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 Features
CONTENTS
9 Bassic Communication 40 Indie No Spin Zone
Chimes, Thuds & Swells A Little Birdy Told Me
What a Plan – (Part 9) 42 Rewind
44 Witnessing the Flood and
10 Drumming Dynamics
Summer NAMM in Music City Drags Being Called
As I flew into Nashville for Summer NAMM, I looked at the banks of 11 Vocal Coach’s Corner 46 CODA
the Columbia River that had just recently overflowed and caused such Never Too Late to Learn A Word To Indies: Consider
widespread damage, including loss of life. Your Audience
I thought to myself that it was good that the Summer NAMM had New Tricks!
come to town here again. Nashville is a tourist city, and it needs folks to 12 Guitar Workshop
return to help it recover.
When I arrived at the Convention Center, the staff at NAMM was very
The Church and Musical
Style
Interviews
accommodating, and I got to work immediately setting up our exhibit
booth there. NAMM is a convention of equipment companies displaying 14 Product Review
their new wares for the retailers and we had some new products to display. Bedell MBCE-28-G
Over the next three days, I had some really great providential encoun- Acoustic Guitar
ters; my personal philosophy that half of life is showing up to see what 16 Show Us Your Groove
the Lord has for you was in full swing here. It started that first night when
I met NAMM’s President, Joe Lamond. He was very encouraging about The Boy, The Bed & The
next years’ 2nd Annual Night of Worship at Winter NAMM in Anaheim. Bass
We had co-sponsored that event this year with our friends at WATS (Wor- 18 Product Review
ship Arts Technology Summit) and it was a huge success – Praise God! It The Visual Sound Garage
was cool for me to hear Joe talk so positively about it, as it is a desire of my
heart to keep presenting the evening concert. Tone Series Pedals
The next morning, I met the folks at Hal Leonard Publishing, who 26 Selective Hearing
are distributing the whole line of our Christian Musician Summit DVD’s. Jimmy Needham
We unveiled there in Nashville a Point of Purchase display for retailers
that holds not only both Volumes One and Two of the Conference in a
Mercy Me
Box sets but also five single DVDs that have workshops for Audio, Bass & Robert Randolph and
Drums, Vocals, Guitars and Keyboards/Music Theory. What caught me the Family Band
off guard was how many retailers on the convention floor either were Seawind 20 Robert Randolph
well aware of their local churches and the modern worship movement or and the Family Band
who actually played themselves on worship teams. They were Lost Dogs
genuinely interested in our DVDs…way cool! Caleb Quaye and
I had many duties at NAMM this year, and one of them The Faculty
was to look for instruments that we can cover editorially (re- 31 Ask Joe
views etc.) A tough job I know, but somebody has to do it J
One of my “finds” there was Flaxwood guitars (from 37 Guitar From A2Z
Finland of all places), an electric guitar with a very different String Bending
approach to design/materials. We’ll review it in the near Part 1
future but suffice it to say that I found the guitar 38 Essential Music
ergonomic to hold and a joy to play. It
was my favorite guitar of the show! Theory for the
I met some fellow believers at Ac- Christian Musician
cess Cases who had two or three prod- Thirds and
ucts that caught my attention. The Chords Within
only one I’ll mention here could
cost you $15,000. They Keys (Diatonic
have all leather gig bags Harmony revisited) 32 Hawk Nelson
(acoustic and electric) that 39 The One Who Knows is …wants to take over the
are great looking and af- world!
fordable. I saw a Double
in Control

Christian Musician
Strat bag that I thought I
would promptly tell
Lincoln Brewster
about. So if they
are so afford-
able, where 4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373
does the Phone: 253.445.1973 Fax: 253.655.5001
$15,000
Email: bruce@christianmusician.com
cost
come in? Website: www.christianmusician.com
Because Editor & President: Bruce Adolph
they are Vice President: Judy Adolph, judy@christianmusician.com
so good Customer Service: Brian Felix, brian@christianmusiciansummit.com
looking you just Street Team: Mike Adolph, Jesse Hill & Caj
might buy a Harley Davidson to go Layout: Matt Kees Accounting: Debi Davis
along with your gig bag and drive on Advertising Sales: bruce@christianmusician.com
down the highway!
Published by the Adolph Agency Inc.
Continued on page 14.
7
 …xtending any style

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easier to use with individual on/off buttons for the effects blocks,
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www.tc-helicon.com/voicetone-create-xt
 Chimes, Thuds & Swells (Part 9)
Greetings, O Purveyor of Sublime Grooves! :^) I hope this finds you well. playing the tune. Additionally, please bear in mind that the bass in this tune
As promised several issues ago, we’ll be diving in and examining the “A” comprises the majority of the sonic space, so it is much busier than it would
section groove and melody from “Blessed” (from Pondering the Sushi) as an be if a quartet were performing the song.
actual musical application of this idea of weaving various techniques into Let’s take a closer look!
a single bass part. The basic techniques employed in this example (muted Harmonically, the section is basically a G-7 vamp. More specifically
thumb “thud”, fingerstyle, slap, double-stops) were covered in some detail in (excepting a few passing tones), the entire part implies G Dorian (1-2-b3-4-5-
recent installments of Bassic Communication, so please refer back if you have 6-b7).
any questions, ok? The first 2 eighth notes are a continuation of the basic groove covered in
Bassic Communication
As we discussed, this song is essentially a bass & drum tune, excepting Part 7 of this series. Played using the thumb “thud” technique, they establish
a piano that comes in during the B-section. Consequently, the bass figure the groove before jumping to the higher register to play the melody. The
Chimes, Thuds & Swells (Part 9)
involves jumps in register and technique to simulate an actual ensemble melody is played fingerstyle and should be phrased a bit more aggressively
Exercise 1: Combining Techniques and lyrically as reflected by the vibrato and slides.
Norm Stockton The end of the 2nd bar has double-stops (2-note
Excerpted from "Blessed" ("Pondering the Sushi")
(Funk Shuffle) chords) that simulate what a guitar might play in an
ensemble treatment of this tune.
Low Bass Melody "Guitar" Chordal Approach Bar 3 resumes the groove from the top of the tune,
"Thud" (Played 2 octaves above low bass) (Played 2 octaves above low bass) including the slapped line in Bar 4. Bar 5 then rees-

   
      tablishes
No Effect Effect: Octave Pedal No Effect
the melodic motif from Bar 1, followed by

               
a variation (Bar 6). Bar 7 again returns to the groove
motif.
    
 
 15
Long-time readers of this column will recall previ-
ously covering this “theme and variation” approach
(or “repetition with variation”) as a really important


19 15 17 15 15 15 15 15 15 15
17 15 17 17 17 15 14 15 14 15 aspect of groove and arrangement.
3 3
16 17
The written example also includes references to
the use of effects which I employed on the recorded
Low Bass Slap Bass for Tonal Variation version. While fun, effects aren’t critical here; as you’ll
"Thud" (Same register as low bass, but substantially different timbre) discover, the technique variations and register jumps

             i m
3 No Effect No Effect already dramatically affect the timbre and create the

               boxes handy, go to town! :^) In the past, I’ve used a

illusion of multiple voices. But if you have stomp
   velocity-sensitive envelope filter (e.g., Mutron pedal)
T P T P T T P T
P P T T when performing this song live.
Get this under your fingers at a slow tempo and

3 2 X
2 3 3 3 X X 3
3 3
1 1 1 3 you can gradually work it up to speed. I encourage
3 3 X X X 1 3
you to use this example as a springboard for your own
creative explorations!
Low Bass Melody Have fun & hope to see you on the road this fall!
"Thud" (Played 2 Octaves above low bass)

   
(Adapted from curriculum in the Grooving for
No Effect Effect: Octave Pedal


Heaven instructional DVDs)
5
           
                Norm Stockton is a bassist/clinician/solo artist based in
 Orange County, CA. He spends most of his time these
days touring and recording with worship artist Lincoln


19 15 17 15 14 15 Brewster, but his recently-released
17 15 17 14 17 15 14 14 15 15
3
17 15 15 13 17 13 13
2nd solo project (“Tea In The
Typhoon”) has been receiving
Low Bass
Slap Bass for Tonal Variation widespread acclaim from media

             i m
"Thud"
No Effect around the world. Visit www.
7 No Effect
normstockton.com and
      (Etc.) www.facebook.com/
normstockton for much
P P T T T bass-related info and fun. While there, be sure to check


3 2 X out Norm’s blog (The GrooveSpot) and register for his
2 3 3 3 X
 
1
3 3 3 3 e-newsletter (the groove update) for tips, interviews, clinic
invites, exclusive discount prices, and more.
© 2009 Stocktones Music 9
 Drags

Last time we had fun with flams around the kit. This time we will work on David currently tours with Fernando Ortega
drags. I’m laying this out a bit different in an attempt to make it easier to read. and has worked with Sara Groves, Bebo
I have put some of the foot pattern possibilities at the bottom separate from the Norman, Crystal Lewis, Cheri Keaggy, Tommy
drag exercises. Mix and match them with the various exercises and I encourage Walker, Paul Baloche among others. He
you to create your own foot patterns. has played for Billy and Franklin Graham
Pay careful attention to the sticking. I have used lower case letters for all the Crusades, Harvest Crusades, Maranatha
grace notes. When playing the grace notes make sure they are clean 32nd notes. Worship Leader Workshops and for over 2 years he was the house
Always use a metronome and start slow. drummer for the Los Angeles production of The Lion King. His
home church is Plymouth Church in Whittier, California. www.
Blessings …….David DaveOwensDrums.com

Drags For Drum Set

Ruff 3  3 Single Drag
 Tap

                                                       
 R L R L R L R L   R L R L R L   R L L R R L L R  
LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR

Lesson 25 Dragadiddle
3
3 
           3  3      
                                           
 R L L R R L
LL RR LL RR LR LLRL LR
 R L R R L R R L R R L R
RR LL LL LL LL
 RRL R R L LR L L RRL RR L LR L L

RRL RL RRL RL RRL RL RRL RL

Single Ratamacue
3 3 3 3 3 3  3  3 3  3 3  3
                                            
 R R L R R L L R L L R R L R R L L R L L R R L R R L L R L L   R L R L L R L R R L R L L R L R LL RR LL RR

Double Ratamacue
3  3 3  3 3   3 
3 3
                                 
             
  
