBrianThiessenhandlemanyoftheinstrumentsontheprojectanddowellcarryingalightproductiontouchthatallowstheperformancestocreatethedrama,ratherthanusingstudiotrickery.
ThisisaveryuniqueprojectfortheChristianmarket,althoughitissimilartoonethathasbeentriedbyDoerksenbefore.Inthemid-90’s,hecreatedFather’s House,aproductionwhichwasalsoquiteambitious,butwhichcollapsedandendedupcaus-inggreatfinancialstrainfortheDoerksenfamily.Intheaftermath,hemovedtoEnglandforatimeandwrote“Come,NowistheTimeForWorship”inresponsetothedarknesshefeltatthemusical’sfail-ure.WhileProdigal Godisanotherriskycommercialpropositionandwilllikelyberelegatedtoanicheaudience,itwouldbeashametomarginalizetheprojectduetothemusicalingenuityandspiritualdepthofDoerksenandGreco’spurposefuleffort.Ifyousurfonovertothewebsiteandjoin(it’sfree),youwillbeabletodownloadafreeEPofsixsongswhichshouldbealltheimpetusyou’llneedtoseekoutthisprojectandsupportoneoftheChristianmarket’sgreatestinnovators.
SuburbaHouseofHeroes
GoteeBig,colossal,oppulent,
epic,massive,lavish,blockbuster–younameyouradjective,itdoesn’t
havethecachetoproperlydescribetheuttervitalitythesefellowsfromOhiobringtotheproceedingsonSuburba,anambitioussongcycleaboutthepower,painandpathosofyouth,andthesocialgymnasticsemployedwhilegrowingupinasuburbanmeltingpot.Whilethetopicsoundsparticularlydaunt-ing,TimSkipperandbandbringahugeamountofreverentfuntoanevolvingblendofalternativerocklacedwithpunk,pop,classicrockandprogovertones.Withafewdignifiednumberstostaveoffpossibleoverindulgence,theystillrockonagrandscale.Thisisthetypeofalbumthatgetsmaximummileageplayedonthecarstereoathighvolumewhilebarrelingdownthehighwayinthedogdaysofsummer.Hugeguitars,massivevocalarrangementsandtastefullyemployedanalogsyntharethemainingredientsintheband’smusicalmelange,asmanydisparatestylesandsub-genrescanberecalled–of-teninthecourseofonesong.Theopener,“Relent-less,”beginswithasynthlinereminiscentofGeoffDownesofBugglesandAsiafame,beforeshiftingtoaversethatreeksofearlySpringsteen,ThinLizzyorTheHoldSteady.EvenelementsofQueenandMusecanbefoundinthesong’sbridge.ThismusicalecumenismisevidentelsewhereaspulsatingbassandbrashshardsofguitarfueltheBuzzcocks/GangofFourfeelontherocker“Elevator,”whichabruptlyshiftsgearsinamiddleeightthatsharesmuchwiththeprogressivesoundsofGenesisandTheMoodyBlues(indeed,the‘Blues’uniqueuseofsymphonic“chamber-like”vocalarrangementsinformmanyofSuburba’ssongs)beforeswitchingbacktotheaggro-rockoftheoriginalverse.“LoveisfortheMiddleClass”liftsthefamiliarrifffromTheKnack’s“MySharona”whilerecallingothergroupsfromthemoreguitar-orientedbranchof‘80’snewwave,allwhilelamentingtheficklenatureofearthlylove:“IfallIhadwaslove,wouldIstillbelovely?”“SoFarAway”soundslikeamid-tempoclassicevenasitshamesColdplaywiththetypeofmelodythatbandrarelywrites.Butitisthenextcutthattakestheprize–theabsolutelystunningrock&rolltheaterof“GodSavetheFoolishKings,”aMeatloaf-and-PhilSpector-meets-WestSideStorytaleofgangs,rumblesandthedesperationofyouth.Skipperproveshimselftobeanuncannychronicleroftheteenageexperiencewithlyricsthatsearthememoriesofanyofuswhoaredesperatetofindsignificanceinanincreasinglycynicalworld.
“We’reoutcastsonlycuzwechoosetodreamWe’reprinceswho’dratherdinewiththievesWe’rehonestonlycuzthetruth,itcannothideGodsaveus,thefoolishkings”
and:“Andwefightcuz
We’dratherbreakourbones
by Shawn McLaughlin
26
ThanbravethislonelinessWedrawbloodcuzWe’rejusttryingtodrawoutsomesignifi-cance”
Yet,astillsmallvoicemanagestobeheardintheconfusionofadolescence:
“ButImetGodonthestreettonightAndhesaid,“ChooseyourbattleswiselyOryou’llneverfindMe”
HouseofHeroesmakesitsixexcellentsongsinarowwiththelovelylove/worshipsong“SaltintheSea,”abeautifulchangeofpacefeaturingaparticu-larlypensivevocalfromSkipper,who–truthbetold–makesastrongcaseonSuburbaforbeingoneofthefourorfivebestrockvocalistsaroundtoday.Hehasarareabilitytovaryhisdeliveryinawaythatdoesn’tsoundcontrivedormanufactured.Finally,onthegrungystomper“IndependenceDayforaThief,”thebanddropsasongthatismerelyverygood.SoundingalotlikeAudioslave,thebandreallydis-playsitsmusicians’significantinstrumentalchops,followingtheleadofbassist,A.J.Babcock,astandoutthroughoutthedisc.Therestofthediscisfilledwithmoreverygood-to-excellentsongs,especiallytheOasis-meets-Queenguitarpopof“SomebodyKnows”andthesuperbrockballad“Constant,”a“couldbe”worshipsongthatwasactuallywrittenasatributetoDesmondHumeofLost fame.Consider-ingthepanoramicscope,Suburba couldbequitethebombasticmess,buttherecord’ssongsremainfullofpowerwhileretainingthedelicatetouchofsongwritingcraftsmanship.AftertheexcellentThe
End is Not the End,Ithinkaslightletdowncouldhaveeasilyoccurred.Instead,HouseofHeroeslivesuptoallexpectationsthatcouldhavebeenplacedonitsshouldersandoffersampleproofthatthismaybejustthebeginningforthistalentedcombo.
Raising Up the DeadCaedmon’sCall
Self-releasedhttp://www.
caedmonscall.com/Raising Up the Dead
istherousingcomebackthat2007’sOverdressed
shouldhavebeen.ThatCDwascertainlyasolidaffair,butfollowingthereturnofartisticnomadDerekWebbafterafiveyearabsence,abitmorewasexpectedthantheworkmanlikefolk/rockradiofareofsaidproject.Thenewdiscshatterssuchlabelswithamusicalecumenismthatborrowsliberallyfrommanysources.IndiepopbandslikeWelcomeWagon,SufjanStevensandIronandWinehavehadaninfluenceontheband’ssoundandWebb’ssoloforaysintoelectronicmusicarenotreadilyapparentbutcertainlycolorcertaintracks(listentothesubtledrumloopandelectronicbellsthatopentheother-wisesunnyfolk/popof“Family”).Theband’searlyfondnessforrusticfolk-rockisgivenaname-checkontheominouslyconstructed“She,”acharm-ingiflyricallyobtusegemthatfeaturesaDanielleYoungvocalthatissimultaneouslymysteriousandconfident.
