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Zoro the Drummer
What Matters Most?
NOV/DEC 2011 Volume 16, Issue 6
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8 Bassic Communication by Norm Stockton Intro to Solo Bass Arranging (Part 8)
30 Selective Hearing - Special Review by Shawn McLaughlin Ghost on the Canvas by Glen Campbell 34 The Indie Mechanics by Keith Mohr & Sue Mohr Your Vision Defined 36 The Fretboard Less Traveled by Rich Severson 38 Ask Joe by Joe Riggio 41 Guitar From A2Z by Roger Zimish Using the Dorian Mode for Soloing & Songwriting 44 Make an Audience Alliance by Bryan Duncan 46 What is OneVerse? An Interview with Jill Monaco
You Know You Are Too Busy When…
The other night a really strange musical convergence happened. It is a bit embarrassing to admit as a musician-type guy but it is the truth… and we all know the truth will set you free… even to play guitar. With two magazines going, and several Christian Musician Summits to produce through these rough economic times, I have ended up working a lot of hours most of this year (when you are self employed that usually moves the “hours logged in” meter higher). Plus there is home life, three sons who have flown the coop but still are in your life, and now football season is in full swing which Judy and I like to get involved in watching together… needless to say when it comes to my “playing guitar time” it is usually for about 15 minutes a night sitting on the edge of the bed with my acoustic guitar and sometimes with an unplugged electric guitar. Even though I have had limited time to play I have been planning a new setup for my electric side of life, and it all merged together at just the right time a few nights ago. Five months ago I sold my strat and bought a Riggio Custom Guitars electric (you know Joe from our ‘Ask Joe’ column in the magazine… a dedicated and knowledgeable builder and repair man). I had John Carlsen Audio custom pick-ups installed when Joe built it for me too, but I have not had a chance to even plug in the guitar to an amp yet to hear what they sounded like. Then last month I traded for a 2001 Crate Palomino 16 watt tube amp. I haven’t owned an amp for a while, but this was the right choice for my “play at home” needs. About a year ago I had bought a 1992 Ibanez Tube Screamer overdrive pedal from the guitarist in a local Christian band here called The Acclaim… that, again, I hadn’t even plugged into yet. I had traded for a BBE Optical Compressor pedal at my SeaTac Guitar Show last month too, and sensing this convergence of gear was coming together soon I had borrowed an Ibanez Digital Delay from a good buddy. So there I was, sitting in my music room with an electric guitar I had never plugged in, a tube amp I had never turned on, and three floor pedals that I had never used since I had collected them. The only part of my new set up I had used before was a 1970’s Vox Wah Wah pedal. I got out my patch cords and in two minutes I was all plugged in and ready to play. It felt really strange to me, as I had to get used to everything at once. It felt like the short moments when you are bobbing up and down in the lake before you give the speed boat driver the “thumbs up” sign to “hit it” before you take off when you are water skiing. I hit the first chord and… nothing. A little troubleshooting revealed that the one part of the tonal chain I had used before, my Vox Wah Wah pedal, was DOA. Its battery must of sat too long waiting for me to get my electric act together. That’s what I get. So I took it out of the food chain and then hit that first chord again. Wow! It was a big sound, and got my creative juices going. I ran through the various pedal options and got a tune going with each new combination. This was fantastic fun. I can’t believe I waited so long! Judy was down the hall in our bedroom and yelled out to me, Continued on page 42.
10 Guitar Workshop by John Standefer Remembering the Reason for Christmas 12 Drumming Dynamics by David Owens The Lost Are Found 14 Vocal Coach’s Corner by Roger Beale The VoiceLive Touch Electronics for Singers 16 Product Review by Bruce Adolph Yamaha A3R 18 Show Us Your Groove by Rick Cua Great Songs Do That 26 Selective Hearing by Shawn McLaughlin Mutemath Glenn Kaiser Needtobreathe Switchfoot Matt Maher Shaun Groves
20 Zoro the Drummer: What Matters Most? by Bruce Adolph
cover photo: Shaune McDowell
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Intro to Solo Bass Arranging (Part 8)
Welcome back, and I hope you’ve been (the traditional Christmas tune, Angels We having fun playing our solo bass arrangement! Have Heard On High). We’ll proceed with If you’re just joining us, we’ve been spending the first four measures of the chorus (think some time in this series enhancing our overall “Glo-o-o-o-o-o-o-ria”) today. musicianship through immersion in the rhythmic, melodic, and harmonic aspects of music…all at once! Even if you’re not inclined toward pursuing solo gigs, your understanding of music will definitely benefit from occasionally journeying down this road. already covered. All of the rest of it is simply plucking chords and arpeggios to give the piece some motion (think of it as the groove supporting the melody & harmony!). A couple of quick reminders: this piece can be played entirely with fingerstyle plucking. Also, as always, the “8va” indicates that the notes are played an octave higher than written. Play it slowly and work it up to speed once you’ve assimilated it, ok? Have fun! (Adapted from curriculum in the Grooving for Heaven instructional DVDs) Again, let me emphasize that transcribing this sort of playing accurately can make the part look a bit intimidating on paper. Don’t let it throw you – the actual part is really quite simple. As I mentioned last time, comparing these transcriptions with the charts from Parts Last time, we jumped right into the actual 1 and 4 of this series will reveal that we’re execution of the verse section of this piece just combining the melody and chords we’ve
Bassic Communication Intro to Solo Bass Arranging (Part 8)
Intro to Solo Bass Arranging Chorus Section (Part 1) "Angels We Have Heard on High" (Trad. Christmas Carol)
Arr. Norm Stockton
E Ionian "5"
C# Aeolian (Natural Minor) "Root, b7, b6, 5"
F# Dorian "b3"
B Mixolydian "Root, b7, 6, 5"
14 16 16 14 16 16 14 16 16 16 16 14 14 16 14 18 14 16 14
16 14 14
16 14 14
16 14 14
16 14 14
18 18 16
16 18 16
14 16 16
E Ionian "3"
C# Aeolian (Natural Minor) "b6, 5, 4, b3"
F# Dorian "Root"
B Mixolydian "Root"
13 14 14
13 14 14
13 14 14
16 16 14
13 14 14
© 2011 Stocktones Music
Norm Stockton is a bassist/ clinician/solo artist based in Orange County, CA. He spends lots of time touring and recording with worship artist Lincoln Brewster, but his solo projects (“Pondering the Sushi” and “Tea In The Typhoon”) have received widespread acclaim from 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.
Spreading the Word
“Players at my clinics and concerts are always floored by the tone, punch, clarity and headroom of my GK.”
NORM’S UPCOMING CLINICS Saturday, November 12, 2011 Clinics, CMS (Redmond, WA) *Seattle area* Saturday, November 19, 2011 1pm Clinic, Plymouth Covenant (Minneapolis, MN) Sunday, November 20, 2011 7pm Gallien-Krueger Clinic (Minneapolis, MN) Monday, November 21, 2011 7pm Gallien-Krueger Clinic [Chicago, IL] Fri & Sat, January 27-28, 2012 Clinics, BreakForth (Edmonton, AB, Canada] for details visit www.normstockton.com
POWER TO GROOVE
Remembering the Reason for Christmas
Picture a clear, quiet night in the small town of Bethlehem over two thousand years ago. Bethlehem: over which a mysterious ‘star of the east’ hovers. Here,
in a manger, a newborn child lays. This child, unlike all others, is born of a woman, but also by the Spirit of God. From this humble beginning comes forth God’s
promised Messiah. The wonderment of the occasion is witnessed by shepherds who are watching their flocks that night. Their fears are calmed by angels, who announce the importance of this moment in time. Now, after all these years, we still find ourselves in awe of what happened that night. We are so thankful that God loved us so much that He came to visit us in the bodily form of Jesus. The way Jesus lived, what He had to say, and the example He was to all of us made Him the most important figure in all of history. His arrival to this earth and his departure from it were both miraculous events. And his message of salvation, sealed by His resurrection and ascension into heaven, is the hope of all mankind. And to think that it all began in a lowly manger in Bethlehem so long ago. Remember the importance of this story and share it with everyone you play this arrangement for at Christmastime this year. Blessings to you all... John NOTE: Be sure and check out John’s beautiful new ‘Christmas Guitar’ CD, the latest educational DVDs and all the other items of interest at: www,johnstandefer. com. There are lots of great Christmas gift ideas there on the ‘store’ page...
O Little Town Of Bethlehem
P. Brooks / L. Redner
0 3 0 3 0 4 0
3 1 2 0 1 2 0 1 3
1 0 3 0 1 3 0 2 0
0 0 0 3 0 2 3 3 0 1 3
0 0 0 3 0 5 2 3 0
3 2 0
1 2 1 2
1 2 3
0 0 0 3 2
1 3 2
1 0 3
1 0 2
0 0 5 0 0 3 4 1 2
0 2 2 0 1 0 0 0
2 0 0 3 1 2 0 1 3
0 0 2 0 2 1
0 3 0 3 0 4 0
3 2 0 1 5 2 1 5 4 3 0 2 1 2 0 0 0 0 3 3 1 3 3 0 1 0 3 0 1 0 2 3
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.
Arrangrment Copyright © 2011 John Standefer Music. All Rights Reserved.