 R R L R L L L R L R R R L R L L L R L R R R L R L L
LL LL RR RR LL LL RR RR LL LL RR R RLRLR LL R LL RLRL RR L R RLRLR

Drag Paradiddle
                                                    
 R R L R R L L R L L R R L R R L L R L L R R L R R L
LL RR LL RR LL RR L R L L R R L R R L
LL L R L L

RR

Foot patterns
        
                              
10
Never Too Late to Learn New Tricks!
I am totally convinced that teachers of
singing and today’s worship leaders who have
a desire to learn more about Contemporary
Commercial Singing must understand the vo-
cal technique and performance requirements
from the singers point of view. In other
words, they must be able to do it themselves.
Observing someone else is not enough! This
article will offer some contemporary-based
vocal teaching books that include exercises
and songs to assist in the learning process.
These books will offer a do-it-yourself learn-
ing approach that can be adapted for use dur-
ing personal practice time, group rehearsal, or
group instruction.
Many of us do not have the time or re-
sources to market CD’s of vocal exercises that
support Contemporary singing skills with
the technique, artistic support, and approach
that is needed. Classical vocal exercises are
designed for and serve a Classical music
repertoire. People that will be mentioned
have created vocal exercises and technique
exercises for use in pop, rock, jazz, gospel,
R & B, country and modern musical theater
styles. Let’s now look at these books and
audio supplements.
Years ago a good friend of mine handed
me a copy of Karen Oleson’s product I’m Not
Crazy, I’m Vocalizing. This program is aimed at
training the daily commuter to sing as they
wait in traffic. It even comes with its own
bumper sticker. It is a very fun and creative
idea. Once you listen to it you will never
forget it. Her follow up product I’m Vocalizing
2! with a World View is a CD and instructional
book that takes the singer through various
singing styles including classical. The prod-
uct’s strength is the interesting accompani-
ment tracks which makes it easy to feel the
rhythmic “groove” that each style requires.
The process used is a three step approach.
You first hear the exercise with a ‘guide’
vocal. Then you can sing the exercise with an
instrumental ‘guide’, and finally sing to an
accompaniment only track. One exercise not
to be missed is her “a la Marchesi”. This ex-
ercise is an actual classical vocalize from the
celebrated nineteenth century voice teacher
Mathilde Marchesi. This product turned it
into a jazz scat! Karen also encourages singers
to have fun. A great idea for all singers. The
CD does have some weaknesses. It is some-
times stylistically stiff and slightly ‘pitchy’ on
the guide vocals. If that is bothersome, the
singer can move on to the second and third
versions of the exercises.
Elisabeth Howard’s book Sing! includes
four CD’s. Her plain keyboard accompani-
ments are the opposite of Karen Oleson’s
rather creative accompaniments. But Ms.
Howard’s ‘guide’ vocals are priceless. Elisa-
beth is a singing chameleon! She performs a
plethora of singing styles from rock to opera.
Singers are encouraged to try each style first
in slow motion and then to speed. Time is
also taken to explain the technical and artis-
tic details required by each individual style. A
jarring weakness of this product is its confus-
ing mix of non- science and modern research
scientific terminology.
Many singers interested in learning more
about contemporary singing styles may find
Breck Alan’s book The Art of Body Singing right
down their alley. Breck, with guitar in hand,
guides singers with exercises that are in sup-
port of non-classical vocal sounds. His style
of speaking is ‘cool’ and casual, similar to the
speech patterns of today’s college student.
He does require the listener to ponder a lot
of non-scientific, self-created terminology
such as buffer air, gushing, and drool exercise.
Singers with no formal training may not have
a problem with this. A trained singer may
have to reinterpret a previously learned vocal
language. But maybe, just maybe, the trained
singer will discard past learning and try on a
new vocabulary and performance style.
The last book we will discuss is Anne
Peckham’s Vocal Workouts for the Contemporary
Singer. This product has nice accompaniments
and fine demonstration singing. The exercises
are comprehensive and laid out in an orderly
manner. A beginning contemporary singer
is offered a foundation in both technique
and style. A seasoned contemporary singer
11
would be able to improve vocal skills without
changing a personal singing style. This book
contains twenty-six exercises for warm-up
and vocal development. Basic and advanced
exercises are available for both high and
low voices. It even addresses harmony skill
development by offering two and three part
exercises. This book, like Elisabeth Howard’s
Sing, also uses non-scientific terminology
mixed with present day research, a mislead-
ing and confusing mix.
There are several other products out there
that attempt to address Contemporary Com-
mercial Singing such as Mark Baxter’s Singer’s
Toolbox and my own CD The Vocal Licks-i-
Con. Keep in mind while using these products
by yourself that there is no substitute for a
good trained set of ears that are listening to
you. A good teacher can discern, very quickly,
what a good healthy vocal sound is and com-
municate with you what that sound feels like.
Although the number of Contemporary
Commercial Singing teachers is on the rise,
they are still few and far between. Check out
the products mentioned and use common
sense when using them by yourself. Caveat
emptor. Now go sing well!
Roger Beale is one of the nation’s foremost vocal
coaches. He presently works with professional
singers in all areas of musical
performance. His teaching
and coaching facility, The
Voice House, is involved in the
management and care of the
professional voice. Many of his
students have won prestigious vocal competitions
and scholarships. In addition, he has worked with
Grammy and Dove award winners and nominees.
He also offers vocal clinics and seminars, as well
as assistance in recording sessions. Roger is founder
and host of the Christian Singers Workshop (www.
christiansingersworkshop.com), dedicated to the
teaching of contemporary and commercial vocal
techniques. Roger can be contacted at: The Voice
House, PO Box 87136, College Park, GA 30337,
(404) 822-5097, e-mail: voicehouse@mindspring.
com, web site: www.thevoicehouse.com.
 The Church and Musical Style
What is ‘church’ music, anyway? Is it a
style of music, or is it distinguished more by
the subject of the lyrics? Is it determined by
the kind of instruments that are played? Does
it have to do with who wrote the music or
when it was written? It is rather amazing to
me what music is accepted in churches and
what music isn’t, even today. And what is
the criteria for selecting church songs, musi-
cal styles and instrumentation? And who
decides?
When I look at the most ancient Old
Testament references to music, I find several
interesting precedents. First, the music was
led and performed by full-time professional
musicians. Apparently, the thought in those
days was that God deserved the very best.
Also, judging from His description of how He
wanted the temple built and such, perhaps
He wasn’t that into settling for mediocrity
either. Note also that there are scriptural
mentions of wind, stringed and percus-
sion instruments very early on as well. Not
only that, but when God’s people defeated
an enemy, they would immediately adopt
the enemy’s musical instruments into their
worship of God - without prejudice. There is
a whole book of the bible that is dedicated
to the songs that were sung to the Lord and
there are passages that indicated the singing
went on day and night. Further, the mood
of much of the music seems to have been
joyful and thankful, downright party-like at
times. Still, we learn in Ecclesiastes that there
is a time and a season for joy and sorrow and
every emotional situation that befalls man. It
is also clear in David’s writing of the Psalms
that the music reflected the whole human
condition and expressed the full range of
emotions associated with it.
Then, for some reason, the church went
through centuries where music became
narrowed down into a form that was very
reverent, but rather dark and grim and one-
dimensional. Then, with the appearance of
Martin Luther, music took a turn again as the
‘hymn’ was introduced. Luther himself wrote
many of the first hymns, He wasn’t really a
musician. He simply wrote lyrics and applied
them to the tavern songs of the day. I’ve run
onto numerous people who think it’s totally
sacrilegious to sing ‘Amazing Grace’ to the
tune of ‘House of the Rising Sun’. Though
I personally am not invested in the idea, I
can’t say that it’s wrong. You’d have to go
back and argue that issue with Luther. At any
rate, Luther’s hymns were new and uplifting
sounding, partly because he was bringing out
the message of grace in his lyrics, but it was
partially due to the German beer-drinking
song style too.
I guess what I’m getting at is that I don’t
believe there is a ‘right’ or ‘wrong’ musical
style at church. And I don’t believe that there
are ‘sanctified’ vs. ‘pagan’ musical instru-
ments either. There are just instruments.
Don’t’ get me wrong. I’m not saying that any
old music is OK at church. My issue is that
musical style and instrumentation aren’t the
determining factors. What separates Christian
and pagan music is a matter of the heart.
Christian music must have lyrics that show
love and honor and worship to our Creator.
There should be no vile intent, hate, lust,
jealousy, pride… well, you know the list. The
lyric in a church song has to be edifying. And
if it is a worship song, it should exalt God.
But it’s not evil to use an electric guitar in
worship, or to play a chorus in a Reggae style.
With that said, let me share some of my per-
sonal observations, opinions and vision.
Being a professional musician for nearly
five decades, I’ve played dozens of styles of
music and have been exposed to hundreds
more. To me, musical styles are like the color
that makes music beautiful and interesting
and compelling to play and sing. Without
this variety, I would have quit music altogeth-
er years ago. In the church today, there are
only a few styles of music that are being used.
In the traditional service we mostly encoun-
ter hymns that are anywhere from 100 to 300
years old, written in styles that are no longer
used in popular music. The music is typi-
12
cally performed with choirs, pipe organs and
orchestras. In southern gospel circles the style
leans more towards barbershop harmony and
a ‘boom chuck’ rhythm. Then in the contem-
porary service we hear very little else than
over-simplified watered down pop/rock tunes
with melodies that are seldom good melodies
at all. Occasionally a really great worship
song arises but, frankly, it isn’t that often. If
you look at the top 25 songs on the worship
hit parade, you’ll find them spanning over 30
years. Sorry, there just aren’t that many new
tunes that are even memorable.
So… why can’t we change this? After
millennia of church history, why is music at
church still so narrow and dull? Why don’t
we write about a larger variety of subjects,
and sing with passion? Why don’t we arrange
a song in an upbeat samba rhythm, or a
graceful waltz, or a heartfelt country ballad,
or a soft bossa nova love song to the Lord?
Who excluded the blues, and swing, and folk,
and bluegrass? And what about the hundreds
of other musical styles that are out there?
And with a chord encyclopedia containing
thousands of chordal harmonies, why have
we narrowed ourselves down to 4-chord
songs where we don’t even use all 3 notes of
a triad anymore? What happened to memora-
ble melodies with hooks that made you actu-
ally want to sing songs over and over? What
about song form where, besides the chorus,
there were verses and bridges and intros and
endings? And if we really are into the ‘seeker’
mentality of trying to make church an enjoy-
able experience for the newcomer, why not
poll them as to what kind of music they
like - and then design our worship arrange-
ments to match the need? Interestingly, the
biggest selling form of music in America is
country music. Why don’t we do an Allison
Krause style worship set. I’d be all over that.
Of course, you’d have to be open minded and
then find writers, arrangers, singers and play-
ers who were good enough to pull that off.
See my point?
Continued on page 45.
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roduct eview
Bedell MBCE-28-G
Acoustic Guitar
by Bruce Adolph
Long time readers and maybe even casual
on-lookers of Christian Musician magazine
find out pretty quickly that I like guitars… it’s
no secret and contrary to what some friends
say, I don’t ignore keyboards all together…
it’s just that guitars are more fun J
Not only do I like guitars, but I like the
stories behind the companies that make the
guitars. Some are steeped in tradition and
some are good stories that need to be told.
The new/old Bedell Guitars Company is one
of those good stories. Tom Bedell owned and
ran two music stores as a teenager (that won
me over all ready). He started importing his
own brand of guitars back then but after a
few years the responsibility of going to col-
lege and working in the family’s non-music
related business came knocking on his door.
Tom went to college and then did the family
business gig for many years building it up to
very profitable situation… and then at retire-
ment age he sold it for a boat-load of money.
Tom and his wife Molly started to travel the
world as vacationers and also as philanthro-
pists. All the while not straying from their
hippie up bringing and their current com-
pany motto “Peace, Love and Rock n’ Roll”.
Tom’s desire to get back in the music
business resurfaced when he saw a music
store for sale in Colorado. He bought it and
next came the desire to make his own line of
guitars again but this time with some strong
financial backing; his own. Tom, Molly and
their team went to China and found a really
good manufacturer. They didn’t stop there
however, as they made sure that the work-
SoundCheck (cont. from page 7)
Next, I ran into two guys
I used to know
from the
keyboard world, now
helping Casio launch their line of pro
boards. The keyboard action on these blew me
away. Plus, for a versatile pro level keyboard,
the cost was amazingly low. This is truly a good
time to be a musician. I was thinking to myself,
“Maybe it’s time for a home studio keyboard
– Judy does like it when I play our upright
piano.”
Another unexpected surprise was a new
company dedicated to making just acoustic
harp guitars. I know this looks like a turn of the
century item – and I mean the century before
the last one – but you have to admit that when
you play one of these bad boys and pluck those
big bass strings it gets your mind swirling with
the arrangement possibilities. It definitely will
ers in China were respected and
treated well. The philosophy
that “happy workers make
better instruments” is a
win-win business model.
Once the quality of the
instruments was on-line
then Tom did something
else that impressed me
as an old music store
manager. He gave
the retailers gener-
ous payment
terms for being
a dealer. He then
started placing a
lot of print ads in
the guitar maga-
zines (is this guy
after my own heart
or what?). I spoke with
Tom at the NAMM Show and
is genuinely a friendly guy. The name of his
company that owns Bedell Guitars is Two
Old Hippies, a homage to his wife Molly and
himself. Cool story eh?
OK, now let’s look at the guitar! They
have two guitar lines at different pricing and
components levels. We selected an orchestra
sized cutaway acoustic/electric guitar from
their Performance Series. In this line all the
woods are solid (back and sides being Indian
rosewood) and the bracing under the AAA
Sitka spruce top is clean as can be. The MBCE
28 G sports a rounded cutaway and a Fish-
man GT-4 pick-up system along with gold
not fit in the overhead compartment of an
airplane.
At US Music’s booth, I ran into another
old friend and as we were talking, I spotted
a Jay Turser Beatle bass knockoff. It took
exactly two minutes to fall
in love with
this one.
It is
made
and
priced
well. I
had an
original
1960’s Hofner Beatle bass when I
was 16 years old that my father had
given me, and holding this bass on
the showroom floor took me back
quite a few years. They were kind
enough to arrange for me to
buy it and I picked it up from
them on Sunday – which was
Father’s Day. Pretty cool, eh?
I want to teach Judy how to
play it so we can sit down and
play some songs together. She
loves all of the old Maranatha
14
Grover tuners. The nut width is 1.7”.
It seems to me that Bedell has taken on
the strategy that if the economics behind gui-
tar building is going to take you to China, then
let’s build the best guitar we can make in China or
anywhere else in the Orient for that matter.
The craftsmanship is something. From the
fretwork to the wood binding and the stylized peace
symbol on the headstock… the vibe is understated
quality. The feel is solid and when you start playing
the guitar you can’t help but sense that this guitar
“wants” to be strummed. When you strum hard with
zeal it responds! It is muscular and rhythmic. If you’re
a finger-style player don’t worry… all of the nuanced
balance of bass, mids and treble is there… but there
is something about this guitar that really works
when you jump on it. This would work well in
the worship band playing a lot of those open
droning chords. Remember the orchestra
body shape here is smaller and more personal
than a dreadnought, but the volume that
comes out of this guy is more than adequate
for its size. Editor’s side note: If you like even
smaller Parlor sized guitars, Bedell makes a really
good one there too.
Being a new guitar the sound is crisp
and clear with a nice rounded bass; but a
little bit tight. You get the feeling that once
all of those solid tonewoods start to age and
open up that this instrument will blossom
into something really special.
Overall impression is that Bedell will set
the standard for other folks making their
he guitars overseas to follow. With the price of
American guitars getting so expensive Tom
and Molly might really find a niche that
works well for them here and for you too.
You get a lot of guitar for your money in the
Bedell approach… “Peace, Love and Save
a Few Bucks” might be another marketing
slogan for the public to hear.
This Performance Series MBCE 28 G gui-
tar comes with Bedell’s deluxe hardshell case
(it even has a built in hygrometer to help you
keep track of the humidity for your instru-
ment) and a list price of $1,849.00 (streets for
around $1,250.00 or so).
www.bedellguitars.com
worship songs. This should be fun!
While in that vicinity of the conven-
tion floor, I met the marketing man-
ager for Phonic and he showed
me a new 16-channel digital
mixing board that is going to
enter into the House of Wor-
ship market loaded with features
and you guessed it – a really good
retail price. We will review this in
the future as well. Speaking of Front
of House guys, our new “Love One
Woman… Many Faders” t-shirt was a
hit at the show too. Sound guys don’t
get a lot of love, so when you even think
of them with a t-shirt they are apprecia-
tive. Ha!
It took me three days to get
a chance to walk into the Taylor
booth, but I was glad I did. They
have a new student/travel/fun
guitar called the GS Mini. It is made
in Mexico and sports a curved wood
back and a new plug-in pick-up system
option that a monkey could install. I
didn’t see any actual monkeys in their
booth, but if there were any – they
could install that new pick-up… a lot of
Continued on page 35.
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Grant Norsworthy
is a creative… there’s
no question about
that. Everything
about him points to
his creative gift, his
out of the box think-
ing and just plain
interesting approach to everything he
does. Now here’s the twist…he’s a to-
tally buttoned down guy as well. You
gotta love when that happens. He’s
got the left and right brain firing on
all cylinders. I know Grant as a bass
player but more than that a lover of
Christ, his family and the mantle of
communication he wears so well.
Groove is about what you choose to play.
NOT what you can play. Groove is about
creating parts of a coherent picture that,
when combined with the other instruments’
parts, creates a complete picture that moves
and engages people. Whether I am playing
bass, acoustic guitar, singing or leading the
band, the picture I think about is my three-
Hitting your note at
exactly the same time that
the drummer hits the kick
gives your playing punch
and creates a tight sound
that the audience can feel.
year-old boy Max jumping up and down
on mummy and daddy’s bed. If the song is
uptempo, the picture or ‘movie’ is in real
time. If it’s a slower, more emotive song, it’s
slo-mo. It really helps!
Max - my bounding, joyful little man -
is the melody and the lyric; he must be the
main focus of the arrangement. The audi-
ence or congregation recognizes, connects
and sings along to the lyric and the melody.
(This is especially important in the context
of congregational singing). The mattress is
the bass and drums; just like my mattress
has a mummy’s side and a daddy’s side, so
the bass and drums are really two halves to
The Boy,
The Bed & The Bass
one whole. And just as the mattress is the
foundation that springs Max into the air,
the bass/drum unit is what provides the
foundational groove of the song and makes
the listener feel and move to the music.
After that the guitars, keys, and anything
else are just blankets, sheets, and pillows
that add color and shade and make a more
enjoyable over-all experience (and for the
record, guitarists and keys players, no one
can enjoy a bed without a pillow).
The Mattress
The most essential component of any
song’s groove is that the bass and drums
work tightly together to create a solid
foundation for the melody. Just as a mat-
tress malfunction would sideline Max’s
trampoline time, a sloppy bass/drum combo
quickly drains the feel and movement of a
song. Bassists! We need to be in good, com-
municating relationship with the drummer.
Musically, the drums and the bass should
think and play as one.
The first step for bassists is to begin to
view the kick drum as essential emphasis
to your bass rhythm. Hitting your note at
exactly the same time that
the drummer hits the kick
gives your playing punch and
creates a tight sound that the
audience can feel. That will
not be possible while bass and
kick are playing sloppy notes
in random rhythmic disorder.
It’s good to play particular,
agreed kick/bass patterns and
to communicate ahead of
time with the drummer about
where and how patterns might change.
Having the notes from kick and bass
together is an imperative starting point, but
we don’t have to play the same rhythms
all the time. But if your bass rhythm is go-
ing to be different than the kick, it should
be intentional and purposeful in that it
achieves some effect that supports the
melody and builds groove. Communicate
with the drummer and come up with parts
and repeated patterns and rhythms. With-
out this type of liaison it’s hard to create a
connection with the other musicians and
with the listeners, the groove dies tragically,
and the melody is left with no mattress to
16
bounce on.
The Essential Arsenal
A lot of times bassists seem too distract-
ed with licks and runs, high notes and fancy
stuff and neglect their role in the groove
of the music; they’re too preoccupied with
trying to be a pillow or a blanket and forget
that they need to be half the mattress that
supports the whole song. A song is often
best served by the bassist playing just the
bass note of the chord played as whole
notes, half notes, quarter notes or eighth
notes. Although runs and more complex
rhythms might tickle your ear, many songs
sound better if the bassist uses solid evenly
spaced, evenly weighted notes.
This means that before you do anything
else on bass – walking, flurries, taking a
jaunt up the neck, anything – you should
work with a metronome or drum machine
to get solid eighth notes into your reper-
toire. However simple eighth notes might
seem to you, they are often the right choice
for a really good, deep groove. Much can be
accomplished in the emotion of a song by
changing how the bass is subdividing the
rhythm. For example, switching from whole
to eighth notes to elevate a chorus shifts
gears in the intensity of a song in a very
significant way that the rest of the band and
the listeners will feel.
The Musician’s Goal
In the end the bassist needs to be a ser-
vant to the song as a whole, which in turn
fulfills the goals of best serving the band,
the people we play for and our Creator. Fo-
cus on getting a solid relationship with the
kick drum and practicing effective quarter
and eight notes first. Once the two halves of
the mattress are working together, the rest
of the song can get moving and grooving.
Formerly the bassist with
CCM bands such as pc3
(Paul Colman Trio) and
SONICFLOOd, Grant
Norsworthy is a Grammy®
nominated and Dove Award
winning musician and speaker. Originally from
Australia, now based in Nashville TN, Grant
is also an outspoken advocate for Compassion
International. For more information: www.
grantnorsworthy.com
 Chris Tomlin
and Collings Guitars