Youngchecksinwithsixco-writingcreditsonRaising Up the Dead,whichisabreakfromthe
norm,asshehasonlysharedwritingcreditsononeothersonginthegroup’slonghistory.Infact,alltheband’smemberswieldthepeninsomeformoranother,andthediscisallthebetterforitastheysoundpositivelyreinvigoratedthroughout.“Family”beliesitssunnypopmelodyandbrightharmonies,tellingthetaleofamanwhofeelsrejectedbythosenearhim,promptingasearchfor“real”familyelsewhere.“MissYou”isanotherDanielleYoungshowcase,whichfeaturesvibes,bellsandalovelystringarrangement,buttressingtheaffectingstoryofawoman’sstruggletodecidebetweentwoloveinterests.Thismaybeametaphorfortheeternalhu-manstrugglebetweenthefleshandthespiritbutitworksinmultiplecontexts.“INeedaBuilder”isthemostmusicallyinventivecutonthealbum,utilizingalovelystringarrangementwhileWebbeffortlesslyleapsthehugevocalintervalsofthechoruswhilesingingaboutoneman’sexperienceofmovingfor-wardtocreatehisownstorywithoutrelyingsolelyonwhathegrewupbelieving.Thealbum’sover-archingconceptisnotreadilyapparent,buteachsongisfullofrichcharacterandsubtlebutdistinctspiritualapplication.Webb’sproductioniscertainlyahighlightoftheproject,asheablyframestheband’slyricalconcernsinmusicalfinerythatissensitivetothefeelofeachcutwhileheutilizesinstrumentsandarrangementtricksthathavefewprecedentsintheCCMfield.WhilestellarmusicaloutputfromCaed-mon’sCallisneverasurprise,Raising Up the Deadisasurprisingartisticevolutionforabandknownfortheiriconiccreativity,andiscertainlyadevelopmenttocelebrate.
27
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Echoes of the LightCircleslide
SavetheCityRecordsThesecondofficial
longformreleaseforalternativepop-rockband,Circleslideisasomewhat
dichotomousaffairasthebandalternatesbetweengrand,stadiumsizedmodernrockandmoody,re-flectivemusicalbedsthatshowanimpressiveartisticbreadthevenasitilluminatestherecord’soneweak-ness.Amidstsuchstrikingmusicalconstructionsasthepulsating,moody“NothingCamparesToYou”,ortheChoir-likeambientleaningsof“Litany”,thelyricsaresomewhatunimaginative.Interestingly,therecord’stitle,Echoes of the LightisareferencetohumanityandourdutytoreflectthelightofChrist,whichiskindofcool.Thisleavesthelistenerlongingformoresubstantivelyricalconcernstoembellisharecordthat,otherwise,strikesastrongbalancebetweenappealinglyaccessibleCHRandmurkier,artisticfare.Hopefully,thebandwillcorrectthisminordefectnexttimeout.
OceanBeboNorman
BECRecordingsSpeakingofdichoto-
mous,BeboNormancontinueshis“AmIacontemporarypop/wor-
shipartistorareflectivesinger/songwriter”acthehasbeenperfectingwithhispastseveralreleases.
Truthfully,poppierfarelike“EverythingIHopedYou’dBe”isstillupbeatanddevotional,butwithahintofthesomberreflectivenessthatinformsNorman’searlierwork.Evenniftierisawholesalereturntohisfolkrootsrepresentedby“CouldYouEverLookatMe,”apoeticlovesonginwhichheasks,“Couldyoueverlookatme/Thewayyoulookattheocean?/Allwoundedinyoursmile,butholyandunriled.”Itconcludeswithasadtwist,though,hopingsheneverdoesbecause“Iwasnevermeanttobethelightofyourworld.”Alsostirringisthereflective“TheMiddle,”astrik-ingeffortthatopenlywrestleswithlonelinessanddespairanddoesn’tneatlywrapattheend:“Idon’twannarunfromthisbeautifullifeI’vebeengiven/I’mnotlookingforfreedom/Maybejustalittlemeaninghereinthemiddle.”Yet,forevery“TheMiddle,”therearesongslike“SingOverMe”and“RememberUs”thatdespitesomeaffectinglyricalmoments,losetheirimpactwhencontrastedwithbright,standardworshipinstrumentation.It’sdis-appointingtohearthesongwriter’sworkdrownedinslickproductiontofithiminaChristianpoprole.Itisnocoincidencethattheformersongswerewrittenalonewhilethelatterfeaturedco-writeswithproducer,JasonIngram,oneofChris-tendom’s“go-to”hitdoctors.WhilenotthefullscalesuccessofThe Fabric of Verse orTen Thousand Days,Oceanatleastdisplayssomeofthewarmthandvulnerabilityofthoseearlywatermarks,whileofferingenoughpleasantpopmomentstokeephisrecordcompanyhappy.
Light Up the SkyTheAfters
INORecordsOneofthemore
notorioustransformationsofrecentyears,Light Up the Skyrepresentsawholesale
leapintotheworldormainstreamCCMpop,albeitwithcosmeticsliversoftheirartierformerselves.Thefirsthalfofthedisceschewsthegroup’stendencytowardclever,applicablelife-lessonslacedwithspiritualtruthinfavorofamorelyricallydirectap-proach.Themusicalapproachonthetitletrackand“LiftMeUp,”whileverycatchy,isalsofullofrepeti-tivemelodiccatchphrasesandgimmickyproductiontricksthatreekofcontrivance.Thisisparticularlyoff-puttingwhencontrastedwiththedisc’slatterhalf.Amidstproductionthatisstillshortonsubtlety,cutslike“LifeisSweeter,”“SayItNow,”and“WeWon’tGiveUp”atleastshowvestigesofthegroup’spastwork,featuringcreativelyconstructedhooksandhintsoftheband’sformerrock&rollfire.Mostdistressingtomeisthattheband’sintentionalshifttoamoreworship-orienteddirectionmayalienatethekidsonthefringesthatweremostaffectedbyTheAfter’smixofpop-rockingenuityandreallife
scenarios.AtleastChristianradiowillbeabuzzformonthswithtracksoffofthisalbum.
Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ
28
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Continued on page 38.
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From the very first time I heard the Gospel-reggae music of Christafari, I was moved with a desire to worship the Lord; there is a real sense of joy and contentment-in-Christ that pervades each song. Frontman for Christafari, Mark Mohr explains about the different musical elements that contribute to this infectious sound and feeling, and notes that “Gospel-Reggae is the fastest growing form of reggae music.” Mark’s insights into this style of music and the mission of Christafari are inspiring and intriguing… a lot like the music!