The Lost are Found
In the last article I transcribed a Hillsong tune called “Rhythms of Grace”. Having seen that, a friend told me about a website Hillsong created that breaks down all the instruments for the songs from their God Is Able CD. The link for the drum tracks site is: http:// hillsongcollected.com/creative/god-is-abledrum-parts. These videos are great tools for people wanting to learn the songs because it is so easy to see exactly what and how every part is being played. Even if you don’t want to learn the tunes I think they are worth watching. In this article I transcribed some of the parts for the song “The Lost Are Found” that you will find in the web site. I love the simplicity of the drum parts. His use of dynamics is very effective as he makes each part slightly more I hope this site gives you some ideas of your complex to match the intensity of the song. own. Now get back to the practice room and The simplest thing, like going from quarter have some fun. notes to eighth notes on the ride cymbal and Blessings, eventually digging into it with the shank of his David stick, makes this track really build. He starts with a dotted eighth figure on the floor tom, and that becomes a theme that he returns to a few times. Towards the end of the song he is playing pretty straight-ahead rock and I thought it unnecessary to write those parts out. I’d like to tell you who the drummer is, but they don’t give us that information. I think it is either Simon Kobler or Daniel McMurry. Whoever he is, he does a wonderful job of creating and playing parts for the songs.
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
Bashy Ride with shank of stick
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The VoiceLive Touch
How would you, as a singer, like to be as cool as the guitar player? Many of you singers are now saying in your head “I already am”. I understand the narcissism but I am talking about equipment. The guitar players have all this cool looking electronic stuff and all a singer has is his God-given voice. At least singers do not have to buy an expensive instrument case. Be on the alert singers, your entrance into the electronic world is here. There is a product out there that is called VoiceLive Touch. It is sold by a company called TC-Helicon that is the leader in electronic products for singers. The VoiceLive Touch can do many things to a singer’s voice that adds sparkle and shine and a bit of pizzazz to your vocal performance. How about reverb? Got it. How about effects? Got it. How about pitch correction? Got it. How about adding vocal harmony? Got it. How about over thirty seconds of vocal looping? Got it. How about I not write how about again? I get it!
Electronics for Singers
family while the doctors are doing their magic discussion, his twenty-something jazz guitar on his voice. The student thinks it is a great major son came in. So we asked him to try out the VoiceLive Touch. The producer and feature! The next feature that got my attention was I then took this time for a soft drink break. the vocal harmony feature. This feature will When we returned his son had one comment add two, three, octave-up, and octave-down and one question. “This is a cool unit” and parts to your solo line. I had become aware “How much does it cost?”
All of this is available to a singer in a box about that attaches to a microphone stand by an ingenious mic mount design. This puts all of the operational buttons right in front of the He was also complimentary of its user singer for ease of operation. Or if you want functions. First off, there was no scientific to look like your favorite guitar player, a foot jargon included in the manual. Delay is delay, effects are effects and talk is talk. Just the type pedal is available for purchase. of approach that someone needs who gets I initially became seriously interested in this frustrated quickly while fighting technology. type of product when one of my rehabilitation Let’s make music and not waste time with students told me he was using a TC-Helicon technology. If you are one of those people VoiceLive Touch during his worship sets at who hates technology this unit may be for his church. This student has a serious vocal you. problem. He sings up to a Bflat3 above C3, then extreme muscle tension kicks in and he The producer and I also discussed how this goes out of tune terribly. At times he even unit could be used in a church service. We experiences pain. His particular vocal malady decided that it would be a very efficient is called Muscle Tension Dysphonia. It is a piece of equipment for a small church or very difficult problem to overcome. He uses solo worship leader. A smaller church usually the VoiceLive Touch pitch correction feature has limited electronic resources such as no to assist him in singing in tune. I know you effects, no compression and a small mixer run purists out there are having a syllogism right by an old guy with a hearing aid. The lead now just reading the words “pitch correction”. worshipper in a small church would be able Please calm down and stay focused here. This to work this unit right from his microphone electronic function, called pitch correction, stand. Now that is a stream-lined approach. has helped him keep his job and feed his While we were in this deep intellectual 14 NOV/DEC 2011 CHRISTIANMUSICIAN.COM
of this electronic vocal function several years The VoiceLive Touch is a very versatile unit ago but I was not happy with what I heard. with many features that can be easily and successfully applied in a live performance Things have improved. If you use the VoiceLive Touch for harmony situation. I didn’t even discuss the vocal beware that if you put the harmonized vocals looping feature because I ran out of my on a recorded track by themselves, they will allotted space for this article. The retail price sound very robotic. But when you add a real for the VoiceLive Touch is $695.00 and the voice over them, it will sound great with all the street price is $499.00. You can find plenty of scoops, slides, and natural out of tuneness of information and check out their entire line of products at www.tc-helicon.com. While you the human voice added. are there, be sure to check the videos on the Not being an electronic expert, I had a site as well as many more on YouTube. The producer friend of mine spend some time looping videos are pretty impressive. Run out with the VoiceLIve Touch. Here are some of and buy one and become a really cool singer. his comments. It’s pretty cool, it’s a unique The guitar guys may even let you hang out thing, and using the unit is a no brainer. As with them after church. Now go sing well! you can see he liked the VoiceLive Touch very much.
Roger Beale is one of the nation’s foremost vocal coaches. He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his students have won prestigious vocal competitions and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is an adjunct professor in the Fine Arts department at Point University (formerly Atlanta Christian College), website: www.point.edu. Roger can be contacted at: The Voice House, PO Box 87136, College Park, GA 30337, (404) 822-5097, e-mail: email@example.com, web site: www. thevoicehouse.com.
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Yamaha’s A3R: Does 1+1 really
by Bruce Adolph
I have played and owned Yamaha acoustic guitars since I was a teenager. I had a Yamaha 12 string that I bought in Hong Kong when I was 15 years old and then got a 6 string when I was 16. I bought a jumbo acoustic 6 string when I was 22 years old and I had an LL handcrafted 6 string model when I was in my thirties. In my 11 years as a manager of a music store I ordered in and sold more Yamaha guitars than I can count. So I think I have a little bit of experience here in this department. Yamaha has always excelled in the manufacturing aspect of building guitars and they have ruled the entry-level market for quite some time as a respected name in the industry. Last January I was told that they were revamping their acoustic guitar line with the A series. I was glad to hear it as I believe their guitars should be as successful and prevalent in the music scene as their keyboards, drums and PA’s already are. This next new frontier Yamaha has set their sights on is the intermediate price point. With the tough economic times that $750-$1,500 retail market has been where the bulk of guitar sales have been. I played the A series at the NAMM show but the exhibit room was so noisy I couldn’t get a good read on it. Boy I’m glad I had them ship one to my office. I opened up a very nice hard case and took a look at the A3R. A cutaway dreadnought with a really hip preamp/ pick-up system called SRT. To try to briefly describe this flexible system I will revert to Yamaha’s literature, “Using a sound modeling technique that utilizes data obtained through extensive analysis of four acoustic elements that are missing from conventional pickup systems— string and body resonance, ambience, vintage microphone characteristics, and professional micing techniques, SRT delivers a natural, studioquality acoustic guitar tone”. All that to say you will like your sound options through your PA or in your home studio. 16 NOV/DEC 2011 CHRISTIANMUSICIAN.COM
So far we have a really good pre-amp/ pick-up. Does the actual guitar live up to the other half of the equation? Here are the features… all solid build – sitka spruce top and rosewood back and sides. Add to that a mahogany neck with an ebony fingerboard (and ebony bridge) plus die cast tuners. The A series has a newly designed pick guard that helps you realize you are looking at a new series of Yamaha’s. The neck profile is very nice and this guitar came set up to play (and play and play). The bottom line though is the tone itself and this A3R did not disappoint. The bass, midrange and highs all blend well. I handed the guitar to Brian Felix our resident Customer Service Manager and he commented, “Right out of the case it felt good and playable in my hands (especially for a larger hand like mine). The neck wasn’t stiff and the set up was great. All areas of the neck were reachable. The sound had rich lows and mids while the highs sang without being brittle or twangy”. I couldn’t say it any better myself. 1+1=3? One good all solid wood guitar plus one hip preamp/pick-up system equals an A3R. Retail with that nice hardshell case I mentioned earlier is $1,350.00 with a MAP or street price around $899- $925.00. The binding work is well done too. The only negative I would say is that the strap button on the bottom side of the heel got in my way a little when I was playing higher in the register. I would move it to the heel. Yamaha has come into the ring with a contender in the intermediate fight for your hard earned dollars. Once you hear the sound through your PA though you may realize that you have the winner right in your hands. www.yamaha.com
the player s choIce .
Robbie S e ay israel hough to n linco ln bre w st er john m ark mc mil lan phil w ickham
D’ADDArio & CompAny inC. i FArmingDAle ny 11735 i D’ADDArio AnD the plAyer’s ChoiCe Are trADemArks oF D’ADDArio & CompAny, inC. or its AFFiliAtes in the Us AnD/or other CoUntries. © 2011 D’ADDArio & CompAny, inC. All rights reserveD.
Great Songs Do That
by Rick Cua
Great songs do something to me that nothing else does. The right song at the right time moves me to change, to repent, to worship, to cheer up, to get motivated, to do God’s will . . .to just plain enjoy the day! us, to a relationship with Him that produces MOSTLY WE PLAY SONGS THAT MOVE US fruit and reproduces itself in others. If you are not yet a writer, then the care you put into picking songs for Worship or your bands next gig will yield the very same result. Mostly we play songs that move us. When was the last time you picked a song to play that you didn’t like, other than when someone in authority asked you to? In that situation, by the way, play it like you love it because there is usually a reason that song was suggested. See what God will do. The power that lives within a song is available to all of us. Whether we write them, play them, or just listen . . .we are all affected by their impact. With all of who David was, being a Psalmist was a huge piece of his DNA. He knew the gift God gave him and he used it wisely in his lifetime. Discover what your musical gifts are, and then use them wisely and for God’s glory!