Chris Tomlin and his 1999 Collings OM 42 SB

Serious Guitars | www.CollingsGuitars.com | (1) -

 quasi-classic Reverend

roduct eview Drivetrain that

Visual manu-
factured for
the guitar

Grooving the Garage company. One

of the things that

The Visual
set these apart from
the pack is the utiliza-
tion of separate Bass and

Sound Garage Treble knobs. Players with a

variety of different instruments
or even a main axe that can be

Tone Series hard to dial will love the

extra tone tweakability.
The overdrive sounds are

Pedals seriously fat and have a

tube like warmth no matter
By Sean O’Bryan Smith how hard you are driving it.
Bass players take notice as well that
Having proven themselves in the industry for a these make a super cool bass overdrive
number of years now, the good folks at Visual Sound and the added Bass knob means you
have done it again. This time they have taken it to a new won’t lose your bottom.
level with a line of budget- friendly pedals that sound surpris- Perhaps one of the cooler offerings in the
ingly good. There are five models in the line: the Oil Can Garage Tone series is the Chopper Tremolo.
Phaser, Chainsaw Distortion, Drivetrain Overdrive, Budget tremolo pedals that actually
Chopper Tremolo, and Axle Grease Delay. Each of sound good can be scarce at times. This
the Garage Tones are classic- sounding pedals is not the case with the Chopper. Lov-
with very useable tones. ers of vintage tremolo tone will be quite
The Oil Can Phaser oozes with the pleased at how good this thing sounds at
classic analog phaser sounds that any price. The Chopper has the typical Speed
players love. The Oil Can has separate and Depth controls one would expect, but Visual
Speed and Depth knobs and is actually added a cool Wave control. This changes the overall
quite sonically diverse. The sounds are all feel of the effect, which gives you a lot more flexibility
warm and lush, and depending on where you than you would expect. Surf and jazz players in par-
place it in your signal chain, you can get all kinds ticular owe it to themselves to experiment with the Wave
of cool effects. control for some real hip variations on classic tone.
Next we have the Chainsaw Distortion. Finally, the Axle Grease Delay brings up the
With its three knobs controlling Drive, rear, but by no means deserves to be over-
Tone, and Volume, the Chainsaw looked. What is cool about the Axle Grease is
is actually much less aggressive that it plays tricks on your ears. The circuitry is a
then the name would imply. hybrid/digital path, but what you hear makes you
The tone is actually quite feel you are pure analog. With tweaks of the Time and
warm and musical, without Repeats knobs, you can conjure everything from warm
just being a head-severing delays worthy of The Edge to cool spacey effects. Add in the
distortion pedal. You can go from Level control and you have a good little workhorse delay worthy
subtle breakup to soaring, but with of numerous musical applications.
a good amount of warmth from each Major kudos to Visual Sound for giving us a budget friendly of-
setting. The Chainsaw also has its fering of their great sounding pedals. The Garage Tones may be
own voice. It isn’t a clone of cheaper in price, but they are all tone. Whether you are a pro
anything, which is refresh- or novice, these things just sound good. Great job, gang.
ing. What it is, though, Visual Sound
is a good sounding, www.visualsound.net
multi-purpose Oil Can Phaser:  $59.95
distortion. Chainsaw Distortion:  $49.95
The Drivetrain Drivetrain Overdrive:  $59.95
Overdrive is a budget- Chopper Tremolo:  $69.95
friendly version of the Axle Grease Delay:  $69.95
18
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LIFT Worship helps churches with all aspects of Worship Ministry

Family Tradition
By Steven Douglas Losey

The pedal steel is wailing, singing, and praising to an old

traditional hymn as all ten strings are purposefully strummed.
While the congregation dances, claps, and stomps, Robert
Randolph connects with his Maker.

