Christian Musician Magazine - Nov/Dec 2013

Improving Musicianship | Inspiring Talent

DAVE KELLY

Product Review

The Resilient Musician

Tanglewood TW40-O-AN Acoustic Guitar

Selective Hearing Stryper l Scott Stapp l Aaron Sprinkle l Andrew Greer l Jason Gray l Coastal Rise Bread of Stone l Son of Laughter

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Favor: God’s Gift, Our Blessing by Rick Cua

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50 Great Gifts for Musicians

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Sweetwater-exclusive Interview with MIKESCHAIR

The hardworking group discusses their new album, their songwriting process, and their approach to choosing gear for recording and live sound.

Essential Guides for You and Your Volunteers Image courtesy of Matt Br Bronleewe

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

Producer

Matt Bronleewe

Giving Their All

There’s no better example of a hardworking band effectively sharing the modern musical message than MIKESCHAIR. This Nashville quintet has received multiple Dove Award nominations and tours incessantly. Plus, they’ve partnered with several nonprofit organizations to help those in need — both at home and abroad. Lead singer/ guitarist Mike Grayson, guitarist Kyle Schonewill, drummer Nate Onstott, bassist Seth Penn, and keyboardist Dustin Wise will be celebrating the release of MIKESCHAIR’s soon-to-be-released album, All or Nothing, with a tour that also features Plumb and Josh Wilson. We spoke to Mike about his calling, his commitment, and his approach to making music that makes a difference.

Tell us about your new record.

This was the first record where, from a writing standpoint, I actually had a theme in mind. The first song I wrote for the record was the title track. From that moment on, I knew that the theme was set before me, of this idea of literally abandoning everything and giving all to Jesus. Throughout the album, there are three or four titles that have the word “all” in them, with the last song on the record being kind of a remake of the old hymn, “I Surrender All.” The album kind of became a journey, starting with “All or Nothing.” This is the goal of the record: bringing people through the journey of what it might look like to get to that point of saying, “I’m done with the mediocre; I’m done with the gray. I’m just ready to go for it.”

Take us through your writing process.

Songwriting is a really organic thing for me. MIKESCHAIR has been around for almost 10 years, and this is our third national release. I’ve spent a lot of time traveling all over the country and figuring out what works and what doesn’t, what connects with people and what doesn’t. I feel like this record is more focused. I had a lot more to pull from. Sometimes it’s a quote from what my pastor said, or from when people come up after a show and share their stories. There’s a song on the new record called “Forever Faithful.” That song came directly from a story that was told to me after a show. For me, songwriting is definitely a platform not only to personally get things out, but I feel that some of my job as a writer is to view the world from an outside perspective and see what God is doing in other people’s lives.

A lot of people ask, how does a song start for you? Is it a melody? Is it a lyric? Is it a chorus? For me, it’s always different. The music usually comes first for me. I’ll have a melody I’m messing around with. From there, I’ll really dive into what I want to say. On this record in particular, I wanted to make sure there wasn’t a line in a song that didn’t make me feel something. I didn’t want fluff; I didn’t want to say what I thought people WANT to hear. I wanted it to be very genuine and true to what MIKESCHAIR is about. There was a lot more time spent on lyrics for this record and just making sure that everything that was said was worth saying.

How does your approach in the studio differ from your live approach?

The studio really is a different animal. Live, I tend to really focus on the emotion of the lyric — to the point where maybe in a studio setting it might not come across as well. Live singing and playing for me is more about connecting with the person in front of you, as opposed to the studio, where I’m always trying to be true to the song and the emotion. We’re also a radio band; a lot of our music is played on the radio. So that’s a factor in the studio. But, I don’t feel like we ever have to put limits on what we do because of that. We’re trying to create the best moments that relate live but also are communicated best in a recording situation.

Matt Bronleewe mentioned that the new album sounds bigger.

We’ve taken more of an organic approach on this album. The listener may have a harder time distinguishing between what a live drummer has done and what a programmer has added. MIKESCHAIR has a pretty large, epic sound, and things are kind of related in a movie sense for me, creating different scenes. Even when it comes to writing, it’s very visual to me. I can see what I want the song to express, and at the same time, I have ideas in my head for how I want it to sound in the end. There are lots of big gang vocals, going back to our first record. One of our first songs that we did on that album was “Let the Waters Rise.” That one had a really anthemic, epic vibe to it. We definitely carry that into the new record, but at the same time, there are more organic elements involved, as opposed to synths or very obvious programmed beats.

How did you approach your gear choices for the new album?

We use a lot of Fender gear. Our bass player uses a P Bass. Our lead guitar player, Kyle, plays an American Tele, and I use a Tele Deluxe live. On previous records, we had this vault of 20 or so guitars. With this album, we focused on three or four things rather than focus on 20 different things. A lot of it was gear that we use live.

Obviously, we’d supplement it with gear the studio had, but for the most part, it was all gear that we use on a day-in/day-out basis.

What do you use for monitoring and wireless gear live?

Onstage, I use Westone in-ears with dual drivers, and we have wireless Sennheiser instrument packs. I use a Sennheiser EW-135 for vocals. interested ested in making music.

Tell us about your biggest influences and how you got inter quar As far back as I can remember, I’ve always been drawn to music. My grandma grew up singing in a quartet.

My dad always loved music. When I was a little kid, I was always singing — to the point where my parents put first guitar guitar, I me in a boy’s choir. I remember desperately wanting to play an instrument. Ass soon as I got my first remember learning to play an “E” chord, and I learned that you could move it up the neck and that it sounded ted writing music as soon as I learned that one chord. I’ve never been one who good in different places. I started focused on being a virtuoso. I’ve always been more drawn to the songwriting aspect of what playing allows me to do. As far as early influences, Jars of Clay was a huge influence on me. I grew up listening to Christian music; Jars of Clay, Chris Tomlin, and Delirious? were huge influences.

Photos by: REID ROLLS PHOTOGRAPHY

What’s next for MIKESCHAIR? Definitely a lot of touring. With the release of any new record, we hit the road hard. Whenever we do a project, Ultimately that’ that’s why I do Christian music. it’s all about, “What can we do to get out and connect with people?” Ultimately, ts and what He’ss given us to communicate. The best We love getting out and sharing what God’s put in our hearts way to do that is by going on the road.

!

MIKESCHAIR’ss latest album, All or Nothing, is coming soon. mikeschair mikeschair.com !

To find out more, go to mikeschair.com!

The Nashville-based engineer and musician brings plenty to the producer’ss chair when he works with MIKESCHAIR in the studio.

Matt acts as a sounding board, helps to define arrangements, and challenges the band to do their best work. He tells us about what it’s like to work with the band, how he was an early proponent of Pro Tools recording software, and why he relies on Sweetwater to give him the scoop on new gear.

How does the production on the new album differ from past MIKESCHAIR projects? as, how do we take what One thing that Mike and I talked about was, ther? I think the new album has we’ve done before and move it further? trying to marr a bigger sound. There was kind of a notion of tr marry the ying to find digital universe with real players, trying find harmony between those two things.

Any thoughts about working with Mike?

One great thing about Mike is that he really does strive for the best.

He gets up early, stays up late, and works really hard. When he comes joy I always know he’ in and we work together, it’ss always such a joy. he’s going to pick up the ball and run with it, and push everybody to do their best. ools when you rrecor ecord, ecor d, corr You work primarily with Pro Tools record, correct?

T for a ver I’m a Pro Tools guy. I’ve been working in Pro Tools very,y, ver very long time; it’s like pen and paper for me. When I first first started, it was T with 2" tape. Then, I was one of the first guys to have a big Pro Tools rig in Nashville, back when a lot of people told me I was crazy and should be buying ADATs. Do you use the Eleven Rack in your projects?

I use it a ton. During a project a few years ago, I had to just blast out all the guitars in Eleven Rack. I didn’tt have the chance to go to another studio and replace anything. But I was immediately impressed. I love being able to play through all those presets on the tist presets that came with it when I Eleven Rack — definitely the artist got it from Sweetwater.

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What did you use for Mike’ Mike’s vocals?

W used a combination of things. Most of the vocals were recorded We on the U-47. I went through a VVintech intech X73 into a Distressor Distressor. The Distressor is great for that “modern” vocal sound.

Which plug-ins and virtual instruments have you gotten a lot out of?

I love the Native Instruments Komplete collection. We’ve W used the Alicia’s Keys piano quite a bit. I also use the Abbey Road drum kits and ‘80s kits. As far as vocals, I really like the Sound TToys plug-ins and some of the W Waves plug-ins.

What would you most love to add to your studio setup right now?

The U UA Apollo Quad interface is definitely one of the things I could see in my studio at one point. I love the U UAD plug-ins. Sweetwater is great about letting me know when something I’d be interested in comes out. This gear is my lifeblood, and being able to talk to people at Sweetwater and have a company like yours out there ser servicing the needs of people like me is huge.

Read the entire Q&A with Matt Bronleewe at

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Features A Third Magazine? Really?

