Improving Musicianship | Inspiring Talent

God’s Beauty Rising

Steven
Curtis
Chapman

Product Reviews:
Taylor’s SCCSM
Acoustic/Electric Guitar

Christafari
and the Gospel-Reggae Revolution
NOV/DEC 2010
Volume 15, Issue 6
11
Selective Hearing:
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50 Great Gifts
Caedmon’s Call • Circleslide • Bebo Norman • The Afters
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 Features
8 Product Review
CONTENTS
44 Indie No Spin Zone
Taylor’s Steven Curtis
How To Get Rich and
Chapman Signature
Famous in Christian
Model Acoustic/Electric
What’s the Big Idea!
Music
Guitar
50 Rewind
10 Show Us Your Groove
Bob Kilpatrick - Set Aside
Let’s not underestimate the power of ideas. Maybe I should Excellence v/s Attitude,
54 CODA
re-phrase that to “let’s not underestimate the power of a good Confidence v/s Pride
ideas”. This issue wraps up our celebration of 15 years of publish-
Long, Satisfying Road to
13 Bassic Communication
ing Christian Musician magazine. Man, what an interesting and Provision
Intro to Solo Bass
fulfilling time it has been.
Arranging (Part 2)
Interviews
I have often been asked how it all originally got started, so
for the next few paragraphs I’m going to take you back to the 14 Drumming Dynamics
beginning. I was sitting in church on a Sunday morning and the Dissecting A Groove
visiting Pastor started talking about the desires of our hearts. 15 Vocal Coach’s Corner
He said that often times the Lord will give us ideas but we tend Avoid the ’Noid!
to hide them in our heart and never actually step out and try
them. He asked the congregation to all close our eyes and 16 Guitar Workshop
quietly think about any ideas or desires we had that we ‘It’s Christmas Time’
might need to bring forward and act upon. 18 Product Review
I had been mulling around the idea of a hip maga- Line 6 Relay G50
zine for Christian musicians; one that they wouldn’t be and G30 Digital
embarrassed to show their non-believing friends. One
that would have interviews with the Christian artists that Wireless Systems
I found interesting and that wouldn’t shy away from 26 Selective Hearing
musicians that were in the mainstream world but were Prodigal God
Christian men and women. I had this in my mind House of Heroes
when the pastor called back our attention to the plat- Caedmon’s Call
form and directly said, “OK, now what is the very
first step you can take to make this happen? You Circleslide
Bebo Norman 20 Steven Curtis Chapman
don’t want to die with this idea in you, do you? ”
I decided right then that I need to take a swing of The Afters God’s Beauty Rising
the bat at this and the next day the idea was still churning 30 50 Great Gifts
inside me. I sat down and planned out an eight page black & for Musicians
white newsletter that I could use as an example of what the
concept would be. It had a rather poorly laid out look to it as 38 Ask Joe
I had little graphic experience (and still don’t mind you but I 41 Guitar From
have really sharp people helping me now). Our original name A2Z
was the Christian Musician Institute (CMI) for the first year or String Bending
so but I had folks calling me up that wanted to come and live Part 3
with us to study music, so I quickly abandoned the “institute”
part. 42 Essential Music
As I began to knock on doors and try to cast the vision of Theory for
the magazine to equipment companies the Lord was faithful the Christian
in putting other believers in my path that strategically helped Musician
me. That is point number two of this “Let your good ideas be Harmonizing the Blues 32 Christafari
born pep talk”. When you step out in faith (even though there and the Gospel-Reggae
is some fear and trepidation along the way) you may get some Scale
43 A Musician’s Disposition Revolution
assistance from unexpected allies. It never ceases to amaze me
how many Christians came along and had a “I will do whatever
I can” mentality to help me. cover photo by Taylor Guitars
So there you have it. It wasn’t an overnight success but

Christian Musician
stone upon stone, brick upon brick the magazine grew. My sev-
enth subscriber was Glen Kaiser of the Resurrection Band and
he wrote me a note that said, “Brother, I just want to encourage
you in what you are doing”. I’ll never forget that.
That is our hope for you. Search your heart for 4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373
your passions and dreams. See if you have a good Phone: 253.445.1973 Fax: 253.655.5001
idea just waiting to spring forth and if so, then
Email: bruce@christianmusician.com
take it out for a test drive and see what happens.
I’m not saying to quit your day job and be a rock Website: www.christianmusician.com
star. I’m just asking, “What’s the big idea?” Be en- Editor & President: Bruce Adolph
couraged. It could just work out to be something Vice President: Judy Adolph, judy@christianmusician.com
very fulfilling for you in the Lord! Customer Service: Brian Felix, brian@christianmusiciansummit.com
Street Team: Mike Adolph, Jesse Hill & Caj
Merry Christmas! Layout: Matt Kees Accounting: Debi Davis
Bruce & Judy Advertising Sales: bruce@christianmusician.com
Published by the Adolph Agency Inc.
7

roduct eview
Taylor’s Steven Curtis
Chapman Signature
Model Acoustic/
Electric Guitar
Wow, a signature model guitar for Steven
Curtis Chapman. That is quite an honor for
any musician, but in this case it is more than
fitting. Steven has been playing Taylor guitars
for over 20 years now and as a singer/song-
writer has racked up more Dove Awards (56)
than any other Christian artists. He also has 5
Grammys and 45 No.1 Christian radio singles
to his name.
He grew up working in his father’s music
store (Chapman Music in Kentucky) and
has been around guitars all his life. When it
comes to his signature model you’ll find not
only his favorite attributes that make a fine
acoustic but also some meaningful artwork
adorning this guitar as well.
Let’s start with the instrument itself. This
Steven Curtis Chapman Signature Model
(SCCSM for short) is based on a 714 model.
This includes Taylor’s Standard II bracing.
What? Wait a minute. What does that mean?
The Standard II describes the bracing pattern
on the interior
of the majority
of Taylor guitars.
It’s an “X” pat-
tern, with the
intersection of
the “X” moved
close to the
soundhole. If
you sneak
by Bruce Adolph
a finger inside, you can feel
where it crosses.  Each piece
that goes into bracing the
top is carefully scalloped.
Then there is a relief rout (a
small milled path that goes
around the interior edge of
the top). This rout allows
the top greater flex-
ibility to move and in
turn, produce a much
louder sound.   that totals a sum larger
The SCCSM fea-
tures Indian rosewood
back and sides (the
grain on the one we are
playing is really beautiful)
with a rich tobacco sunburst West-
ern Red Cedar top. The appointments include
rosewood for the binding, ebony bridge,
fretboard and peghead overlay,, a three-ring
abalone rosette, abalone-topped bridge pins,
along with gold tuners and buttons, which
give the guitar a warm and inviting look. The
guitar features an all-gloss finish and comes
equipped with the company’s Expres-
sion System®.
When you pick it up to play
though is when the excitement
starts to build for this guitar. It feels
great in your hands and the 714
series body size fits easily against
your body. The ebony fretboard
and Taylor’s own precise fretwork
make your fingers glad they found
this guitar. The neck is fantastic! I
swear the edge of the fretboard has
been rounded or tapered on this
model for extra comfort but Taylor
tells me it is their standard neck. Go
figure! I let Brian Felix our Customer
Service Manager (who is quite a
guitarist himself) play it and after about six or
seven chords he stated, “This sounds like Ste-
8
ven Curtis Chapman. The tone is a good
mix, the bass isn’t over-bearing”. After 10
more minutes of picking and strumming
Brian mused, “I feel inspired just playing
this guitar, you want to write songs with it!”
Not a bad endorsement eh?
Steven Curtis Chapman also likes this size
guitar for another good reason. “With my
music sometimes being rock and needing a
guitar that cuts through a wall of sound, it’s
got to have a more compact sound,” he says.
“The 714 size has a great spot within a band
setting”. To assist live on stage the SCCSM is
equipped with the company’s award-winning
Expression System® pickup to dial in
pristine acoustic tones.
I can see what Steven is say-
ing about a band context, but I
found the beauty of this guitar
for me, was just sitting down and
playing it on the foot of the bed.
There is a character to the tone,
a balance in the size and a
joy in playing the well-
crafted neck and fretboard
than it’s parts. Man, I really
like this guitar. For a singer
songwriter of Steven’s skills
you can see why he likes it
too.
As for the meaningful artwork this
SCCSM honors the Chapman family’s ad-
opted daughter Maria (who tragically passed
away at 5 years old) by incorporating design
touches recreated from one of her last crayon
drawings. The peghead features a six-petal
flower with only one of the petals completed
in blue. On the fretboard at the 12th
fret, the word “See,” inlaid in her
handwriting, accompanies a
small mother-of-pearl butter-
fly: a call to “see” beyond the
immediate and towards hope.
The fretboard also includes small
mother-of-pearl dots on the bass
side.
So if you ask me what I think
about Steven Curtis Chapman
getting his own Signature Model Taylor
Guitar, all I can say is, “It couldn’t happen
to a nicer guy!”
Along with a hard shell case, the SCCSM
comes with a custom guitar label and a cer-
tificate of authenticity signed by Chapman.
The guitar is available at Authorized Taylor
Dealers at a suggested retail of $3,998.00
More info at www.TaylorGuitars.com
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9