It’s been called enlightenment, ushering in the Holy Spirit, and

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

Robert Randolph is blessed and he knows it, learning early on

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

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

How do you and your band switch
genres so effortlessly?
All credit really goes to growing
up in church and having been able
to play in a pentecostal church
setting where I grew up my whole
life. That’s where I learned how to
play music. Whether it’s an old
hymn, a traditional, or some new
contemporary like the Winan’s or
Kirk Franklin, all of that ranges in
the church and it happens every
Sunday. As players, we always
had to adapt musically to each
different thing. Of course, the
older people want a different style
of playing when they’re singing
the hymns, because you have
to slow it down and make things
more beautiful. And with some of
the contemporary gospel, I have to
be more on my toes with different
chord structures. That’s really
where it comes from; as I’ve gotten
older, I’ve come to find that the best
musicians are guys that have come
from church, because of that same
kind of training. In our church, we’ll
do a choir song. Then the preacher
will sing a song from the thirties,
and lead in to contemporary. So
you have to really be on it.
And you were the leader?
In the House of God Church where
we all grew up, the pedal steel is
usually the leader of the band, the
leader of the musical part of the
service. The steel guitar player
really dictates the mood, what’s
being created, knowing when it’s
time for the spiritual dance. We
have to be ready all the time.
You and the Family Band have
always felt like one big church
service...
Well, that’s really what it’s always
been for us. Sometimes people
like to criticize because they ask,
“Where are you singing about God
and Jesus in the lyrics?” The truth
is, if anyone is really listening to
any of our songs, they would hear
that all of our songs are spiritually
and mentally uplifting. Regardless
of what other people have said,
I’ve had thousands of emails from
people in jail, people thinking
about killing themselves, and
through the music and the message
on Sunday; you should join a youth
and the vibe and energy that we
group or something.” We simply
bring, they have been uplifted. So
tell them that will make them a
many people have told me that they
better person.
were lifted from that frame of mind
that they were in. How do you create that uplifting
vibe?
Why do you think that is?
If you talk to some of the older
Well, Steve, I’m not preaching from
people in the church that I’ve
the Bible during our set, but I do
grown up around, they would say
know why. For some weird reason,
that I’ve been giving the anointing.
so many people have gotten afraid
I’ve talked to people like Pastor
of going to church. We go out and
Paul White and Marvin Winans
bring that experience to people.
and Bishop Eddie Long, and they
We say, “You should go to a church
have said the same things. It just
20
comes out. People tend to lose
focus of what they’re playing music
for sometimes. God has really
anointed us as a band to do this. I
don’t know how; I just know when
we play and it feels right, it seems
to have that anointing on it.
How do you avoid sin on the
road?
I’ve really come to find out that
whether we go to church or Bible
Study, life is a rollercoaster that
needs to be taken day by day. The
devil is going to attack no matter
where you’re at. While we’re on the
road, sin will happen, but we’ve all
got family to answer to no matter
how famous we get – our grandmas
and aunts and mothers and fathers
are there to answer to. When we
make mistakes, we get home and
there’s prayer. We have aunts and
uncles that get on the phone with
us on tour and say a prayer for us.
It’s the people that think they can
do no wrong that are usually hit the
hardest by the devil. When you
know you’re doing wrong and you
seek help, that’s when you know
21
you’re in the right frame of mind.
There are people that just seem like
Mr. and Mrs. Holy Holy Holy while
the devil is busy in their lives; the
people that don’t even recognize
the wrong in their lives are the ones
that are really in trouble.
How do you best portray Christianity
in the mainstream?
It’s all about being who I am all of
the time. We are all striving to be
like Jesus, the man who walked the
earth and did no wrong; we are
all striving to be like that. Through
whatever testimonies that we have,
through the trials and tribulations
that I’ve gone through, when I’m in
front of people on that stage it just
comes out.
So just be a light?
Out here, doing what we do, we
meet all types of people, Steve.
We meet devil worshippers and
the lot; there’s really nothing that I
haven’t seen. There was a young
lady that told me that she doesn’t
even believe in God, that it was a
bunch of baloney. She said she just
liked coming to the show because
it made her feel good. That’s not
a coincidence. I encouraged her
to find a church. There’s a line in
the song I wrote, “I Still Belong
to Jesus”, that probably offends
people, but it was meant to. It
says, “The finger pointing preacher
screams/ he’s hunting sinners in his
dreams/ but Jesus didn’t start no
war/ He reached His hand out to
the poor.” For that reason, so many
people have become scared to go
to church. So many preachers at so
many churches have become the
judge of us being a good or bad
person. I asked one minister, “If you
spend all your time doing that, then
what is Judgment Day for?” I said,
“If you’re already telling me I’m
a sinner, then there’s no need for
me to tell you I’m saved. If you’ve
already judged me, then what’s the
point of standing before Christ one
day and asking if I can come in.” I
feel strongly that their job and our
job is to preach The Word and give
their testimony and lend a helping
hand to people.
Why is there so much confusion
about God in the mainstream?
The devil is powerful, and there’s
always ways of tricking people
with things like the Internet. Kids
have so much access to those types
of things; the Taliban has their own
channel that you can look at every
day. There’s so many more ways
of reaching people and fooling
people now. But, for as many
hate groups as there are, there are
a thousand more examples of the
Light and where it is and who we
should be and what we should do.
That’s a lot of responsibility...
As musicians and songwriters, we
have the power of the microphone,
and I don’t understand why urban
artists use that power to do the
wrong things, especially back
when America was going through
segregation and those type things.
I think about how far we’ve come
at this time, but we’ve also gone
backwards. There were guys like
Stevie Wonder doing a whole
record about coming together, and
Bob Marley and the Beatles as
well. Michael Jackson had songs
about that very thing – “Man in the
Mirror”, “Black or White” – those
were uplifting tunes to better man
and woman walking this earth.
If the biggest artists in the world
could do it, then all of these artists
today should be, but they don’t
even make the attempt. By the end
of the day, who are we to judge
whether or not Michael Jackson is
a Christian or not.
It’s always amazed me to watch
these urban and rap artists who
spout violence, and hate and sex,
and thank Jesus when they win
a Grammy! Isn’t that something,
man?
Listen, it’s so funny that you said
that. I hear those artists thank their
Lord and Savior the Lord Almighty,
Jesus Christ. I see them going
through struggles and they question
God. I want to ask them if they do
know that God is out there?
Blood runs thick in your band?
Of course it does. My cousin is
Marcus and plays the drums, and
Danyel plays the bass; even my
sister sings in the band now. We’ve
all grown up in the church and
we’re family. The way we play,
the way we sing, the way we write
– for some reason it’s just magical.
It just doesn’t come that way with
other people; that’s just the way
22
God made it.
We Walk This Road feels like a
tribute to so many traditionals...
We were able to take these early
American songs like “Traveling
Shoes” that we’ve all sung in
church at some point, and really
do our thing. “Bones Dry Bones”
was an old field recording that we
used, and the segue is in there as
well. We were able to take that
song into the context of thousands
of years, because some of that stuff
never changes. To be able to write
lyrics using the inspiration of that
old recording, to use that to uplift
people for today, was the proudest
moment of recording this record.
The Dylan cover, “Shot of Love”, is
amazing.
That was a powerful song for us.
We were looking for songs that
would tell the story of this record,
that would really cover a hundred
years of American music. It had the
message that we really needed,
that we’re all walking around
needing love. To be able to record
such powerful guitar all around –
through, over, top, and underneath
the song – created a vibe to make
people listen and want to get into
the lyric.
You and your producer T-Bone
Burnett really had a vibe in mind?
Talking to him, we realized how
important it was to get people
moving, to get them into this
message of showing each other
love. Most of the songs were written
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when we were watching the early
debates of McCain and Obama.
As Americans, we just wanted
somebody to tell us the truth, how
we could get through this state of
depression and people losing jobs
and their homes.
Talk about some of your special
guests moments?
All of the guests were never really
planned. Word just started to get
out, I talked to my friends, T-Bone
talked to his people, and they
just wanted to come down and
hang out and see what we were
doing. That’s what happened with
Leon Russell and Ben Harper. I
remember thinking, “I’ve got the
great rock and roll legend Leon
Russell playing on a song called
‘Salvation.’” The same thing
happened with Ben Harper; we
had this Blind Willie Johnson song,
“If I Had My Way”, that so many
What about gear?
I use a Fuchs Amp. It’s a head
with a 4x10 cabinet that I use live.
In the studio, I ended up using a
Fender Jeff Beck rig which was
a combination of two different
sounds, which is why I was able
to get so many different ranges
of beautiful tones on this record.
I also really love to use this new
effect by Crowder Audio called
Prunes and Custard. It’s like a
phaser/distortion/EQ filter all in
one. You can strip it down to get
this cool distortion without a lot of
the mid-range in the notes. That
was how I got that sweet distortion
in “Traveling Shoes.” It was the
perfect distortion, where it fit right
in the range of following the singer
perfectly.
What do you want people to take
away from We Walk This Road?
I just want people to be musically
uplifted and happy that young
African Americans like myself and
the family came along to make a
statement in these times that we’re
living in, that we aren’t following
the same trends as everybody else.
We really wanted to take the old
gospel stuff and take it to another
place, a place where it would
appeal to not only younger people
but older audiences as well.
people have recorded. He came
in and said he knew exactly what
to do with it. He went in and sang
these choruses and these lyrics and
we changed the story from Samson
and Delilah to the story of Daniel
and the lions’ den. I just wanted to
say that we need to burn this place
down and go to heaven already.
[Robert singing] “If I am this way,
I’ll burn this building down, burn
this building down.”
Please tell me how you get your
incredible guitar tone?
I guess it’s all in the magic of the
fingers. I watched the guys who
played before me at the House of
God Church. We can all get on the
same guitar and none of us play the
same. When we were young, our
parents and grandparents would
pray for our hands and anoint
them at the end of every Sunday
service.
24
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 selective hearing
Nightlights
Jimmy Needham
inpop
Thank God for that
voice. It is what sepa-
rates Nightlights from
just another Jason Mraz
wannabe album. Since
Jimmy Needham insists on wearing that bowl-
er hat and has populated his new disc with
more reggae-light and pop tunes than past
projects, the Mraz comparisons are inevitable.
Thankfully, Needham has the type of soulful,
gritty voice that only comes around once in a
great while (think a somewhat muted Stevie
Wonder or Marc Broussard). That, plus his
predilection for classic R&B (“The Reason I
Sing”, “Grace Amazing”) gives his music more
emotional accessibility than the almost nov-
elty quality output of his counterpart. “Just A
Heartbeat” is a very credible stab at “Fab Four”
style baroque pop and lends the project a wel-
come change of pace. While the singer’s guitar
prowess takes a back seat on Nightlights, careful
listens will reveal some very tasteful rhythm
work throughout. Needham is a very capable
artist with a boatload of talent. A little less reli-
ance on his influences will allow him to reach
his considerable artistic potential.
The Generous Mr.
Lovewell
Mercy Me
INO
Why? This was my
response after listen-
ing to this “Tale of Two
Projects” from Chris-
tian supergroup Mercy Me. Knowing that the
album carried a concept loosely based on a
character named “Mr. Lovewell” who tried to
impact the culture around him by showing
kindness in his actions and compassion in his
words, I settled in for what I thought would
be the most “out of the box” release of Mercy
Me’s career. From the electronica-laced open-
ing rocker, “This Life,” through the fourth
cut – the eerie, bass driven “Crazy Enough”
(which vaguely resembles fellow “Crazy”
practitioners, Gnarls Barkley and Seal) – the
record totally lives up to the pre-release buzz,
creatively yet simply communicating the joys
of living a life that compels others to seek out
holiness. The title cut frames the concept well
amidst the type of sunny, harmony-laden pop
that ELO and Jellyfish did with such aplomb,
while “Move” tackles the age-old “fish swim-
ming against the stream” theme as it channels
the best aspects of mid-70’s BeeGees pop-funk
and marries it with the fervency of Maroon
5. After all this eclecticism, it follows that it
would be time for the “standard issue” Mercy
by Shawn McLaughlin
Me power ballad that will be on the radio for
most of the next decade, and the band doesn’t
disappoint with the majestic pop-worship of
“All of Creation.” The band begins to get back
on the “variety-train” with a lovely tune of
encouragement, “Beautiful” that fuses ethereal
organic textures with tasteful programmed
beats. From this point on, however, they aban-
don the project’s theme altogether and decide
to revert to their standing as the kings of
Christian radio play with a bunch of psuedo-
worship songs that will, no doubt, play to
the Casting Crowns, Steven Curtis Chapman,
Jeremy Camp and Chris Tomlin fans out there.
Unfortunately, this sudden shift in direction
left me wondering “What in the heck just hap-
pened here?” This is clearly a band that has
the musical ingenuity to make a killer album
all the way through;.the first four cuts fuel that
speculation. Yet, as long as they continue to
approach their music with an eye toward con-
vention and commercial calculation, they will
forever be known as a very popular band....just
not a particularly unique or artistic one.
We Walk This Road
Robert Randolph
and the Family Band
Warner Brothers
After two moder-
ately successful records
( “Unclassified” and
“Colorblind”) that have
positioned Robert Randolph and the Family
Band squarely in the “Jam Band” category,
they’ve seemed to realize that the studio is
not adequately equipped to translate their live
energy to the vinyl (or digital) format. Instead,
Randolph has taken a good, hard look at the
band’s gospel and blues roots, adding color
and groove to a carefully collated group of
classic blues, pop, and gospel songs, as well
as a few originals that share the same creative
energy. We Walk This Road has a sound that,
in vibe and texture, makes up for what it may
lack in dynamics. You’re not going to pop this
CD in at a party or blast it while you cruise
down the street with the top down. It is much
more effective listened to with a pair of really
good headphones so you can hear the subtle
musical touches and bask in T-Bone Burnett’s
rich production. As a guitar player, Robert Ran-
dolph has really matured on this album. He
can rip off a solo that would shame most axe-
men twice his age, yet he knows when to lay
back and be a part of the song, without having
to “be” the song. Nevertheless, there are still
some jaw-dropping moments interspersed
here and there. Amongst the song highlights
are: “If I Had My Way,” the old Reverend Gary
Davis chestnut that is given proper reverence,
even as it is suitably revved up for modern
26
consumption; a slinky cover of the Bob Dylan
cut “Shot of Love” that is awash in the ‘wet’
ambiance that Burnett manages to make
so compelling, as well as one of those “jaw
dropping” guitar moments; “I Still Belong to
Jesus,” which starts out sounding eerily like
Fleetwood Mac’s “Dreams” before advancing
to a soulful pop chorus that borrows liberally
from Back Street Boys “I Want it That Way;”
John Lennon’s lesser known anti-war anthem,
“I Don’t Want to Be a Soldier Mama,” which
again, benefits from Burnett’s unique tex-
tural experimentation as well as the Family
Band’s uncanny ability to lay down a groove
that takes hold of your soul. This cut has the
same vibe (and, often, bass line) as Marvin
Gaye’s classic “What’s Goin’ On”. Finally,
the album’s close, “Salvation,” is a beautiful
ballad that, like most of the record, manages
to sound classic and current simultaneously.
To that end, Randolph and Burnett come up
with an effective tack, segueing from track
to track with sprinklings of classic old blues
and gospel recordings. While many different
eras of African-American music are celebrated
in the songs and social messages of We Walk
This Road, they are knit together by a strong
thread of devotion, hope and the desire to
uplift the spirits of the downtrodden. Some
longtime fans of RRFB are going to miss the
guitar rave-ups and extended funk-jams the
band is known for in live performance and it
might be wise of the label to release a concert
album in the near future. However, as far as
studio releases are concerned, the more muted,
but infinitely more purposeful direction of We
Walk This Road is something the band should
continue to pursue.
Reunion
Seawind
www.seawindjazz.
com
If you miss the
sound of the 70’s af-
forded by such pop jazz
groups as Pablo Cruise,
Ambrosia and Toto, you will surely be excited
to hear the reunion disc by the estimable Sea-
wind, the finest group of its kind the Christian
market has ever produced. However, these
guys made quite a mark on the mainstream
music scene (specifically LA studio session
work) over the course of four decades. As “in-
demand” as any of the previously mentioned
groups, Seawind was noted for their in-the-
pocket grooves, bright distinctive horn charts,
and Pauline Wilson’s clear vocal presence.
Reunion reveals a band who hasn’t lost a step
since they last recorded years ago. The grooves
are inviting, the melodies indelible, and the
horns are as cleverly arranged as ever and
 often add a little grit to the laconic “Island”
feel of most of the disc. “Kept By Your Power”,
“Devil is a Liar”, and “Everything Needs
Love” are prime examples of the band in full
bloom. If you are a sucker for absolutely “sick”
musicianship, then you will want to pick up
Reunion right away.
Old Angel
Lost Dogs
Stunt Records/Fools
of the World
www.thelostdogs.
com
On the Lost Dog’s
newest opus, Old Angel,
the band follows the suggestion of leader/
resident genius Terry Taylor, and writes of the
thrill, disappointment, discovery and failure
of searching for one’s dreams. This theme is
played out on the metaphorical “Glory Road”
or “Old Angel,” the mythical path to the pot
of gold at the end of the rainbow as represent-
ed by Route 66, the now neglected highway
that runs from Chicago to the sunny shores
of Santa Monica California. Two years ago,
the band headed out on a tour down the old
highway and brought their laptops and diaries
with them, taking copious notes along the
way. The record is a study in broken dreams
and the devastating loss that befalls those
cursed with the human condition. The open-
ing cut, “Israelites and Okies,” parallels the
journey of the children of Abraham searching
for the promised land with that of Dust Bowl
era homesteaders heading out west to seek
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their own redemption from oppression and
poverty. But instead of being confronted by
burning bushes, manna from heaven, plagues
of locusts and the temptation of golden idols,
American travelers come in contact with
giant jack-rabbit statues (“Goodbye Win-
slow”), outlaws (“Wicked Guns”), itinerant
migrant worker camps (“Dust in My Bowl”,
“Pearl Moon”), waitresses in dive restaurants
(“Dead End Diner”) and the temptation of
real gold. The ‘Dog’s musical accompaniment
is perfectly suited for the hard-luck characters
and often tragic situations told in the long
concept album. The band’s blend of American
music forms (country/folk/blues) is tempered
with very accessible songwriting and a dash
of rock flavor in appropriate lyrical settings,
like the acerbic, outlaw tale, “Wicked Guns.”
The beat-poet inspired jazz/rockabilly raver,
“America’s Main Street,” boasts Taylor’s spoken
word lyric and an hilarious tubercular laugh
at song’s end, perhaps inspired by heavy
smokers Jack Kerouac, Woody Guthrie and
Allen Ginsberg, whose spirits inform the track.
Guitarist Mike Roe does yeoman’s work on
both cuts, managing the trick of sounding cut-
ting edge and traditional simultaneously. Old
Angel is the second Lost Dogs album to feature
Steve Hindalong as a member, and he has
fully integrated into the group, contributing
no fewer than six songs as writer or co-writer.
Usually dominated by Taylor’s songs, each
‘Dog contributes to the disc, and the result is
a sound that sounds as organically cohesive as
any ‘Dogs release since Little Red Riding Hood,
featuring the dear, departed Gene Eugene. One
really cool feature of the disc is that the lyrical
voice alternates between modern narration
and the colloquial language of the song’s char-
acters. The stunning “Pearl Moon (Hooverville
Camp 1933)” falls mostly in the latter camp,
but rides the strength of one of Taylor’s finest
poetic lyrics in the service of a sad tale of a
family’s failure to escape the hopelessness of
one of the mid-west’s migrant work camps.
Also affecting is the lovely “Desert Flowers,” a
true tale of witnessing the heart of God in the
Native American children of the Navajo tribe
at the Red Sands School just north of Winslow,
Arizona. The cut takes on a Peter Gabriel-like
world flavor thanks to stately percussion and
Native American lyrics as part of the chorus.
In the “Tricks Dogs Play” department, the
band offers up “Dead End Diner,” a pop-rock
masterpiece as engaging as anything you’d
currently hear on the radio. Near the end of
the album, the song takes place near the apex
of Route 66 in California, and the music mir-
rors the sound of the Santa Monica sun and
surf (the band members are HUGE Beach Boy
fans and this song proves it) as it tells the tale
of a waitress who is so resigned to her fate in
life that when she is shown some attention by
a fella, she notes that he is “sorta handsome
in an ugly way and she’s almost sure that he
ain’t gay.” The band gets clever as they place
the waitress, Dinah, in the kitchen and then
sing “Hey, it’s fee fie fiddly-i-ay Fee fie fiddly-
i-o,” echoing the main verse of the American
classic “I’ve Been Working On the Railroad,”
effectively and humorously connecting the
present with the past. The cut is rife with
Patented Hinge
Technology
classic Daugherty/Roe/Taylor harmonies, Roe’s Giving credence to the musicians that paved in the hearts of some serious music fans, let
best ‘Brian Wilson’ falsetto, and an insanely the way for the current crop of youngsters me assure you that there is enough dynamite
melodic bass line that sounds distinctly like CAN be done in the Christian market but, it in this man’s axe to render those fears moot. A
the work of Tim Chandler, who does guest on simply isn’t; and that is a shame. Especially couple of characteristics separate Quaye from
the album. “Carry Me” is a song of resigned when listening to a masterpiece like Old Angel other guitarists in the rock/jazz/blues realm.
surrender at the end of the journey, as Roe and realizing that these guys are still making First, his tone is stunning, whether slightly
beautifully emotes: music as vital as anybody out there: as the Lost distorted in more aggressive settings like the
Dogs; with their own bands and solo, in the final solo on the title cut, the carefree groove
Carry me case of Roe and Taylor. Taylor has been plying of “Walking by Faith,” the almost prog-rock
I’m too proud to crawl his trade in the CCM industry since the early frame of “Pulling Down Strongholds,” or
Carry me “Jesus Music” days of 1975, if not earlier. If shimmering as in the lovely acoustic tinged
I’m too tired to run you ask musicians who today’s greatest living “Changing Seasons.” Second, he rarely if ever
Carry me songwriters are, the chances that his name will recycles riffs he has used before; he comes up
Over Mojave come up are better than you’d imagine. As a with something new and fresh on virtually
Under the Navajo sun lyric writer, Hindalong is nearly as respected. every song. He is also a remarkably empathetic
Carry me Daugherty and Roe are no slouches either guitarist; that is, his phrasing seems perfect for
and Roe would dent more than a few “best each mood, every musical transition his crack
Old Angel, then, is about life and the ag- guitarist” lists. Why these guys have to toil in band plays, no matter what the feel of the
ing process, dealing with “progress” and loss relative obscurity while people with an eighth song is. In fact, ‘feel’ is a very good term for
while the “progressive” (i.e. more conven- of their talent dominate Christian radio is be- the type of guitarist Quaye has become, while
tional) threaten to push the more experienced yond my comprehension. OK, rant over. Now, recognizing that he still possesses astonish-
aside; the maturity and wisdom of the past go buy the recordings of these musicians and ing technique. If there are any downsides to
are left to the few who continue to seek out show them how grateful you are. Out of the Blue, it might be the relative lack of
the “beaten paths” or the “off-roads.” With diversity in the smooth jazz genre, with many
each repeated listen, the record appears to be Out of the Blue of the tempos and harmonic arrangements
a metaphor for the Lost Dogs’ own journey in Caleb Quaye and lacking the bite of a ‘harder’ jazz context. Yet,
the Christian music business. Each member The Faculty the sheer genius of Quaye’s gift offers plenty
of the band (and, again, especially Taylor) has www.Amazon.com of meat for any aficionado of great guitar
had an enormous influence on the whole of On his second solo playing. Out of the Blue is
Christian music, but especially the Christian disc, legendary guitarist/ available through iTunes or
alternative scene, which would, arguably, songwriter Caleb Quaye Amazon.com.
not even exist without the trails these guys (from Elton John’s
blazed in the 70’s and 80’s with their bands: well-regarded 70’s & early 80’s band as well as
Daniel Amos (Taylor); The 77’s (Roe); The notable studio work) trades in his rock duds Shawn McLaughlin is a hard
Choir (Derri Daugherty and Hindalong); and for the more understated finery of the smooth
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Ask Joe
by Joe Riggio
Q
What kind of guitar should
I purchase for my child that is
learning guitar?
A
This is easily one of the
most common questions that I
hear from folks that I run across
in casual conversation. I have
heard it twice, this week alone, so here it
goes:
You know how overwhelming it is,
even as an experienced guitar player,
walking into a huge corporate guitar retail
store. The huge inventory is designed to
entice your senses enough to make you
spend some time, trying to take it all in.
Well, imagine walking into that, as a first
time buyer, with no experience, trying to
figure out where to even start. I hope this
answer helps some of you, in that situa-
tion, choose wisely for your learning guitar
student.
Profile
In my opinion, kids that are learning fit
into one of two categories; 1. The beginner
that is only in the earliest stages of learning
and 2. Those that are farther along and
show signs of “sticking with it”. The latter
most likely being someone making their
first or second purchase, as un upgrade, or
as an alternative to borrowing or renting
an instrument.
Many folks assume that spending the
least amount of cash is the key to a happy
purchase. However, I usually only recom-
mend that route for buyers in the first
category, as a better investment, over rent-
ing an instrument. Spending too much,
before a student’s serious commitment to
learn has been displayed, might not be
the best initial move. Avoid shopping for
guitars at toy stores or “mega-marts”. The
low prices and the convenient “one stop”
can be tempting, but you will be far better
off purchasing from a real guitar store. It’s
a competitive world out there and you will
find inexpensive choices (around $100 or
under) from both smaller and larger music
or guitar stores that will offer some level of
support and trade-in value later. In fact, the
smaller the store, the more likely you are to
receive ongoing service. When the student
has shown growth and is excited to move
on, they become part of category 2.
Category 2 people are those who have
shown significant growth and commit-
ment. Their teacher will be the best judge
of this stage. If your first purchase aligns
with this stage, I recommend purchas-
ing an acoustic guitar that is made with
a “solid” top rather than one made with
a laminated or “plywood” top. Beware of
the term: “genuine spruce” as opposed to
“solid spruce”. Yes, even guitar makers are
savvy with the ol’ marketing tricks. Solid-
top guitars have a much more full and
resonant sound quality to them. The price
range of these start at around $250-$300
and go all the way up to the stars. Personal
budget will determine where you fit in
this huge window. C’mon, what student
wouldn’t be motivated by a sweet Ameri-
can-made solid-top guitar?
Size
Many beginners are concerned with the
size of the guitar that they will be learn-
ing on. Only in the case of a very young
student (under 12), or a particularly small-
framed one, do I recommend going with
a small guitar. In those cases, consider the
Yamaha JR1 Mini Folk Guitar. It is one of
the only reasonably-priced small guitars
that will suffice better that a toy. If the stu-
dent is of the typical size of a 12-year-old,
they are better off learning on a full-size
guitar, to avoid awkward transition later
on.
I guess it should be clarified that I’m
talking about acoustic guitars here, and not
electric. Most teachers will agree that this is
the best starting point, if your student is at
all open to it. There are many more opin-
ions that we could discuss here (including
left-handedness, call me to get an earful
about that one), but these are the basics
that should help you make a wise choice.
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
31