8 Product Review

by Bruce Adolph Tanglewood TW40-O-AN Acoustic Guitar

With the next issue of Christian Musician we will begin our 19 year of publishing this vertical niche market magazine. This is an amazing thought to me. It will also start the 12th year of our sister publication, Worship Musican! Magazine. Man, time flies when you are having fun!

And in the midst of all this activity I am pleased to announce a third publication is starting January 2nd, 2014. th

10 Bassic Communication

by Norm Stockton Modern Rock Bass Lines (Part 4)

I have had a passion for guitars since I was fourteen years old. As a teenager I bought and played guitars in Hong Kong, Laos, and Thailand.

Having run a music store in Los Angeles for over a decade my love for guitars grew in leaps and bounds. Like most guitarists I am drawn to the nicer quality, high-end guitars when I am exposed to them, and in the last 12 years or so my interest in vintage guitars has spiked too. For the last four years I have owned the Sea-Tac Guitar Show (a vintage guitar show here in Seattle, WA) and I always get a kick out of it. No matter how much I know about vintage guitars, there is still way more to learn.

12 Guitar Workshop

by John Standefer Leading Tones & Chords (Part 1) 14 Drumming Dynamics

by David Owens Groups of Five 16 Vocal Coach’s Corner

by Roger Beale To Vocal Nodules and Beyond!

My new magazine is a natural progression of my interest in new, handmade, and vintage instruments. I am thrilled to introduce you to “Collectible Guitar – Then & Now”. A magazine brimming with features on historic guitars and the impact they had on modern music, product reviews, profiles on accomplished guitarists and luthiers, plus fascinating guitar stories, guitar show news, trends in collectible guitars, and more. I am preparing now for an upcoming interview with guitar legend (and a guy with some very collectible guitars himself) Vince Gill. This interview will be in our first issue ( Jan/Feb. 2014).

We are starting out at a low price of $19.95 a year (6 issues) and on the website right now we are offering a free set of D’Addario guitar strings for the first 200 folks who subscribe. Please consider this offer if you can, and then visit our website at www.collectibleguitar.com to sign up.

We appreciate all of your continued support for Christian Musician, Worship Musician!, and now our latest Collectible Guitar magazine! I am super excited to see what all three publications can accomplish with the Lord’s help in 2014.

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by Roger Zimish The Pentatonic Scale 42 God’s Kingdom or the Magic Kingdom?

by Bryan Duncan 46 Coda

by Paul Moak 15 Years. My first and possibly last artist’s blog.

24 50 Cool Gifts For Musicians

by Bruce Adolph 26 Selective Hearing

by Shawn McLaughlin Stryper Scott Stapp Aaron Sprinkle Andrew Greer Jason Gray Coastal Rise Bread of Stone Son of Laughter

Interview

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The Resilient Musician

by Bruce Adolph

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Museum Attic’s Treasure: 1901 Martin 00-27 LUTHIER’S CORNER:

Santa Cruz’s Special Order Acoustic

VINTAGE GUITAR SHOW

Promoter Profile

ADVANCE REPORT:

Scoops from Winter NAMM

PRODUCT REVIEW:

Silvertone’s new 1423 Jupiter model

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May God bless your efforts in your life and ministry this upcoming year!

Bruce & Judy Adolph

36 The Indie Mechanics

by Keith Mohr & Sue Ross-Mohr Who’s On First?

18 Show Us Your Groove

by Rick Cua Favor: God’s Gift, Our Blessing

This will be a magazine aimed at anyone interested in learning more about guitars themselves, and will feature vintage guitars as well as new guitars that are available at several price points… not just the sky high expensive guitars, but also what is a good investment if you only had $1,000.00 in your pocket. I have been blessed with many good relationships with guitar manufacturers (large and small) and we have already had some good advertisers come on board to help us launch this new publication. Some very cool distribution opportunities are in the works as well. This will be a mainstream magazine, but cracks of light will shine through its editorials and attitude.

I wanted to reach out to you, our readers who know us the best, and (if you have an interest here too) ask you to help us launch this third magazine by subscribing to it!

CONTENTS

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

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PRODUCT REVIEW

Tanglewood TW40-O-AN Acoustic Guitar

By Bruce Adolph

Have you ever picked up a guitar and been completely caught off guard at how good it sounded, when for the money it really shouldn’t sound that good? That is what happened to me when I played Tanglewood’s “folky” 1940’s style TW40-O-AN. This model is from their Historic Series and the “O” stands for Orchestra.

First of all, I do like guitars that have this slightly smaller body shape (think Martin OM). The feel of the guitar with it’s smooth satin finish (Tanglewood rightly defines it as “Antique Natural Gloss”) and mahogany one piece neck with volute speaks comfort right off the bat. There is something nice about placing the side of your hand against the raised volute. It tells your hand that is where it rests and that is where you can take flight from. The scale length of the fretboard (25.6 inches) helps maintain the guitar’s tone if you use alternate tunings to (drop D or open G etc.).

There is more comfort awaiting you when you see the solid spruce top and the wood grain of the laminate mahogany back and sides. The headstock shape and tortise looking pickguard also speaks “traditional design”. Cool stuff!

But what blew mind about this little beauty was the vibrant sound coming out of the instrument. It has a well rounded tone that was big but delicate when you wanted it to be. The guitar resonated to the point that I thought, “Wow, I could play this guitar for hours and not miss some of the more expensive guitars hanging around the office for review”.

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The sound is clear. The sound is loud… and you can feel the top resonating. The bracing is spot on. The blending of bass, mids and treble is consistent and smooth with a tight and pronounced bottom end.

As for features, I personally like the wider nut width (1&3/4”). The string spacing at the saddle is 2&5/16: which is very comfortable for fingerstyle playing. The fretwork is just fine (the frets themselves are a little thinner than my other guitars but they are well shaped) and the action allowed me to play freely up and down the rosewood fretboard.

The neck shape is a slight “V” which moves more towards a “C” shape as you play higher up the fretboard… well done! The bridge is rosewood as well and the tuners are a chrome vintage “Waverly butterbean-ish” style. The nut and saddle are bone and the binding is ivory celluloid. The overall look of this guitar is “simple elegance”.

Now back to the point about the pricing.

This Tanglewood is made in China and I have played some good guitars and some not so good guitars out of China. The retail price is $679.00 and the MAP price on this instrument is just $499.00. In hind sight, I wish I had asked Tanglewood to send me three of these exact same models. Because if all three of them consistently sounded this good and played this well, I would of encouraged you to buy stock in their company. They have made all the right moves in designing this instrument… it is my humble opinion that the TW40-O-AN guitar is worth twice the price you are paying.

Find our more at www.tanglewoodguitars.com

Modern Rock Bass Lines (Part 4) Welcome back to the woodshed! Let’s continue in our exploration of creative options for playing 8th-note rock grooves over the ubiquitous I-VI-V-IV chord progression (tweaked to IV-I-V-VI for this series) that’s so common in today’s worship music. For those of you who are just joining us, please check out the last few installments of Bassic Communication for some background and context.

some nice motion and melody, it also sets up figure hits the b3rd and 9th (another dash of the root of the upcoming measure. melody and tension/resolution out of the rock Bar 3 drives the root but in the higher idiom book). :^) register, which can inject some energy. Bar 5 and 6 are quite similar to bars 1 and 2, The 6th that occurs on the ‘and’ of beat 3 but resolve differently—the D# on the ‘and’ and downbeat of beat 4 serves both as an of beat 4 in bar 6 is the 3rd relative to B in bar interesting non-chord-tone, and as a great tie 7 (first inversion, right?). in for the upcoming C# in bar 4 (that 6th or G# Bar 8 is a variation of the line in bar 4 is the 5th relative to C#). and clearly establishes the root before As a quick aside, while the suggested form incorporating the 9th and b3rd. reflects playing that line on the D string, I’d As I mentioned last time, this bass line be tempted to keep it all on the A string to approach would probably be best employed take maximum advantage of the thicker tone later in the tune after the chord motion has resulting from the heavier string. I encourage been well reinforced; but be careful not to you to experiment and see which you prefer. introduce too much variation or your part Note how the line in bar 3 takes us up to will likely be perceived as busy and not the b7th (B) of C#, and doesn’t resolve to the particularly supportive. root of bar 4 until after the first downbeat.

While practicing these lines, please record This introduces some nice tension that can yourself with a click and/or drum machine. be effective in the modern rock context. The Strive for consistent time, emotive feel, and— line then quickly resolves and brings us back whatever you do—make sure to groove! :^) down the lower register before an ascending God bless & see you next time!

Let’s dive back in!

Bar 1 resumes the driving low root note that really sets the foundation. Please take care to never underestimate the importance of this approach! :^) The last eighth note anticipates the upcoming chord change in what should now be a familiar idiom of modern rock bass.