What’s the balance
between playing like
you mean it, using
100% of the talent God
has given you 100%
of the time, playing
with total confidence
knowing that God has
equipped you well…
and pride? This is the
age-old struggle we as Christians battle
with every day. The perfect balance we are
always looking for in all things but for the
purpose of this writing between excel-
lence and attitude, confidence and pride.
Playing with attitude…it can be
good…it can be bad. It all comes down to
the heart. Are you giving God your very
best by playing with excellence, by being
serious about your playing and putting
everything you have into it or are you
just showing off. Oddly enough, the more
talent someone has the less they have to
show off. People do that to boost their
confidence and make up for their lack.
Now just to be clear, we all make
www.ProducedByMattKees.com
Excellence v/s Attitude,
Confidence v/s Pride
mistakes and we all in one way or an-
other struggle with pride. It just comes
with being human. Also, and equally as
dangerous, is our struggle with insecurity
and lack of self-confidence. Again, for the
Christian, self-confidence is having confi-
dence in Christ in us.
A while back we were leading wor-
ship at a large event with many different
denominations present…all kinds of folks
from all backgrounds. The band was a
compilation of wonderful musicians each
sold out to God and determined to give
God their all. The worship portion was
beautiful, everyone engaged and wor-
shipping God together. We were totally
prayed up and prepared both technically
and in our hearts. We encountered the
Lord then left the stage feeling blessed
and good about what we had done. Soon
after we heard that a man who was there
was disappointed with the worship and
thought we were showboating instead of
worshipping. He said it seemed like it was
all about us and not about God. When we
heard this we were obviously heartbro-
ken and examined ourselves to see if any
pride had snuck in. We didn’t disregard
his comment. We should always look at
ourselves first to see if there is any truth
and not held back or handicapped by a
lack of confidence. On the other hand if
your “feeling good” is motivated by pride
you’re really going backwards instead
of forward and as the word says you are
headed for a fall. “Pride goes before de-
struction, a haughty spirit before a fall.”
Proverbs 16:18.
Musicians…we have been given much
and much is required of us. We have the
ability through our music, God’s music,
to change someone’s mind, help right
their path and generally lift them up for
all that God has ordained for their lives.
We have a BIG responsibility. Lack of
preparation or not delivering our best on
every occasion can hinder that. Also, let-
ting pride creep into what we do can be a
serious distraction and also hinder God’s
work at least as it pertains to our part of
the equation.
Regarding Each Musical Opportunity
We Have:
1) Pray & Prepare Your Heart
Prior to your musical set pray and pre-
pare yourself for what God is going to do
through your music. Showing up spiritu-
ally ready, as well as technically ready is

in what someone is saying and we did.

MIX Our conclusion was we gave God our best
and honored Him with the talent he gave
us and with our worship.
The analogy I often make is that of an
NFL football player. Let’s use the Chris-
MASTER tian for this example. He prepares for
the game and gives God 100% of what
he has. He rolls every bit of experience,
practice and prayer into going out there
to win for his team. No one complains
except if they think the player is falling
PRODUCE down on the job. Assuming we are doing
it for God and not pridefully seeking our
own glory, the musician on the other
hand has to deal with people who are not
“Matt Kees is a very worshipping but easily distracted by the
enemy’s voice telling lies. The devil will
musical songwriter/ do anything to prevent or distract us from
producer/mixer and worshipping. Years ago a Pastor told me
a very good friend of that if we are judging the worship we are
mine. I love hearing his not worshipping. That’s a pearl of wisdom
work as he is one of I’ve never forgotten. So, if I’m hearing
something less that good coming from
the best in the business.
the worship team I guard myself from
I always look forward becoming a critic and press into worship-
to working and making ping God even more.
great music with Matt.” It’s a good thing to feel secure about
~ Gregg Bissonette your playing and enjoy that feeling which
spurs you on. It helps you play even bet-
(LA session drummer and ter I believe. Like an athlete who is in the
member of Ringo Starr “Zone” you are playing with excellence
and his All Starr Band)
10
essential. We have so many distractions in
life that it’s it more necessary than ever to
be deliberate and purposeful in our efforts
to center ourselves on the Lord letting all
distractions melt away with only Him in
our sights.
2) Pray Collectively With The Band
Nothing draws you closer together
than the fellowship of prayer. Always take
the time to gather your team and pray
before you play. Before you play you are
well rehearsed and ready to go, so unity
in prayer is all that’s left. Please don’t
skip this part or take it lightly. Do YOUR
part…God will always do His.
3) Focus & Play
Put everything out of your mind
except the mission at hand. “We demol-
ish arguments and every pretension that
sets itself up against the knowledge of
God, and we take captive every thought
to make it obedient to Christ.” 2 Corin-
thians 10:5.
So…having prepared well, being
prayed up both individually and col-
lectively and with no pride or personal
agenda lurking under the surface…go
ahead…play like you mean it…and don’t
look back!
 Chris Tomlin
and Collings Guitars

Chris Tomlin and his 1999 Collings OM 42 SB

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

Spreading the Word
“Players at my clinics and concerts are
always floored by the tone, punch,
clarity and headroom of my GK.”