Hawk Nelson is an original. The band.
Not the person. Because we don’t know
if there is such a person, but we do know
there is a Christian band that goes by
that moniker. They have released four
studio albums so far, toured endlessly,
been a perennial favorite on the Christian
festival circuit, and have a new album that
features a Pug wearing what appears to
be 3-D sunglasses on the cover, called Live
Life Loud!
Yeah, that Hawk Nelson chatted with us
recently and in between the laughter and
merriment we found heart and soul. But
an interview by Bob Waller
more laughter.
Jason Dunn is the lead vocalist and the
most outspoken of the group. Jonathan
Steingard plays guitar, Daniel Biro plays
bass, and Justin Benner supplies the
beats.
“We’ve all got different personalities,
but they all work really well together,”
explains Jason. “Jonathan here is a tech
guy. Justin loves what he does and he
brings joy and spirit to the band. Dan is a
numbers guy and embraces the business
side of things.”
32
“And Jason takes care of us,” adds
Daniel.
On stage, after the chat session has
ended and the band cranks up, Jason
will declare, in a live life loud kind of
way, that “Some bands say they are a
Christian band, and some bands say they
are Christians in a band. But I say you
can’t have it both ways. You have to live
on one side of the line or the other. You
either stand for Christ or you don’t. You
either walk the walk and talk the talk or
you don’t!”
Nothing comes softly with Jason. We
witnessed his declaration about Christian
bands and his desire that his audience walk
with Christ in their lives after earlier asking
him in this interview about comments on
the internet and elsewhere that Live Life
Loud is a bit more serious album for Hawk
Nelson.
“A bit more serious? Who says those
things?” asks Jason.
Laughter erupts in the room.
“I have never, as an individual, I’ve never
come across as a serious person,” he
continues. “Honestly though, everyone has
a serious side and I think there is still a lot
of fun element to that record. Personally,
it’s my favorite one so far, to date.”
“I think we tried to go in a couple of
different directions simultaneously,”
comments Jonathan. “Like we did a hymn,
‘Tis So Sweet, toward the end of the
record, and that is something we kind of
toyed around with doing for a long time
but never really got around to. But we also
goofed off more than we ever have before.
Like, we did a ukulele song, so we went
further in both directions–more extreme,
and that was somewhat intentional.”
Where does the inspiration for their work
come from?
“It’s always different for me,” replies
Jason. “Originally, when we first started,
our first record, Letters to The President, we
were brand new on the scene, and we had
no idea what was going on, we just had
songs. It was like 19 years of stuff you
had in your mind, like as a kid, all these
random thoughts and random songs. And
that was the first record.
“The second record, you kind of realize
you have to try and say something as a
band, but we were still real young and
all pretty green to the whole process. So
then you start writing from your listeners’
point of view, what a listener would want
to hear. So I kind of base all my writing
off that kind of thing.
“Trying to stay youthful when you are not
as youthful as you used to be,” continues
Jason, “that is a bit of a challenge right
there. I’m trying to pretend I’m in high
school right now.”
Laughter erupts.
With album titles that include Letters To
The President, Smile/It’s The End of The
World and Hawk Nelson Is My Friend,
you have to wonder about the songwriting
process for this band.
“It’s always different,” says Jason. “For
most of the songs, the initial idea will
come from either Daniel or me, and then
we’ll bring it to a talented source who will
make it sound really good.
“There is absolutely no shame in admitting
you write with other people,” Jason adds.
“I think every new and young band should
do that because you can have all the talent
in the world, but when you can have a
second opinion or someone else’s ear, it
makes a song completely different.
“I’ll bring in songs that in my mind
are incomplete songs, and they’ll go,
‘Well, why don’t you try this chorus, or
this verse with it?’ I would never have
looked at it from that point of view
before, and it’s unbelievable what that
does. So I am a big fan of co-writes.”
“If you look at some of the most
successful songwriters out there,”
inserts Daniel, “they are pro-active in
songwriting with other people of the
same caliber and above. You know,
you never have arrived. It’s a process
that is ongoing.”
Still talking about songwriting, Jason
says, “The other day, we were doing
some writing and we were talking about
certain writer’s strong points, and I feel
I am a pretty solid verse writer. That is
one of my strong points, but another guy
we write with said ‘My strong points are
bridges.’”
Jonathan perks up, adding, “Yeh, he
said he was ‘really strong at bridges,
but wishes he was strong at hooks!’”
More laughter.
Following the song writing process is,
of course, the recording process. They
make it sound so simple. Jason begins
by saying, “Justin will lay down a nice
fat beat, followed by some nice bass
playing by Daniel, and then Jonathan
will go in with his guitars.”
“That’s when the songs will really
shape up,” says Daniel.
“And then I get to be the last guy to go
in,” responds Jason. “I purposely don’t
go in for the drum, I purposely avoid the
bass, and I come in for the end of the
guitars, and by then I feel like, oh my
gosh, this is so beautiful.
“It is like a shock, especially where
it has come from the initial idea. As
a writer, in your mind, you can hear
how the song sounds in your head, but
in production it is like, wow, I did not
expect it to sound this awesome, and
that is a beautiful thing.
“I’m so glad I get to enjoy that part
of it,” Jason continues. “And then I get
to lay down the melody and the vocals
and it becomes a piece of art and it
comes together and it is so glorious,
and I cannot wait for that to happen
again.”
Originally hailing from Canada,
the Hawk Nelson members now find
themselves based in Nashville. “I think
if it affects us at all, it is a positive thing,”
said Jason. “We are all there now.
“I was the last to make the move to
Nashville and for two years I was flying
to meet there. I was feeling the distance
and it wasn’t great.”
Jonathan chimes in, “For me, it is
inspirational because I go to church and
all of a sudden I see Rick Cua playing
bass up there on Sunday morning and
he is phenomenal, and a nice guy.
33
You are just around all these people with
so much talent. It is really nice to have
people to look up to.”
“In LA, everyone is an actor or actress, or
aspiring actor,” states Jason. “In Nashville,
everyone is an aspiring musician and they
all want to be heard, which gets a little
monotonous at times, but I understand
completely. I like Nashville so far.”
No rock band worth its salt can carry on
without touring. Just as with most bands,
Hawk Nelson members have plenty to say
about touring.
“What we have learned is first to enjoy
what you are doing,” starts Jason. “Have
fun, because we’ve been on some pretty
awesome tours, but we’ve also been on
some pretty horrible tours, and it’s all
about the main core.
“If you have ‘family’, it makes a
difference, and these guys here are my
BFL, my Brothers For Life. It would be a
whole different ballgame if I was with a
different band, and I hope we all feel that
same way. When you are on those tours,
and you are six weeks in and burned out,
it’s not always easy, but you have to count
your blessings and take everything one
day at a time.”
Jonathan adds, “I think it is super
important to find ways of having a great
time doing what you do. If you are on
a particular tour, where maybe you are
missing home or not getting along with
someone on the tour or something, or you
are sick, I think it’s important to actively
take steps and ask ‘How can I make this
more enjoyable for myself and the other
people on my team?’
“Maybe that means organizing more
trips away from the venue during the day,
or organizing trips on an off day. If you
don’t love touring, you are not going to do
it very long.”
Jason declares, “And for us, it has been
eight years now. That’s crazy!”
As previously mentioned, Hawk Nelson
is a fan favorite on the Christian festival
circuit, having appeared at countless
festivals over the years. “We’ll be out
there again this summer,” declared Jason.
“I’ll be having a beautiful time making
beautiful memories with my beautiful
friends here.”
We inquired about the gear that Hawk
Nelson members use in the studio and on
stage.
Drummer Justin stated, “For me, I am
currently endorsed by Pro Mark sticks,
Pearl drums, and Paiste cymbals.”
“I like Fender basses,” said Daniel. “They
just seem to work for me. I have an Ernie
Ball that lives in John’s house in the studio
that I think is cool sometimes. I used it on
the first record. I use the classic Ampeg
head with HM cabs. It is a tube sound that
I like. I keep it pretty simple. I use the Elixir
Nanoweb strings.”
Jonathan listed his gear next. “On the last
HAWK NELSON
record, I used a 70’s hundred watt ‘Hey, we love what you’re doing.
Marshall, an old Plexi. I used also How can we be a part of that?’
an AC30, my Bad Cat Hot Cat 30, “A lot of people know that for
an Orange Tiny Terror and a JCM every pair of shoes you buy, they
800. All of that was through an are going to send a kid a pair of
Orange 4x12 cab with Celestion shoes.”
vintage 30’s. I use GHS Boomers
strings, the 12 to 52’s.” “It’s simple,” adds Daniel. “It’s not
complicated, and it is built-in to the
Jason’s turn, and he does not very fabric of what their business
disappoint. “I just use a black is. It is on our website and we’ve
microphone.” done some in-store events.”
Laughter again. What does the future hold for
We asked about Hawk Nelson’s Hawk Nelson?
association with TOMS Shoes, the “We are doing a lot more
California company that provides International shows this year,”
a new pair of shoes to a child in explained Daniel. “Australia, the
need when someone purchases Netherlands, and even Switzerland
a pair. It is part of the operating this summer.”
vision of the company.
“We’ve kind of always just been
“TOMS Shoes never approached domestic, but now we want to
us,” stated Jason. “We just knew open up the floodgates,” remarked
what they were doing, and actions Jonathan.
speak louder than words, in my
opinion. We saw what TOMS We want to take over the world!
Shoes were doing for these kids in That’s what it comes down to,”
third world countries. exclaims Jason. “There are more
places we need to get out to and
“Basically every kid that does play.”
not have a pair of shoes, TOMS is
sending them a pair of shoes, which Somehow, you just have to
I think is awesome, and which is believe that Hawk Nelson will one