Aimee Herd: Mark, can you give us a little background on Christafari, for those who are unfamiliar with it, how did you get started?Mark Mohr: Christafari started at a talent
show back in 1989, just two weeks after I truly surrendered my life to Christ. It was at a Christian camp and the Lord gave me a song during my devotional time. I asked the worship team if they could back me for a reggae song and they said “Sure, so you’re not a Rastafarian anymore, you’re a Christafarian.” The name stuck and I eventually formed my own band. Our first CD was
“Reggae Worship” released in the early 90’s. Over the last two decades we’ve recorded 12 albums, been to 50 countries, played two Olympic games and even performed before the President of the United States! It’s been a wild ride and has no signs of slowing down! AH: What is it about Reggae...especially
Christian Reggae, that seems so joyful, and brings peace? (That’s truly what I feel when I listen!)MM: Because of its lack of emphasis on
the ‘one’ (downbeat), reggae has a sort of bounce to it. Its bubbly and percolating rhythms can take a rocker off guard and the infectious riddim chank (guitar and key strum on the 2 and 4) are irresistible to dance to. This whimsical music is often associated with a carefree island lifestyle
that’s free from worries and full of joy. That’s why it translates so well into worship! AH: I think sometimes people have trouble
distinguishing Christian Reggae from the Rastafarian movement...can you talk about that a little?MM: While reggae may now be known
for its association with the Rastafari faith and promotion of Ganja (Marijuana), its true foundation is the Christian church in Jamaica. The first reggae artists of the genre began in the church singing popular hymns in this infectious style. Listen to early Marley and you’ll hear it plain and clear. Virtually every single secular artist today started singing in the church. The problem is that back in the day, Jamaican churches rejected the musical style and insisted on sticking with their traditions (regrettably this is still the case
in many churches). When this happened, the artists were not welcome in their own congregations. In search of a new spiritual fellowship they found the all-welcoming Rastafari faith. In short, many Rastas
believe that Emperor Haile Selassie was Christ incarnate. They worship him as the King of Kings and believe that Ethiopia is Zion and often use marijuana as a holy sacrament. In contrast, Christian reggae artists use the Word of God to bring the light of Christ to Rastas and the rest of the world, over heavy drum and
An interview with Mark Mohr by Aimee Herd
photo by Waldyr O
liveira Jr
33
bass. Gospel reggae is growing fast. At my last count there are over 1,000 Christian reggae artists now singing redemption songs for the Lord! Gospel reggae is the fastest growing style of reggae. We are truly starting a roots revival!AH: Talk about the different members of
your band—who they are and what they play...MM: Christafari tours with nine band
members. We have Tyrone Rudulph (drums), Avion Blackman (bass and vocals), Solomon Jabby (rhythm guitar and vocals), Obie Obien (lead guitar), Ryan Skiles (Keys/Organ), Carlos Centeno (Trumpet), Dannie Ramirez (Trombone), Jennifer Howland (vocals) and myself (lead vocals). We are a big crew, but operate in synchronicity like a small family. AH: What about the writing process? Is it
a band-collaboration, or do you and Avion primarily write together?MM: I write the vast majority of the songs. I
usually come up with at least one song idea per day. When it comes time to record, I sort through all those ideas, combine them (when possible) and pick out the strongest hooks that speak to me the most. Then we get together as a band and start wood-shedding these ideas. This is the most exhilarating part! It’s so fun to hear the songs come to life in minutes. Though I don’t play any instruments, I hum out the bass line or beat box the drum part to communicate my ideas to the guys. At that time I strongly encourage everyone to
contribute any ideas they may have. In just a week we narrow 200 ideas down to 20 or so rough demos and ultimately record around 15 songs. AH: One of your latest projects was sort
of a Spanish version of your album “To The Foundation”, is that right? Did you put that together especially for your travels in South America?MM: Actually, after “To the Foundation”,
we recorded “No Compromise”, our 20th Anniversary project. Then we took the biggest hits from those two albums to create “Reggae de Redencion,” our second Spanish CD. We also added in Avion Blackman’s “Yeshua” because it’s a mega hit and simply HAD to be on the album. The inspiration for this album came when
we were touring South America last year. Regardless of the language, our music resonates so much more with the people in Latin America. Our smallest crowd south of the border is about 500 people and can get as large as 80,000! When you sing in front of that many people, you want them to be able to digest and respond to the message
that you’re singing. And respond they do! We’ve seen around 3,000 give their lives to Christ in the last 6 months on tour! AH: Pick a few of the songs on “No
Compromise” to give us a little back story on...MM: The song “Most High” chronicles my
past as a drug addict, marijuana grower and dealer. In it I share about how through drugs, I was “Trying to escape, with nowhere to go” and “Tried to get high, but was really getting low.” The hook is “There is no high like the Most High.” The song “Compromise” was inspired
by the story, songs and messages of Keith Green, while “Try Jah Love” was prompted by a personal letter that my Dad wrote me years ago when I was a rebellious youth. In it he shared his personal testimony and stated that the best decision that he had ever made was to “Give God a try.” He urged me to do the same and I did. It was the best decision of my life! The final track on the album is a heartfelt
worship song called “Messiah.” I penned that one while surfing during a big swell in Southern California. I wrote “Death could not hold Him down” while being tumbled and ‘held down’ by some pretty
big waves! I write a lot of songs while surfing. It’s great to get out in God’s creation without music, phones or a computer to distract you. Sometimes if you want to hear God the most, you have to find a quiet place and quiet your mind.
AH: Do you have any new projects in the works?MM: We do about 100 shows a
year and when I am not touring I’m either surfing or in the studio. I produce around 4 projects a year. My latest is a solo project for Jennifer Howland, one of the singers in our band. It’s called “Daughter of the King”. After this I’m tracking a dub album, Avion’s third CD and then Christafari’s next full-length CD. Our next project is going to be
a reggae worship album. We’ll have some original stuff in there, but also plan to do some hardcore reggae interpretations of today’s hottest worship anthems. I’m sure people are going to flip out when they hear this insane one-drop reggae groove with thunderous bass only to realize that it’s a Hillsong cover!
AH: Christafari has been doing a lot of traveling... can you pick a couple places you’ve been where you’ve really had some very special
experiences with the people entering into worship, and special times with the Lord for the band? MM: We have seen some incredible
things over the years. I remember during one worship service that we played at in Holland, a deaf girl received her hearing back from the Lord. It was just a typical service for us, and after we played, our band had a group Bible study. During the study, we were reasoning over whether the Lord still does miracles like Christ did in the Gospels. The next day we were approached by the girl who had received her hearing and our eyes welled up with tears as she shared her story of how the Lord healed her during the worship service. God is still doing miracles!The first time that we went to Brazil was
also a trip. We had no idea how big reggae was there. I was invited to speak at a church and their worship team just played reggae! I don’t speak Portuguese, but the Lord really touched me that day. I’ve been such a reggae fan for so many years, all while trapped in CCM churches in the USA. I always wondered why God wired me this
a bypass configuration that I call the “One Dub”. We are all wireless (except the Drummer and Keyboardist). Movement is essential with reggae!AH: When you look at the whole
picture of worship music and Christian music in North America and Europe... where do you see Reggae fitting into that, and how can it be integrated more consistently... or is that not an issue?MM: The issue that I have with some
worship music is that it has become its own genre with one part U2, two parts Cold Play, one part country and a touch of classical. You know what I am talking about… when you turn
the radio dial and you can tell you’re on a Christian station before you even hear the lyrics. I think that it scares new Believers, and has them thinking that they have to give up their taste in music when they surrender their hearts to Christ. I believe that people should have the
freedom to worship the Lord to whatever genre they are wired to like. I love to see turntables in church. It brings me joy to hear a worship team break into a salsa groove, a hip hop beat or a reggae chank. I think that every worship leader should study their congregation and whom they are trying to reach, and incorporate that audience’s musical leanings into his/her jambalaya of worship styles. If that is reggae, then AMEN! If reggae doesn’t fit in that congregation, that’s fine too! As staunch Christians we need to stretch
out of our comfort zones from time to time. The western world exports worship to every other continent. We tell people that this is how worship sounds and have them emulating our American, Australian or British styles to a T, even down to the accent. If we expect the rest of the world to receive our music in this way, it must be reciprocal. It’s full-time that we start importing worship styles from other countries, continents and yes, islands!AH: Future plans for Christafari?MM: Tour, record and repeat. Continue
preaching the Gospel to all nations, until all have heard.AH: What is the best way for people to
find out more about Christafari and other Christian Reggae bands/artists?MM: www.christafari.com will give you
everything that you need to know about Christafari including links to our Twitter and Facebook. www.gospelreggae.com is the place to go
for everything that is gospel reggae! Our webstore has CDs from over 500 artists and is a complete resource for Christian reggae and world music.