Norm Stockton
Lincoln Brewster

POWER TO GROOVE
www.gallien.com
Intro to Solo Bass Arranging (Part 2)

Welcome back to our introductory look
at solo arranging for bass. Again, the benefit
goes way beyond whether or not you antici-
pate ever playing solo gigs – the process of
evaluating melody, harmony and rhythm as
necessitated when arranging a piece for solo
bass is invaluable for one’s understanding of
music on so many levels.
I hope you’ve had a chance to assimilate
the previous installment of Bassic Commu-
nication where we focused on the melody &
harmony of the verse section from the tradi-
tional Christmas tune, Angels We Have Heard
On High (Gloria).
We’ll continue on with the first part of
the chorus section
today. This should be Melodic/Harmonic Analysis: Chorus (1st Section)
a really familiar part "Angels We Have Heard on High" (Trad. Christmas Carol)
of the song to most of
you – think “Glo-o-o-
o-o-o-o-o-o-o-o-o-o-o-
o-o-ria”. :^) E Ionian
The basic chord "5"
DVD or Level 1 of my online courses (or any
other resource you can get your hands on
that illuminates basic diatonic harmony in an
understandable way).
Play through and get this part of the cho-
rus melody under your fingers (beautiful line,
isn’t it? – wish I’d written it!). After you’ve as-
similated it, try to add the roots of the chords
as you play through that melody. Again, we’ll
work on smoothing it out and phrasing it
“solo-esquely” later – just try to get those two
Bassic Communication
elements together.
Have a blast! :^)
Intro to Solo Bass Arranging (Part 2)
(Adapted from curriculum in the Grooving
for Heaven instructional DVDs)
C# Aeolian (Natural Minor)
"Root, b7, b6, 5"
Norm Stockton is a bassist/clinician/solo artist
based in Orange County, CA. He spends much
of his time touring and
recording with worship
artist Lincoln Brewster, but
his 2nd solo project (“Tea In
The Typhoon”) released this
past fall has been receiving
widespread acclaim from
media around the world. Visit Norm at www.
normstockton.com and on Facebook &
Twitter for much bass-related info and fun.
While there, be sure to check out his blog (The
GrooveSpot) and register for his e-newsletter (the
groove update) for tips, interviews, clinic invites,
exclusive discount prices, and more.
Norm Stockton
F# Dorian B Mixolydian
"b3" "Root, b7, 6, 5"

      
E C#- F#- B7
 
motion becomes I –
     
 
VIm – IIm – V7 (half
note per chord). Simi-


lar to last time, you’ll
find both the default


 
applicable scale and 16 18 16 14 13 14 16 14 13 11
the intervals found in
the melody (relative
to the underlying C# Aeolian (Natural Minor)
E Ionian F# Dorian B Mixolydian
chord) in the text
"3" "b6, 5, 4, b3" "Root" "Root"

   
above the staff. If you
3 E C#- F#- B7
  
have any questions

   
 
about any of this,
I encourage you to
check out either the
mode section from


13 14 13 11 9 11
my 2nd instructional 9 9

© 2009 Stocktones Music

13
 Dissecting A Groove

Last time we talked about the importance
of transcribing drum parts. We started with
something fairly simple. Today I want to
discuss how to learn a groove that seems very
complex. I have transcribed David Garibaldi
playing The Oakland Stroke from a You Tube
video. You have to love You Tube for all the
visual and audio information we can access
for free. It’s a beautiful thing. This version of
the Oakland Stroke is an extremely difficult
drum groove. Let’s figure out how to break it
down so it is less intimidating.
Type into You Tube: Tower Of Power
- Oakland Stroke and What Is Hip. I tran-
scribed this from the end of the video (about
7:40 into it) where Rocko Prestia is answering
a question. He has David start the groove by
himself. I am assuming that “1” is the first
note played by Garibaldi. I transcribed the
first 2 bars (because it was a bit different) and
then the next two bars is the repeated groove.
To make this less confusing we need to
find something that is consistent through
out. The first thing I noticed is his high hat
part. The basic rhythm (example A) is the
same except for beat 4 of bar 1 and beat 1 of
the second bar where he opens the hat. This
is a good starting point and gives us some-
thing to latch onto.
The next thing I did was play the first 2
beats of the groove without the snare drum
(example B). Then I added the snare without
the ghost notes and then added the ghost
notes last (example C). It sort of has a songo
feel to it.
The next real difficult part was the last 2
beats of the second bar so I played that with-
out the snare (example D) and then added
the snare (example E).
The last example is the last 2 beats and
the first 2 beats combined. These sections
seemed to be the most difficult for me so I
just looped them until I was comfortable.
Playing this as a one bar loop sounds pretty
cool.
The next step is to piece the whole thing
together. This is not an easy task but by
getting the harder parts put together first it
should be much more manageable.
Remember to start at a slow tempo and
pay attention to detail. Dissecting a drum
part this way can make a very intimidating
drum part much more approachable.
Till next time …… David
David currently tours with
Fernando Ortega and has
worked with Sara Groves,
Bebo Norman, Crystal
Lewis, Cheri Keaggy, Tommy
Walker, Paul Baloche among
others. He has played for Billy and Franklin
Graham Crusades, Harvest Crusades, Maranatha
Worship Leader Workshops and for over 2 years
he was the house drummer for the Los Angeles
production of The Lion King. His home church is
Plymouth Church in Whittier, California. www.
DaveOwensDrums.com

       
             
      
  
     
        
        
    
                
       
        
A B C  
               
               

D E   F    
                              
             

14
 Avoid the ’Noid!
There is a well-known media created
“star” that exists in a world that I do not
occupy, who went to court recently on the
charge of being criminally annoying. Can
they do that? People can really be arrested
for being annoying? Who knew? How cool
is that.
Without getting into the lurid details,
let’s just say the “star” had a bit too much
of an adult beverage and made a spectacle
of herself. She went before the judge, fined
500 dollars and was sentenced to some
community service.
Here’s what I want to know, can
someone be arrested for being annoying
in all fifty states? If it is, we could have an-
noying singers and musicians arrested for
being criminally annoying. A novel idea,
don’t you think?
How many times have you been to
a concert and somebody on stage really
annoyed you? My first exposure to an an-
noying performer was at the Mississippi
River Festival back in my university days.
Here we were having a great time listen-
ing to Sha-na-na in the heat and humid-
ity near the confluence of the Mississippi
and Missouri rivers when the performer
known as Bowser climbs on top of a twelve
foot Steinway concert grand piano and
proceeds to dance and sing on top of it for
ten minutes. At least he had on Converse
Chuck Taylor sneakers. I found his actions
very annoying. Maybe it was because the
great pianist Van Cliburn had performed
on that same instrument not more than
a week before. Where are the police when
you need them?
Try this one on for size. A church I
was visiting after doing a clinic for them
had invited a worship leader from Nash-
ville to lead them in worship. He took the
stage looking like his clothes needed to
be replaced, repaired, or at least, washed
and ironed. His jeans did not fit, had
holes in the knees and were the lo-rise or
hip-hugger type. This man did not need to
be wearing this type of blue jeans. When
he stooped down to plug in his guitar his
worn out t-shirt rode up and the lo-rise
jeans rode down his backside. You guessed
it; we got mooned in a church service. I
was criminally annoyed.
Another incident happened while I
was observing a Christian battle of the
bands that a student of mine had entered.
I was enjoying the musical goings on
until a band came out that everyone was
talking about because that had a deal with
Nike. I guess it was for cool shoes because
their music was very lackluster. When
they got on stage and played, it quickly
became musically annoying because they
had tuned their expensive PRS guitars
(that stands for Paul Reed Smith) to an
open tuning that allowed them to play the
IV and V chords with a one finger barre.
The ‘I’ chord had no fingerings at all, so
they just strummed the open strings. I
couldn’t believe it. They did not know
how to play. They were just getting by.
That was musically annoying. But what
was worse, as usually happens, they won.
The judges should have been ticketed for
being annoying. Let’s hear it for Law and
Order!
We might want to also consider the
people at the concert or worship services
who leave their cell phones on, or use it
as a flashlight during the most meaningful
part of the concert. Book ‘em Dan-0. May-
be we could take the criminally annoying
citation to a new level and we could all
have citizen arrest powers. But if every-
body could claim someone was annoying,
that would be really annoying.
This article is not being written to seem
crotchety or sarcastic. It is written for sing-
15
ers to beware of behaviors on stage that
repulse your audience. Keep in mind what
Paul says in 1 Corinthians, “Be all things
to all people”. I know you think that is out
of context, but when performing we must
attempt to be appealing, not off putting,
and it does not take much to put some-
body off.
To take this thought another step for-
ward a performer must always keep the au-
dience in mind before, during, and after a
concert. Many times singers perform with
only themselves in mind. Remember that
your audience gave up their time and their
money to come and hear your music. So
please do it for them. The performance is
not about you, it’s about the audience. So
please don’t get a ticket for being annoy-
ing while performing. 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.
 ‘It’s Christmas Time’