In the case of the Christian songwriter, some of that fruit should be great songs; songs that move people in the direction of God, and songs that reflect the fruit of the Spirit; GREAT SONGS HELP US LIVE OUT THE songs that speak to the human condition celebrating that which lines up to the Word, WORD and thoughtfully offering instruction for that Great songs are a teacher, and a leader. They which does not. bring strength, and they bring joy. They’re an invitation, and they help you live out the When you begin with a strong idea and Word. They stir us up, and they are a seed that lyric, as I mentioned above, you’re off to a leads to salvation. Great songs are so needed great start. But, once the song is finished and and if you are reading this, chances are you every element comes together, the listener is touched and music does that thing that you, either write them, play them, or both. the writer, hope for. A great song goes deep I was having a visit with a friend the other into your being connecting with everything day when something he said triggered a song that makes us both human and Spirit beings. title. Three words and some inspiration was all I had. Throughout the day I pondered my new title and began developing the verses in my GREAT SONGS ARE A DELIVERY VEHICLE mind. It was a touching thought and the verses TO GREAT MEMORIES would follow someone through a lifetim, from Just think about it…how many times has a a young age to that transitional time when we certain song taken you to a memory that pass from life to life. At the end of the day I you love to relive? It happens to every one briefly shared the title and idea with my wife of us and we love it when it does. Sometimes Diana… immediately we both teared up. I it’s one single thought, and other times it’s a knew I had something good brewing. flood of memories, people’s faces, and the Our reaction was from a title and an idea only. I probably only spoke a few brief sentences of description. No music, no melody, no chord changes, rhythm, vibey production, or finished lyrics. Again, just a title and a thought. recollection of great times gone by. Great songs are a delivery vehicle to your fondest memories.
As a Christian musician, writer, or artist, you have the ability to influence people in everything from life changing ways to the simplest of happy reflective moments. And… GOD’S ANOINTING AND OUR you don’t even have to be there! DILIGENCE WILL PRODUCE GREAT Calling, responsibility, passion, and the SONGS knowledge that if great music is in you it has Just to be clear, that doesn’t happen with to come out, will propel you to the wonderful every song we write; but when it does fulfillment of your destiny as a creative being happen, I believe, with God’s anointing and with a musical bent. When you combine all the our diligence, great songs will follow. That’s elements of great music into each song you why we write isn’t it? In hopes of hitting upon write or choose to play, something happens something universal that will move people. exponentially that is really out of your control. When you have a solid foundation to build The player and the listener come together to on, with care and concern, the rest of your ignite something in the listener’s heart and efforts will make something beautiful and mind that makes a statement…an impact of touch many people’s lives. In the same way our great value. foundation in Christ lends itself, actually leads 18 NOV/DEC 2011 CHRISTIANMUSICIAN.COM
Not just a musical artist, Rick knows the business of music as well. Besides being a music publisher, artist manager and booking agent, he founded and ran his own record label, UCA Records, in the 1990s which led to a position for five and 1⁄2 years as Vice President, Creative/Copyright Development at EMI CMG in Nashville. There he managed a large songwriter roster and exponentially grew revenue through film and TV licensing, song promotion and print music development. He is currently on staff as the minister of Pastoral Care and Visitation at Grace Chapel in Franklin, TN.
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an interview with
Zoro is a truly unique person and musician. I had the honor of writing a quote for his new book “The Big Gig” and as I read through it I realized he had a lot of good things to say to Christian musicians in general and me (and possibly you) in particular...
this photo by Peter Mueller photos on pages 22 & 24 by Josh D’Aubin
20 NOV/DEC 2011 CHRISTIANMUSICIAN.COM
Zoro the Drummer
What Matters Most?
by Bruce Adolph Christian Musician Magazine: So Zoro, my friend, you are a professional musician and you play on all of these great stages around the world. Music is what you do. . . . so why have you now written a book? Zoro: The book is just another aspect of who I am. As I consider what my gifts are, God has given me the gift of communication. And under that larger umbrella of communication are all the other forms of communication. For example, drumming is a form of communication, as is writing, and speaking. And those are the three mediums in which God has pre-wired my DNA to flow in those areas. So writing has always been a part of me, and a part of my heart. The book has been a thirteen-year long vision process to bring it to publication. I literally wrote the book because, as a young musician myself, I was always going into bookstores and looking for a book that could teach me how to succeed as a musician in all of the areas of life, professionally and personally. So really, I am writing the book that I had longed to find myself when I was starting out. Writing is just another expression that comes from me, and it’s not a foreign or strange form of communication to me at all. CM: I remember when we worked together before at Stick It magazine where you were the editor and I helped out with ad sales. You taught me something that I’ve always kept in my mind, and that is that drummers are much more aware of, and willing to help out other drummers than other musicians seem to be, maybe more so than guitarists, for instance, who tend to hide their tone and their secrets. I’ve found drummers to be a very open community of people. Zoro: Yeah, it’s true. There is a brotherhood among drummers that I think is very reflective of what the Kingdom of God must be like. Because, really, what is God’s whole thing, except for brothers to dwell together in unity? That’s God’s whole desire for mankind, is that brothers would dwell together in unity like the early Christians did. And the drumming community, as far as all the communities in the music industry, they really have that picture better than any other community that I’ve seen. They are a very loving brotherhood that is into sharing and building one another up. People come from all backgrounds and all colors and looks and demographics. And yet, when you see a bunch of drummers together at a drum festival and sharing with one another, I think it’s like a sneak peek at what it must be like in heaven, only heaven won’t have the sin! It’s just brothers and sisters loving one another. And in heaven, no one is trying to one-up the other person; they are just lifting each other up. And when you can do that in the drum community, it’s pretty cool and it just makes me think that this is a little taste of what heaven will be like. . . . . . times a bazillion! (laughter) in the end is His music, and He’s not into one style more than the other, just like He’s not into one type of plant or tree or animal more than the other: They’re all His! So to me, it’s like the whole point for musicians is to acknowledge that the gift of music that they have is a supernatural, divine gift that they did not give to themselves. That’s why it’s called a “gift”! They were given this gift. Now it’s up to them whether they acknowledge God as the giver of the gift, and if they do then they can serve God with the gift. But ultimately, none of us who have a musical talent gave it to ourselves. So our job is simply to say, “Thank You for this free gift which I did nothing to earn!” And then we do our part to develop that gift and turn it into something extraordinary. He gives us an ordinary seed, and we can make it extraordinary by how we partner with Him in developing the talent. But in the end, it should be as J.S. Bach said, CM: In the book you talk about the gift of it should be to glorify God, because anything music, and you include a very interesting else is just futile. quote from Johann Sebastian Bach. Do you CM: I see that in the book you utilize quite a have that memorized? few quotes. Can you tell us why? Zoro: Sure! This is one of my all-time favorite quotes because it really tells you why many of Zoro: It’s because words, to me, are power the classical composers created the music that released. Words can change someone’s they did. The quote says, “The aim and final destiny. The words that people spoke over end of all music should be none other than me when I was young carried such an impact in the glory of God, and the refreshment of the my life, both positive and negative. Negative words are destructive and they can ruin soul.” someone’s future or destiny based on the bad So the whole purpose of music is that it word that someone speaks over you. And glorifies God. Music is not our idea; it’s God’s vice versa, people lifting you up with words of idea. He owns all the notes. He owns all affirmation and confidence can change your the grooves. He owns all the patterns. And destiny. So as a young boy, I clung to positive, it’s really about the motive of one’s heart; affirming words because I didn’t hear enough because there is no such thing as Christian of them from people, other than from my own notes or Christian beats vs. non-Christian mother. There weren’t a lot of people in my notes or beats . . .They’re all His notes! Every life who spoke great words to me. So I clung note and groove and beat is His. What does onto anything that sounded positive that I exist is the motive of someone’s heart. Are could recite to myself and speak to myself. you worshiping yourself, as most of the world does apart from Christ? Or are you using The Bible talks about the power of the the music to glorify God, and is the motive tongue, and I show my belief in that by having of your heart right? Because all of the music over 400 motivational quotes in the book. I CHRISTIANMUSICIAN.COM NOV/DEC 2011 21
three things together in a pyramid, they are never going to be fulfilled. The first thing is that you need to know God. That’s your first success. Your Spiritual success is found in knowing Him. Knowing that He has a purpose for your life, and that the purpose of your gifting is to serve Him and to serve other people. But Hollywood is a world of ‘self’, and so if you only serve ‘self’ then you end up self-destructing like every other rock-star and famous musician who serve self. But if you serve God, you’ll find life and a deeper meaning. When you look out and you watch the news and the media and you see all of the famous people, like the Bernie Madoff’s, and the Michael Jackson’s of the world, you see that there is such unhappiness in these people who have empires, but are missing the personal and spiritual success.