way. It was so freeing to praise God in my own style. I felt like I had a glimpse of how it will be in heaven—everyone praising the Lord in their own tongue and in their own unique God given way. AH: I think, sonically, one of the unique
characteristics of Reggae music is the strong bass line that supports all the rest of the music. I know Avion, your wife, plays bass in Christafari... can you talk about her gear... and maybe some of the other gear that is used in the band?MM: Yeah, reggae is all about the bass!
Avion tours with a Steinberger Synapse XS-15FPA Custom 5-String Bass. She’s endorsed by the company. She uses flat wound strings and EQ’s the bass and cabinet just right to get that round FAT sound. Most of it is in the EQing and laidback delivery. With reggae it’s all about relaxing and fitting into the groove. If it were a car, the bassist would be in the trunk or hanging off the back bumper!Our guitarists use Fender Strats, Wah
Wah pedals and Echo Parks (along with other Line 6 effects). I even use that delay pedal on my vocals for certain spots using
CHRISTAFARI
34photo by Waldyr Oliveira Jr
photo by Jessi Marri
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Inthiscase,theguitar’sexcellentcondi-tionmaybewherethevaluelies.However,doyourresearchandkeepinmindthatupper-endmodelsinparticular,areoftenfoundinthiskindofcondition,ontheusedmarket.
Iamconsideringthepurchaseofahigh-end,boutiqueacousticguitar.MywifeandIaretryingtodetermineiftheyarereallyworth
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Youaredeepin“subjec-tiveterritory”onthisone.Ifeelthatyoumustfirstpondertwocriteria,forwhethersomething
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Certainhigh-endboutiqueguitarshaveabetterre-salevaluethanothers,simplybecausethesupplydoesn’tmeetthedemand.Iwouldexpectthatthismayfallunderthatcategory.
Thebottomlineis:iftheguitarknocksyoursocksoff,andyoucanaffordit,withoutskippingahousepayment,goforit.Asfar
aswhichone:that’ssubjective.PersonallyIhaveathingforvintageMartinsandGibsonguitars,whichcanalsobepricey.Theyhaveagreatre-salevalueandeverytimeIlookatthem,I’minspired.Therearenolawsrestrict-ingyoufrompayingtoomuchortoolittleforsomethingthatyoureallylove.
Iwillsaythis:Ifyoucan’tseeandplaytheguitar,beforebuying(unlessitssuchastealofaprice),stayawayuntilyoucanknowforsurethatit’s“theone”.
Irecentlyfoundausedguitar,inmintcondition,withallofthewarrantypapersunregistered.Is
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50 Great Gifts (cont. page 30)
38
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BeforegettingintoStringBendingpart3andsincethisisthelastissueof2010,it’sthemostwonderfultimeoftheyear,Christmasandtheseasonforgiving.SoI’dliketosharemytopthreepicksthatguitarplayersmightliketofindundertheChristmasTree:adualsubscriptionof“Worship”and“ChristianMusician”maga-zine,aFulltone“OCD”(ObsessiveCompulsiveDrive)pedaland“Manit’sChristmas”DVD/CDfromguitaristJimmieBratcher.Ijustlikeallthreeandthinkyouwouldtoo.Now,ontopart3.
We’velookedatstartingstringbendsandhittingthenotesyou’restretchingtoalongwithClassicrockbands,sonowlet’stakealookatsomeBluesandCountrySteelstylebendingtoaddtoyourrepertoireofriffs.Thefirstset“BluesBends”.Example1isabendslideupbendontheGstringwithyourindexfingerthenontheBstringwithabendandrelease.Example2startswithafullbendGtoAwithnoreleaseontheBstring,IusemyindexfingertocovertheBandEstringtoplaytheAandEnotes.Thinkofthisriffin3’s,pick-bendpick-pick.Startwithanup-strokepickthendown,up.YourpickwillstaywithintheEandBstrings.Example3canbeusedovertheendturnaroundofabluesprogression.Example4isabluesyStevieRayriffstartingwithafullbendnoreleaseonthehighEstring,onceyouhitthewholestepbendstopthenotewiththepalmofyourpickinghand.TheriffmovesdownjuststoppingshortforafullbendontheGstringagainnoreleasethenskipovertheBstringtohitthelastnote.Addsomevibratointothisanditwilljustsing.
Thenextfour“CountryStyle”examplesworkbestwithacleantonewithsomereverbandcompression.Example5Isamixofdoublestringbendsand2notedoublestops.Thesearemeanttobeplayedup-tempowithquickbends.Useyouindexandringfinger,pickbothnotesatthesametime.InthesecondmeasureuseyourindexfingertocovertheGandBstringsatthe5thfret,Playitwithapickandthentryusingyourfingersofthepickinghandtopluckthestrings.Examples6to8areSteelGuitarstylebends.Example6BendthelowernoteontheBstringupawholetonethenbackdown(bendandrelease)whilebothnotesareringingout.Example7Isasetofbendsinthesecondmeasureuseyourpinky
String Bending Part 3 Roger is a member of the Audio and Praise teams at Freedom Life Church in Kissimmee Fl. Endorses Greg Bennett Design Guitars by Samick , G&L Guitars, BBE
Sound and PedalTrain Pedal Boards. Is an award winning guitarist from the “Songwriter Showcase of America”. For music, videos and more surf to www.rogerzimish.com, email: [email protected]
onthe8thfretBstringandyourindexfingerontheGstringforthemovementfromthe5thfrettothe4thfretthenaslidebacktothe5thfret.Example8ThisisatriadchordbendofaCsus2toaCmajor.ThebendforbothshapesisontheGstring.LetallthenotesringoutwhileyoubendthenoteontheGstring.Trypickingwithanupstrokeacrossthetriad.Tryalltheexamplesindifferentpositionsandkeysovertheneck,getcreativeandGODBless.
41
Rich has a 6 CD audio program for learning, hearing and memorizing music theory called “Theory For The Road” which can be found at www.GuitarCollege.com. It explains everything in detail and includes audio music illustrations on keyboard and guitar, and ear training.
Thebluesscaleisafavoritetoolforsinglenoteimprovsoloing.Whenit’sharmonizedittakesonanalmosthornsectionsoundandaddsanewdimensiontoyourplaying.Thisideaworksbestoverdominantchordsandbluesprogressions.Ifweaddaminor3rdbeloweachnoteofthebluesscaleandthenaddaperfect4thbelowthatnote,wegetamovableshapethatwecanapplytoeachdegreeonthebluesscaleforthatbluesyhornlineeffect.Ifyouwouldliketoseevideoonthisideagotowww.99centGuitarLessons.comclickonthe“BLUES”buttonandthenon“HornSectionStyleLinesbyRichSeverson”.