Believe it or not, the Christmas season is The latest development is that I’ve recorded a
Have you seen John’s free
upon us again! Notice I didn’t say ‘holiday Christmas CD called ‘Christmas Guitar’. It’s a really
a cool collection of 16 Christmas favorites. Over the ‘Praise Guitar Lessons’
season’ or ‘winter celebration’. I don’t actually
years I have developed lots imaginative Christmas online yet? Go to CCLI TV
have anything against Santa or the tradi-
arrangements in many styles and now I’ve finally and start the weekly lessons
tion of decorating trees or giving gifts. But…
gotten them recorded - using all my favorite guitars! today. And make sure to look
Christmas IS about the birth of Jesus and no By Thanksgiving, the CD will be available at my
matter how hard certain people try to rewrite over John’s calendar at www.
site. And for those of you who live in the Portland/
history, that’s what this time is all about to praiseguitar.com to find an
Vancouver area, I’ll be doing a big Christmas con-
Christians worldwide - “Christ’s-mass”, the cert on Dec. 18th too (details and tickets soon to be event near you where you can hear him live.
birth of Christ. Of course, there is controversy available at the website).
as to when Jesus was actually born. It seems What Child Is This
likely that it wasn’t even in the winter time.
Truly, however, the time frame doesn’t make Traditional
any difference. As believers we simply want
to commemorate the event of God becoming
                      
flesh, living among us, teaching us and heal-  
          


 
ing us. And, most importantly, He provided
  
us with forgiveness of sin and the gift of A‹ G/B C G/B E‹ A‹ F E
everlasting life! That’s no small thing, and it 2 0

0 0

 
1 3 3 0 0 0 1 0
could have never happened if Jesus wasn’t  2
2
2 0
2 0 0 0 0
2
2
2
2 2 1 2 1 1
0 2 3 2 0 3 2
born into our human world on that ‘Christ-

3 0 1 0

     
8
        
mas’ day. Imagine the curiosity and awe of the
            

shepherds that night. The fear and joy all at  

once as they asked the question, ‘What child        
is this?’ This timeless carol, sung o the melody A‹ G/B C(„ˆˆ2) G/B E‹ F(„ˆˆ2)/A E A‹
of ‘Greensleves’, is one that works out very 0 2 0 0




1 3 3 1 3 0 0 0 1 0


2 2 0 0 0 0 2 0 2 1 1 2
nicely on guitar. I hope you enjoy this little 2
0
2
2 3
0
2
0 2 3
0 2
4 2
0


intermediate arrangement. 2 0 0

     
  
16
    
           

NEWS:

     


In the past few months I’ve really been develop- 

ing my website at www.johnstandefer.com to include  
many new features, including downloadable TAB C D(“4) G/B E‹ A‹ F
3 3 3 2 0 0




arrangements of various types and styles of music. 1 1 3 0 0 0 1


2 0 2 0 0 0 2 2 2 2 1 2
2 2 0 0 2 2 3
These downloads include printable computer- 0 3 2 3

  
3 0 0 1


generated TAB & notes as well as performance notes

 
23


 
and an audio file of the tune. Since I’ve now come

 
into the modern age with ‘computer music’ I am      

utilizing the new technology to produce the TAB
   
in this version of What Child Is This. You might E A‹7 C C©º G(„ˆˆ2)
want to visit the website and see what else is there. 3 3 2 0


0 3 0

 
It’s starting to accumulate and there are many nice, 1 1 0 3 2
2 2 2 0

  
0 2 3 4 2
inexpensive TABs available already, with more to


0 3
come. 28
   
       

Also, I’m publishing an e-newsletter that comes
  
out every other month with loads of cool stuff like
     
free video guitar tips, a deal of the month from
my store page, an ‘Ask John’ forum and lots more. E‹ F(„ˆˆ2)/A E A‹
0 5


For example, I’ve been beta testing equipment for 0 1 0 1


0 2 0 2 1 1 2 2 5
Lloyd Baggs for some time, have become an artist 2
2 3
0 2
4
0 0
endorser and am now set up as a dealer for L.R. 0 0

Baggs products. Anyway, drop in at the site and say

‘hi’ and sign up to be on the newsletter list! Arrangement Copyright by John Standefer Music 2010. All Rights Reserved.
16
From their roots in southern France to
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 happens to your sound at various locations in the
roduct eview room. This would have been impossible to pull
off with a cable, and there is nothing like hearing

Line 6 Relay G50 and G30

how your guitar actually sounds front of house.
The G50 uses the RXX12 receiver which
allows you to incrementally dial in high end loss
based on the length of your “virtual cable, while

Digital Wireless Systems

the G30’s RXS06 receiver features a simple three-
way off / fifteen foot / thirty foot slider switch.
The G50 conveniently features LED readouts for
battery life on both the transmitter and receiver.
Since the inception of POD Line 6 has while the Cable-tone Simulator allows you to Being able to check the battery life off stage
deployed a seemingly endless array of tools that go wireless without having to change settings is a huge help in averting the
work incredibly well on the worship on your amp. The Relay Wireless Systems dreaded “dead air” when a
platform. The Relay G50 broadcast at 2.4GHz, which means you’re team returns to the platform.
($559.99 list) and G30 not going to pick up any television, cell The G50 also
($419.99 list) extend phone, or other kind of interference. The features
that footprint into DCL (Digital Channel Lock) technology twelve
the digital wireless worked seamlessly everywhere I used it, select-
realm with the kind keeping the selected channel interrup- able
of functionality we’ve tion free.
come to expect from I was consistently impressed with
Line 6. If your Church both the tone and range of the unit,
has moved to a wired which I’m currently running into a “always-
in-ear monitoring Boss GT-10, out into a on” chan-
solution, there is a lot to pair of nels, the first
love about ditching your Orange six of which are
guitar cable. Tiny shared by the
Since the G50 came Terrors, powering 1x12 and G30. By mapping
highly recommended by Mike Ross, Market- 4x10 Orange cabinets respec- a unique channel to each guitar or bass player
ing Director at Sweetwater, I knew it had to tively. I’m set up and running in you could run up to twelve Relay systems with
great. Like Mike, I was tremendously impressed cable-free stereo bliss in less than five zero cross talk. Although the G30 offers half of
with the audio quality as well as the battery life – minutes. The receiver’s stompbox-like foot- the 200 foot of line-of-sight range of the G50, the
up to eight hours on two AA batteries! print is smaller than a DL4 and sits quite comfort- sonic quality is virtually identical, which makes
True to form, Line 6’s proprietary VWT (Vir- ably next to the GT-10. I actually used this setup at the G30 an excellent option when equipping an
tual Wire Technology) delivers excellent frequency a clinic to walk guitar players around the worship entire team.
response for both guitar or bass (10Hz-20kHz), platform and front of house to demonstrate what Visit Line6.com for more information.