took my time finding just the right quote to say just the right thing for the book over a period of many years, because it would support the point I was trying to make. We become whatever we watch, listen to, and read. Those things shape us the most in our lives. So there is power in the words that we read, and obviously the most powerful ones come from the Bible. But there are also many great quotes that God has given to men of notable achievements and fame, and those words have power. I think that if people would just read words like that and recite them to themselves, it would change their destiny. So that’s why there are so many quotes in the book, because I know of nothing more powerful than words. CM: You also talk about the three essential components of true success being Spiritual, Personal, and Vocational. Would you comment on those for a minute for us? Zoro: There are so many different viewpoints about what success is. And many people think that to be a successful musician means to be famous, and to be a rock-star, and to make a lot of money. And that is one aspect of what we would call “worldly success”. But that’s not the only gauge of success. I wanted to communicate in the book right away what God gave me as the definition of success, because it’s a different definition from what most of the world thinks of as success. The subtitle of the book is “Big Picture 22 NOV/DEC 2011
Thinking for Success”. And that’s because you’re not really successful in God’s eyes unless your success includes the big picture. To be just an incredible musician, but to be an arrogant person, or to never uplift other people, or to be a terrible wife or husband, or to have terrible relationships, or to never have a relationship with God . . .well that’s I’m not interested in building any kind of not success by God’s standards . . .that’s man’s success that doesn’t honor God, because at success. And man’s success always leaves you the end of my life, what’s it going to matter? God’s going to care more about how we did wanting! in our personal life than in our professional. So I’ve done a lot of analyzing over the years And in our artistic world and artistic business of being in the business and hanging out there are a lot of egos and self-driven people. with millionaires and billionaires and famous Families are thrown under the bus, and God actors and super-models and business CEO’s. is nowhere in the mix anymore, and people I’ve seen so many people who were unhappy, become miserable because you have to despite having all the success that the world flourish in all three areas. chases after. It makes you wonder, “Why aren’t they happy?” And I’ve realized that it’s That’s why I set up the book by saying, because they’re only successful vocationally, “Success means a lot of different things to and God wires all of us to have personal different people, but this is the kind of success relationships with people. If we’re not that I’m talking about.” flourishing in those personal relationships, CM: You also talk about, from the then we’ll be dissatisfied and unhappy. And musicianship side of things, the “art of then, if we’re not flourishing spiritually, then interpretation”. Tell us a little about what that we will be disconnected from our purpose is. in life. And if we’re disconnected from our purpose, then it’s like, “yeah, I made a million Zoro: “The Art of Interpretation” is a chapter dollars doing this, but I’m still not satisfied.” that is subtitled “Mastering the Language of Why? It’s because you’ve never connected Music”. It’s one of the longest chapters of the to the purpose of your gift. The purpose book. The whole premise is to teach people of your gift is to serve God with that unique that music is a language that is spoken all over gifting in a way that only you can do. the world. English, for example, is spoken all If people don’t understand how to put those over the world, but it is spoken differently everywhere you go. There are different
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There’s a different accent in the Bronx than there is in Brooklyn, or Jersey, or Manhattan. And if you want to sound like a character that is from that part of New York, you have to speak exactly like them. Otherwise, everyone from that area will know that you’re not from there. It’s the same way as a musician. And the only way that you can do that is to study vast amounts of different styles of music, and emulate songs, and learn them note for note, so that you know what the difference is between applying a hip-hop shuffle from the 90’s, and a blues shuffle from the 50’s. Because yes, they are all triplet related, but they are completely different in the way you approach them because certain fills didn’t exist in certain eras. So to be an authentic musician, one has to really look at himself or herself like a great actor. I’ve met people like Denzel Washington. And you hear about other great character actors like Robert De Niro and Anthony Hopkins. They become the characters that they play! They go to every extreme to try and transform themselves into the people that they are playing. And I feel that that’s what musicians don’t do enough of. They just think that their one sound fits every situation. But that’s not how you become a great, skilled artist. You become a great, skilled artist by really studying songs and having a song repertoire in every genre and era of music. Technically speaking, there is what I call “The 4 T’s”: a drummer . . .but who are they looking for? Time, Technique, Touch, and Taste. Are they looking for a totally skilled jazz guy Those are parts of the elements of expressing who’s been playing for 50 years? Or are they yourself that every musician needs to have. looking for a dude who doesn’t have a lot of technique, but is just pure heart and can just CM: Thanks for taking the time to talk with us slam the drums like some of these new rock- today. What would be a few final things that you would want us to know and remember styled bands. from the book? It means to study enough different music to understand that there are subtle and vast Zoro: I would say that one of the most differences in all of these languages of music. important things for a musician to learn is To be a great player, and to be authentic, you the idea of servanthood in relationships. We have to know that and play to the style that need to ask ourselves, in all areas of life, “How the song and the situation requires. Just like a best can I serve my friends? How best can I great actor might be playing a character from Continued on page 32. New York . . . but what part of New York?
accents in the mountains of Scotland than there are in Wales, or England, or Australia, or New Zealand, or America, or Canada. And yet, it’s the same basic language. And I look at music in that same way. Music is one vast language, but there are many different dialects in that language, and many different accents. So in order to be a skilled musician, one has to learn the dialect of the musical language that you are speaking. I give an analogy in the book where I compare being a great musician to being a great actor. When you’re playing for people, you should always be asking yourself, “What role am I playing today?” In other words, I know I’m 24 NOV/DEC 2011
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Odd Soul Mutemath Teleprompt/Warner Mutemath is that rare band that continues to change and challenge itself. Always inventive, ever innovative, Mutemath refuses to rest idly in a single style. So what to make of this new “Mute”tation? The technology-fueled dance/space-rock of Mutemath’s past is given an infusion of 1970s retro rock and blues. The result is simultaneously fresh and familiar. Bands like Black Keys, ZZ Top, Cream, Jimi Hendrix Experience, and the like will be recalled, but never at the expense of originality. Many of the songs have a delightfully rough edge to them. It’s as if the band reconditioned a garage full of old recording equipment and instruments built from scratch. “Prytania” is an interesting amalgamation of the two directions, retaining a dance floor edge but with dynamics that recall 70’s white funksters like KC and the Sunshine Band, or The Bee Gees. Despite the new formula of Odd Soul, the fundamental Math still holds up. At its core, Mutemath delivers raw energy, passion, gorgeous experimental musicianship, and sweet drum fills. Throughout, Paul Meany’s soulful, emphatic vocals carry the load, while Darren King’s peerless percussion provides endless momentum, while recalling classic blues-rock drummers like Mitch Mitchell and Ginger Baker. Roy Mitchell-Cárdenas’s twisting, fuzzy riffs grip the listener and never let go. Old fans may need to take some time with Odd Soul before fully committing, but repeated plays will reap the patient listener many rewards. Cardboard Box Glenn Kaiser Grr Records Here, Glenn Kaiser masterfully mixes his two identities: As the founder of Chicago’s largest inner city homeless mission/shelter and Christian rock’s resident blues scholar/ practitioner, with Cardboard Box, an album 26 NOV/DEC 2011 that breathes with the sweat, misfortune, and redemption of Chicago’s large homeless population. Stripping the instrumentation to a minimum, Kaiser offers up a set of songs accompanied only by guitar, spare percussion, and harmonica. The CD’s theme of recognizing the social tragedies of poverty and homelessness, fits the sparse production perfectly. Kaiser perfectly announces his intention with “Unemployment Blues”. The emotion is real and the conviction certain when Glenn cries out, ”I don’t need your pity, I just need a place to lay my head”. On many cuts, Kaiser identifies with his subject in a purely authentic way by utilizing an instrument called a “Cigar Box” guitar, an instrument created by poor, depression era indigents from Cigar boxes and any stringed items they could find. Kaiser speaks both for, and to, the members of his shelter community, sparking compassion in the hearts of listeners while preaching redemption and purpose to those who have been smacked around by life’s bitter realities. From Grr records promo materials: “Glenn Kaiser’s familiarity with this material is obvious, and is borne of his lifelong commitment to the ministry to the homeless and indigent in Chicago’s Uptown neighborhood. He is the leader of the Cornerstone Community Outreach center (CCO), which is an oasis of hope and change for thousands of Chicago’s needy. In a world where finger pointing and scapegoating pass for political action, Kaiser selflessly has put his money (literally) where his mouth is and is making a difference. One man can do much if he decides to make a difference in this world. Through Glenn, The Jesus People USA Evangelical Covenant Church and the CCO center are making that difference. The material accompanying the CD is as powerful as the music itself, featuring photographs of the CCO’s visitors and residents, each of which serve as a reminder of their individual humanity. These are people, not numbers or things. Homelessness and poverty are dehumanizing, the victims regarded as objects. Glenn’s commitment to their dignity is humbling. If this CD accomplishes only one thing, it should cause us to remember that if not for the Grace of God, there go I.” The Reckoning Needtobreathe Atlantic Records With The Reckoning, Needtobreathe consolidates the best elements of their past releases by fusing them while experimenting with new sounds and instruments. It has the rock of Daylight (2006), the midtempo hooks of The Heat (2007) and the Southern feel of The Outsiders (2009). Think of the arena moves of Kings of Leon, with the more subdued folk leanings of Mumford and Sons, and you have an idea of the sound you’ll encounter. “Oohs and Ahhs” is an absolutely killer opening to this record. It starts off self-contained and muted before exploding into a massive chorus. Then, just when you think it’s over, it comes blasting back at you with about a minute of ambient instrumental goodness, including some incredible trumpet playing . . .definitely a standout track. “Drive All Night” clearly echoes its title, as it seems like the perfect driving song, telling a story of escape from particularly overwhelming circumstance over a driving rock beat. The song peaks as Bear Rinehart screams, “Somewhere in this wretched tale there must be a line where the victim gets his way, just one time. Oh, I’ll get mine...” This pure rocker is followed by the Melodica fueled, Celtic flavored ballad, “A Place Only You Can Go”, which benefits from a particularly emotional vocal from Rinehart that is simultaneously raw, yet tender. The rhythmically audacious, “Slumber” utilizes HUGE production values (as does the entire album), cool xylophone, and forcefully executed dynamics to encourage the believer out of apathetic patterns. Indeed, spiritual references are more veiled this time out, but still present. What really makes The Reckoning stand out is this band’s utter confidence, both conceptually in the studio, and as a live performance unit. They project such power that it can sometimes be a little overwhelming, but be not afraid! This album will fix what ails even the most complacent rock & roller amongst you.