Hopeyouenjoythislessonandworkthisideaintoyourplaying.
TillnexttimemayGodblessyourhardwork!
Ex.1 Showshowthebluesscaleisplayedacrossthefretboardusingthe4chordshapeswithinstringgroups.Stringgroup1encompassesstring1,2&3.Stringgroup2usesstring2,3&4.Gettheidea?
Ex.2 Focusonstringgroup1andplayingtheharmonizedscaleuptheneck.Thisiswhereyou’llprobablydomostofyourplaying.ThisshapelookslikeanopenpositionDminorchord.
Ex.3 Focusonstringgroup2,string2,3&4(LookslikeanAminorchord)
Ex.4 Focusonstringgroup3,string3,4&5(Eminorchordshape)
Ex.5 Focusonstringgroup4,string4,5&6
Harmonizing the Blues Scale
42
Bryan Duncan... CCM artist for thirty years. With the Sweet Comfort Band, then solo and now with the Nehosoul band. Owner of Red Road Records and Host of Radio Rehab at www.radiorehab.com inducted into the Christian music Hall of Fame in 2007.
Inevermeanttostopprayingaltogether.Itjustkindofhappenedforawhile.ThemoreawareIbecameinmyconsciouscontactwithGod,thelessIbelievedinmyownrequests.Ibecamepainfullyawarethatallofmyprayerswereselfishandself-motivated.Iwantmostlywhatwillmakememorecomfortable.
Prayersforotherpeopleseemedawasteoftimetoo,givenmylackofinsightand,hon-estly,disinterest.Iwatchedtoomanypeoplegounhealed,fileforbankruptcy,ordieofcancer.WhatdoIknowaboutthestringofpoordeci-sionsthatothersmakebeforetheyaskmetoprayforamiracle?
Now,it’snotthatIstoppedlisteningforthevoiceofGod.Buteventhere,youcanstartget-tingtwitchyaboutthecurtainsblowingwhenthewindowsaren’topen.Youcanstartseeinglittleroadmapsinoddcoincidencesandfindyourselfinacul-de-sacofspiritualdelusion.
WhatIreadinscripturesometimesmakesmewanttolookforhelpelsewhere.Therearenomagicformulasinthere.Thereisacuriouscalltoalifeandfaiththatseemsimpossibletomaintain.Andinmycase,thereisanoftenun-willingnesstosacrificeforaglorythatdoesn’tinvolveme.
WhatcanIdobutaskGodwhathewants?Andleaveitthere.Peopledon’tflocktoyourprayerswhenyoudothat.“Hey,Icouldpraythatonebymyself,”someonetoldme.“Infact,Ialreadyhave.”Well,maybethat’sthepoint.WhatIdounderstandisthattheBibleclaimsthatGodwantsanindividualrelationshipwitheveryhumanbeing.Thatmightmeanthosepeoplearenotgoingtoneedyouradviceifthey’vefoundanopenlinetothesupremecounselor.
“Sowhatdoesthathavetodowithme?”you’reasking.“I’mnotacounselor.I’mamusi-cian,”youmightadd.AndIsay,let’sdefinewhatyoudo.Youleadwithmusicandpassionforwhatyoulove,andthat,myfriend,isawayofofferingadvice.Andifyou’rewritingthelyrics,well…you’recounseling!Eitherway,Iknowyoupray–becauseyou’vehadtowingitonacoupleofsongsinyoursetatonetimeoranother.
“Christianmusician”isn’tajobdescription–it’sadisposition!Youhaveanopportunitytoshinewithsomethingdifferent,aninnerstrengththatcomeswithatranscendentpas-sionbecauseyouareseeingthebiggestpicture
A Musician’s DispositionBy Bryan Duncan
withclarityoftruththatmagnifiesthetiniestofdetails.It’sadispositiontowardtheadventureofdiscoveries,transferredtoapliableinstru-ment.Youaredrivenbyanunwaveringpursuitoftheawe-inspiring!Evenifyourmouthdoesn’tfallopenoneverychordchange,youknowyouaresearchingforthatintheoverallpresentation.
Ipersonallybelievemusicitselfiswor-ship!TheglorificationofwhatGodhassetinmotion.Italwaysbringsmepersonallytoagratitudeformyowngrowingunderstandingofhispurpose.If“imitation”isthepurestformofflattery,whatbetterformofworshipoftheCre-atorthen,thantobecreative.It’snotsettlingforthestandardhand-me-downprogressionbecauseit’sthewaywe’vealwaysdoneit.
Ireadsomewhererecentlythat“RuinistheRoadtoTransformation.”Ithinkitwastwittered/tweetedatme.Soisyourgigdryingup?Arechurchpoliticsgettingalittlesticky?HavingtroubleperformingthosesametiredchordsandsevenwordsthatstoppedbeingmeaningfulafterthelastU2recordcameout?Maybeyou’verunoutofdescriptivetermsforGod.You’veusedupalltherhymesinyourthe-saurus.Or,maybeyou’velostthewilltoriskbeingcreativeatall.
Therealhomeworkinsongwritingandplay-ingmusicdoesn’tevenstartinthewoodshed.Itstartsbeforewepickupanyinstrumentorputpentopaper.Idon’thavetoaddcommen-taryhereaboutthestateoftheChristianmusicindustryorthewaynewtechnologyhasstreamlinedtheprofitmarginsformostofthemiddlemen.You’veseentheforeclosures.Maybeweneedtogokillagiantbeforewetuneupourharptoplayfortheking.
OnlyonceinthisdecadedoIrecallapar-ticularlyprolificpublicprayer–thatInowcan’trememberbecauseIwassimplyawareof
howpresentthatmomentwas.Morethanacircumstancetobeovercome,orapresentationtobeblessed,itwasasenseofbeingconnected.Itwasaprayerthatproducedanelectricityofcurrentthatneedednofurtherupgrades.Sud-denly,therewasnotevenasensethatIshouldplugsomethingintoaccomplishanypurposewhatsoever.Thepowerwason.Thehousewaslit,andeverythingwasclean.
Ifoundmyselfsinging“DoctorMyEyes”thismorning:“Igotthisfeelingthatit’slaterthanitseems.”MyprayeristhatGodwillcuttothequickofmyownfalsebelief.“Adoptedfaith”iswhatIhave‘inherited’simplybynotpursuinganythingfurther.Istillbelieveinthepowerofasong,don’tgetmewrong,butI’veheardthesamesongssungbyhundredsofmusicians,andwhatresonatesbeginswiththedispositionoftheplayer.
Ithinkit’samatterofplugginginmyheartbeforemyamplifier.
43
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OK…What’supwiththis?GettingrichandfamousinChristianmusic?We’renotsupposedtogetrichandfamousdoingChris-tianmusic;areyoucrazy?
Alright,letmeexplainwhereI’mcomingfrom.Thisisn’taboutmakinggadsofmoneyandbeingahouseholdname;thisisabouttheimportanceofcreatingrichcontent,whichwillnaturallydrawpeopletoyou.Asyoudrawpeoplein,thenyoucanenrichtheirlives,whichwillcausethemtotellothersaboutyourministry,whichwillinturnbringmorepeopletoyou,andthecyclecontinues.Thisiswhatiscalledviralmarketing,andguesswhat–JesusandHisdiscipleswereagreatexampleofwhathappenswhenpassionandexcellenceteamsupwithcommitmenttothecall.