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God’s Beauty Rising: an interview with

By Aimee Herd

Ever since the tragic accident of that late spring day in 2008, when their four-year-old daughter Maria
went to Heaven; hearts have gone out in sympathy and concern for the Chapman family. Since then, the
Scripture passage found in Isaiah (“To comfort all who mourn…to give them beauty for ashes, the oil of joy
for mourning, the garment of praise for the spirit of heaviness…”) has been the text of what God has been
doing in this beloved family’s life, as they’ve journeyed through grief and found beauty in the midst of it. I
caught up with Steven via cell, in the middle of life’s everyday busyness, and he graciously shared a little
about his latest project—borne out of the sadness of loss—and how God has used it so powerfully.

Aimee Herd: Your latest album’s
title is Beauty Will Rise. Out of one
of the hardest things that a person
can experience in this life, beauty
really has risen.
Steven Curtis Chapman: It has
been a real gift… Music has always
been the place where I grapple with
or come to terms with so much of
what I know, or hope to know about
God and His ways. And, those have
been more mysterious than ever.
Shortly after Maria went to Heaven,
someone mentioned in passing
that since this happened to “the
Chapman family, can you imagine
the songs that will come out of it.”
I understood what they meant, but
honestly I couldn’t even fathom it at
that point. I felt: how can you even
think I’d be able to put into four
minutes, and into words, this huge
pain and loss and grief. There’s just
no way. It was unfathomable to me
that I would write a song about it, in
fact, I wasn’t even sure I would write
songs again at least for a while. I
felt like God was so deep, and so
mysterious to me—I know so little of
His ways.
And, for everything I thought I
knew [about God]—I was afraid
to go back and listen to my songs.
I thought, “Am I going to have to
go back and strike through half of
them, saying, ‘No, don’t believe that
anymore, don’t believe that...’?”
But, thankfully, I began to let my
own psalms come out. It’s really
what I feel like these songs [on
Beauty Will Rise] were—very much
like David in the psalms, crying out
to God, “How long? Where are
You? What are You doing? I don’t
get it, I don’t understand it, I don’t
know how I’ll survive it... but I trust
You.” And, like Job, saying, “God,
You give and You take away, but
I’m going to bless Your name, even
though I don’t understand anything
about Your ways or what You’re
doing right now. I’m going to trust
You, and I’m going to declare it, that’s how He works in those things.
even if my heart doesn’t know what AH: Absolutely, and I have to tell
it believes, I’m going to say it in you, it was just a couple months
faith. before Maria’s accident that I lost
Those songs started coming out my big brother to cancer, and your
in me, and not with any intention album has really been a part of
of making a record. It was really the healing process for me too, so,
that journey of saying, “How do I thank you.
always wrestle with these mysteries SCC: Oh wow. Well you’re very
of God, how do I always wrestle—in welcome.
hopefully a redemptive way—with
God and His ways?” Well, music AH: Steven, a few months prior
has always been a part of that. to Maria leaving, there were some
When I’m grappling with a truth, things that happened in her life that
or I’ve come to a new revelation of took on new meaning after she was
something about God—usually a gone. The songs ‘February 20th’ and
song comes out of that. ‘See’ are about that. Can you talk
about those songs and the stories
As I gave myself permission, and behind them?
God gave me permission to be as
honest as I needed to be; these SCC: February 20th, while it was
songs began to come. Now, being hard in the subject matter and what
able to hear how those songs have I was saying, it was easy to write
met people where they are, in a in that I was just telling the exact
place of loss and a place of grief, events of that day, there was no
that’s been a part of the healing poetic license being used. It was
process. It was an important part of exactly that day, a few months
the process writing the songs, and before Maria went to Heaven that
speaking them out there, but then to she was sitting on the floor putting
hear them come back with the fruit her shoes on, getting ready to go to
of comfort, healing and hope for preschool. She was getting ready
other people... for her spring program—she was
going to graduate from preschool
Scripture talks about us having “this literally just a couple weeks before
hope as an anchor.” It literally feels she would go to Heaven. [Her class]
like that for all of us—not just those in her Christian preschool had been
who have had such a huge loss like learning songs for the program.
that of a child, but in just the grief of
living in this world, with the effects of Out of nowhere she asked her mom
the fall all around us, and the pain if God really did have a “big, big
that we live with—this hope that we house with lots and lots of rooms,”
have is like an anchor. and a “big, big table with lots and
lots of food?” The Christian music
A lot of times we feel like we’re fan out there will recognize those
in this hurricane and we’re drifting lyrics from Audio Adrenaline’s Big
out to sea, and we don’t know if House. Her mom told her it was true,
we’re going to be thrown against and Maria said she wanted to “go
the rocks and smashed into pieces to God’s big house, I want to live
or what. Then there is this anchor there.” We were able to talk with
that we can drop and hold onto. I her, trying to take that little teachable
think that’s what these songs and moment to explain [the Gospel], not
this album have been—not just for knowing where it would lead, and
us, but thankfully, I’m hearing that certainly not assuming that it would
it’s been that for other people too. be the moment when she’d accept
That’s the goodness of our God, and the Lord, because she was only four.
20
But the more I talked with her, it was
so evident she was really connecting
with it, and it wasn’t just a song she’d
learned—it was really something
in her heart. So I asked her if she
wanted to talk to God about it, and
it was amazing—we were able to
pray together—she asked Jesus to
come live in her heart and to let her
come live in His house whenever
she would leave this earth. We
assumed it would be many, many
years in the future...but that was an
incredible gift. So, it was February
20th, 2009—one year later—that I
wrote that song. I sat down at my
piano and cried many more tears
of hope, and loss and grief, and I
wrote that song.
And then, See, was very much like
that, from a personal experience,
but it happened after Maria went
to Heaven. It was a couple of days
after the accident that we went home
to get some clothes together for the
memorial service and the funeral
(because we were staying with some
friends). We’d been begging God
to tell us tangibly what we knew by
faith: just let us see something, a
dream or a vision, [to let us know
she was okay and she was with
God]. A few friends had shared with
us that they had seen a vision (these
were friends who don’t normally
see things like that) of Jesus coming
down and taking Maria in His arms.
It was encouraging to us, but we
needed to see that for ourselves.
So, on our first trip back home, we
were walking through the kitchen
and each room with friends on
either side just holding us up, as
we collected a few things. We
came to the room where Stevie
and Maria had their little art
table where they would for
hours cut pictures and glue
and glitter (they loved
doing that). All the things
were cleaned up except
one little piece of paper
on Maria’s desk, and
on it she had drawn
a flower. It had six
petals, and only one
petal was colored
in, which—at the
time—looked
unfinished to
us. I noticed
something on
the back of
the page
bleeding
through,
because