Vice Verses Switchfoot If you’re even vaguely familiar with Switchfoot, you know that their music isn’t fluff. Themes the band has explored since their first release, The Legend of Chin, have been woven throughout their albums for their entire career. Even so, somehow the band has managed to make Vice Verses even more honest than any album before it. The overall sound is a little different, as a new album should be. Yet the music and the lyrics work well together, making this album more than just music, but a collection to question, encourage, and inspire. My favorite cut is “The Original”, a “Beatles on amphetamines” track that sounds less designed for alt-radio than many of the other aggressive tracks on the album. Like the best Christian albums, this explores the dichotomy of humanity’s search for holiness in contrast with the sin nature that so very often knocks us off of our path. “The War Inside” encapsulates this message with an industrial rock groove and big, obvious chorus that still manages to be impacting.
Jon Foreman continues the more reflective lyrical path began on Hello Hurricane with fewer songs lamenting society’s ills, and more encouraging personal reflection and holiness. With surefire radio toppers like “Dark Horses”, “Restless” and the lovely and clever title track, that formula is sure to make Vice Verses one of the strongest selling releases since their commercial breakthrough, The Beautiful Letdown. The Love In Between Matt Maher Essential/Provident/Sony Matt Maher dispenses with worship choruses this time out in favor of blue-collar songs aimed at the lost and downtrodden. Musically, the album, while a tad generic (thanks mainly to heavy handed production) is certainly powerful and appealing. “Rise Up”, “Heaven Help Me”, “Write Your Love on My Heart”, and “Woke Up in America” are authentic, fist pumping, lighter-waving anthems that would likely invigorate a live audience. These songs
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strongly recall artists like Bob Seger, Tom Petty, Bryan Adams, and the like. “Every Little Prison” is a raucous, banjo fueled romp that sounds like Tom Petty joined forces with Mumford and Sons, while celebrating the freedom that comes from letting go of the “old man”. The record gets interesting with the inclusion of two love songs to Maher’s wife that appear near the end of the record. “New State of Mind” equates his wife with grace and mercy in explaining how she brings spiritual wholeness to his life, and is the pure pop song on the record, utilizing keyboards and strings in a mostly tasteful way (it gets a little bombastic in the bridge . . .again, more a production choice, not an inherent issue with the song). This is followed by the lovely, acoustic ballad “My Only Love”, which revisits the couple a few years down the line and celebrates the caretaker position the husband holds in the marital relationship. Both tunes are sure to be sung in weddings for a long time to come. The only misstep comes with the first single, “Turn Around”, which musically is a complete success, again strongly recalling Petty and the Heartbreakers as well as a hook that 95 % of today’s songwriters would kill to write. However the lyrics are more
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problematic. After listing a litany of reasons why a non-believer would feel hopeless, Maher gives a surprisingly “one-dimensional solution” that is not just frustrating but surprising for a songwriter of Maher’s theological depth. Maybe I’m missing a basic concept, but saying “all you’ve got to do is turn around” to a non-believer as a balm to their hopelessness is more than a little shortsighted and condescending, His stated target for this album is not the church, but those in need of redemption. That response to perceived destitution isn’t going to play to a guy down to his last dime and last hope. BELIEVERS know that the decision is that simple, but the process certainly isn’t and I don’t think that it translates here. Who knows? Anyway, despite that defect, The Love In Between is a sturdy collection of bracing, heartland rock, sung passionately by a guy who obviously has a strong sense of compassion for the lost.
Third World Symphony Shaun Groves Independent www.itunes.com The songs on Shaun Groves’ new album are full of biblical truth practically lived out, and full obedience to the call of Jesus married with eclectic instrumentation and evocative melodies. His thought provoking lyrics heed the believer’s call to a renewed sense of global responsibility. It is refreshing to hear honest, vulnerable artistry that isn’t trying to fit in a mainstream box. “All Is Grace” kicks off the album’s song cycle and establishes a strong theme of how blessed we are in everyday life here in the West, and that every good thing in our lives is by the “Grace” of God. A melancholy flute opens the first few bars of the song, and by the time the banjos arrive in the second minute it’s evident that Groves has widened his musical palette a bit to fit the massive theme. “Kingdom Coming” exhorts the believer to strive for a world in
which “the sword is spared and the bread is shared, when the rich ones give and the poor ones live”; which, in a political setting sounds like socialism, but when applied personally is promoting social responsibility in the believer. The Party-tastic “Enough” beseeches of the Lord, “give not wealth or poverty, but just enough” and veers into Avett Brothers territory with its spry banjos and festive horns. It is terribly refreshing to see an artist like Groves be so obedient to his calling. He has been meeting the needs of his audience where they are, but leading them into a place of introspection and questioning. Very few artists do what Groves does with such forceful intentionality, and his heart for those that have not is inspiring indeed. Thankfully, he also loves those that have . . .and that duality fuels his art in a very authentic manner.
Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ
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on The Beach Boys “Surfin’ USA” with the hot electric guitar intro and fills throughout the song. His is the haunting guitar that breaks open The Mamas & The Papas “California Dreamin’” and hovers until the end. Glen’s deep electric chords are elemental to John Barry’s “”James Bond Theme”. When Glen first arrived in Hollywood, in 1958, his first gig was playing lead guitar on Ritchie Valens’ recordings. His very first known recording is the rocking guitar of “La Bamba”. He even formed his own group, The Champs, and had an instant hit “Tequila” although there is much dis-information now about the group and who was in it. Long and short: Glen Campbell was THE hot commodity in guitar players in LA from 1958 until his own recordings took the front seat after “Gentle On My Mind”. Glen plays on almost every Beach Boys record from 1963 to 1968, and he even filled in for Brian Wilson on tour when the fragile Beach Boy suffered from a nervous breakdown in November 1964 and “retired” from the road. The same signature guitar sound from “Gentle On My Mind” was instrumental in making Harry Nilsson’s “Everybody’s Talking” a Top-10 single. After the soaring success of “Gentle On My Mind” in ‘67, Campbell quickly followed up with the smash hit “By The Time I Get To Phoenix”. Glen knocked it out of the park in ‘68 with “Dreams of the Everyday Housewife” and the #1 hit single “Wichita Lineman” along with “Galveston” in ‘69, sealed his star-power so much so that by 1970, Glen was fully out of The Wrecking Crew, even making his acting debut in the Oscar nominated film “True Grit” with John Wayne. He was one of the industry’s biggest draws in the early and mid 70’s, scoring big with his own prime time TV show and HUGE hits like “Rhinestone Cowboy” and “Southern Nights.” Then, due to personal demons and outside factors, Glen Campbell’s star fell as furiously as it had risen years earlier. After getting his personal life in order (in part through re-embracing Jesus Christ as his Lord and savior) Campbell released a few “little heard” but well executed Christian market albums on Diadem records in the ‘90’s. He even hosted the Dove awards in 1992 with Marilyn McCoo. Yet, his life was mostly quiet and removed from the type of fame that can cause the most grounded of people to lose their equilibrium for a time, and after a surprising drunk driving charge in 2003 he retreated further into family life.
A few years back, studio session drummer Hal Blaine, probably the most in-demand session drummer in the world - who has played on literally tens of thousands of records - wrote a book. It was a sort of a ‘tell-all’ that revealed a long-hidden secret of the Los Angeles music recording industry. The tome set most babyboomers on their ear, since all of our ears were attuned to the “fact” that our favorite music artists recorded their own music. The revelation was that a “secret society”, if you will, existed, which was comprised of the most talented (and relatively unknown) musicians on planet earth. This society was nicknamed The Wrecking Crew. They were, in essence, the “Wall of Sound” used by producer Phil Spector on all his musical productions. They were the actual musicians who played on most of the recordings by industry-created acts like The Partridge Family, The Monkees, Ohio Express, of course; but more incredibly, they played on most, if not all of the recordings by The Beach Boys, The Mamas & The Papas, Simon & Garfunkel, The 5th Dimension, The Carpenters, and even The Byrds first album! Columbia Records did not even trust the skills of one of their most talented groups, The Byrds, and insisted that The Wrecking Crew provide their initial musical backing. They were the 60’s band used by Frank Sinatra, Nat King Cole, and Bing Crosby. It is difficult to find a Columbia, ABC Dunhill, RCA, Capitol, or other company artist who did not utilize The Wrecking Crew at one time or another in the studio! Everyone thought Herb Alpert & The Tijuana Brass were a “Mexican” band. Herb Alpert was a Jewish New Yorker and The Tijuana Brass did not exist. The Tijuana Brass was The Wrecking Crew, and the posters for pictures were hired models!