TherewasnorichercontentthanthemessageJesusbroughttothisearth.Therewasnobetterstreetteamthanthedisciples,whocarriedonthemessageofthecrossafterJesuswascrucified.Theseguysdidnotgiveup,theydidn’tbuckletorejection,andtheultimatelygavetheirlivesfortheirmission.How’sthatforcommitmenttothecall?
Youmaywonderhowthisrelatestotheindependentartist,musicianandsongwriter?Everything!Why?Becausewearetopatternwhatwedo,whywearedoingit,andhowwearedoingitbasedonourexample,Jesus.Ev-erythingJesusdidpointedoutward.Heneverpointedinward;meaning,Hismissionwastobringtothisearthcontentthatchangedeverythingforeveryone,andHegavehislifefulfillingthatmission.
IfyoufeelGodisleadingyoutoChris-tianmusic,weshoulddonothinglessinourmissionthanwhatJesusdidinHis.Iseequiteafewindieartistsouttherewhoarenotcom-mittedtothemissionGodhasthemon.Theydabbleatit,theyinvestcapfulsofworkandthimblesoffaithintheirmission,andtheywonderwhyGodisn’t“blowingthemup!”FromwhatIhavereadintheWord,Goddoesnotcareverymuchfordabblersorthosewhoarelukewarm.Asamatteroffact,Hespits
themout.Yuck!WhowantstobespitoutofGod’smouth?
So,what’sanindietodotomakesureGoddoesn’tspitthemout?
1.Beverysureyourmusicmissionissomethingyouhavetimetopursue.Ifyourlifeisnotalignedinawaywhereyoucaninvestresources,time,andyourtalent,thenmyadviceisdonotpursueyourmission.Ifyouhavedebt,mortgage,obligationsandburdens,thenmyadviceisdonotpursueyourmissionuntiltheseissuesaredealtwithandresolved.Yourlifeneedstobesetuptoallowyouthefreedomtopursueyourmusicmission.Ifitisn’t,youwillexperiencemanytrialsandmuchstrifebecauseyousimplycannotdevotewhatittakestobuildamusicmission.
2.Ifyouhavestartedyourmusicmission,besurethatthecontentyouareproduc-inghasvaluetoothers.Christianartists,musiciansandsongwritershaveaverytoughtimeselfevaluatingtheircontent.Whyisthis?Itisbecausetheyarehighlyattachedemotionallytowhattheyhavecreated.AndIgetthat.WeshouldbeattachedtowhatwearecreatingwiththeCreator.However,IseemanyouttherewhosettleformediocrityandbelieveGodwillmakeupfortheirlackofquality,ortheysimplydonotknowtheyareme-diocre.And,Christiansarenotoriousfortellingartisticcreativestheyare“anoint-ed”orgreatbecausetheyareafraidtodiscouragethembytellingthemthetruthabouttheircontent.IcherishtruthfulcriticismofwhatIamdoingandneverdiscountitorblowitoffassomeonenotgettingwhatIamdoing.Talkaboutprideandarrogance.Iusedtothinkthatway,butGodbrokemeofthat.
3.Bepassionateaboutyourmission.Passiondrawspeopletoyouasmuchasormaybemorethanexcellence.Don’tbearrogant,orthinkyouareGod’sgifttohumankind.Ihavenewsforyou,youaren’t.Andthatisthefirststeptopas-sion.Thereisafinelinebetweenholyboldnessandpridefularrogance.That
lineiscalledpassion!Ifyouaretoofaroffthatline,youareeitheralimpnoodlewhodoesn’tbelieveinyourmission,orahard-headedegomaniacwhoisunteachableandfilledwithpride.
4.Ineverythingyoudo,pointoutward,notinward.Thisisn’taboutwhatyouget,it’sallaboutwhatyougive!IsaygivetogiveandletthegettingbeuptoGod.Godwillprovideforyouasyouinvestinyourmissionandstriveforprofessionalvision.YoucandoitwithGod’shelp!
Keepuptheexcellentfaith-work!KeithMohr
Indie No Spin Zone
How To Get Rich and Famous in Christian Musicby Keith Mohr
Keith is founder/president of Indieheaven, an organization for independent Christian musicians, song writers and artists. For more info, visit: www.indieheaven.com. Keith is
the founder of Indie University, an education resource. Visit: www.indieuniversity.com. Follow Keith on Twitter: www.twitter.com/keithmohr, Facebook: www.facebook.com/keithmohr, and www.facebook.com/indieheaven
44
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perio. Ut endae culpa duntius ditatet dendiae provitent vel magnam, nist, temporporem
verciam nossunt orernat emperro eum ipsapel ecturib usamus et iusam, sentur, quia ipsunt
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ut et officiam nus.
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sequi arciaturibus alis quae conem verepta eosandi acearch i
caborere, simaxim agnatem
niandio quuntora sandi sitio. Et velisti onsequae voluptatis dolecta tquiae nobitib uscil-
luptur, ommolo moditatur, cusam, quam que parit, venimus mo con cum con nisci alibus
explaut et exeribus millab inullatem sincien toribus, sequatius as dicil eumque eiciis am
am que volor aut volum sint invelitaspid moditatur, officaectem as magnatas am quid
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tiumquo blatior errovit asp
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poreped et, sed magnisquam voloremquam samenist ut eum essi dolent laute conserorum
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verciam nossunt orernat emperro eum ipsapel ecturib usamus et iusam, sentur, quia ipsunt
occus aut exerspello blaborpo
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niandio quuntora sandi sitio. Et velisti onsequae voluptatis dolecta tquiae nobitib uscil-
luptur, ommolo moditatur, cusam, quam que parit, venimus mo con cum con nisci alibus
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am que volor aut volum sint invelitaspid moditatur, officaectem as magnatas am quid
unt ut volupta a nobit quas ut quasimet que natam eatis mo estotat urenim vero berunti de
volorpos susape cus ea sequam et aut at omnimporeped quidemquis accuptas eicaep
udae que
qui raest, eum acienihilia nonsequatem que non peditatque dolorum quate nonsequam repe-
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volor alitati issequi
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ommo dem harciis ea cus nisti consect oreped
is nulpa velenia ssintis enda sam ressi net
dolupti od molut vel id que pa simporerum autem il eum id que voluptatur aut ut quam di
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quae alic tem fugit occumque nitiore moluptae ipsa a
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veles moluptur? Qui sus enia comnima ioruptat laborestin nus volento consequunt aped
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liqui aut quiandignate plissit aspedior simoluptas estota
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50 Great Gifts (cont. page 38)
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BorninKentucky,raisedinbothJapanandtheLoneStarState,thenasateenthebigmovetoTurkey(asinthecountry).Mygoodness,mak-ingmejetlaggedjustreadingaboutit.HisparentssawthepitfallsofanAmericanteenlivinginTurkey,smackdabinthemiddleofaveryrichdrugcultureandwithextremelyharshpenaltiesforthosewhopar-ticipatedandwerecaught.SotheysentBobbypackingtoacousin’shouseinGeorgia(notthecountry)forhisjunioryearofhighschool,asinthe11thgrade.Bobwasalreadystartingtoplayguitarandsingbythistime.HewantedtobeliketheBeatlesandhehadstartedacoupleofbandsbythetimehegottohighschool.