photo by
Dale Manning
21
 songwriter’s point of view; real, like “this is life.” It wasn’t in a
was it difficult to come up pristine recording studio but life was
with the music to fit the very going on all around me. Somehow
personal lyrics you had for that made the process really honest
this project, or did both and really vulnerable I think.
come to you together? AH: Now, on another musician-
SCC: They really did come oriented note, you have a new
together. It was a strange signature line of guitars with Taylor,
thing, because there’s never tell us about that.
been an easier album to SCC: Yeah, I was blown away.
write, but at the same time, They called me after Maria had
there’s never been a more gone to Heaven, while we were in
excruciatingly difficult album New York, doing some interviews.
of songs to write. There I’ve played Taylor guitars for years,
was no laboring with “what they’ve been so wonderful to me
chord do I go to here?” It and I love their guitars. They called
photo by Dale Manning was partly because I threw me and said, “We want to do a
every rule out the window; signature guitar with you; you’ve
she’d used marker. So, I turned the never once did I think “will this work
paper over, and on the back she played them for so long and people
for radio?”... or “will this fit the mold kind of associate you with Taylor
had written the word “See” with of what people will be expecting me
a little butterfly. That was amazing guitars. We’d like to make a guitar
to do next?” You never want those that is really your guitar, specific
in itself, and it brought tears to my questions to cloud what you do but
eyes, because I felt it was Maria and to you, and make that available
they’re always in the back of my to people. What would you like to
God whispering together—almost mind—I always wrestled with them.
giggling—saying, “See? It’s okay, have?”
For example, I’d try to forget that I
Daddy! God does have a big house, wrote Dive, and Cinderella because My immediate thoughts were, I’d
and you’re going to come see it, but then you’re thinking, “...is there a love to put Maria’s flower in the
while you’re here, look and ‘see’ ‘Dive’ on there, or a ‘Cinderella’ on headstock, because it had come to
eternally. Don’t see the pain, but see there?” There was always a little mean so much hope to us. It’s got
what God is doing in this.” It was bit of battle going on with that. But six petals, (we have six children)
just so huge for us, but the other part with this album, those thoughts were and one petal is colored in blue—
that made it even more amazing never even a consideration. This Maria’s favorite color—and all the
is that she only knew how to write was not an album, it was not me other petals are still waiting for their
3 or 4 words—she could write “I writing songs to record. This was color. We really felt that was God
love you,” “Mom,” “Dad,” and her me pouring my heart out—it didn’t saying to us, “One of your children
name. She hadn’t learned other matter to me if I never changed is complete and whole, the rest of
words yet, and certainly had never chords in a song, or if it was the them are waiting for their color.” So
written “see.” We are convinced most boring, uncreative music. None it has that, and her little word “See”
it was really a message from God of that mattered. What mattered engraved in the 12th fret with that
through Maria’s hand. was; “what’s going on in my heart, little butterfly that she drew. So it
AH: Wow! Steven, I know as God, and how do I say this to You? really is her guitar more than mine,
you’ve shared this story of what If somebody else happens to hear but it was a great way to honor her,
happened and how God is carrying it and it encourages them, fine, but and the hope that we have knowing
you through in various articles and I’m not writing this for anyone else— that we will see her again. And then
even on TV, I know that God has it’s between us.” I think that set me it’s my favorite kind of guitar, it’s a
used it very powerfully. When I free to just let the process happen 714 Taylor Cedar-top guitar, with a
watched your family interviewed on naturally, albeit painfully. Sunburst finish. (I had only owned
the Larry King Show, you could see AH: As you began to play through one Sunburst guitar of theirs prior,
he was visibly moved...what ways these songs, you recorded them in and I lost it when I jumped from the
have you witnessed the Lord using somewhat unconventional ways back of a cab to get into a building
this testimony to touch others? before I remembered I had my guitar,
and places... and it was gone!) I always wanted
SCC: Well as you were asking this SCC: Yeah, that was the other another Sunburst Taylor guitar, and
question, my first thought went to part that was so non-traditional. this seemed like the right time to get
that Larry King interview, because Normally, I’d go into a recording that. So, there are a lot of reasons
he was so impacted by our family, studio, and worry about how it why this is a very special guitar.
our honesty and our pain. He sounded... “was that a good vocal
responded by saying something performance, etc...?” But, Beauty AH: You have another very special
like, “I wish I had your faith, or a Will Rise was written and recorded project that has come to fruition and
faith like yours, it’s remarkable and in hotel rooms, dressing rooms and that’s Maria’s Big House of Hope in
amazing to me.” We even had the other places on the tour I did with China.
opportunity to share, Caleb my Michael W—which was incredible SCC: Oh yes. Maria’s Big House of
son said, “Well Mr. King, you can because Michael was such a dear Hope has been another one of those
have this faith, if you’ll receive it friend and such an encouragement incredible gifts for our family to put
and believe it.” It was an incredible to me during that time. So, I’d be a little wind in our sails and hope in
opportunity to share that and to recording it in my hotel room, our hearts. It’s a place that reminds
watch God work. It’s been time after waiting for the lady vacuuming the us of God bringing beauty out of
time like that—watching God do hallways to be done bumping into the ashes. It was originally started
that kind of thing. our door with the vacuum cleaner— as Shohanna’s Hope, after our first
AH: Looking at things from a just crazy stuff like that made it so adopted daughter, but people had
such a hard time pronouncing it
22
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photos by John Price and saying right, that we changed
the name to “ShowHOPE,” to reflect
what we actually do, which is to
show hope to orphans. We give
grants and financial help to families
who are trying to adopt. We’ve been
able to help parents adopt children
from over 45 countries now. That’s
been amazing, because when we
started out, we had no idea where it
was going to go, we just wanted to
help a few families see their dream
of adoption realized, who otherwise
couldn’t afford it. We’re not an
adoption agency, but we help “build
the bridge” by helping families
with the financial part of getting
those children adopted and into
their homes. There have been over
2,500 families now that we’ve been
able to help and 2,500 orphans
that have been brought into forever
families that are Christian homes
where they’ll hear the Gospel.
As we’ve traveled back to China,
we partnered with a lady who’s
a doctor and her husband, who
have done work for several years
rescuing dying orphans, giving
them medical help that allows them
to be able to be adopted. In some
cases, they are rescuing orphans
who are dying alone in the corner
of some orphanage; they give them
care and make them comfortable,
loving them and letting them die
with dignity. We saw their work
and said “this is something we want
to be a part of.” In China, you
can’t always preach the Gospel,
but you can totally DO the Gospel
there. So, we—ShowHOPE—built a
facility there, and after Maria passed
away, we set up a little memorial
fund in her name that would go to
help orphans, and through that, we
were able to complete the bulding of
that special care facility in Lui Yong
China, which is called Maria’s Big
House of Hope. It’s got six stories,
it’s a 60,000 square foot facility,
and it has a full operating room
and surgical theater for surgeries.
We took our first medical team over
there this summer, and they did
11 cleft lip and pallet surgeries. It
was an amazing trip; we held and
played with a lot of orphans that are
getting healthy and in the process of
being adopted. And we also held
one little boy named Tyler, who
had very severe CP, who had been
abandoned in a state-run orphanage.
He’d been brought in and they
loved him and nursed him as best
they could, but he kind of gave up
the fight. But, we got to hold him Please visit
and pray for him, and Stevie Joy—
Maria’s sister—whispered to him in
his last few moments of life, asking
him to go tell Maria that she loved for more about Steven, his music
her. All this is going on at Maria’s and their ministry.
Big House of Hope and we get to
be a part of it. It’s a pretty special
24
place. People can see pictures and
videos of it at www.showHOPE.org,
and they can partner with us if they
want to.
AH: Is there anything specific
you’re working on project-wise for
the future?
SCC: Well, we’re on tour this
fall, doing “A Night With The
Chapmans.” My wife—Mary Beth—
has a new book called, “Choosing
to See.” It’s my wife’s whole life
journey, and about choosing to see
God even when He’s showing up
in really different ways. I think it’s
honest and very powerful; she’s
written a beautifully broken book.
On the tour, she is going to do
something she swore she’d never
do; she is going to get up and talk,
sharing a little of her story, and
we’re also going to be on Women
Of Faith together; she’ll share there
too. I’ll be playing, and then our
two sons—Caleb and Will—will
also be out on tour with us, and
they’ll be opening with their band.
Caleb’s band just finished opening
for Casting Crowns’ last tour. It’ll
be different from anything I’ve done
before, but I think it’ll be a really
special night.
In the meantime, I’m kind of
recording songs
here and there.
I did a new song
for a Veggie
Tales Christmas
movie that’s
coming out.
And, probably
I’ll be recording
something after
the first of the
year. I think I
really want to
go back and
re-record some
of my previous
songs, but in a
more acoustic style, kind of like the
Beauty Will Rise record. It was just
so good to play music like that, with
a little different kind of treatment. So,
I think it will be a sort of “Greatest
Hits” kind of record, but in a different
style. I think it would be really fun to
do, and I think people would enjoy
hearing those songs that they have
stories connected to, but done in a
little different way.
www.stevencurtischapman.com
and www.showhope.org
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 selective hearing
Prodigal God
Brian Doerksen/
Christopher Greco
Self released
www.prodigal-God.
com
Some projects are so
dense with meaning and
fraught with artistic integrity, that only an almost
thesis-like review will give an appropriate glimpse
into what the artist is trying to communicate.
Unfortunately, this magazine hasn’t the space for
such a review, so I’ll touch on some of the fabulous,
new Prodigal God and direct you to the project web-
site (www.prodigal-God.com) for more information.
First, Brian Doerksen (pronounced “Dirksen”)
has always been one of the few worship-oriented