well as John Lennon, Tom Petty, Lou Reed, and Jackson Browne. The ties that bind came on his collaboration with Paul Westerberg of The Replacements, who figures prominently in Ghost on the Canvas, providing the title track, and Joseph Manning Jr of indie power-pop group, Jellyfish, who helps Glen create the suite of songs that is Ghost on the Canvas. With the collaborative efforts of producer Julian Raymond (Campbell’s own Rubin), and Westerberg, Manning, Jakob Dylan, Robert Pollard, the legendary Dick Dale, Chris Isaak, Rick Nielsen, and Brian Setzer, among many others, Glen Campbell has constructed an entire album which tells a chronological tale of his life and loves. The opening song on Ghost on the Canvas, “A Better Place”, paints a picture of a man who has seen many good and bad times throughout his life, accepting that the world has been good to him, and that a higher ideal (Heaven, and the twilight of his life) awaits. Written by Westerberg, the cut opens the album on a hopeful note, as Campbell sings, “The one thing I know/The world’s been good to me” over a simple, fingerpicked guitar figure. The title track, which was penned by Glen Campbell and producer, Julian Raymond, sets the tone for the album. “Ghost on the Canvas” has a real spiritual quality to it. It is really an open book, where Campbell takes you on a journey through his life. He doesn’t sugar coat his missteps or failings, but, instead, learns from them. Because he hasn’t recorded all that often in the last 25 years, Campbell’s tenor is still in fine shape, and he brings a genuine, lived-in authority to his vocal performances. His choices of cover songs are unexpected and uniformly excellent. Dylan’s “Nothin’ But the Whole Wide World” is especially lovely, as Campbell delivers a light-handed and affecting meditation on the feelings of security and optimism that his faith provides. A cover of Teddy Thompson’s “In My Arms” is the album’s most surprising cut, with Campbell turning in a downright youthful, exuberant performance (including Campbell’s astounding guitar duel with Dale and Setzer) that matches the energy of the song’s modified, surf/rock-a-billy arrangement. A highlight of the record is hearing Campbell’s under-appreciated guitar playing. His solos do not disappoint, steeped in the classic mold of the “Wichita Lineman” sound, played with heavier strings and his trademark, tremelo/reverb tone. It is as instantly recognizable as his voice, and is like hearing an old friend you haven’t been in contact with for a long time. It takes one instantly back to the mid sixties, when Campbell was a core member of “The Wrecking Crew”, the fabled LA studio musicians who played on all of Phil
Key to the information in Hal Blaine’s biography is that the core group consisted of Glen Campbell and Tommy Tedesco on guitar, Leon Russell and Dr. John on keyboards, the great female bass player Carole Kaye, and of course Hal himself on drums along with the great Earl Palmer. Other Then... MEET GLEN CAMPBELL, released standouts were Nino Tempo (horns), Larry in 2008, received high accolades and critical Knechtel, Don Randi (Keyboards) and April praise as Glen essentially introduced himself Stevens (backing vocals) as well as Palm Springs’ to a new audience in the manner of Johnny future mayor, Sony Bono. Cash’s “American Recordings” with Rick Rubin. Glen Campbell can be heard front and center He covered some alternative rock artists, as
Continued on page 42.
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Zoro the Drummer (cont. page 24) serve my significant other? How best can I serve my children?” One of the things I describe in the book is those times when people ask me about the best gig I’ve ever done, or the most fun I’ve ever had on a gig. And I always tell them that the best gig, to me, is being a father. That’s the absolute best gig I’ve ever done, and my most rewarding, and most fulfilling. . . as well as the most challenging! But I love being a father above all things... of course it really helps to have a beloved wife who is a great mother. And you will not get to be a good father or mother in this business without some serious effort. It has to be something that is on the front burner of your life, not the back burner. I’ve made many changes in my career and shifts in my life in order to make being a father more important than my personal gain or my career. But I’ve never regretted it for a second, and God has taken care of me through all of it and prospered me in new areas as I’ve made those decisions to be a great dad. For instance, when I travel all around the country and do “one-offs”, I’m usually on the absolute earliest flight leaving, and I’ll get there on the latest possible flight when I arrive. I’ll take a red-eye on a Friday night to get there, and I’ll come back as early as possible on a Sunday, so that my kids are really only missing me for one day, Saturday, instead of me being gone for 3 days: Friday, Saturday, and Sunday.
your life?” In other words, I don’t think we’re going to get some kind of a reward because we were great at something, because He’s gifted us all to be great at something. The reward we get will be based upon how we stewarded the gift, and how we stewarded our influence. How did you use the platform that God gave you? How did you treat your husband or your wife? How did you treat your children? Or was your whole life all about you?
Improving Musicianship | Inspiring Talent
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the Economy of Life
Zoro the Drummer
What Matters Most?
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NOV/DEC 2011 Volume 9, Issue 6
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Mutemath • Glenn Kaiser • Needtobreathe Switchfoot • Matt Maher • Shaun Groves plus a special review of ‘Ghost on the Canvas’ by Glen Campbell
NOV/DEC 2011 Volume 16, Issue 6
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Your Vision Defined - Indie Mechanics
OneVerse by Jill Monaco
So really in a nutshell, the big idea is to inspire people to give their whole life to everything they do, and to leave nothing on the table. I want to cause them to ask every day, “Am I doing my best?” At the end of the day, can you say that you’ve given your practice time your best? Have you given your spouse your best? Have you given your children your best? Have you given your fellow man your best? Have you given God your best? If we can’t say that every night, then we are not living to the fullness of what God has made us capable of. He’s given us the capability to give our best, but it’s our choice as to whether we want to do it or not. I’m just one of these guys that wants to end his life, regret-free, knowing that yeah, I’ve made mistakes and I’ve done things wrong like everybody else; but every time God corrected me, I was willing to be corrected so that I could become a new and improved version of who He created me to be. He’s created everybody with limitless potential, and I think we take that for granted in so many areas, like in our vocational life and And it’s true that doing that is physically our spiritual life. harder on me than other schedules I could keep. I’ve had a lot of colleagues over the My goal is to raise up modern day Daniels, years who have done it the other way, and Josephs, and Esthers . . .people of excellence, left early on a Friday and come back late on who will approach life with a spirit of Sunday. But for me, I knew that I was never excellence in all that they do. I want to lead going to get those hours back with my by example and show them the way. I know children, so I was willing to bite the bullet and that when all is said and done, what matters sleep as little as possible, knowing that my the most is: How many people did I help and impact with my gifts? kids will only be young once. To really prioritize personal relationships takes a personal sacrifice. That’s what Christ was all about: showing us that true love is sacrificial. In today’s world, as you look at Hollywood and the musician community, the minute something isn’t working out . . .people bail and fly the coop. There are so many dead-beat dads out there today, and many musicians that are dead-beat dads. And I feel like, at the end of my life, God isn’t going to give me a reward because I was a good drummer. He’s going to say, “Guess what Z? I know you were a good drummer. I gave you that gift! It was free! What did you do with
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YOUR VISION DEFINED
by Keith Mohr & Sue Mohr
visions of wealth and glory. ready to turn on the mixer. For all of this to take shape, you 4. something seen or otherwise perceived first need to clearly define your own during such an experience: The vision revealed its vision. Let’s look at these definitions a message. As your vision becomes a reality, that is little more closely. when the physical plan needs to be created. Taking 1. The act or power of sensing with the eyes; it from the stage of viewing to the stage of ‘do-ing’. sight. We believe that God has given each of us All around you, you will begin to see how people, Most requests we get from Independent Christian a unique task/gift, an inner vision. A sight within places, events, memories will attach itself to your artists are for inquiries regarding the ‘what’s next?’ that permeates our very being when it comes to vision and help it to grow. It will become tangible: How do I take my ministry/business to the next mind. As a child, we donned tutus and silk slippers, your life-blood. We like to refer to this as “breaking level? How do I find a manager? Who will believe dreaming of being a ballet princess. We yielded through from the inside out”. The cement has been in me to book me at events? How and where do I wooden swords, believing we could conquer an mixed and can now be poured. pitch my songs? army. We stood tall with our “microphone brushes” 5. a vivid, imaginative conception or anticipation: and sang our hearts out. We felt invincible, using our gifts at every turn. And then, bang we grew up, reality set in and we buried those gifts, deep. For your vision to be defined, you need to dig deep into your first sighting. Take a moment right now and close your eyes and visualize with inner sight Just recently, in the home that we currently live what your original vision looked like. Bring it back in, we started noticing very large cracks in the into a clear illustration. Now is the time to seek out basement floor. It started at the base of the wall on and choose the location that your foundation will the left side, then made it’s way up, up and away, sit upon. until it was a matter of detriment and needed 2. the act or power of anticipating that which repair. The company that evaluated, assessed, and then fixed the problem literally made ten 6’ holes will or may come to be: prophetic vision; the vision in the foundation and then put pillars in under the of an entrepreneur. With the sight of your vision house to lift it up. It was, without being seen or now in place, it now needs legs to begin to move. felt, slipping down the hill at a slow daily speed for You, as a musician/songwriter need to visualize the years. It is fixed now, but cost thousands (on the future of your gift, before you even put the first high end) of dollars to do. This house was definitely step forward. When you believe in something not built on a solid support. The crumbling didn’t through the vision of it, you will not stop until it is happen overnight, it took ten years for it to show achieved. Believing in your vision is extremely vital to success. You are unique. Your vision is unique. up. Like a snowflake, no two visions are exactly alike. We say all of this to give you a visual picture of how We love that about the Lord. He considers each important a solid infrastructure is before anything of us to be individuals. So He provided each of us should be built upon it. In the music industry, with our own inner vision. That is why comparing your foundation begins with your VISION. We your inner vision with someone else’s just doesn’t capitalize this word because it is the fundamental make any sense. Theirs is theirs, yours is yours. building block for your substructure. Without Plain, simple and beautiful! Draw out your vision. it, your foundation will truly, after time, crumble. Make it come alive on paper. Build it with an Vision defined is a noun. It is the thing that is deep architect’s eye. Define all the pieces of it. Add to inside of you that God has placed there and won’t it. Post it where you can see it. As it emerges into a let you sleep at night until you implement the idea clear picture, choose five words to bring it to light. of it. Tell others what it is and have them see the vision of Vision defined in the American Dictionary; it through your words. You have chosen the space vi·sion [vizh-uh n] noun for your foundation, solidified the measurements 1. the act or power of sensing with the eyes; sight. and built the form. As they ask these and other vital questions, we tend to look back at their foundation first. We are builders. Our teachings parallel the construction of a home. We know, firsthand, that having a solid foundation is essential to a builder. 3. an experience in which a personage, thing, 2. the act or power of anticipating that which will or may come to be: prophetic vision; the vision or event appears vividly or credibly to the mind, although not actually present, often under the of an entrepreneur. influence of a divine or other agency: a heavenly 3. an experience in which a personage, thing, messenger appearing in a vision. We love this or event appears vividly or credibly to the mind, definition. You see, this is the true significance of although not actually present, often under the an inner vision. Our Lord has planted it there. It influence of a divine or other agency: a heavenly comes vividly and credibly to your mind. It has messenger appearing in a vision. color and sound. It is a living entity within us. 4. something seen or otherwise perceived Many of you refer to this as ‘your calling.’ When during such an experience: The vision revealed its an inner vision is brought from the mind and heart to the hand, it is then that the building process message. begins. Time to bring in the cement truck and get 5. a vivid, imaginative conception or anticipation:
visions of wealth and glory. Visions of wealth and glory are definitely different from visions of grandeur, if you truly keep your vision focused. Remember this vital part of your vision. Being a Christian Independent artist defines the wealth and glory part. That is truly the Lord’s. Along the way, though, the pleasure and abundance that we will derive from building upon our vision is immeasurable. Isn’t that just so cool how it all works? To God be the glory! Watch as the foundation hardens and creates a dependable area on which to build your walls. There is a Spanish proverb that we love that states; “One cannot learn to swim in a field.” Your vision needs to be taken from within and molded and moved into a place where it can survive, breathe and grow. Don’t let it stagnate. Allow the creative process to flow freely. Your inner vision is truly the very first place that you need to start before those other vital questions listed above are even asked. Is your foundation on solid ground?