Bar 2 begins with the second inversion (we’re playing the 5th relative to E), followed by an ascending melodic line hitting the 7th, octave, and 5th an octave up (all on upbeats—another rock idiom, right?). While this figure creates

Bassic Communication Modern Rock Bass Lines (Part 4)

Norm Stockton

A2 E2  Bsus         C#         

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(Adapted from curriculum at ArtOfGroove. com)

Norm Stockton is a bassist/ clinician/solo artist based in Orange County, CA. Following his long tenure as bassist with Lincoln Brewster, Norm has been focused on equipping bassists around the world through his instructional site (www.ArtOfGroove.com), as well as freelancing (including tour dates with Bobby Kimball, former lead singer of TOTO). Also visit Norm at www.normstockton.com, Facebook, Twitter and Instagram.

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

Norm Stockton

Norm’s Clinic & Appearance Schedule 2013-2014 November 7, 2013 Bass Boot Camp, Redmond, WA November 8 & 9, 2013 Clinics & Performances, Christian Musician Summit, Redmond, WA November 10, 2013 Bass Player Live, Hollywood, CA November 16, 2013 Clinic, Rancho Cucamonga, CA December 4, 2013 Clinic with Gregg Bissonette, Tustin, CA Norm’s Clinic and Appearence Schedule 2012 December 22, 2013 Unite Conference at WFX, Atlanta, GA Sept. 19-20 Performance, Whittier, CA Unite Conference, St. Louis, MO Sept. 24-25

Virginia Bass Forum, Fredericksburg, VA Sept. 29 January 23-26, 2014 Unite Conference, Pittsburgh, PA Oct. 1-2 NAMM Show, Anaheim, CA Bass Specialties, Philadelphia, PA Oct. 3

Unite Conference, Conference Boston, MA Oct. 8-9 February 20-23, 2014 National Worship Leader Conference, N. San Diego, CA Oct. 11 Clinics, Pocatello, ID

Concerts with Bobby Kimball (TOTO), Pleasanton, CA Oct. 18-19

Bass Player Live, Hollywood, CA Oct. 20 May 10, 2014 Instrumental Music, Ventura, CA Nov. 7 Clinics & Performances, BassBreak Live, Virginia Beach, VA Christian Musician Summit, Redmond, WA Nov. 9-10 The Outtengrand Orchestra, Yorba Linda, CA - Dec. 1-2

Subject to change and additional dates pending.

Please visit NormStockton.com for further info.

Photo by Glen La Ferman ©2012 Gallien Technology Inc. All Rights Reserved

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

MB212 II 212MBP

Leading Tones & Chords (Part 1) In the beginning, playing and learning new chords is enough to satisfy most guitar players.

As musical ability and taste matures, however, you begin to see that it’s not just the chord, but also the particular order of the notes in the chord that start to become interesting. These are called ‘chord voicings’. Then as you play chords in sequences you begin to appreciate chord progressions. Somewhere along the line you discover that you can replace a chord in a progression with a different one that has some similarity (chord substitution). As you learn this business of harmonizing on the guitar it really becomes exciting to see where your ear and mind takes you next.

Somewhere along this journey you start seeing that using specific voicings that move in scalular ways that sound particularly pleasing can enhance the way one chord connects to the next one even further. A simple example is instead of coming from a G chord into C, use G7 to C. The seventh (F note) is just a half step away from the E note in the C chord, and that chromatic move from F to E sounds

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good. This is just the beginning. You then might discover that voicing the G7 and C differently places that F to E movement in the middle of the chord forms - and sounds even better. Look at the first 4 diagrams below and play these changes a few times to let it sink in.

Now what if we use those same voicing ideas, but with simple chord substitutes for the G7 and C? Look at the next 4 diagrams. In these substitute chords, I’ve simply added a 4th note from the C scale to each chord triad. More complex substitutions might contain 5 or 6 notes and use flatted or sharped notes in their construction. See the remaining diagrams.

Play these for a while. Perhaps even memorize them! Then try using these new sounds in songs. Any song in C will have a G7 to C move in it – just plug in these new harmonies instead and see how they sound.

way (either whole steps or, even better, half steps). In the simplest form of G7 moving to C (first 2 diagrams) see how the F note moves to E on the top of the chord? Also the B note (near the bottom of the G chord) moves to the C bass note in the C chord. This also happens on the 2nd string, again between B and C. These half step moves create a wonderful ‘resolved’ sense when the two chords progress from one to another. Do you hear it? Now try and find all the other half step leading tones in the more complex versions of this mini 2-progression. Stay tuned... JS

Check out John’s 5-DVD set ‘Praise Guitar Lessons’ at the ‘store’ page at www.johnstandefer.com. You get There will be more on this in Part 2, but just 52 video lessons similar to these before we leave Part 1, look closely at exactly CM articles, but you can see and what notes are in each of these G7 to C moves hear the lessons! Includes charts. and identify the leading tones. Leading tones Also consider private lessons with are notes that tie chords together in a scalular John via Skype!

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Groups of Five Lets practice some groups of 16th notes that will challenge us both with phrasing and with our limb independence. The exercises here have groups of five 16th notes over two bars with a couple 16th notes tacked on at the end to make it an even 2 bars.

I have written a groove at the top that is just an example, but the idea is to play any groove for at least 2 bars and then play one of the group of five exercises and return back to the groove.

feel the four under the groups of five.

In exercises A2, B2, and C2 the bass drum plays four on the floor under the groups of five. This will take some work because the bass drum must remain independent from what your hands are playing.

Now I can hear you asking, “why do I need to learn this? I would never use this in a worship environment.” You are most likely right, but it is imperative to practice things that open us up to new concepts and challenges.

In exercises A1, B1, and C1 the bass drum Mastering independence exercises like these plays the same thing as the right hand. This will give you the freedom to try all sorts of will help you get the feel of the groups of five new grooves and fills. and is easier to play from an independence Enjoy your practicing! point of view. Always make sure you play with a metronome. The metronome will help you Blessings, David

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David freelances in and around Los Angeles and is currently playing for Franklin Graham events worldwide.

He has played with Fernando Ortega, Sara Groves, Bebo Norman, Tommy Walker, Lincoln Brewster, Thomas Dolby, The Righteous Brothers and Peter White as well as spending 2 plus years playing The Lion King at the Pantages Theatre in Hollywood. He is also an adjunct professor at Biola and Hope International Universities. His home church is Plymouth Congregational in Whittier, CA. Feel free to contact him at DavidOwensDrums.com.

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To Vocal Nodules and Beyond!

The number one general complaint that people have about their voice is hoarseness.

The number one fear that singers have is vocal nodules. It is also to be noted that singers have an irritating reputation of being constantly worried about their vocal condition. Let us look beyond the basic vocal problem of hoarseness and consider other disorders of the voice. In my work as a singing specialist with several doctor’s offices, let me tell you, some of these can get pretty nasty.

The most common disorder of the voice is called laryngitis. This vocal situation consists of redness or swelling, and the singer will have some hoarseness and vocal fatigue after singing. A chronic laryngitis can be developed from serious vocal abuse, trauma to the voice, or gastro-intestinal reflux.

Other serious vocal abuse might result in non-malignant growths on a singer’s vocal fold. The most common growth is a nodule.

Backstage it might be referred to as a “singer’s node”. It is a callous-like growth that develops like a corn or callouses on one’s foot from an ill-fitting shoe. The vocal folds do not function properly, irritation happens, and the growth develops. Singers do not fear! The nodule issue is usually resolved by vocal retraining.

However, if it is stubborn and persists or lingers for an extended time, surgery may be an option.

Our third disorder to be discussed is polyps. These growths appear on the edge of the vocal fold and sometimes even below the fold. The polyp is usually treated by some form of voice therapy and or surgery.

Otolaryngologists do not agree on an exact cause of polyps. A vocal trauma may be a cause, as well as alcohol and smoking abuse.

If a singer with polyps does not alleviate or change his improper vocal habits, polyps can return.

A cyst is a fluid filled growth with the consistency of a grape. Many causes are possible, but the main one is a mucous gland duct that has become blocked. The cyst

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causes swelling, and sometimes a growth granuloma came back three more times after similar to a nodule appears on the opposite his first surgery. fold from the cyst. Surgery is usually the A singer also needs to be aware of contact answer, followed by vocal therapy. ulcers of the voice. For some reason these Vocal fold hemorrhage. How’s that for seem to occur at the back of the vocal folds. a scary sounding condition! Small blood Reflux could be a reason for this. But reflux vessels within the vocal fold rupture. This combined with throat clearing is a big reason allows blood into the adjoining tissue. I for contact ulcers to appear. Treatment is heard one public relations “suit” in Nashville effected by dealing with the reflux, as well as refer to her clients condition as a “leaking” some form of voice therapy. blood vessel. Talk about media spin. In the Professional singers need to be in excellent doctors view this looks like a darkened area health so that the larynx works at its maximum on the vocal fold. A vocal hemorrhage is efficiency. Attention needs to be paid so usually caused by a trauma, like screaming or that singers are proactive with their vocal performing when you should be in bed, a.k.a. health. Let’s be knowledgeable about vocal sick. I know of one case of a major opera problems so we might avoid them rather singer who had a vocal hemorrhage caused than create them. Yes, singers do have the by shoveling snow in New Jersey. That must reputation for being annoyingly concerned have been a bad day. He was back to work about their voices. So what! Have you ever in a month. The hemorrhage event causes messed with a guitar player’s guitar strap? I immediate hoarseness, or even loss of voice. wouldn’t recommend it. Singers are just much The singer may taste a bit of blood in the more sensitive to physical changes with their mouth. Treatment for vocal fold hemorrhage voices. Let that be a good thing. is vocal rest. It may take several weeks. Do not Now go sing well! scream at sporting events!