musicians whom I can truly call an artist. His
creations have all been far more concerned with
bringing about true communion with our Maker
than shifting units or stimulating radio play. From
his early days in Vineyard churches, Doerksen has
given us some of the world’s most distinguished
worship songs, including “Light the Fire Again,” “Re-
finer’s Fire,” “Come, Now is the Time to Worship”
and “Your Name is Holy,” just to name a smattering.
Long possessing an artistic vision that far outstripped
the limits of the Christian marketplace, Doerksen
has created his first musical with his friend, co-
lyricist/scriptwriter Christopher Greco, based on the
familiar story of the Prodigal Son. They are releasing
it through a website created especially for the project
and are seeking to stage a full theatrical show after
first producing a movie based on the created songs
and libretto. This recording is merely the hour and a
half of music the duo created for the musical.
“Prodigal God is the musical tale of two broth-
ers and one wastefully extravagant father. A new
musical experience based on the familiar parable as
seen through the eyes of the elder brother.” This is
the brief synopsis provided by the authors on the
website and gives a peek into the unique way that
the two have re-purposed the story. I won’t spoil it
for you, but suffice it to say: It will give you a new
perspective on the true meaning of the word prodigal
(which the dictionary says is “wastefully extrava-
gant”) and who the true prodigal in the story may
be. The narrative is also told from the perspective
of the older brother, again allowing us a look at the
scripture with a fresh set of eyes. Without the inher-
ent limits of the worship genre to hold him back,
Doesksen gives us a musical experience that is both
varied and full of immense vigor; it sounds like he
had the time of his life writing these numbers. Sepa-
rated into two acts (discs), Doerksen is afforded the
freedom to essay numbers in a variety of styles and
musical shades. “Little Brother,” the recitative-like
by Shawn McLaughlin
opening number has startling rock dynamics; the
story-song “A Father’s Love” has Celtic influences.
There’s also “Two Sons” and the flamenco-inspired
“Extravagantly” – and that’s just the first four songs!
The story’s main characters are voiced by Doerksen
(the eldest son), Ron Kenoly (the father) and Colin
Janz (the younger son); Janz himself is the younger
son of a well-regarded Canadian family of musi-
cians, who bears a striking vocal resemblance to Paul
Baloche. It is truly inspiring to hear Doerksen stretch
out on this effort, as his subtle way with melody is
expanded to fit the grand theatrical tenor of these
tunes. Plus, his character gets the chance to really
rock out, a musical costume that fits Doerksen’s
rough- hewn vocals quite well. It is interesting that
the younger brother is given the lighter, fun-filled
musical moments while the elder brother sings the
darker material. Kenoly is used sparingly, but his
deep, mellifluous baritone is perfect for the authori-
tative, yet mercy-filled character he plays. The band
is extremely dexterous, ably essaying all stylistic
shifts and turns with aplomb. Prodigal God producers
Phillip Janz and Brian Thiessen handle many of the
instruments on the project and do well carrying a
light production touch that allows the performances
to create the drama, rather than using studio trickery.
This is a very unique project for the Christian
market, although it is similar to one that has been
tried by Doerksen before. In the mid-90’s, he created
Father’s House, a production which was also quite
ambitious, but which collapsed and ended up caus-
ing great financial strain for the Doerksen family.
In the aftermath, he moved to England for a time
and wrote “Come, Now is the Time For Worship” in
response to the darkness he felt at the musical’s fail-
ure. While Prodigal God is another risky commercial
proposition and will likely be relegated to a niche
audience, it would be a shame to marginalize the
project due to the musical ingenuity and spiritual
depth of Doerksen and Greco’s purposeful effort. If
you surf on over to the website and join (it’s free),
you will be able to download a free EP of six songs
which should be all the impetus you’ll need to seek
out this project and support one of the Christian
market’s greatest innovators.
Suburba
House of Heroes
Gotee
Big, colossal, oppulent,
epic, massive, lavish,
blockbuster – you name
your adjective, it doesn’t
26
have the cache to properly describe the utter vitality
these fellows from Ohio bring to the proceedings on
Suburba, an ambitious song cycle about the power,
pain and pathos of youth, and the social gymnastics
employed while growing up in a suburban melting
pot. While the topic sounds particularly daunt-
ing, Tim Skipper and band bring a huge amount
of reverent fun to an evolving blend of alternative
rock laced with punk, pop, classic rock and prog
overtones. With a few dignified numbers to stave off
possible overindulgence, they still rock on a grand
scale. This is the type of album that gets maximum
mileage played on the car stereo at high volume
while barreling down the highway in the dog days of
summer. Huge guitars, massive vocal arrangements
and tastefully employed analog synth are the main
ingredients in the band’s musical melange, as many
disparate styles and sub-genres can be recalled – of-
ten in the course of one song. The opener, “Relent-
less,” begins with a synth line reminiscent of Geoff
Downes of Buggles and Asia fame, before shifting
to a verse that reeks of early Springsteen, Thin Lizzy
or The Hold Steady. Even elements of Queen and
Muse can be found in the song’s bridge. This musical
ecumenism is evident elsewhere as pulsating bass
and brash shards of guitar fuel the Buzzcocks/Gang
of Four feel on the rocker “Elevator,” which abruptly
shifts gears in a middle eight that shares much with
the progressive sounds of Genesis and The Moody
Blues (indeed, the ‘Blues’ unique use of symphonic
“chamber-like” vocal arrangements inform many of
Suburba’s songs) before switching back to the aggro-
rock of the original verse. “Love is for the Middle
Class” lifts the familiar riff from The Knack’s “My
Sharona” while recalling other groups from the more
guitar-oriented branch of ‘80’s new wave, all while
lamenting the fickle nature of earthly love: “If all I
had was love, would I still be lovely?” “So Far Away”
sounds like a mid-tempo classic even as it shames
Coldplay with the type of melody that band rarely
writes. But it is the next cut that takes the prize – the
absolutely stunning rock & roll theater of “God Save
the Foolish Kings,” a Meatloaf-and- Phil Spector-
meets-West Side Story tale of gangs, rumbles and
the desperation of youth. Skipper proves himself to
be an uncanny chronicler of the teenage experience
with lyrics that sear the memories of any of us who
are desperate to find significance in an increasingly
cynical world.
“We’re outcasts only cuz we choose to dream
We’re princes who’d rather dine with thieves
We’re honest only cuz the truth, it cannot hide
God save us, the foolish kings”
and:
“And we fight cuz
We’d rather break our bones
 Than brave this loneliness End is Not the End, I think a slight letdown could norm, as she has only shared writing credits on one
We draw blood cuz have easily occurred. Instead, House of Heroes lives other song in the group’s long history. In fact, all
We’re just trying to draw out some signifi- up to all expectations that could have been placed the band’s members wield the pen in some form or
cance” on its shoulders and offers ample proof that this may another, and the disc is all the better for it as they
Yet, a still small voice manages to be heard in the be just the beginning for this talented combo. sound positively reinvigorated throughout. “Family”
confusion of adolescence: belies its sunny pop melody and bright harmonies,
“But I met God on the street tonight Raising Up the Dead telling the tale of a man who feels rejected by those
And he said, Caedmon’s Call near him, prompting a search for “real” family
“Choose your battles wisely Self-released elsewhere. “Miss You” is another Danielle Young
Or you’ll never find Me” http://www. showcase, which features vibes, bells and a lovely
caedmonscall.com/ string arrangement, buttressing the affecting story
House of Heroes makes it six excellent songs in Raising Up the Dead of a woman’s struggle to decide between two love
a row with the lovely love/worship song “Salt in the is the rousing comeback interests. This may be a metaphor for the eternal hu-
Sea,” a beautiful change of pace featuring a particu- that 2007’s Overdressed man struggle between the flesh and the spirit but it
larly pensive vocal from Skipper, who–truth be told– should have been. That CD was certainly a solid works in multiple contexts. “I Need a Builder” is the
makes a strong case on Suburba for being one of the affair, but following the return of artistic nomad most musically inventive cut on the album, utilizing
four or five best rock vocalists around today. He has a Derek Webb after a five year absence, a bit more was a lovely string arrangement while Webb effortlessly
rare ability to vary his delivery in a way that doesn’t expected than the workmanlike folk/rock radio fare leaps the huge vocal intervals of the chorus while
sound contrived or manufactured. Finally, on the of said project. The new disc shatters such labels singing about one man’s experience of moving for-
grungy stomper “Independence Day for a Thief,” with a musical ecumenism that borrows liberally ward to create his own story without relying solely
the band drops a song that is merely very good. from many sources. Indie pop bands like Welcome on what he grew up believing. The album’s over-
Sounding a lot like Audioslave, the band really dis- Wagon, Sufjan Stevens and Iron and Wine have had arching concept is not readily apparent, but each
plays its musicians’ significant instrumental chops, an influence on the band’s sound and Webb’s solo song is full of rich character and subtle but distinct
following the lead of bassist, A.J. Babcock, a standout forays into electronic music are not readily apparent spiritual application. Webb’s production is certainly a
throughout the disc. The rest of the disc is filled but certainly color certain tracks (listen to the subtle highlight of the project, as he ably frames the band’s
with more very good-to-excellent songs, especially drum loop and electronic bells that open the other- lyrical concerns in musical finery that is sensitive to
the Oasis-meets-Queen guitar pop of “Somebody wise sunny folk/pop of “Family”). The band’s early the feel of each cut while he utilizes instruments and
Knows” and the superb rock ballad “Constant,” a fondness for rustic folk-rock is given a name-check arrangement tricks that have few precedents in the
“could be” worship song that was actually written as on the ominously constructed “She,” a charm- CCM field. While stellar musical output from Caed-
a tribute to Desmond Hume of Lost fame. Consider- ing if lyrically obtuse gem that features a Danielle mon’s Call is never a surprise, Raising Up the Dead is
ing the panoramic scope, Suburba could be quite Young vocal that is simultaneously mysterious and a surprising artistic evolution for a band known for
the bombastic mess, but the record’s songs remain confident. their iconic creativity, and is certainly a development