We would love to hear about your inner vision. We are here to help you evaluate your vision and participate in the building process. Contact us at email@example.com or sue@ indiemechanics.com and we will schedule a time to personally work with you and your needs. In the meantime, here’s to your inner vision. May it grow and glorify our Father in Heaven...Until next month, we are, Creatively His, Keith and Sue Mohr “The Indie Mechanics” www.indiemechanics.com
Keith and Sue Mohr have years of experience serving independent Christian artists, musicians and songwriters. Keith founded www. indieheaven.com in 2002, the leading portal for Christian independent music. Sue Ross-Mohr founded www.theinnervizion.com in 2003, a creative promotions /marketing/ consulting service to individuals and companies worldwide.
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Last issue we discovered how we could take a minor 7th chord and lower the b7 one more ½ step to a 6th to create a new chord that has three names Am6, F#m7b5 or D9 (root omitted.)
Amin6 has a chord formula of Root, b3, 5, 6 = A C E F# F#min7b5 is spelled Root, b3, b5, b7 which translates to F# A C E (the same notes) D9 is Root, 3, 5, b7, 9, which translates to D F# A C E, same notes with the exception of the D root. Now let’s focus just on the min7b5 chord. How many times have you come across these progressions [F#m7b5 - B7 - Emin], [Dm7b5 - G7b9 - Cmin] or [Em7b5 - A7 - Dmin] ? I’m sure plenty because they’re all [II - V - I] progressions in minor, very common even in some worship tunes.
I want to show you a simple way to play these progressions. If I take F#m7b5, spelled F# A C E and lower the E to D# you now have F# diminished, spelled F# A C D#. Watch this, if it’s played over a “B” in the bass it can now be interpreted as a B7b9,
B7b9 = B D# F# A C. By lowering the 7th of the F#m7b5 chord I can produce the dominant chord that 99% of the time follows the minor7b5 chord. What an easy concept, but it’s a little harder to get in our fingers, and more important: our ears! By the way, in the music if an F#m7b5 to B7 The Chord Diagrams is written, substituting a B7b9 will work most These chord diagrams will help will of the time when it’s resolving to Emin. You’ve understand this idea. Here are [IIm7b5 got to use your ears. V7b9 - I] in several minor keys. Analyze and memorize these voicings and get them into your fingers, they’ll come in handy more often than you think. Grab your guitar and play them now. ‘Till next time, may God bless your hard work.
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36 NOV/DEC 2011 CHRISTIANMUSICIAN.COM
by Joe Riggio
The neck on my guitar is twisted and I’m having a hard time finding someone who can set it up. Is it useless, or can it be fixed?
Twisted necks are often confused for something that can be adjusted out by manipulating the truss rod. The truss rod is designed to only move the neck in one direction and is most effective in a “true”, or non-twisted neck. A twist is usually something that happens over time, sometimes long and sometimes short, and can appear anywhere along the neck’s length (think of that old film of Galloping Gurty from high school). Other means of action are required to minimize its affect on playability. Heat Press If a neck displays what I call ‘chronic backbow’: that is, no matter how loose the truss rod is adjusted, the neck will not adjust with enough relief (forward bow), the heat press method can help to make it playable again. This method is, as it sounds, applying heat to the neck as it is forced back into proper relief, and then allowing to it cool back down in that position. Fret Leveling Sometimes, when the case of the twist is slight, fret leveling can achieve an acceptable fix. If we think of the top of the frets (the actual playing surface) and the bottom of the frets (the fingerboard) as two different planes, we can level the top playing surface in such a way that the guitar becomes at least semi-playable again. Fingerboard Planing This method is the most invasive and difficult one, but can also be the most effective. It requires a complete re-fret of the guitar. After the old frets are removed, the bare fingerboard is planed, focusing on “ironingout” the areas of the neck that are twisted. This step, followed by leveling the newly installed frets can achieve the most permanent solution. Keep in mind that all of these methods should be performed by a trusted and qualified guitar technician. The potential for disaster is very high for the do-it-yourselfer. Also, you will want to consider the cost versus the particular guitar you are dealing with. It may or may not be worth performing, depending on both intrinsic and sentimental value. Results for these methods are also brought with quite varied results and success rates. Every case is unique and should be discussed in great detail with your technician, in order to keep expectations realistic and relationships in tact!
Joe Riggio is a professional guitar repairman/technician and recording engineer, based in Tacoma, WA. He owns and operates “Service Guitar Repair” and “House Of Sound Recording Studio” He has a deep love and knowledge of vintage guitars, as well as modern and loves to share his passion with others. He can be contacted at ServiceGuitarRepair@gmail.com, website: www.ServiceGuitarRepair.com
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Using the Dorian Mode for Soloing & Songwriting
Most likely you have used the Dorian scale, or at least part of it, whether you know it or not .It fits in well with many music styles, such as Rock, Jazz, Funk, Country, and Gospel music. The Dorian scale is the second step in the Major scale, in the key of G Major, (G A B C D E F#) the second note of the scale is “A”, when you start the G Major scale, from the “A” you have the Dorian Scale (A B C D E F# G). When playing the chords of the G Major scale the second chord is “A minor”. A Dorian is in the minor scale family. So without getting too involved in the theory behind it here are some ways you can use the Dorian scale in your lead playing and songwriting. Example #1: Here are 3 patterns using 3 different fingerings to play the A Dorian scale. The first starts with your pinky and takes on the rest of the sequence of notes of the G major scale. The second pattern starts with your middle finger and moves across the neck. The third will start with your index finger moving across and up the neck. As you play through these patterns the G major chord, which brings the song up to you will notice other scales and fingers taking a celebratory praise feel. You can use the notes shape within the scale. of the A Dorian and G Major scales to find the Example #2: Here are 3 scales that you can right notes for your vocal melody along with a find in the A Dorian scale. Of course, the first is heartfelt guitar solo. Of course, this can be used the G Major, second is the A minor Pentatonic, in all keys. and third is the A minor. The difference in the A minor is the F natural instead of the F#. Depending on what you are going for in your soloing or song writing, you may not want to use certain notes over some chords. Listen to the blend of the notes and use it to create tension or release, or just add some spice to your soloing. Modal chord progressions are great tools for song writing and coming up with melody lines. Example #3: Here is a chord progression in G major starting on the 2 chord, Am. It is repeated several times in a slow and worshipful style for the verse. You don’t always have to use the Root, or 1 chord, in the key you are playing in. When you move into the chorus it introduces Use this approach to help spark your creativity in songwriting in ways that may bless you and the Lord. Have a Blessed and a Merry Christmas. See you next year!