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SoundCheck (cont. from page 14) Next was Mike Huckabee, former Gov-
applications here. ernor of Arkansas, current TV program host
The last treasure I took home with me was on FOX, avid bass player, and one of a small
a new plectrum (guitar pick) called V-Picks. No group of 75 people or so who has ever been
friction and on the cover of
great tone Christian Musi-
instantly. cian magazine.
$4.00 a pop I had never met
but worth him before, so
every dime it was an honor.
of it. I use one He told me that
thickness for my he had gotten
acoustic and a good feedback
nice thick one from folks about
for my strat that that cover story wrapping up the new Ricky Skaggs record. If
makes it talk. in Christian Musi- things go well, maybe we can do an interview
Wow! They cian. That was an with Gordon and Ricky together. Now that is a
have a neat unexpected com- cover story just waiting to happen.
family testi- pliment. I gave More “chance” meetings happened than I
mony on their him a “Love One have room to list here. As I write this, I am on
website to boot. Woman… Many the plane flying home to Judy in Seattle. My
I ran into Basses” t-shirt feet may be sore and I sure do miss my wife, but
three different and he said with I am grateful to the Lord for what He did for us.
personali- a broad smile, I showed up for Summer NAMM and He did
ties – all of “Oh, my wife too. What a plan!
whom will like this.”
I liked How cool is
a lot and wished I could spend that? If any of you ever see him wearing
more time with. First was Derri it, please get a picture for me.
Daughterly (The Choir, Lost The last person I bumped into was
Dogs, producer and engineer). Gordon Kennedy. Gordon was a session
Derri gave me the new CD of guitarist in Nashville that has played
The Lost Dogs and told me on so many Christian artists records I
that the new Choir album couldn’t even count them. He is also a
would be out soon. I knew Grammy award-winning songwriter and
Derri back in Los Angeles producer and he has written some big tunes
when I was running a music for very well- known country artists as well. He Until next time…
store 21 years ago. is the nicest guy and he told me they are just Bruce & Judy

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35
The 19th Annual
Seattle-Tacoma
Guitar Show 2010
Guitars BU Y
Mandolins SWA P
Sunday
Lap Steels SE LL Sept. 19th
9:30 am - 4:30 pm
Amps • Ukes
Banjos • Pedals

Vintage Kent Commons

Used
525 4th Avenue North
Kent, WA 98032

New
Directions call 253.856.5025

Admission $700
Enlarged Exhibit Area
On-site Food and Drinks
Exhibit Tables $5500 each
Free Workshops and Clinics

For information or booth

reservations call 253.445.1973

The Seattle-Tacoma Guitar Show

4227 S. Meridian PMB C-275
Puyallup, WA 98373

bruceadolph@mac.com
www.seatacguitarshow.com
 positions and strings on the neck.

String Bending Part 1 Example 5 is a riff in the style of Lincoln

Brewster using half step bends with your 3rd
finger on the high E string and your first finger
String bending is one of the most basic and are at on the neck, what finger you are using on the G string. You will also see the G major
effective tools to have in your guitar playing to bend with and your own style or preference. arpeggio descending in there as well. You can
vocabulary. String bending can give the effect When using your 3rd (ring) finger to bend up see part three of Arpeggios in the May/June
of a slide or pedal steel guitar as adopted by and down – release, you can place your middle 2010 issue. We will cover more on bending in
blues and country players. You can emulate and index fingers on the string to support your future issues. May you play skillfully till next
the sound and technique of other stringed 3rd finger while bending the note. time and God Bless.
instruments like the Japanese Koto and even In the first Example (Exp 1) we are going
the sound of a train whistle. By adding a touch to start by getting our ears used to the sound Roger is a member of the
of string vibrato you can add the character of a of the notes. Start with your 3rd (ring) finger Audio and Praise teams
human voice singing or emotional feelings to and play the B on the 7th fret of the 1st (high at Freedom Life Church in
your string bending portraying joy / laughing E) string then play the C 8th fret. Listen to the Kissimmee Fl. Endorses Greg
or sorrow / crying. sound of the 2 notes. This is a half step. Next in Bennett Design Guitars by
The string bending technique can be done Example 2 play the B on the 7th fret and bend Samick , G&L Guitars, BBE
with your fingers along with a tremolo bar if the string up to match the pitch of the C a half Sound and PedalTrain Pedal Boards. Is an award
your guitar is fitted with a tremolo. Bending step higher then release the bend back to the winning guitarist from the “Songwriter Showcase
your strings can be a workout for your fingers starting note. Next in Example’s 3 and 4 you of America”. For music, videos and more surf
depending on the gauge of strings you use. A will be listening for and playing a whole step B to www.rogerzimish.com, www.youtube.com/
light gauge starting with a high E string of .09 to C#. You should play these Examples in other zguitarchannel, email: rogerzimish@yahoo.com
will be easier to bend and
you can achieve more of
a note-pitch spread from
your starting note, a whole
step (tone) or greater. Us-
ing heavier strings starting
at .12 on the high E string
will be more of a work out
on your hands along with
less of a note spread.
Now some of us have
been playing longer than
others and have been ap-
plying string bending in
our playing. If the bend
is not executed to hit the
right note you may come
up flat or over bend and
hit the note sharp. To bend
the note with accuracy
your fingers need to know
how far to go to reach
the correct note. You can
bend the string in either
direction, up or down. This
may depend on where you
37
Thirds and Chords Within Keys
(Diatonic Harmony revisited)
This subject is so important for your musicianship that I decided it’s simply the root or 1st with the 3rd and 5th degrees of the scale sounded
time to review it. Knowing the chords found in all the keys makes play- together. Therefore the factors of a D major chord would be D, F#, and
ing on the worship team so much easier plus transposing to other keys A. Here are more major triads; remember we are simply using the Root,
will no longer be a big deal. You’ll also be able to recognize the similari- 3rd and 5th in each major scale, starting from the root and of course,
ties of chord progressions of your favorite songs even though they are in being named by the root.
different keys. This is the real payoff for this whole process.
Let’s look at triads and diatonic harmony, sounds big, but it’s not. Ema = E G# B Ama = A C# E F#ma = F# A# C#
“Diatonic” simply means scale related and harmony is the relationship Bma = B D# F# Gma = G B D C#ma = C# E# G#
of sounds. Let’s look again at the major scale The other triads are formed by altering (raising or lowering) the 3rd
or 5th or both. The minor triad formula is Root, b3rd and 5th. Flat
“D” Major scale = D E F# G A B C# D third or b3rd simply means, lowered third, in other words to lower the
root 2 3 4 5 6 7 root 3rd one 1/2 step. Therefore a D minor triad would be spelled D, F and A,
Now let’s stack a third above each of the notes. Just place every the F# is lowered to an F natural.
other note on top of each other as they occur within the key. Here’s the rule for major and minor: If the 3rd is a sharp, it
becomes a natural to make it minor. If the 3rd is a natural like a C major
A third above F# G A B C# D E F# triad, C, E and G, it would become C, Eb and G to make it minor triad.
“D” major scale D E F# G A B C# D The formulas for the augmented and dimished are:
Scale degrees 1 2 3 4 5 6 7 root Diminished triad = Root, b3rd, b5th and Augmented triad = Root, 3rd
Now let’s take a closer look at the intervals found on each scale and #5th
degree. I know this can be confusing so let me show some examples in D.
The 3rd over the root (or the 1st degree) is a major 3rd because it oc-
curs naturally within the key however, the 3rd over the 2nd degree is a Dmaj = D F# A Dmin = D F A Ddim = D F Ab
minor interval because it has been lowered ½ step from the 3rd found root 3 5 root b3 5 root b3 b5
in the E major scale. Remember we apply the “yardstick” or the major Daug = D F# A#
scale of the bottom notes to measure the distance between two notes. (E root 3 #5
to G# would be a major 3rd therefore E to G is minor 3rd)
A minor interval occurs on the 2nd, 3rd, 6th and 7th degrees of the scale Notice that when we place another interval of a third over the first
whereas a major 3rd is found on the 1st ,4th and 5th degrees of the scale. third we are actually placing the 5th of every chord. Here’s something I
Let’s line them up so see what they look like. find interesting in the makeup of music that God created and man only
discovered. In every major chord there is first a major 3rd from the root
A third above F# G A B C# D E to the third (D to F#) but then a minor third from the 3rd to the 5th(F#
“D” major scale D E F# G A B C# to A), whereas in a minor triad first there is a minor third from the root
Scale degrees 1 2 3 4 5 6 7 to the 3rd (D to F) and a major third from the b3 to the 5th.(F to A).
Maj = major min=minor Maj min min Maj Maj min min There is a balance between major and minor in every major and minor
chord but the chords sound very stable. On the contrary diminished
Rule of 3rds. 3rds built on the 1st 4th and 5th degrees are MAJOR and augmented are made up of even intervals, diminished is two minor
And 3rds built on the 2nd, 3rd, 6th and 7th are MINOR thirds and augmented two major thirds but both of these chords sound
Isn’t it odd that within a major key there are more minor intervals unstable. In other words, you wouldn’t end a song on one of these
than major! because it leaves you wanting to hear another sound. The laws of nature
Let’s move to TRIADS now. Triads are simply a 3 note chord. The are coming into play here.
diatonic (scale related) triads occur naturally within a key when we place
one more interval of a third on top of what we have already done. Until next time, may God bless your work.
Rich
One more third above A B C# D E F# G
A third above F# G A B C# D E Rich has a 6 CD audio program for learning, hearing and memoriz-
“D” major scale D E F# G A B C# ing music theory called “Theory For The Road” which can be found at
Now we have the chord factors but we need to learn about triads to www.GuitarCollege.com. It explains everything in detail and includes
actually understand them and to analyze the triads as they occur within audio music illustrations on keyboard and guitar.
the scale. The term “factors” refers to chords while the term “degrees”
refer to scales.
Something to remember: When we play a triad like an “E” chord
on the guitar, we’re playing six notes but it’s still a triad. If you look
closely at the notes you’ll find many of the notes are repeated. Rich Severson, guitarist, clinician, author, band director,
There are only 4 types of triads, Major, Minor, Augmented former GIT instructor. To preview Rich’s music and
and Diminished. Each triad has a formula. The formulas are again guitar educational products go to www.GuitarCollege.
measured with our yardstick, the major scale. A major chord or triad is com and www.99CentGuitarLessons.com