Gastro-esophageal reflux disease (GERD) leads to a voice problem called laryngo-pharyngeal reflux (LPR). Both of these medical situations are generically called “reflux”. The reflux event occurs mostly at night. While a person is asleep, acids from the stomach seep into the larynx. The vocal folds become extremely irritated from the presence of the stomach acid. The person wakes up hoarse with an odd taste in the mouth. This is sometimes called “morning voice”. This condition is usually treated with some brand of stomach acid controlling medication and an adjustment of a person’s diet. Sometimes caffeine, alcohol, spicy foods, and late night eating are eliminated.

Granuloma is a condition that is generally a response to physical trauma. The growth tissue that forms is granular. Surgical removal and voice therapy is the treatment. I am aware of one case, an airline pilot, in which his

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Roger Beale has been writing the Vocal Coach’s Corner for fifteen years. He is one of the nation’s foremost vocal coaches.

He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his students have won prestigious vocal competitions and scholarships.

In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is an adjunct professor in the Fine Arts department at Point University (formerly Atlanta Christian College), website: www.point. edu. Roger can be contacted at: The Voice House, 1029 Peachtree Parkway, Suite 276, Peachtree City, GA 30269, (404) 822-5097, e-mail: voicehouse@ mindspring.com.

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Favor: God’s Gift, Our Blessing

by Rick Cua

Hopefully I’m not the only one who has experienced the joy of favor. Favor is giving special regard to someone, treating someone with goodwill, or showing exceptional kindness to someone. Psalm 5:12 says, “For You, O LORD, will bless the righteous; With favor You will surround him as with a shield.”

What a wonderful thought! But who are the righteous? God’s word says the righteous are you and I...believers who put our faith and trust in Jesus. We are not without sin, but when we do sin we quickly repent and get back on course. Because of Jesus we are the righteousness of God. “He made Him who knew no sin to be sin on our behalf, so that we might become the righteousness of God in Him.” 2 Cor 5:22

because of it wants to pass kindness and to be sure, but they loved and respected favor along to another. Consider the story of people. For those who participated, this was Mephibosheth: at the top of their list, and it became instilled Mephibosheth was the son of Jonathan and for a lifetime in us all. had no good reason to expect kind treatment from King David. But, because of David’s love for Jonathan, and a vow that David and Jonathan made in 1 Samuel 20: 14 & 15, favor came to Mephibosheth totally unexpected.

In that vow Jonathan said, “And you shall not only show me the kindness of the LORD while I still live, that I may not die; but you shall not cut off your kindness from my house forever...”

When we give ourselves to others, others give themselves to us. Not always, of course, but when relationships function as they should, that’s what happens. We have favor because of God, and more of it because of the way we implement God’s ways into all we do and in every relationship. We have it ALL with God, unmerited and unearned, but because we love Him so much we don’t leave it at that. We dig deeper, we reach higher and, although the benefit is not our motive, the benefit comes. Better relationships, more favor, and more life.

So later on in 2 Samuel 9:1 David asks, “Is there still anyone who is left of the house of Saul, that I may show him kindness for Jonathan’s sake?” And there it is! God’s favor When you experience God’s favor you know being bestowed on others because of the When God pours His favor on us it comes it. An act of kindness, an upgrade of some type, love and friendship that was sown many years in many different ways, but all from Him...He a great bargain beyond what you expected. It prior. is the source. He will bless us - the righteous can be as simple as someone opening a door and surround us with favor. Let’s trust God for for you, letting you in a bumper to bumper As a young boy I received God’s favor from favor, live life grateful for what’s already been lane of traffic, or someone doing something others as well. I didn’t earn it, work for it or given to us by God directly, supernaturally noticeably more generous like sending you necessarily deserve it, yet it rested on me and through the good living of others, and an anonymous check or picking up your because of the good ground my relatives laid let’s put every Godly principle into action in dinner bill. Diana and I reference our “Parking throughout their lives. I can remember being our lives as we interact with people. While Anointing” every time God gives us a prime with my Grandfather and feeling love and there is a benefit through God’s principle of spot. No matter how great or small, it’s a kindness from others because of how they sowing and reaping, let our only motive be to were treated by him as they worked together blessing from God and always appreciated. to build a successful car dealership. I knew love God and please Him. I experience God’s favor every morning them all, from the sales guys to the mechanics. when I wake up. Just to get out of bed is a My Grandfather would always stop and talk gift; it’s another day to be with The Lord and to them about their families, their kids...just Not just a musical artist, Rick experience whatever He has lying ahead. anything. He treated everyone with respect, knows the business of music Matthew 7:11 says, “If you then, being evil, and because of that, love not only came his was as well. Besides being a music publisher, artist manager and know how to give good gifts to your children, way but mine as well. I literally can remember booking agent, he founded how much more will your Father who is in them leaning down with big smiles to talk to and ran his own record label, heaven give good things to those who ask me. They made me feel good...favored.

UCA Records, in the 1990s Him?” Your simple prayer, the night before or which led to a position for I could go on and on about some of my the morning of, sets the stage for another day five and 1⁄2 years as Vice of favor, another day of walking with The King. relatives, and hopefully yours too. Folks who President, Creative/Copyright Favor is God’s idea and, like everything that loved people and made them feel honored Development at EMI CMG in Nashville. There he and good about themselves. Through that, managed a large songwriter roster and exponentially comes from Him, it’s a good one! our families set us up for much favor in our God’s favor can come directly from Him or lives. Again, not earned or worked for, given grew revenue through film and TV licensing, song promotion and print music development. He is it can come from others. It could come from simply because the people in our lives currently on staff as the minister of Pastoral Care and someone who had a great relationship and poured into others. Oh they weren’t perfect Visitation at Grace Chapel in Franklin, TN.

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You Perform the Music

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DAVE KELLY The Resilient Musician A lot of people in the music industry start out as musicians.

They think they know which way their career will go. But life often has different plans for us...

Dave Kelly is a musician who has seen some ups and downs that you couldn’t imagine, but through it all, has stayed at the top of his game in the entertainment industry (both music and film). And now, through serving others, has continued in his calling.

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by Bruce Adolph

Bruce Adolph: Dave, how did you first get friend invited me to help him work with Stevie started as a musician and tell us how it led to Wonder, not as a musician, but helping him to you being signed to Apple Records? complete a mastering suite down the hall from Dave Kelly: In 1968 I met a fellow Scotsman, where Stevie was recording “Songs In The Derek Jeffery. We shared a common taste Key Of Life”. This was an absolutely amazing in music and as we were both unabashedly experience. Then I started to get some session wannabe rock stars, we formed a rock band. work at the Record Plant. Occasionally I used Not a very good rock band, as it turned out. to jam with Tommy Bolan, guitarist for Deep I had an electric guitar but couldn’t afford Purple. I had not seen Tommy doing any anything to plug it into, so nobody could drugs, but one dark day he died of a heroin hear me. That might have been a blessing overdose. in disguise. We also didn’t have a drummer at first, so we would coax the audience into clapping and stomping to cover this glaring oversight. Surprisingly, no one complained.

One day we entered a talent contest that had been organized by The Beatles new record company. We surprised everybody, including The Beatles no doubt, by winning this contest.

The prize was a Record Contract with Apple Records. We thought we’d died and gone to heaven. But unfortunately The Beatles were in the midst of breaking up and we never got to release any records. We did get to hang out at Apple and go to a few parties with them, so we weren’t too disappointed. Derek and I then began playing clubs as a duo. One high point was when an American guitarist, David Lindley, began joining us on stage at gigs.

BA: Did this lead in some way to you becoming a Christian?

DK: You bring up a good point. I may well have been in some kind of spiritual danger myself, because one night while watching TV, I caught the last few minutes of a televangelist who was just reading a scripture out loud, nothing else, and before I knew what hit me, I was zapped by-what must have beenthe Holy Spirit. I fell on my knees weeping before God, realizing that I had been ignoring Christ’s sacrifice my whole life. I was literally transformed in a moment. Within a few months of my conversion Derek Jeffery came over from London to join me, and after some clumsy witnessing from me, he also gave his heart to the Lord.

BA: How did your conversion BA: Is that the same David Lindley who was affect the music you were making? the longtime sideman for Jackson Browne?

DK: Well we both felt we had to DK: You know your music, Bruce. Yes. find some way to express our new David Lindley was such a supporter that he found faith, and began writing convinced Warner Brothers in London to sign new songs, but not aimed at the us, and we became the opening act for bands, church; aimed at those in the such as Pink Floyd, Peter Gabriel’s Genesis, world that were just like we had ELO, Yes, Deep Purple, etc. been. We decided to call our new BA: How did you end up coming to America. musical duo - ARK. Were you on a tour?