NowsomethinggoodhappenedinGeorgia,besidesthosesweetpeaches.BobwenttoaretreatwithafriendandmetourLordinarealway.Itwouldchangehislifelikeheneverimagined.ThefollowingyearBob’sfamilyreturnedfromoverseasandtheyalltoucheddowninNorthernCaliforniaforhislastyearofhighschoolandhehasneverwantedtoliveanywhereelsesince–hehasbecomeaWestCoastianthruandthru.Thereoughttobeasongintheresomewhere.
TherewasaperiodoftimewhereBobfelthewaslettingmusicbecomehisGod.Inanefforttoconvincehimselfthathewasnotput-tinganythingbeforehisrelationshipwithJesus,hebrokehisguitarinhalfandburneditinafire,notunlikesacrificingitonthealtar.GodhonoredthatbecauseafewmonthslaterafriendgaveBobaguitarandhestartedsinging,singingandsing-ing.BobgotinvolvedinanoutreachministrytobothUCBerkleyandUCDavis,andoneeveningataprayertimehemovedtoanotherroomwithafewothers.TheyendedupspendingfivehoursinthatroomprayingandBobleftknowinghehadbeenset asidefortheministry;hewasonly17,thiswas1970,anditwasaverygoodyear.
Summerof’70sawBobstartahouseminis-tryanditwasduringthistimehestarteddatingCindy,whohehadmetinhighschool.AfteraperiodoftimetheybrokeupandBobwasreallyhopingthathewasn’tgoingtoendupbeing
aeunuchforChrist;didn’tfeellikehewas
giftedinthatarea.HethankfullygotherbackandtheyweremarriedinNov.1971(movinginon40yearsnow).Withthehouseministrystillgoingstrong,BobandhisexpectantwifeleftforanoutreachinEuropeforafewmonths,leavingacoupleofgoodfriendsinchargeoftheministry.Whileoverseas,theyrealizedtheirhouseministrytimewasupanddecidedtoletitstayinthecapablehandsoftheirfriends.
UponreturningfromEuropein1972,theyweregiventheopportunitytomeetCorrietenBoom.ShesawthatCindywasexpectingandaskedifshecouldprayforherchild.CindyagreedandCorrielayedhandsonherstomachprayingablessingovertheyetunbornJoel.Thatwasanhonornotaffordedtomanyandcoincidenceornot,Joelhasbecomeagiftedwriter.ThefamilymovedtoSacramento,Ca.
whereBobbecameayouthpastorandmadesomelastingfriendships.Therewasonlyonelittleproblem;Bobwasn’tanygoodatbeinga‘youthpas-tor’.Itwasaroundpeg,squareholetypeofthing,rhetorically.
TheKilpatrickclanmadethemoveuptoRedding,Ca.wherehebecamethemusicpastorforEarlJohnsonatBethelChurch.Bobfelthewasonlymarginallybetteratthat;hefeltsomewhatstifledand
knewhiscallingwassomethingdifferent.OnedayEarlcalledhiminandtheyhada‘manoymano’.HetoldBobthathewasn’tdoingeitheroneofthemanygoodinthatpositionandthatheneededtogetoutandwrite/performhissongstothebodyofChrist.Forthenexttwoyears,theonlytimeBobattendedBethelChurchwasatEasterandChristmas.Otherthanthathewasontheroadtravelingandsinging.
ItwasduringthistimethatBobwrotethewellknownworshipsong,“[InMy Life Lord,] Be Glorified”–Springof’76.Earlwasthefatherofthatsong,inthatheencouragedandempoweredBobinthisministry.Howdidithappentobecomeahit?Noeasyanswer–othersbegantosingit.Itpickedupwithagroundswell.AfriendofBob’satCalvaryChapel,inCostaMesa,ledmusicthere.Heheardthesongandplayedittherefortwoyears.KarenLafferty,aMaranatha!Recordingartist,heardit,reallylikeditandbeganperformingit.She
tookitontourwithherallthewaytoEuropeandbackwhileMaranatha!Musicrecordingart-ist/producer,TommyCoomes,putittovinyl.AndBobrecordeditonhisfirstalbumaswellwiththeband,David,featuringRandyMitchellonguitarandAlexMacDougall(laterofDanielAmos).
Bob’sministryisfocusedoncommunica-tion.Hesaysthatpeoplerememberwhattheylaughaboutandtheyrememberstories;Bobprovidesbothintertwinedwithgreatmusicwhenheministerstochurchesandgroups.AlthoughBobhadinsidethoughtsoftouringandattainingalbumsalessuccessthewayotherwellknownartistswereabletodo,herealizedhecouldnotaffordtotakeabandontheroadandhewaslosinghishair.DagnabbitasWalterBrennanusedtosay.Reallylonghairwasstillatoughsellinchurchesbackatthestartofhisministryanyway;lookingathimfromthefronthe’dgethired,whenheturnedaroundandwalkedaway,they’dthink,whatintheworlddidwejustdo?(justkiddingBob).SinceBob’sprimaryministrywastotheBodyofChrist,heneededtofitinthereandhedid.
During1990Bob,CindyandtheirfamilymadethemovetoSacramentoandtheyhavebeentheresince.Notethatthereasonforthemovewastolivenearalargerairportfordirectflightstohisdestinations–whichendedupsavinghimabout28traveldaysayear,notspendingnightsdifferentplaceswaitingforconnectingflights.Thataffordedhimmoretimewithhisfamily.Astheministryhasgrown,henowtravelsworldwide.
Bobtookhisoldestson,Joel,withhimonatwoweekoutreachinMexicoCitywhereJoelplayedkeyboardsforBob.ThatoutreachsealedJoel’scommitmenttotheLord.BobhasalsotakenhisotherchildrenonministrytripstoMexicoandAustralia.BobandCindyhavefoursonsandadaughter:
Joel,Ian,Andrew,KyleandBrittany.TherewasmuchprayerbetweenthebirthofKyleandBrittany,andtheLordhonoredthemwithagirl.
Rewindby Jim Oas
Bob Kilpatrick - Set Aside
Question: What connection did Bob Kilpatrick have with Keith Green? Answer at the end of this article.
50
AlistingofBob’smanygifts:
MusicianWriterSingerProducerEnginnerAuthorTeacherRadiopersonality:
KLOVE.com
Likemostguitarists,Bobwantedastudiotorecordin.Heissomewhatofagearhead.Workingonasoundtrackforafilmgavehimsomebudgetwiggleroom–andwhatdidhespenditon:gear.Hishousehadroomforanicestudioandhehadacontractorfriendwhosentinacrewandjustblessedhissocksoff.CindyfinallyaskedBobwhatitwouldtaketomakeitaworldclassstudio?Nowhowmanyofushavewivesthatwouldaskthat?WellBobsaidafewmore$1000,justafew.Sotheydidit;vocalbooth,drumbooth,mainroom.BobhasrecordedRandyStonehill,PhilKeaggyandmanyothersinthatstudio.Also,usingtoday’stechnologywhereyoucanuploadanddown-loadtrackstoworkon,hehasusedthestudioforrecordingpartsonotherartistsalbumsforNoelPaulStookey,SaraGroves,LarryNorman,RussTaff,PhilMadeira,andmoreIamforget-
ting.Electronictransfer–whowouldhavethought20yearsago!LincolnandJeremyCamphavestoppedbytohangbutneverrecordedthere.