38
The One Who Knows all knowing second person of the Trinity, God in
the flesh. “The one who knows,” and who has
all the control over life and death. He believed

is in Control it, he lived it. Who knows, perhaps Kevin fell on

his back too at the voice of Jesus proclaiming, “I
By Bryan Duncan am.” There was no doubt who Kevin was listen-
ing to for the rhythm of life.
Kevin Thomson, bass player and founder churches, prisons, and high school lunchtime In the end, Kevin had his own cross to bear,
of the Sweet Comfort Band, died on May concerts. Kevin was the booking agent, manager, and yet some thought something might be
30th 2010. “Knowledge is power,” he used to and driver of the Winnebago, and also the head wrong with him, because he never went through
say; “The one who knows is in control.” I smile roadie! He lifted all the heavy stuff and prided the depression that comes with quadriplegia. But
now because he never told the band where the himself on his strength. He usually set up the then maybe knowledge is power here too! Kevin
gig was! “How much further is this gig?” we P.A. system by himself, which we blew up almost knew that “the one who knows is in control;”
would ask, and he’d always say, “Four more every month, and in the earliest days he ran the even to the end of his life, he was steadfast in his
miles.” It became one of the standard “Kevin- sound from the stage. I always thought the bass trust of a savior who doesn’t explain our circum-
isms” we would quote for years when we didn’t was too loud!   stances to us. “Sweet comfort” was the descrip-
have a clue. It was his vision to present the Gospel in tion of Kevin Thomson’s hope in Jesus. There’s a
 The one who knows is in control. Kevin a new way, and every concert contained an new bass solo in the heavenly angel band.
followed Jesus Christ. His favorite SCB tune, of evangelistic message from the bass player! Sweet Kevin Thomson Bass Solo SCB “Get
course, was Comfort Band brought a new Jazz rock influence Ready” http://www.youtube.com/watch?v=-
the one to Jesus Music but Kevin Thomson was pure hard EhcPuwBvZg
with the rock at heart. He listened to bands like Mountain
longest and Moby Grape. It wasn’t that he hated ballads Bryan Duncan... CCM
bass solo so much, as he just had an aversion to whole artist for thirty years. With
in it!  “Get notes, which led to too much down time for the the Sweet Comfort Band,
Ready” was bass player. You’ll notice in the song “I Love You then solo and now with the
a staple in With My Life,” the biggest Sweet Comfort Band Nehosoul band. Owner of
the band’s ballad of our career, that the bass line bounces all Red Road Records and Host
set through the way through, much like Kevin in real time. of Radio Rehab at  www.radiorehab.com inducted
six albums In concert, he would often deliver his favor- into the Christian music Hall of Fame in 2007.
and eleven years. We closed the show with it ite message, the story of
even to the last concert. The song is a procla-
mation of the return of Christ and perhaps the
mission statement of Sweet Comfort Band. Get
Jesus in the  Garden of 
Gethsemane. He would
elaborate upon the Ro-
Quality Comfort Style
Ready! man soldiers who came
If our choice of food is any indication of to take Jesus, their size
who we are, “Kev” was an all-meat burrito and all their gear, but
with extra sauce and a Big Gulp. But he was when Jesus said “I am,”
an evangelist above all. When I met him in the soldiers fell back-
1972, he was doing a home Bible study. I was a wards on their backs.  He
nominal student at Southern California College would quote from scrip-
in Costa Mesa, and a clean-cut runaway from the ture.  “Jesus didn’t have
east coast. He had an afro back then, and when to die for us,” he would
coming to see me, stood out on the Christian say. “He could have just
campus like a hippie at the museum. The Jesus called out his name over
movement had caught fire in Southern Califor- and over and the troops
nia by then. I was singing solo at the circus tent would have gotten tired
they called Calvary Chapel. Monday night was a and gone home.”
big Bible study night there; maybe 3000 people  You could see Kev-
would show who could also hear the new Jesus in’s inner strength most
music bands: Love Song, Children of the Day, when he spoke of Jesus.
Bill Sprouse, and Country Faith. “Jesus wasn’t a wimp,”
Kev had heard me play a couple of songs he would say. “Nobody
one Monday night and came to see me about
singing with his brother and himself. I now
takes a beating like that
and then carries a cross
LONG 1131 W. Main St.
Franklin, TN 37064
don’t remember our first gig as Sweet Com-
fort, probably because he didn’t say. But what
most of the way to his
own crucifixion.” In
HOLLOW 1-800-545-1181
followed was an every weekend trip to small Kevin’s eyes, Jesus is the LEATHER www.longhollowleather.com
39
Indie No Spin Zone
A Little Birdy Told Me
by Keith Mohr
Unless you live under a rock, or still use
a typewriter and send snailmail, I’m sure
by now you have heard of “Twitter.” Twit-
ter is a social networking platform that
provides users an online interface to share
their thoughts, news, location, or anything
via short bits of info that can be shared with
numerous “followers.” Followers are people
who have chosen to receive your updates and
keep up with you. You can also follow others
and their exploits. The challenging thing
with Twitter is that it only lets you to use 144
characters for each “tweet.” A “tweet” is what
is referred to as an update, or a post. That 144
number makes it very challenging for me,
because I like to read myself in type:)
The way I use Twitter is to share my
thoughts on the Christian indie music mis-
sion, and keep my followers informed on
what I am doing so they can live their lives
vicariously through me:) Perfect for ego-
centric people like myself! The cool thing is
you can set Twitter to receive what you post
on Facebook, and vice versa. For example, I
have my Indieheaven Facebook page (www.
facebook.com/indieheaven) connected to my
Twitter profile (www.twitter.com/keithmohr)
which is connected to my personal Facebook
profile (www.facebook.com/keithmohr).
When I post an INDIETIP on my Indieheaven
Facebook wall, it posts it automatically on
my Twitter profile, which then sends it to
my Facebook personal wall. It all adds up! I
have over 2100 followers on my Facebook
Indieheaven fan page, over 500 followers on
my Twitter profile, and over 4300 followers
on my personal Facebook profile. So, when
I post something, lots of people read it, and
sometimes, they even respond to it.
With my INDIETIPS, I like to write things
that challenge, motivate, and even sometimes
irritate people. Heretics get the most atten-
tion, which means this... “People will engage
others who stir them and provoke them to ac-
tion, whether it be positive or negative.” I’ve
learned that “engagement” is the name of the
game! For those who respond to me posi-
tively, I thank them. For those who respond
negatively, I try to win them over. The thing
is this, at least they are responding! This is
a tactic I have used for a long time to get
introspective, introverted artistic- creatives
to come out of their shells and engage me.
Of course, you run the risk of not winning
someone over, but that’s OK. There are always
casualties of war:) I’m not on earth to be
everyones “best friend forever,” I’m here on a
mission to bring truth to creative Christians
and help them reconcile the tension of self
and Christ.
Before this article gets too long, here is
an example of one of my INDIETIPS and how
it is a catalyst to get people to engage me.
This particular engagement occurred while I
was penning this very article, as I shared my
thoughts on a very touchy subject.
INDIETIP: Why is it many believe
God GIVES them their songs, yet THEY
want to sell them?
I immediately received this reply on my
Facebook wall:
“God gives me my songs and He signs over
the rights to them :) I’d have some really cool
songs if God actually gave them to me!”
Another person responded with:
“We are interested in “selling” our original
music to established artists to record, in hopes of
that financing our traveling evangelism ministry.”
I asked them if God gave them their
songs. Their response was:
“Absolutely and without a single doubt!”
I then asked them this:
Why would you sell what God has given
you? I wonder how that makes Him feel? Do
you put His name on your copyrights?
I have not heard back from them yet. I’m
sure they are pondering my questions. See
how my initial post and followup response
fulfill my mission, which is to help creatives
get the lights turned on, as it pertains to the
Christian creative. Now, my responses could
be seen as snarky, judgmental, even mean
spirited. That’s OK, because my responses will
bring engagement. And that is the name of
the game!
Shortly thereafter, another person en-
gaged the discussion, they posted:
I think God gives different things to different
people. Maybe one can sing but doesn’t recieve
songs himself. Maybe one has been gifted as a
lyricist but doesn’t sing. I think it’s a way to get
more out there, for HIS glory!!
I responded with:
God gives us opportunities and inspira-
tion to create. It’s up to US to create.
They responded with:
Totally agreed :) I’m thinking of myself in
this situation. I would want to be used no matter
how He chooses to do it. It may be a humbling
thing to do only one or the other
I responded with:
Not sure I agree with being “used.” For
myself, I don’t like being “used.” I enjoy
partnering with others in a mutual beneficial
relationship. Know what I mean?
They responded with:
I meant being used by God ;) He has shown
me personally so much about being used for Him,
by Him and for His glory alone. I am at the point
now where I will sing what He has given me, let
someone else sing if He calls it to happen, and He
has. I know the ideal situation would be writing
40
AND singing, I have just learned that that is not
always gonna be the way. Maybe the motives
behind sharing those songs is the actual issue.
I responded with:
I don’t like that term “Used by God.” I
consider that relationship to be mutually
beneficial. God wants me to have an active
role in His-Story. And I need Him for my very
existence. We both benefit from the collabo-
ration. It is a partnership. It’s not all God,
it’s not all me, it is a combination of both.
It keeps me accountable, because if I am not
obedient, the partnership ends. When you
think God gives you this and that.. there is
no accountability. It was given, and that is
that. Not quite.
Another person responded with:
I’ve heard some pretty awful songs that God
has been blamed for... I mean, credited with...
I followed up with:
You betcha. Me too. Usually, the songs
that people tell you God gave them are
not all that good from an artistic/creative
standpoint. It’s because they did not work the
song over, and settled for the first version.
Since God gave it to them, it must be perfect.
umm.. whatsupwithdat?
In closing:
Now that is some great engagement for a
Sunday! Of all the places these folks could be
online or offline, they have chosen to engage
me. Through our sharing, the lights may get
turned on for many others. It also provides
me a place to share my experience and
thoughts with many. And it all started with a
short “tweet.” The tweet is a seed, which can
lead to incredible fruit if the tree is tended to
and cultivated.
As an artist, or a songwriter, be thinking
of ways to engage people using the social
networking tools available to you. As people
engage you, they learn how you think, what
makes you unique, and they come back to
your profile time and time again to see what
you are thinking. It’s like cats to a good bowl
of milk! And cats like birds:)
Oh, if you don’t yet follow me on Face-
book and Twitter, you are cordially invited to!
Keep up the excellent faith-work!
Keith Mohr
Keith is founder/president
of Indieheaven.com,
an organization for
independent Christian
musicians, song writers and
artists. For more info, visit:
www.indieheaven.com.
Keith also holds conferences
and a website called Indie
University. Visit: www.indieuniversity.com for
more info. Keith is the director of Provision, Intl.
a non-profit for Christian Musicians. http://
www.provisioninternational.com/artists. Follow
Keith on Twitter: www.twitter.com/keithmohr,
Facebook: www.facebook.com/keithmohr, and
www.facebook.com/indieheaven
Rewind
by Jim Oas
Well I’m back for round two and glad to
be here with you. In this issue we are going to
take a glance back at White Heart – one of
the most talented and solid Christian bands
to grow up in the 80’s. Although there was a
revolving door of members through the years,
the core group held together for 16 years and
14 albums with embers glowing brightly and
music remaining fresh. I so clearly remember
my first concert with them at Seattle’s Para-
mount NW, it set my heart on fire – so buckle
up and hang on as we ‘rewind’ to 1982.
It was in the early 1980s when a group of
The Bill Gaither Trio (TBGT) backing musi-
cians decided to form a side project – a band
whose music would reach out to young
people with the message of Christ. Touring
with TBGT gained them experience and some
income, but it wasn’t the only music they
had on their hearts. The group formed with
six members: Billy Smiley, Mark Gersmehl,
Dann Huff, David Huff, Gary Lunn, and Steve
Green. Their countdown to launch time was
1982. Say bye-bye to the Bill Gaither Trio and
lets give it up for White Heart.
Their self titled 1st album was well re-
ceived and with prior road experience under
their belts, they brought great stage presence
to the table while presenting ‘rock music
with a message’. They started gaining a fan
base that grew with each release – with eager
young ‘uns looking for an alternative to the
secular bands who had great musicianship
and song writing ability, but no message of
hope. This band brought all of that and more,
with the message of hope in Jesus Christ; this
was White Heart.
However, it wasn’t long after the first re-
lease that band mate Steve Green felt the call
on his heart to leave, feeling that rock music
(even with Christian lyrics) was not where
the Holy Spirit was leading him. He subse-
quently launched an adult contemporary
solo career that has been very huge for him.
But he did hang around and sing BGVocals’s
on Vital Signs. The new lead vocalist onboard
was now Scott Douglas. As you will see by
the end of this article, White Heart launched
more than a few solo careers along the way as
the band grew and morphed into a seasoned
group of musicians/ writers/ producers.
The band’s sophomore release came in
’84 with Vital Signs. Guitarist Dann Huff left
shortly thereafter and even recommended
a replacement lead guitarist, a school bud
named Gordon Kennedy. Dann went on
to form the hardrock band, Giant, (and the
album kicked a, uh, er,
well it was a great al-
bum). Dann also become
an ‘A-list’ studio session
player. The list of credits
he has done session
work for is too long to
print here, but I will start
with Keith Urban and
end with George Benson
with a few dozen more
in-between.
With White Heart’s
third release, Hotline,
hitting the streets in ’85,
42
it ensured that the band became a household
name for those who listened to Christian mu-
sic. It was also the year that David Huff left
the group to pursue other interests, including
studio work and touring with Michael W.
Smith. He later joined his brother, Dann, in
forming the aforementioned, Giant. It was
about this time that Scott Douglas also left
the group.
While holding lead vocalist auditions,
one of those trying out was a White Heart
roadie, Rick Florian. To everyone’s surprise
he was a great lead vocalist and to boot; he
knew the band and the music well, making
the change very quick and painless. Rick re-
mained a core member of the group through
the rest of the discography. Just as a sidebar,
it seems like with every album release, a band
member departs. Hmmmm, maybe they
needed a year with no releases? (smile)
Here is a list of the players and their win-
dow of opportunity with the group:
Billy Smiley 1982-1998 Guitars
Steve Green 1982-1983 Lead vocals
Mark Gersmehl 1982-1998 Keyboards/
vocals
David Huff 1982-1985 Drums/
percussion/
vocals
Dan Huff 1982-1984 Guitar/ lead
vocals
Rick Florian 1986-1998 Lead vocals
Gordon Kennedy 1985-1990 Guitar/
vocals
Scott Douglas 1984-1985 Lead vocals
Gary Lunn 1982-1985 Bass
Chris McHugh 1986-1989 Drums/
percussion
Tommy Sims 1986-1990- Bass/ vocals
Brian Wooten 1991-1995 Guitars
Anthony Sallee 1991-1994 Bass
John Thorn 1995 Bass
Mark Nemer 1990 Drums/
percussion
Kevin Mills 1996-1997 Bass
Jon Knox 1991-1996 Drums/
percussion
Mike Mead 1997 Drums
Barry Graul 1996-97 Guitar
Official Discography of White Heart
(There is also a list of ‘live and unofficial’
compilation albums too).
1982 White Heart
1984 Vital Signs
1985 Hotline
1986 Don’t Wait For The Movie
1987 Emergency Broadcast
1989 Freedom
1990 Souvenirs (with Little Drummer Boy)
1991 Powerhouse
1992 Tales of Wonder
1993 Highlands
1994 Nothing But The Best: Radio Classics
1994 Nothing But The Best: Rock Classics
1995 Inside
1997 Redemption
Trivia: How many covers of Contempo-
rary Christian Magazine (CCM) did White
Heart grace during the 1980s? Answer at the
end.
White Heart continued to tour through
the rest of the 1980s and well into the
1990s – actually pretty much non-stop. They
still had a good fan base but sales were slip
sliding somewhat because of label changes.
Moving to Curb Records (primarily Country
music), White Heart was their test market in
Christian music and they didn’t have a good
distribution network. Their final show was at
Great America, San Jose, Ca. in 1997.
After many years of recording, touring
and core members investing their time/tal-
ents into up and coming bands (Stephen Cur-
tis, Geoff Moore, Margaret Becker, Newsboys),
White Heart has been on a 13 year sabbatical,
never having officially retired, at least not in
print. The remaining core members, Smiley,
Gersmehl, Florian, have been pursuing per-
sonal interests and careers paths.
What are the three core members doing
now? Rick Florian is a real estate agent in
the Franklin, Tenn area and also continues
to sing on various recording projects. Mark
Gersmehl continues to write music, releas-
ing solo efforts, and works around the coun-
try with church worship ministries. Billy
Smiley started his production company in
1990 – doing a solo project with guest WH
The G7TH Nashville Capo
designed for accuracy & speed
www.G7th.com
In Pursuit of Excellence
players Florian, McHugh,
Wooten. His company
also signed Justifide, Hu-
man, Sky Harbor, and
forming Northern Shore
Productions with studios
in both Franklin, TN, and
Scottsdale, AZ (dang, is he
becoming a snowbird?)
Smiley also has his own
labels; Cul-de-Sac Records
(Rock), Southern Skye
Records (Country), Devo-
tion Music (Christian and
Worship), and Shadowland
Music (Pop). He also is members from the Freedom album tour. For
involved with – Worship Hymns – with 10 more information: FaceBook WhiteHeart
albums focusing on bringing Hymns into our “Freedom” Reunion Concert or go to
culture. I reckon he ain’t lettin’ no grass grow www.whiteheart.com.
under his feet. Eh? Until next time, “Second star to the
Now let me pose a question that I know right and straight on ‘til morning.”
many are thinking, “Will White Heart ever Peter Pan, Capt. James T. Kirk and me;
perform together again?” Well, funny you James Oas <><
should ask. Although it has been more than Email: oasj@embarqmail.com
a dozen years since White Heart last per- List of references available upon request.
formed together, the time is at hand. This Photos used courtesy of James Oas Photog-
Aug 7th in Franklin, Tenn, they will play at raphy
the WhiteHeart “Freedom” Reunion Concert, Ps . . . here’s the Trivia answer: 4 covers
raising money for an adoption and foster of CCM
care ministry. The lineup features all of the
The Capo Company
43
Witnessing the Flood
and Being Called
By Sean O’Bryan Smith
For those of us who live in and around
Nashville, nothing could quite have prepared
us for what God had in store on May 1st and
2nd of 2010. The weather forecasters had been
predicting heavy rain, but a storm season in
Tennessee can be pretty hairy, so I, like many
others, wasn’t too concerned. Little did I
know that the next 48 hours was going to
change many lives forever.
On Saturday, May 1st my wife and I were
trying to come back from taking our dog to
the vet when we realized the real beginning
of this storm. It was heavy to say the least,
and on the
way home, one
of the major
interstates – our
primary way to
get home – had
already become
nearly impass-
able. This was
at 1PM on Day
One of this
thousand-year
flood. God
took care of us,
though, and we finally made it home after an
hour, for what should have been a 15 minute
drive.
Once home, I was under recording dead-
lines for a major producer in Atlanta to have
some sessions done, so I was in my studio try-
ing to record, but kept having to shut down
due to the lightning. I was irritated, as I was
engulfed in trying to wrap the session; then
my wife called for me to watch what was hap-
pening on the news. From that point on, the
session could wait. I walked in to watch the
image of a house floating down Interstate 24.
This was now something like no one could
remember, and we weren’t even through Day
One yet.
The rain continued mercilessly. By the
end of Day Two, parts of the city flowed like
rivers where water never even travelled prior,
and there was a very real concern that the
river could crest and flow into town. In the
middle of the night between Day Two and
Day Three, that is precisely what happened,
and the horror that could not be conceived
was now reality. Our city and a
number of historic landmarks were
now underwater.
Like everyone else in Nashville,
I was blindsided by the images on
the television that kept pouring in.
The Schermerhorn Symphony Center, Grand Low Notes for Nashville exploded. Musicians
Ole Opry House, and others were literally and manufacturers alike heard the call and
underwater and thought to be destroyed. The stepped up. Through continual donations, we
impact on the music community increased were now helping people who had lost ev-
even more when people realized that Sound- erything. We were able to give fellow bassists
Check was also submerged. SoundCheck who lost their gear new equipment so that
housed an incredible number of musical in- they could provide for their families – and it
struments and didn’t end there. Major artists were donat-
gear belonging ing their own gear for us to auction, and the
to artists rang- highpoint was a benefit concert featuring
ing from Keith fourteen of the top bassists in the industry.
Urban to Keb The call was heard. To date, we have raised
Mo, and the over $50,000 and counting.
gear was wiped Just how much was lost is still being deter-
out. As horrific mined. Numbers in excess of $1.5 billion dol-
as this was, this lars was mentioned before the end of the first
was only one week, but that was only for major properties.
small part of The true loss was much more personal, but so
the overall is the survival. Nashville showed the most ba-
damage. sic Christian fundamental property in loving
For the thy neighbor. Everyone stepped up to take care
next few days, I fell into a deep depression of our own in this city. God was here, and ob-
wondering what I was supposed to do to viously, this was his plan. We still don’t know
help. Every minute, I was hearing about what all He has in place for Nashville, but the
someone else way the city is
affected by the reviving is awe-
flood. Like most inspiring. The
musicians, I am battle cry “We
not made of Are Nashville”
money, so after drives everyone
much prayer, I on a daily basis,
decided to do- and will for
nate my down- years to come as
load proceeds we continue to
from my solo rebuild. Life is
career to the slowly finding
cause. I tweeted the new norm
about this and and God’s pres-
other artists followed suit. We got chatting ence is felt everywhere. The loss seems tragic,
and before we knew it, we had launched a but the way faith has brought us all through is
non-profit dedicated to helping our fellow one of the most encouraging things I will ever
musicians. God had showed us the way and witness in my lifetime.
the road had become open for what was next.
Since that crazy weekend, the outpouring GOD bless,
and support for the charity now known as S
44
Guitar (cont. page 12)
I’m afraid I’m going to have to officially climb up on my soapbox
now. So… my plea is that every Christian musician would stop the
merry-go-round for a few minutes and actually think about a new defi-
nition of church music. I’d like to see music at church become wildly
varied and colorful and expressive and even, dare I say, unexpected!
Surprising! Imagine worship being exciting - music that people of all
ages and musical persuasions can’t wait until next Sunday to resume.
How could this be accomplished? Consider what you could do. Exam-
ine the music you like (even outside of worship). What makes it good?
Specifically, what is it about good music that compels you? How could
these elements be brought to the sanctuary and used to compel to the
rest of the congregation in worship? Search this out, glean the good
stuff you find and bring it to the altar with you. Talk to others. Ask
questions. Examine your talents and the talents of those around you.
Decide to really utilize your talents for the Lord, and then go for it. Pull
yourself up by your bootstraps. Learn. Open your mind and spread out
musically. Practice your instrument. Get creative. Be a visionary. Devise
a plan. Lead others by example. Be a spark for change and fan the
flame at your church. Make a difference. Start your own worship music
revolution!