BA: Is there DK: No, I wish...but by 1976 I just knew I had to be in America. A great deal of the music I loved was from coming from here. So I sold everything I had-other than my guitars of course-and moved to Los Angeles. L.A. in the 70’s was amazing. It seemed there were awesome musicians everywhere you looked.

rehearsing with us. As flattered as we were, pretty soon we thought this was like asking Leonardo Da Vinci to whitewash your kitchen, so we convinced him to accept an offer from Mick Fleetwood to record a solo album for Warners, and went back to being a duo.

Lovely man though.

All the Christian labels thought we were too worldly sounding. A mutual friend introduced us to Al Perkins. He liked our songs and offered to be our producer, but quickly became our guitarist, and what a great guitarist he was. Al managed to find a newly formed label called Spirit Records that was distributed by Sparrow, and we released our first Christian record called ‘Ark the Angels Come.

BA: That album was very well received at the time. Campus Life Magazine gave you the “Album of the Year” Award. One music critic claimed that Ark was “criminally unsuccessful”.

How come so few people ever heard the album?

DK: Good question. Firstly, because the label went out of business a couple of months after our album came out. Also, many churches didn’t know what to do with us. We weren’t a worship group. RCA did offer to sign us as a secular pop group, but only if we removed all traces of the gospel from our lyrics.

That wasn’t going to happen. We were musically in no man’s land.

Very little Christian rock existed back then.

Not too long after that we broke up...what a surprise.

any truth to the rumor that the first musician to join Ark was Peter Green, the original leader of Fleetwood Mac and a guitarist admired by the likes of Jeff Beck and Eric BA: You seem to have a tech side to you as well. Tell us about working with the Pink Floyd Clapton? on The Wall tour.

DK: (laughs) Oh, you really did your research. DK: When I was younger I had been an Yes, you’re right...on both electrical engineer and had built a number counts. We had opened for of recording studios. I had also been the the original Fleetwood Mac back in England chief engineer responsible for building the BA: Was that around the time you met and and were pretty stunned to meet Peter, the amp system for the giant 250 thousand watt began working for Stevie Wonder? legend, just walking down the street where PA system used for the massive Cal Jam II. So when the Floyd were preparing The Wall DK: Yeah, amazingly enough, I had only we lived in the Hollywood Hills. For whatever tour in Los Angeles they hired me as a tech been in the country a few months and a reason, Peter decided he wanted to serve consultant to handle the wiring of their sound the Lord by playing with Ark and started CHRISTIANMUSICIAN.COM

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Dylan?

been lifted up onto his knee and allowed to DK: Bob found out that an see all of this through his eyes. I really felt that English Christian label wanted peace that passes all understanding. me to record a solo album. BA: From that point on you moved behind He convinced me to do it the scenes of the music industry, helping and offered me his whole other artists with their careers. Tell us a little band, including such legends about that phase of your life. as Jim Keltner on drums, Tim DK: Originally I moved to Nashville and Drummond on bass, and his began managing a few artists, such as female backup singers that Whiteheart. Later I moved to Hollywood were frighteningly good. representing filmmakers and actors; people BA: That’s another album, that I remember well, “Crowning Of A Simple Man”, but also one that very few people seem to have heard. Is this a recurring theme in your life?

like John Cho (Sulu in new Star Trek movies) and also got involved with film finance. The economy took a big bite out of that industry though and opportunities quickly dried up.

DK: (laughs) If the shoe fits, right? My record was the last album that Pilgrim America made before closing their doors, so I was beginning to think that maybe I was jinxed.

DK: I wanted to get out of Hollywood and get back into the music side of the business, which I love. Over the years working with some major artists, I’ve been able to develop a unique set of methodologies that only really successful people seem to understand.

So now I am looking around for some great talent that I can help to develop into major players by using these same methodologies.

I originally considered just joining one of the existing labels or management companies, but they probably wouldn’t have me, so I started consulting with a small handful of talented artists, working on getting them ready for the ever growing global market.

BA: But seriously, the real reason very few people got to system. It was an amazing spectacle seeing the hear that record was because of huge bricks and flying dirigibles for the first a personal double tragedy that you suffered time. just prior to going out on tour to promote BA: You also worked with Bob Dylan. How “Crowning”. did you move from fronting Ark to working DK: Yes. My wife died of Spinal Meningitis for Dylan during his Grammy winning “Slow on Christmas morning. She was 8 months Train Coming” period? pregnant and one week later on New Years DK: That was really freaky, to say the least.

One day I got a call telling me that Dylan wanted to offer me a job. I couldn’t understand how he would know me. But when we met, he had the Ark album on his turntable, and knew we had split. He wanted me to be his personal assistant, and needed somebody who shared his faith, that understood the music business and who was comfortable around celebrities.

I was also expected to talk on his behalf to his band and crew regarding questions about Christianity.

eve my new born son also died. I was left a widower with two small children and had to stay home and cancel the tour. But God was really kind to me and it seemed as if I had

He had just released “You’ve Gotta Serve Somebody” and had a death threat virtually every day of the tour -warning him not to mention the name of Jesus again or face being killed. He just ignored them. I had a great time though. His conversion was real and profound.

BA: Some people have suggested that he has now lost his faith. Would you agree with that?

DK: No, I wouldn’t. But I can see why some may think so.

BA: What caused you to stop working with 22

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BA: What brought you back to Nashville, and what are you doing these days?

Contact Dave at: davekellyemail@gmail.com

50 GREAT GIFTS for MUSICIANS The Big Gig Book by It is that time of year again! To help you Zoro the Drummer consider your options for other band mates Big picture thinking for or for your self, here is our annual list of success as a musician and good ideas for your Christmas gifts. There is as a person delivered a wide range here, some are new items and by our friend Zoro in some are timeless classics. Some of these a inspirational context. suggestions come from our FaceBook friends Ton of good quotes in (thank you… you know who you are). If this book! something strikes your fancy than research it $19.99 deeper to make sure it will meet your needs.

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Ken Tamplin Vocal Academy “How To Sing Better Than Anyone Else” Vocal training DVD/ CD. $109.95 Electro-Harmonix Slammi Polyphonic Pitch Shifter / Harmony Pedal.

OK, now you can really bring harmony to your guitar solos (three octave dive bombs!) as well as choral pitch shifting. $143.75 VT Roland -12 vocal trainer A valuable tool to improve your singing / intonation. This was in last year’s list but it warrants a return visit. $199.00

Custom ear molds Get an appointment for an Audioligist for your in-ear monitor system. There are a lot of Pro Co Rat 2 companies who make these and a wide range Add arena rock rhythm tones and liquid leads of pricing but having your ear molds taken is to your pedal board set up. I smell a rat! the first step. $69.95 $49.00 and up depending on the doctor’s in your area.

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V1 - 9/2013

selective hearing

by Shawn McLaughlin

Near the end of the year the CD release situation starts to resemble, to some extent, a flea market. There aren’t as many big releases being made, but with a few Christmas records and enough indie stuff from the margins of the industry, it is still possible to pull together a full column. I’ll start this issue with 3 new releases, and then fill the rest of the column with shorter reviews on Christmas CD’s, as well as music I picked up while at Creation Festival in July and the recent Hutchmoot Festival/conference in Nashville this October.

New Releases: No More Hell to Pay Stryper Frontiers Records I’ll start by saying that No More Hell to Pay is a very welcome return to the type of two-pronged guitar attack that the band employed on To Hell with the Devil. In fact, this record is imbued with a philosophical heaviness that the previous album could not quite muster. That isn’t to say that Stryper has suddenly become esoteric.

No, the new record traverses themes and concepts similar to those they explored on their earliest work, yet with a maturity won from years of triumphs, and not a small amount of trials. This may seem a little odd, but the recent records that No More Hell to Pay most reminds me of are the most recent releases

by Ashley Cleveland and Derek Webb: Cleveland because both she and Stryper recorded albums of cover versions of music that was elemental to their musical identities, before making albums of new music that took the lessons learned from their reminiscences and made their best records. Webb, because he and the band both harkened back to their own career high point for inspiration for their current releases. From the glorious, chordal harmonics of Oz Fox’s guitar assault, to the thundering drumming of Robert Sweet, right down to the return of the arch-angel on the album’s cover, the new disc pays homage to To Hell with the Devil even as it displays just how far the band has traveled in the 26 years since that record was made.

and Tim Gaines, one of the most overlooked rhythm sections in Christian music. The song speaks ominously of a work of The Lord that is “coming after you.” The rest of the record makes it clear that revelation is redemption in the form of grace. “The One” makes it clear where that grace comes from. With a sweet (pun intended) vocal and laconic, bluesy guitar fills, this track is the closest thing to a ballad or radio track on the entire record.

The rest of it is borderline brutal, in a totally, melodic, Stryper kind of way.

It is hard to believe the band can release it’s most rocking record when the band members are all well into their 50’s. Even more remarkable is just how little wear and tear is evident on the still startling voice of Michael Sweet. While not soaring to quite as many stratospheric yowls as on past works, Sweet quickly reminds us what a remarkable instrument he was blessed with. “Legacy” begins with one of his patented wails as the band then beats the track into submission.