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Sound Check cont from page 7 “Hey, that sounds really good!” Well, with my best fan in life cheering me on I rose to the occasion and played a blistering set of Bruce’s standards, except for the fact that the great tone from the amp and the effect pedals were adding more color to my tunes… making them sound much better than just sitting on the edge of the bed thinking what it might sound like in my head. I had a total blast. The next night came around and I got to plug in again! This was real progress. Even though I may be busy with work (and I do enjoy my work) I can’t forget some of the things that make me enjoy more of life in the first place. I’m sure I can think of a few other areas in my life where I might be so busy that I’m missing out on something that is meant to be enriching to me as a person, as a musician, and as a believer in Jesus. You know you are too busy when _________ (you fill in the blank). You Gotta’ Play Like All Heaven is Listening… Bruce & Judy
Glen Campbell Story cont from page 30
Spector’s productions as well as HUNDREDS of other hits throughout the decade. The impact of Campbell’s influence on popular music is underrated, but cannot be denied. Few musicians have been played on the radio as much as this man has, in one form or another. In light of the artist’s recent revelation that he is living through the early stages of Alzheimer’s disease, it’s Campbell’s original songs that are the album’s strongest and most poignant. “Thousand Lifetimes,” which boasts the heaviest rock production in the singer’s catalogue, is a clear-eyed confrontation of mortality, as he addresses personal demons head-on and remarks, “Each breath I take is a gift that I will never take for granted.” In another context, that line might scan as maudlin, but there’s such force to Campbell’s delivery that it plays instead like a personal mission statement. “Strong” is even more impressive in its unflinching honesty, as Campbell sings to his wife, “This is not the road I want for us/But now that it’s here/All I want to be for you is strong.” It’s a song that trades in fear and uncertainty as much as it expresses perseverance, and it’s that willingness to disclose and to confront personal vulnerability – even while affirming his unflinching faith that God will provide for his every need - that makes Ghost on the Canvas such a strong and spiritually convicting album. Raymond, for his part, generally keeps the focus on Campbell and his thoughtful performances. He establishes a lo-fi aesthetic that reinforces the intimacy of the album, bringing occasional flourishes of texture to his relatively unobtrusive production. Though Campbell is considered a country artist, his pop leanings have always been strong – a clear Beatles influence can be heard in many songs here, and Raymond certainly produces Ghost on the Canvas like a contemporary Indie-pop record. There are a few insignificant missteps, including the overlong, indulgent instrumental outro to “There’s No Me”, but a few songs contain orchestral nods to past Campbell songs like “Gentle on My Mind”, “By the Time I Get to Phoenix”, and “Witchita Lineman”, providing a stirring whiff of familiarity that feels more like a reaffirmation of Campbell’s extraordinary gifts, than just cheap nostalgia. It does leave one to wonder why Jimmy Webb (whose spirit is all over the proceedings) wasn’t contacted to collaborate on Ghost on the Canvas, if it indeed will be Campbell’s swansong, as has been advertised. Yet that oversight doesn’t negate the enormous accomplishment and career-capping performance Glen Campbell delivers here. If there is any justice in the world, he will be walking up to the Grammy podium 4 or 5 times next spring.
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In Pursuit of Excellence
Make an Audience Alliance
By Bryan Duncan In my heyday I used to pay the soundman more than the musicians, because if he isn’t good, it won’t matter how good the band is. If you are still reading this now, I know you have stories of nightmares where the engineer pushes the fader up on the kick drum instead of the guitar solo. If you are a seasoned player you know to make friends quickly with your sound professional. There’s a fine line between an ally and an enemy. With that said, let’s leave the perfect world and revisit where most of us are. I walked into a church last week just thirty minutes before downbeat, only to find an antiquated soundboard where most of the knobs haven’t been turned since the turn of the century. I would be presenting with one blown speaker on a mono system and a guy running it who confessed to some high end hearing loss. My first clue was when he said, “huh?” to my first question. Not a good sign. He also didn’t know what a DI was. I refer to these moments as ‘changing the play at the line of scrimmage’. I’m gonna have to rethink the set list. Track loops aren’t going to work today. Even unplugged material will be suspect while singing into a microphone that sounds like you have your hand over your mouth. I can still recall a major festival I played in Europe where the highlight of the day was an impromptu moment where the drummer in the band before mine came out front and did a rhythm solo on his bare belly. Everyone was There’s a point where content will have to imitating him for the rest of the day, doing his overcome catastrophe in the presentation. or her own “tummy solos”. Here’s where your faith really has to shine. Never forget that the audience wants to play Two choices come up everyday. Act like a a part in the event. Even if only to sing along diva, or find a way around mix. somewhere and identify with what you are Before any music comes from you there has experiencing. So if you are fighting distractions, to be heart. Here’s where Christian musicians remember that one thing everyone can relate have an edge. I’ve learned that no matter to is . . .struggling with adversity! So maybe how sweet a melody of notes can be, never your next performance is an example of faith underestimate the power of a silent pause. and trust speaking louder than the impression That rest notation usually comes at a point of you leave on strings and keys. panic in real life situations. Communication I opened this presentation fixing the needs more than a key signature. screwdriver that was holding up the piano I was forced away from my own talents and stool. It gave me the opportunity to drop all strengths once again. Drawing upon a source pretenses with the people in attendance that I don’t rehearse often enough. It’s the and share a heartfelt appreciation for their presence. synergy of Christ before the song was born. I have never stopped marveling at the miracle worker in the God I know. He would rather show His strength than to let us show our own. That’s not an excuse to do shoddy work, but too often we cant even control the parameters we think we can. I ended my set with the audience whistling the solo section while I backed them up on guitar. And in the end we were laughing together instead of thanking God that the suffering was over.
“Be the screw driver,” I told them. “Be someone others will miss when you’re not there.” Even as musicians, we may find ourselves holding up parts we were not made for. Bottom line, I was euphoric, surprised (and Even when all else relieved) to have been a part of something doesn’t fail, make the unique to another moment again. audience your ally. See Let the crowd collaborate. It’s like I’ve them! No one wants to learned in songwriting: When the song is hear you complain about great everyone benefits. And they seldom the inhibitors to a quality ask who wrote it. (It’s usually the song the you’d prefer. It’s amazing audience is singing after you drop out, by the how much an audience way.) wants to connect with Bryan is planning a Kickstarter campaign for a you beyond your talent. new album and the re-release of many of his past
recordings. Find out more at: or bryanduncan.com. 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. facebook.com/BryanSoulManDuncan
Revitalize and Enhance Your Worship and Music Programs in 2012!
JOIN US AT THE NAMM SHOW FOR THE CHRISTIAN MUSICIAN MICRO-SUMMIT. The NAMM Show is the world’s largest, most important music products trade show, where you can see the latest innovations and hottest gear from 1,400+ manufacturers from around the world. Now, you and your worship and tech teams can attend the show and be a part of the Christian Musician Micro-Summit on Saturday, January 21, from 1 p.m. to 5 p.m. The Summit will feature great training and amazing encouragement for your teams.
Enjoy a meet-and-greet reception at 5 p.m. in the H.O.T. Zone and talk to others in the worship community.
To register for the Micro-Summit and attend the NAMM Show, please send an e-mail to email@example.com.
What is OneVerse? An Interview with Jill Monaco
Director of Artist Relations and Events with OneVerse
by Bruce Adolph
I personally find OneVerse to be a unique ministry. Tell our readers what OneVerse is? OneVerse is a program of The Seed Company, an affiliate of Wycliffe Bible Translators. Our heart is to provide God’s Word to every language in this generation. We accelerate Bible translation by working with national and local translators – they are translating for their own people! The communities really embrace the Scriptures and use it in their churches within weeks or months. Some people are surprised to learn that there are languages that still need the Scriptures. When in fact, out of the nearly 7,000 languages in the world, less than 500 have the whole Bible in a language they understand best – their heart language. And over 2,000 languages or 340 million people don’t even have one verse of Scripture. That’s more than the population of the United States and Canada combined. The results are tragic - Over 7,000 people die every day without hearing the good news of Jesus Christ. That’s more than people who die without food or clean water combined. I’m not okay with those facts. I’m not okay with 10 Bibles on my bookshelf while people all over the world are suffering without hope. I’m not okay with that and neither are the Christian artists and speakers I partner with. We have the hope of Jesus and we have the hope of knowing we can make a difference! The Seed Company is translating the Bible into nearly 100 languages this year alone. At the rate we are going – we may just reach all the remaining languages by the year 2025. Can you believe that we were chosen to be the generation that completes the Great Commission? Your readers can join us by giving just $26 a month at www.oneverse.org/ christianmusiciansummit. Every month they will get a verse and know what verse was sponsored for those people because of their partnership. They will receive updates from the national translators like how to pray for 46 NOV/DEC 2011 them and their families, what book they are working on and hear stories about changed lives in their communities. And someday . . . we will hear them singing before the throne, “Holy, holy, holy is the Lord God Almighty, who was and is and is to come.” Imagine someone you don’t know running up to you in heaven, saying, “Thank you.” are the apple of His eye and that He sent His son Jesus to die for them. My only ambition is to make Jesus famous in every language as it says in Romans 15:20. I have a great job! OneVerse has a program that works alongside of both signed national artists and also local independent artists. Tell us how that works? I have the privilege to work with Christian recording artists and indie artists – training them to speak on behalf of the ministry of Bible translation at their concerts and events. OneVerse provides the training and resources necessary to share the need of Bible translation. They encourage people to become monthly partners with a specific people group. It’s like adopting a people group and providing the life-giving, life-saving, life-changing Word of God. Together we hope to bring God’s Word to people for the very first time.
Although I want to see more people in every language in heaven praising God, I want just as much to see them set free from the evil one If I am an artist and want to contact the here on earth. To live victorious lives – free ministry - what is the best way to go about from strongholds, sin and fear. I could tell you it? stories of entire languages that sacrificed their They can learn more at children to idols as late as 1960. Until they www.oneverse.org/artists read that Jesus loved the little children. Or the pastor that used to beat his wife until he read or at our artist website at how he needed to love his wife as Christ loves www.artists.oneverse.org. the Church. They need to know Jesus now . . . We also have a twitter account @1verseartists. You are fully immersed in your job there with OneVerse. What does it mean to Jill Or they can contact me directly at Monaco personally? firstname.lastname@example.org. That question makes me laugh – yes, I am What is the main mission of OneVerse fully immersed in a calling to help people for 2012? know Jesus. And when they know the Gospel they can know who they are in Christ. Without To keep doing our best to love people the knowing they are adopted as daughters and way Jesus did – our artists and the people in sons – they will continue to live in defeat of the the language groups we work with. We love evil one. How can they fight back without the relationship and transformation. Thanks for Word? Eph 6:17 is very clear that the Word letting us share the mission with your readers. of God is the sword of the Spirit. Without We look forward to seeing what God does God’s Word they can’t be transformed by the because someone read this and felt a tug by renewing of their minds, they can’t know they the Holy Spirit to contact us.
BREAK THE SILENCE
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