Have you seen John’s free ‘Praise Guitar Lessons’ online

yet? Go to CCLI TV and start the weekly lessons today.
And make sure to look over John’s calendar at www.
praiseguitar.com to find an event near you where you can
hear him live.
 CODA
A Word To Indies: Consider Your Audience
by Monica A. Coates
No matter how talented or spiritually gifted
you may be, an essential part of the foundation
for your artistry must be your ability to con-
nect with, build and maintain your audience.
Traditionally, Christian and Gospel audiences-
--like their counterparts in other niche genres,
including country, jazz and blues---develop a
deep connectedness to their artists, pledging
their loyalty to the careers of their favorite
singers and musicians for decades.
That’s one of the things I love the most
about our music. The quality of the singers
and musicians, along with the power of the
Gospel message, engenders that kind of long-
term loyalty. And because the church remains
the most consistent forum for our music, the
ongoing connection between product and
audience is reinforced weekly in ministry set-
tings around the world.
In many ways the concept of audience
has never been more essential for indie artists
than at this moment
in the history of the
music industry. In
the current indus-
try climate, more
of the marketing
responsibilities rest
upon the artist and
management. In
other words, it is
now YOUR role to
accurately identify
and connect with an
audience of consum-
ers. Much of your
ability to break through and maintain your
success will depend upon just how well you
fulfill that role.
It is crucial for us as indies to broaden our
concept of audience. Rather than nameless
faces in a darkened performance hall or anon-
ymous attendees at your ministry dates, your
audience consists of those individuals
who choose to embrace your brand in
all of its dimensions---buying your music
and merchandise, visiting your web sites and
music pages, joining your social networks,
following your blogs, as well as attending
your performances and events.
With those things in mind, I’d like to
offer a few keys to properly indentifying your
audience:
Key #1: Understand your natural
connections.
From a spiritual perspective, we are all
blessed with skills, talents and gifts that meet
a specific need within the Body Of Christ.
For Christian and Gospel artists, the gift
is not simply limited to the general gift of
song. Instead, I believe that for every artist
or worship leader, there is a special grace to
communicate to a specific group of people
within the Body.
We can begin to discover that specific
group by reflecting upon the forms of music
we perform best as well as the forms of music
that bring us the greatest response from audi-
ences. A word of caution: Often that can be
quite different from the forms of music we
enjoy the most. The mature artist learns to dis-
tinguish between his personal musical tastes
and the styles and songs he communicates
most effectively.
Consider this: In your moments of great-
est effectiveness in music ministry, which
people had the most powerful response?
What gender and age were they? Are there
other shared qualities you noticed about
those people? In what types of venues were
you during those times of great impact?
Ask yourself questions like these and re-
flect deeply. Like the image slowly appearing
on a Polaroid, over time you should begin to
see the face of your audience.
Key #2: Develop your distinct
message.
If you truly desire to have a significant
impact with your music, it is necessary to
develop your distinct message---a unique
point of view that informs your artistry on
every level.
In reality, that distinct message is the
biggest draw for any audience. It is the core
of your brand, the feature that distinguishes
you the most from every other artist out
there. More than image, more than sound,
more than talent, the story that anchors
your artistry will attract and maintain a core
audience.
Interestingly, as you develop and effec-
tively communicate your distinct message,
you will begin to see patterns in the individu-
als who are drawn to your music and who
choose to attend your performances.
46
Key #3: Research your effectiveness.
Drawing the people is only half the story.
The other half is the ability to understand
whom you’ve attracted and why.
It’s not necessary for you to have a mar-
keting degree, nor to understand the intrica-
cies of marketing metrics to be a successful
artist. Nevertheless, as we move rapidly
toward an all-indie marketplace, the most
successful artists and management teams will
be those who closely watch and reflect on the
qualities---including age, gender, location,
class, and church background----of the people
who attend their events, buy their music and
visit their sites.
Quite simply, the more you understand
about the people who are impacted by your
artistry, the more effectively you will be able
to continue to attract large numbers of other
people like them.
You should be building mailing lists by
gathering information at your merchandise
tables at your live performances. You can also
learn quite a bit of information from look-
ing at the profiles of the individuals who’ve
joined your fan pages and by reviewing
information about the visitors to your artist
web sites. In addition, web management ap-
plications like HootSuite offer the ability to
measure the statistics connected with your
tweets, posts and links.
That may seem too scientific for your
creative tastes, but when you think about it,
it’s merely utilizing the tools of this age to do
good ministry. In Christian and Gospel mu-
sic, rather than simply focusing on achieving
success, we should be committed to connect-
ing with and impacting people. The more
you embrace that notion, the more you will
welcome the opportunity to properly identify
and understand your audience.
Monica Coates is a 17-year
veteran of the Gospel music
industry with experience in
artist management, publicity,
radio promotions and A&R.
She is the author of The
Beginner’s Guide To
The Gospel Music Industry (Paul Marchell
Publishing) and writes the weekly blog the
Gospel Industry Tip Of The Week (www.
monicacoates.com).
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