Later, Sweet echoes the earlier wail and then one-ups himself as he climbs a step higher.

The band is in fine form throughout, but for me, Robert Sweet has always been an unsung hero, as his drumming continues to defy easy description. It should tell you something that drummers from bands as diverse as Jesse Sprinkle and Steve Hindalong have long talked of their admiration for Sweet’s ability.

Check out “Marching Into Battle” for a brilliant example of the deftness with which Sweet wields his sticks, whether it be the martial drum rolls of the chorus or the syncopated, tom heavy pattern of the verse.

No More Hell to Pay may not be the type of record that we usually review here in CM, but I will tell you . . .this record shows a, lets face it, legendary band in the annals of Christian music at the top of their game fairly late into their career. A strong “Legacy” indeed!

Proof of Life Scott Stapp Wind-Up Records

late 90’s supergroup enjoyed. As I watched with glee as the band finally breathed its last, I also observed, with great empathy, the roller coaster that had become lead vocalist, Scott Stapp’s life. Amidst lyrics that definitely displayed a working knowledge of biblical concepts, Stapp often behaved in a boorish manner, which turned downright bizarre when caught in public moments of drunkenness.

His life definitely came un-hinged under the bright spotlight of fame. Due to the lethal combination of drugs, alcohol and clinical depression, Stapp quickly succumbed to his demons and became a slave to his ego. This subject is put under the lens on the second song of his newest solo record, Proof of Life.

“Who I Am” is a song that tells the tale of how Stapp’s ego tried to steal his soul.

In Stapp’s own words: “Pernicious raw ego stands as an enemy to peace of mind and is the counterpoint to much of this record’s dramatic tension.”

The album’s first cut, “Slow Suicide” explores how Stapp’s dependency on substances was actually an intentional attempt to snuff out his soul....to torture and poison himself to the point of oblivion. The title cut explores the concept of victimhood, or the tendency of troubled souls to deflect responsibility for their actions on anyone but themselves, but Stapp starts shining a little light on this tale as he follows the cut with “New Day Coming” the most positive (and, not surprisingly, most accessible) cut on the record, as Stapp exhibits a spirit of surrender while victoriously exclaiming the dawn of a new perspective that celebrates the fact that “I was lost and now am found”.

“Only One” is a reflection on the still, small voice that is there to renew his spirit and ease his soul, and is another strong candidate for radio airplay. The underlying message of Proof of Life is one of submission and vulnerability, as Stapp continues to share intimate details of his slide into near death.

He considers these songs to be “bridges”, that is: songs that speak of his past condition in order to amplify the beauty of his present state.

I’ll admit it upfront. I was one of the army of Creed haters In “Dying to Live” a particularly “Revelation” opens with a typically ornate who popped up to “counter-balance” the moving coda, Stapp offers his own Fox guitar figure before adapting a mid-tempo incredible, almost omnipresent success the reinterpretation of a St. Francis prayer he often yet heavy groove anchored by Robert Sweet 26

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revisits: “It is in dying that we awake to eternal life”. Stapp himself had to take a “forty foot fall from grace” in order to finally learn to die to self. Musically, this album exhibits a couple of things: Most notable is the uncovering of a new voice...and not just figuratively. Sure Stapp still sounds like “Scott Stapp” but, ironically, he may truly sound like him for the first time on record. No longer does he slavishly mimic Vedder and Weiland . . . instead, he toughens up his tone and uses clipped enunciation to avoid such comparisons. The other is a thematic authenticity that, often, only comes when a writer truly lays himself bare for the world to see. That vulnerability is at the core of Proof of Life, and could prove a formidable conversation starter with anyone who has gone through the same things as Mr. Stapp. At the very least, it should serve as a true point of catharsis for the artist himself.

Water and Guns Aaron Sprinkle Tooth & Nail It is all down to perspective I guess.

Water and Guns is the newest solo record (the first proper solo album since 2001’s Bareface, as Lack Luster was a compilation of his 3 solo records) from uberproducer, Aaron Sprinkle. In reading other reviews of this album I gather that this is a natural progression from Sprinkle’s last record with his band, Fair. Yet, when I first listened to this disc, I was a little taken aback with the dominance of electronic instrumentation and dance rhythms present. It seems like Aaron has been wood-shedding with friend Ronnie Martin, from Joy electric. Now, Sprinkle is a guitar player by trade, so there are still plenty of acoustic strums and electric drangs to be heard (see what I did there?) but this is largely a pure pop record. Thankfully, Sprinkle is a master tunesmith, and the songs on Water and Guns are impeccably crafted with intricacies that reveal themselves with repeated listening. Ultimately, a good song is a good song, and this as strong a song cycle as ever from Sprinkle’s pen.

“Heatstroke” sounds a little like a lost Owl City out-take, yet with something substantial to say, while “Alright” continues the pop/ electronic bent while doling out a message of encouragement: “When you can’t see the light, it’ll be alright”

while still featuring some electronic The Christmas stuff! instrumentation, also balance things out with The Christmas Sessions adroitly placed acoustics and piano, along Andrew Greer with Beatle-esque song structures. “I’ve Ma’M Recordings Missed You” mixes stuttered drum loops with a Sprinkle-played piano figure that recalls The second in a series the classic feel of Motown while keeping a of Angel Band recordings (actually, I think he did an thoroughly modern feel. instrumental record so this is the third......)

So to sum up: The engine of this vehicle is a Andrew Greer mixes a few originals with strong as ever, but the more subdued chassis several classics of the season in a glorious may not appeal to exactly the same crowd as amalgam of American musical styles. He has enjoyed his past work. Truthfully, Water utilizes a “who’s who “of musical guests, as and Guns could gain an even bigger audience diverse artists like Sandi Patty, Cindy Morgan, for the singer/songwriter/producer, and Phil Madeira, and Emily Deloach add their the strength of his song-craft will keep the unique vocals to the mix. interest of fans more fond of his rock oriented Greer and Patty offer a sublime take on offerings.

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Count the new Jason Gray opus about Christ’s incarnation as the absolute best of that exclusive group. One of the many things that make this album special is the fact that Gray doesn’t arbitrarily decide that seasonal music HAS to sound a certain way. It has more to do with the story being told and . . .Christmas The real strength of the project is the Stories is a storyteller’s record. originals, “The Beginning of Love”, “My With a few sacred Christmas classics sprinkled Troubles”, and “My Soul Sings”; the second in for authenticity, Gray populates the album of which has that classic feel of something with the thoughts and fears of the characters you have heard a million times before, we have all come to associate with the yet takes a unique look at the fact that the Christmas story. Songs from the perspective holidays can be a very difficult time for some of the innkeeper - the folk-pop shuffle of people. The most refreshing thing about The “Rest” – Mary – the 50’s homage “Ave Maria”, Christmas Sessions is the fact that Greer didn’t which features a seamless interweaving of make a Christmas record that sounds like it the famous Schubert melody – Joseph graduated from the Nelson Riddle school of “Forgiveness is a Miracle”, an ethereal, world holiday music-making. Instead, we are treated music influenced pop song that depicts the to naturalistic, emotionally available songs almost certain struggle Joseph must have had reconciling the news of Mary’s pregnancy – that can really touch the heart. and, of course, God himself Christmas Stories: in the stunning Gray/Andy Repeat the Sounding Joy Gullahorn composition, “I Jason Gray Will Find a Way”, perhaps the Essential greatest song ever written about the Incarnation and how I can count on one hand the number God begins the process of of Christian market Christmas albums redemption.

I can listen to for more than 2 minutes. implementation of unique phrasing and very diverse vocal styles manage to mesh quite well. Classics like “Do You Hear What I Hear”, “In the Bleak Midwinter”, “Lo How a Rose ‘Ere Blooming”, “The First Noel”, and others are done in very stark, charming fashion with acoustic guitar, fiddle, banjo, mandolin, etc.

With varied musical backgrounds, extremely empathetic production by Cason Cooley, and a masterful way of allowing the listener to identify with the human tendency toward selfishness, fear, and doubt that was present in the principals of the greatest story ever told, Gray unlocks the joy that should be present in the season….a joy that, despite the struggles of the story’s principals, was still evident in their actions and responses. Christmas Stories:Repeat the Sounding Joy is a very rare bird indeed – A Christmas album that actually has Christ as the central element of the story – and is totally worth listening to ANY time of the year. That is something to celebrate.

Stuff I picked up at Creation West.

Call of the Sea Coastal Rise independent www.coastalrise.com Coastal Rise is a very unique band that defies easy genre pigeonholing. They are from the Philadelphia area, and consider their sound to have a “beachy” vibe, hence the name. Call of the Sea Continued on page 32.

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Selective Hearing (cont. page 28)

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presents a band that shows a pretty solid working knowledge of soul, funk, 60’s pop, and alternative sounds, not to mention the occasional whiff of ska and jazz. They have a horn player as a regular member, so horns play a pretty large part in their sound. They write songs that run the gamut from real life issues, to fun story songs, to out and out worship.