BobstartedhisownLabelduringthe90’sinordertomoreeasilydistributehismusicprojectsandthoseofotherartistshewasworkingwithaswell.Italsoaf-fordedhimtheopportunitytoputsomerecordsoutwithotherrecordingmusi-cians.However,studioworkisjustthatforBob,necessaryworkinordertoget
hismusicintopeoples’homesandcars.Heismostcomfortableonstage;performingmusic,tellingstories,communicatingtruthstotheBodyofbelievers.Heisafirmbelieverthatthesaintscanbeentertainedandequippedallinonesitting.
BobandJoelKilpatrickco-authoredanewbookdueoutthisDecemberwithZondervan,titledThe Art Of Being You: how to live as God’s masterpiece.BasedonsomethoughtsfromEnglishwriter,DorothyLSayers,Bobstartedcollectingandexpandinghisthoughtsonthissubject.Hisson,Joel,evenspokeofthisathis1990graduation;Godisanartist,lifeisart.Wellthetimeisathandforcompil-ingandpresentingtheseideasandtruthstoengageusinthinkingandlivingourfullnessinChrist.Bobalsojustcompletedrecordingtheaudioversionofthebookaswellandbothare
availableforpre-orderatAmazonandallothermajorretailers.Bob’sfirstbook,SecretsoftheSilence,isa21daydevotionalandcameoutlastsummer.
YoumightalsorecognizeBobKilpatrick’snamefromCMSworkshopsandthismagazine.Bobwasacontributingwriterfrom1996to2009.HemetCM.comPresidentandEditorBruceAdolphatSpiritWestCoast,onstage.Bobboughtthegive-awayguitarfromBruceanditallstartedfromthere.Bobsayshismaga-zinewritingwasbootcampforhimandallowedhimtohonehiswritingskillstothepointwherehewasreadytodoabook.ToBruce,Bobsays‘thank you’.
Wellaswearewrappingupthiscalendaryear,itiscleartoseewhatablessingtosomanyBobKilpatrickhasbeen–andwillcontinuetobeasheissetaside.Remembertocheckouthisnewbook;thisis2010,anditwasaverygoodyear.
Answer:Bob Kilpatrick performed with Keith Green at Jesus West Coast in Santa Rosa, Ca, 1982, along with Loren Cunningham. That was to be Keith’s final concert before he passed from us in that tragic plane crash a few days later, back home in Texas.
Untilnexttime,‘2ndstartotherightandstraightontil’morning’;PeterPan,CaptJamesT.Kirk,andI,JimOas
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DoerksenandChris-topherGrecosetouttowriteProdigal God,themusicaltaleoftwobrothersandonewastefullyextravagantfather,theyweren’texpectingittobeawork-in-progresssome8yearslater.Theyweren’tplanningtore-cordall23songsfirstandreleaseapremiumdoubleCD.Ortobeadaptingthestorytoascreenplaybeforeit’sevenseenthelightofatheatre.
Theyknewwritingafull-lengthmusicalismoreinvolvedthancollaboratingonaworshipsong,piecingtogetheracohesiveworshipset,orrecord-inganalbum.Fromthefirstsongtheywrote,“AFather’sLove,”tothelastsongoftheshow,“Provision”,theyknewthemusicwouldhavetocarrytheemotionalheftofanall-too-familiarparable,andtodosoinsurprisingandcontemporaryways.Theyknewthecharactersofthatstoryweregoingtodrivethecreativeprocessinwaystheycouldn’tpredictorcontrol.
Buttheyhadnowayofknowinghowlongitwouldtake,howmanypagesofdia-loguewouldbewritten,cutandrewritten,orhowmanylyricchangesasinglesongcouldsustain.Theydidn’tknowwhattheydidn’tknow.Andtheystilldon’t.Andmaybethat’s
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Bothhave“dayjobs”,asitwere:BrianasanIntegrityrecordingartistandlocalchurchworshippastoronthewestcoastofCanada,andChristopherasanartsandworshippastoroftheGreaterBostonVineyardontheeastcoastoftheU.S.
DotheyhaveanyanguishaboutthelongroadtoProvision,thenameofthefictionaltowninwhichthestoryisset?“Notany-more,”saysscriptwriterandco-lyricist,Christo-pherGreco.“Thestoryhasonlygottenclearerandmorepowerfulaswe’velivedinitalltheseyears.”
Brian,composerofthemusicandco-lyricist,adds,“Thejourneystartedformein1991,themonthmyspecialneedssonwasbornwithFragileXSyndrome.Benjaminisnow19andhereIam,stillontheroadtothefulfillmentofthisvision:anepicstoryinter-wovenwithsongsthatcommunicatesfatherlovetoafatherlessworld!”
AkeyinspirationcamefromHenriNou-wen’sclassicspiritualmemoir,The Return of the Prodigal Son,basedonhisreflectionsontheRembrandtpaintingofthesamename.Inbrief,Nouwen’sstrongidentificationwiththeyoungersontookasurprisingturnwhen
afriendsuggestedhemightreallybemoreliketheelderone.Later,whenanotherfriendpromptedhimtoconsiderwhetherhistruecallingmightbetobecomethefather,Nou-wenbegantoviewtheparableasthestoryofhisownearthlylife.
SomethingabouttheelderbrothergrabbedBrianandChristopherfromthebeginning.That’swhytheydecidedtomakehimthenarratorofthestory.Theywonderedwhatdiditfeellikeforhimthedayafterhisbrother’scelebratedreturn.Andthenextday.Whatiftheelderbrotherhadhisownopportunityforredemption?Whatwouldittakeforhimtogainhisownlong-awaitedhomecomingparty?
Briansingstheroleoftheeldersonontherecording,andsays,“AsIsangtheelderson’sthoughtsandfeelingsoverandover,Iidentifiedwithhisstruggle.Graceismucheasiertoreceivewhenit’scoveringmyownsin,ratherthanwhenit’sextendedtosome-oneIperceivedoesn’tdeserveit.”
NotonlydidNouwen’sbookgoadthemtolookdeeperintothestory,itofferedamostremarkableexampleofanartconsumerandaudiencemember.Atoncealearnedmanandacuriouschild,Nouwensavoredallhereadintheparableandallhesawinthepainting.Hehungonthedetailsoveryears.WhatNou-wenbeheldintheartinformedthechoiceshemadeaboutwhattodonextwithhislife.Throughart,hemademoreart,andlivedamoresatisfyinglifebecauseofit.
Insimilarfashion,Prodigal GodhasbecomeanintenselypersonalprojecttobothBrianandChristopher,astheyeacharesons,brothers,andfatherswhofindparallelsbe-tweenthecharactersandtheirownspiritualhomecomingjourneys.
“Hadwenothadsuchapersonalinvest-mentinthestory,I’mnotsurewecould’vesustainedthislongroad,”saysGreco.“Thisstoryhasbecomeabell-weatherformeasI’venavigatedmysons’entryintotheteenyears.Ihopeit’lloffermysonshalfasmuchasI’vegottenoutofit.”ForDoerksen,reachingthismilestoneisalittlemorebittersweet.“Duetomyson’smentaldisability,Benjaminwon’tcomprehendtheintricaciesofthestory–butonethinghegets;unconditionalfatherlovewhichisattheheartofthisstory.”
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