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“Baby” sounds like an earthly love song before it becomes obvious that the singer is God himself. Brenda Carnuccio takes the lead on the song and has a strong, emotional voice that really brings home the Burt Bacharach vibe of the song.

Timmy Whiting plays guitar and sings the male leads and writes a large portion of the tunes. This album has a little something for almost everyone, and Coastal Rise would definitely be the life of any party they played at.

Real Life Bread of Stone independent www.breadofstone. com When their manager answered my query about the band’s style with “pop” I thought, “Oh, great”, as in today’s world pop usually means ‘disposable and contrived’. Thankfully, Real Life by Bread of Stone breaks through my rather myopic stereotype and really brings the goods.

When I saw the disc was produced by top of the line guys, Lynn Nichols and Tedd T, my eyebrows raised. Then I put in the CD and heard the very insistent funk-pop of the opening track, “Hold On”. “Hey . . .this might not be so bad”, I thought. Sure enough, the rest of the record followed suit with well-written and well-played songs that run the gamut between soulful pop/rock and edgier modern sounds.

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“Lovely Ave” features the bridge, “I’m all yours, Lord” while “Of the Light” starts out with a vocal lick, mirrored by an ultra cool, fuzzed-out guitar before transforming into a pulsing funk/soul workout: “We are the children of the light, we have the spirit that lives inside.” The message is strong, but portrayed with an innocence that is charming in its execution.

Continued on page 44.

CHRISTIANMUSICIAN.COM

The bulk of the songs are co-written by Continued on page 34.

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Selective Hearing (cont. page 32) Ben Kristijanto, who takes the vocal leads and also plays guitar and keys. Brother, Bill plays lead guitar while Wesley Holt, who has a few co-writes mans the drum kit and Tim Barnes handles the bottom end on the bass. Real Life was conceived as a concept album that responds to the belief that the world is caught up in a vicious cycle of trends, distractions, and lies, and the only way to combat this is through a one-on-one relationship with Jesus Christ.

With a batch of songs that communicate this message competently and production that makes radio play a distinct possibility, Bread of Stone are well on their way as a promising musical entity with a strong ministry focus.

Christopher (Chris) Slaten is almost as gifted at writing dense, poetic lyrics that still ably communicate strong messages of faith and the beauty of the human experience. Mix that with a very appealing voice (I labeled his voice the “love-child” of Paul Simon and Michael Buble and got a snort from a fellow Hutchmoot attendee) and absolutely brilliant, “on a shoestring budget” production by the remarkable Ben Shive, and you have a project that will thrill fans of expansive, orchestral, folk/pop.

the strength of one of Shive’s most beautiful orchestrations, “Partington Cove ends the album with equally stirring lyrics: “Oh how love can change who you are in a matter of moments, in a day. No one ever told us we need not go far to travel such a long, long way.

A journey has been shared as things fade into silence.”

A truly superb example of musical storytelling, The Mantis and the Moon is full of enough solid songwriting and lilting melodies to delight the listener throughout the entire While the lyrics are fairly esoteric at time, project.

Slaten never speaks above the audience and delivers such perceptive lines as: “Who could ever guess that the thorn in your side The recording I received at Hutchmoot was drilling a well of life? And grace is gold that never grows old. God’s grace festival.

Shawn McLaughlin is a hard is gold for broken banks to hold.” working dedicated, tireless The Mantis and the Moon worshipper of Christ The title song is a reflection Son of Laughter on the old folktale of the bug Independent with an overdeveloped sense www.son-of-laughter.com of his own abilities and points to Perhaps one of the most audaciously the albums over-riding theme: brilliant acoustic guitarists I have that of humanity’s longing to be witnessed in person, Son of Laughter, aka, something they were not created to be. On

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WHO’S ON FIRST?

by Keith Mohr & Sue Ross-Mohr loud and then listen. Silently.

Did you know the same letters in the word “silent” are also in the word “listen”? Isn’t that interesting!

There is a video series called I am Second, in which well-known individuals from around the world bring forth the realization that they are, and have chosen to be, Second.

When you portray yourself as a Christian songwriter or musician, where is your place in the sequential order?

When your mind is clear and your heart is clean, you will be quite amazed that your “block” has disappeared. You will know Who is on First. There is a guarantee that comes with this course of action. You will write. And it will be good.

Let’s start with the simple. Who’s on First upon waking? We are in a technological day and age. It is everywhere we look. It is everywhere our ears can hear. Our senses are smothered and covered with it. Many feel crippled when it is not within their very reach. So upon waking, when your eyes are barely halfway open and your brain is not yet firing on all cylinders, do you reach over to your nightstand and grab your phone?

Clicking on messages sent to you throughout the night, the latest Facebook/ Twitter announcements, the YouTube Video of the Day, the Current News, and the Angry Birds who have a Candy Crush. Again, Who’s on First? We start our day with the human trinity, me, myself, and I. When asked what genre your music is, and your answer has the label “Christian” in the response, there comes a responsibility with this. A strong one. This is a tough word, one that we have been given and are passing it on to you.

way of preparing to be Second. This has been advantageous for many artists we have mentored, truly allowing them to be a blank canvas, primed and ready for what the Lord desires to create through them.

This article has just touched on a vital piece of your music career that is so often overlooked by the pressure to be first. When we make a concerted effort to know Who’s on First, what is created in collaboration with the Lord will last.

Creatively His, Keith and Sue Mohr

In a quiet room, (we’ve used a literal closet), MOHR CREATIVE GROUP you start with the first letter, “Adoration”. For www.mohrcreativegroup.com the next 5 minutes, the only words that leave your mouth are adoration for our King. Not So let’s talk about your songwriting . . .Who’s asking for anything, not requesting anything, Keith Mohr and on First? The mental, emotional, and physical just complete and unbridled praise.

Sue Ross-Mohr of parts of creating a song can wear you out.

“The Mohr Creative From conception to completion, the process Then comes C, Confession. Confessing out Group” have years is exhilarating, exhausting, exciting, and loud all the things that you have kept on the of experience engages all of your senses. What senses do inside. Clearing your guilt, your shame, your serving independent you have prepared before writing? Many of hurts. Now we never said this would be easy. Christian artists, our clients have told us there are times when For a slate to be cleaned, one needs to erase musicians and songwriters. Keith founded they suffer from writers block. Oh, and we get what has previously been written. www.indieheaven.com in 2002, the leading it, trust me...but we have noticed many times, Thanksgiving is our next letter. Now that portal for Christian independent music. Sue writers block comes when our mind is so full you are a blubbering mess, the thanks that Ross-Mohr founded www.theinnervizion.com of other stuff, we just can’t think creatively. percolates from your heart and mind will be in 2003, a creative promotions /marketing/ Years ago, during a ministry leadership like incense unto the Lord. It is part of the consulting service to individuals and companies training, we learned a way to “unclog the cleansing. A release. worldwide. Also check out www.indiemechanics. pipeline.” Call it “spiritual Draino.” A pastor Last, but not least is Supplication. Or as we com for more helpful info! gave us the acronym A.C.T.S. and shared his like to say, “So what’s next Lord?” Ask this out

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Ask Joe

by Joe Riggio

Q A

What’s the difference between lacquer and polyurethane finishes?

Is one better than the other?

Without going into the scientific makeup of each, of which I am not an expert, I can clarify a bit about their different characteristics. In the musical instrument industry, an earlier form of lacquer is the most commonly used: nitrocellulose lacquer. This was the common industrial finish in the early days of the automotive industry and used by some auto companies as late as the 1970’s. It was eventually replaced by acrylic lacquer, and ultimately by the now common polyurethane finishes. Its most favored characteristic for musical instruments is that it shrinks quite a bit as it cures and becomes very dry, leaving a very thin and non-dampening effect on the instruments resonance. It also has a very classic elegance to its sheen.

Polyurethane also came from the auto industry and began showing up in both industries in the late 1960’s. It is a more durable finish that builds fast, with much less shrinkage. It also cures fast and can take a product to its finish line in a much shorter window of time. This is particularly helpful in a large, production-line type of guitar factory.

The chemical makeup of both of these types of finish has changed throughout the years to comply with environmental regulations.

For example: the exact formula from a can of either of these purchased today will be different than one purchased even 10 years ago, but the basic characteristics I’ve described here are essentially the same.

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The word: “better” is a very subjective term, but in my opinion, the answer lies more in the method in which the product is applied, as opposed to the product itself. Lacquer finishes almost always allow the instrument to sound its best, as long as it has not been overly applied, using far too many coats than is necessary. It requires more attention to detail when it comes to sanding in between thin coats, as too avoid sanding through the previous coat and causing the dreaded “doover”!

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The bottom line is that both products can yield great sounding results when applied thinly. You will find that the majority of highend guitars built by small companies go ahead and use lacquer, as it is considered the most traditional musical instrument finish. These companies are usually working with much smaller workloads and taking more time to build each instrument. So far, even some large American companies are continuing to use lacquer in states that allow it.

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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Polyurethane gets a bit of a bad rap because it is most commonly used as a faster method, due to its heavy build-up, making it easier and faster to sand and polish. You will notice that most factory-built instruments dressed in a poly finish will appear very thick, and sometimes even “goopy”.

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The Pentatonic Scale The textbook definition of the Pentatonic scale is this: “A 5-tone (note) scale, which usually avoids semi-tonic steps by skipping the 4th and 7th degrees in major, and the 2nd and 6th in minor”. Got that? Good, now forget about it and just play, it’s incredibly natural to do so with this scale.

Exp 4: This position on the neck works with the open C chord.

Exp 5: This has the root on the D string but starts two strings lower on the E string, The Pentatonic Scale is probably one of the that’s four scale degrees first scales you learn on guitar. It is the primary below the root. scale that is used in all forms of modern popular Exp 6: Here the root music in western civilization. (I.E: Rock, Country, is found on the A string.

Blues, Jazz, Gospel ...) Whether you are a seasoned player or just getting started, more Coda: To develop than likely you will use this scale to create riffs your craft and own and to solo in. For guitar playing a practical use personal style as a for the minor pentatonic scale is to use it as the player, you will need relative minor to a major key. For instance, if you to learn to play these are playing in the key of E flat Major the relative patterns in all keys and minor would be the key of C minor. An easy way adapt them to different to find your relative minor key when playing in a musical styles. Once major key is to think four frets down. It’s like this, you’ve gotten a few if you are playing in your church band with horn of them down your players like Sax, Trumpet, etc., or with keyboard soul will speak through players, you will find that they will play in a lot fingertips. Let it go, play of “flat” keys, like E flat Major. When it comes on…and Praise God! time for a lead guitar break in E flat it’s not a really friendly guitar key, this is where learning the relative minor scales and the four frets down Roger Zimish is a guitarist/ rule comes in handy. With the root note on the freelance indie artist and clinician low E string the E flat Major scale starts on the based in Hendersonville th th 11 fret, the C minor scale starts on the 8 fret.

Count 11, 10, 9, 8 and there you have it. Make Tn. Contact Roger: Email rogerzimish@yahoo.com, your statement and take that solo. and on facebook.

All examples are in C minor. Play the whole Pentatonic scale example then go back and start from the root note “C” and play from C to C there you will find the 1 octave 5 note scales.

Exp 1: This is the most common pentatonic pattern. It can be used to play easily in all keys with the root starting on the low E string.

Exp 2: This finds the root note on the A string but starts lower on the E string, two scale degrees below the root.

Exp 3: Start this one with your second finger followed by your pinky playing the root not.

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God’s Kingdom or the Magic Kingdom?

by Bryan Duncan Do you remember that place in scripture where it finally dawned on Jesus’ disciples that His Kingdom was NOT gonna be set up right here and right now? I know that sense of dumbfounded-ness! As many times as that “dawn” has come and gone, the sun also sets. Next thing you know I’m back to laboring under the illusion of “here and now” and again.

I find myself starting to think, “If I can just get one more thing done, it’ll open the door for God to pour the foundation for the Magic Kingdom right here on earth!” I start looking at my surroundings. The conditions are wrong, the timing is off, and for the Love of God . . . where is the help?

I’ve always had trouble with the platitude, “Let Go and Let God”. I keep hearing that verse, “A little sleep, a little slumber, a little folding of the hands to rest - and poverty will come on you like a thief.” (Proverbs 24:33) So where’s the balance between trusting God with the outcome and being diligent as a laborer in his work?

current plans. I find a distraction to be diligent about and then spend my time endorsing my justifications for it. Sometimes I follow Jesus because I haven’t won the lottery yet, but I’m expecting the same results. Because after all, I think to myself, what good is a blessing if you can’t sign the back of it?

So, how do I know I’m not building the Golden Calf while Moses is out of town?

When the world is not conforming to my liking, it’s hard to stay the course of my calling.

Especially when the immediate obedience to the voice of God really looks like stupidity.

And, when you don’t have results here and now, you are subjected to the wonderful advice of Jobs friends: “U Oughta” and “U Shoulda”. But Job says, “I have treasured the words of His mouth more than my necessary food”. Sounds like a lover of Lyric to me.

Maybe miracles are hard to find because we’re all too busy trying to be magicians instead of musicians. Writing, singing, and playing come from the most pure place I have ever known. It’s only when I look around to Of course “His work” looks a lot like my see what the verdict is that I become sullied.

The really cool characters in the Bible were the ones who stepped out without a clue. Yea, sure the story is told now. But when you step in to Abrahams “here and now” it didn’t look much better than where we are everyday: Assuming it’s up to us to fulfill God’s plans with our brilliance.

Wait a minute. We were building something.

We had the site all picked out. I was ready to start the walls . . . mostly because I was tired of digging the trenches.

Abraham certainly tried to pour the foundation for a nation, and we all know how that turned out. It wasn’t in his lifetime.

In order to trust God I will have to do without understanding, and in most cases endorsement or validation. Nothing is more depressing than to create a great piece of work and watch it bloom in the wilderness without much fanfare.

There’s nothing wrong with calling others to come see what you made. But in the end it is God’s gift to you first. Our propensity is to discount our passion because it didn’t come with the approval we needed. That’s where pride is not so subtle.

The most interesting thing I observed about my preacher/father before he passed away was that he stopped preaching! He didn’t even quote scriptures to anyone. But he would be singing to himself always. The old songs mostly. The last song I ever heard him play on the guitar was a commercial jingle for “wholesome bread”. After all these years of ministry and not even a gospel tune. I don’t think he ever had my attention more than those days.

It’s not what we do, it’s who we are. And I’ll never get that because I’m a performer!

Always mimicking what might be most appreciated. Spending more time watching “The Voice” on T.V. rather than hearing THE Voice.

Do you hear that Voice? Remember what feels most pure to you in what you are I gotta tell ya, I was really doing and let that resonate regardless of the disappointed when the applause. And don’t start looking for the Jesus Movement of the wrong Kingdom. seventies didn’t conquer the world. I had my throne picked out and set up on the right hand Bryan Duncan/ Singer / of the Father.

Songwriter/ author / I was gonna be in charge Publisher. Radio Show host of something. I just knew for RadioRehab.com it.

Inducted into the Christian Now, I’m at the place music Hall of Fame in 2007. where the disciples were 40 years, 22 albums, Dove and Grammy awarded. when Christ died. What? www.bryanduncan.com

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CODA This week marks 15 years since i moved to Nashville by myself with one electric guitar.

Music was only a dream at that point. Since then it has become my reality. Over 1500 live performances spanning the entire globe, working on over 500 studio albums with combined sales exceeding 10 million copies, multiple grammy nominations, a few number one singles and albums, and hundreds of songs written for other artists as well as film and tv. 15 years. Why am i telling you this?

15 Years. My first and possibly last artist’s blog.

by Paul Moak

Editor’s Note: I found this blog online by our friend Paul Moak. I thought you might think it was a good read, just like I did. ~ Bruce

time to recover after being stretched. So i get up every day and exercise that muscle, and then live life outside of art to rest and get ready again. Some days i’m tired. Some days i don’t feel like it. Some days just aren’t good.

But every once in a while i have a day where the creativity i bring is combined with the opportunity i am given and that equals true artistic success. it’s the show where the hair stands on the back of your neck as the energy in the venue changes. its the playback in the studio where everyone knows we achieved something greater. it’s when the singer can’t get through a song without crying because they feel SO connected to what’s happening.

Those moments are success; not ticket sales or chart numbers.

- If you are an artist, be honest with your originality. Be who you are, and work at it. refine it. get to the core of it. No one wants a copy. Be the original.

- If you are in the music business, be honest and don’t forget that at one point you had a childlike love of music. Don’t make decisions about art based on keeping your job because that will most assuredly lead to losing it.

ENJOY THE WORK. ENJOY THE WORK. 15 years and i feel like i’m just getting started.

Just starting to figure it out. I am excited about what’s next. I will continue to pour all of my soul into making music until the good Lord pulls it from my body and into eternity.

Thank you to all the artists who have So what am i trying to tell you here? it’s entrusted a piece of their vision with me.

Because when i truly reflect on it everything this…..Be honest with yourself and enjoy the Thank you to all the musicians, managers, i mentioned above means NOTHING to me. work itself, not the result. publishers, lawyers, a&r and other personnel and THAT is the drive that keeps moving a me forward. My desire to see what lies ahead -If you are musician, be honest and focus who have worked with and for me. Thank you greatly outweighs my ability to enjoy what only on the note you are playing, not the to the fans that connect with art and support happened in the past. Now that may seem next one and certainly not the one before. the artist. Thank you Nashville. And to the harsh to you but most artists i know are like Give everything you have to the work of that good Lord. Thank You. Here’s to another 15. this. the point i’m trying to make is this…… moment.

True success for the artist comes from within. - If you are a writer, be honest and write from You have to work for it, and it’s in the work what’s real. Enjoy the work of writing the song, itself that you find joy. not where and how it can be exploited. Being I believe that creativity is like a muscle; it true and honest with your work will get you needs both exercise to build strength and farther.

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