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27
 Echoes of the Light
Circleslide
Save the City Records
The second official
long form release for
alternative pop-rock band,
Circleslide is a somewhat
dichotomous affair as the band alternates between
grand, stadium sized modern rock and moody, re-
flective musical beds that show an impressive artistic
breadth even as it illuminates the record’s one weak-
ness. Amidst such striking musical constructions as
the pulsating, moody “Nothing Campares To You”,
or the Choir-like ambient leanings of “Litany”, the
lyrics are somewhat unimaginative. Interestingly,
the record’s title, Echoes of the Light is a reference to
humanity and our duty to reflect the light of Christ,
which is kind of cool. This leaves the listener longing
for more substantive lyrical concerns to embellish
a record that, otherwise, strikes a strong balance
between appealingly accessible CHR and murkier,
artistic fare. Hopefully, the band will correct this
minor defect next time out.
Ocean
Bebo Norman
BEC Recordings
Speaking of dichoto-
mous, Bebo Norman
continues his “Am I a
contemporary pop /wor-
ship artist or a reflective singer/songwriter” act he
has been perfecting with his past several releases.
Truthfully, poppier fare like “Everything I Hoped
You’d Be” is still upbeat and devotional, but with
a hint of the somber reflectiveness that informs
Norman’s earlier work. Even niftier is a wholesale
return to his folk roots represented by “Could You
Ever Look at Me,” a poetic love song in which he
asks, “Could you ever look at me / The way you
look at the ocean? / All wounded in your smile,
but holy and unriled.” It concludes with a sad
twist, though, hoping she never does because “I
was never meant to be the light of your world.”
Also stirring is the reflective “The Middle,” a strik-
ing effort that openly wrestles with loneliness and
despair and doesn’t neatly wrap at the end: “I don’t
wanna run from this beautiful life I’ve been given
/ I’m not looking for freedom / Maybe just a little
meaning here in the middle.” Yet, for every “The
Middle,” there are songs like “Sing Over Me” and
“Remember Us” that despite some affecting lyrical
moments, lose their impact when contrasted with
bright, standard worship instrumentation. It’s dis-
appointing to hear the songwriter’s work drowned
in slick production to fit him in a Christian pop
role. It is no coincidence that the former songs
were written alone while the latter featured co-
writes with producer, Jason Ingram, one of Chris-
tendom’s “go-to” hit doctors. While not the full
scale success of The Fabric of Verse or Ten Thousand
Days, Ocean at least displays some of the warmth
and vulnerability of those early watermarks, while
offering enough pleasant pop moments to keep his
record company happy.
28
Light Up the Sky
The Afters
INO Records
One of the more
notorious transformations
of recent years, Light Up the
Sky represents a wholesale
leap into the world or mainstream CCM pop, albeit
with cosmetic slivers of their artier former selves. The
first half of the disc eschews the group’s tendency
toward clever, applicable life-lessons laced with
spiritual truth in favor of a more lyrically direct ap-
proach. The musical approach on the title track and
“Lift Me Up,” while very catchy, is also full of repeti-
tive melodic catchphrases and gimmicky production
tricks that reek of contrivance. This is particularly
off-putting when contrasted with the disc’s latter
half. Amidst production that is still short on subtlety,
cuts like “Life is Sweeter,” “Say It Now,” and “We
Won’t Give Up” at least show vestiges of the group’s
past work, featuring creatively constructed hooks
and hints of the band’s former rock & roll fire. Most
distressing to me is that the band’s intentional shift
to a more worship-oriented direction may alienate
the kids on the fringes that were most affected by
The After’s mix of pop-rock ingenuity and real life
scenarios. At least Christian
radio will be abuzz for months
with tracks off of this album.
Shawn McLaughlin is a hard
working dedicated, tireless
worshipper of Christ
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 An interview with Mark Mohr by Aimee Herd
From the very first time I heard the that’s free from worries and full of joy. That’s
Gospel-reggae music of Christafari, I why it translates so well into worship!
was moved with a desire to worship AH: I think sometimes people have trouble
the Lord; there is a real sense of distinguishing Christian Reggae from the
joy and contentment-in-Christ that Rastafarian movement...can you talk about
pervades each song. Frontman for that a little?
Christafari, Mark Mohr explains MM: While reggae may now be known
about the different musical elements for its association with the Rastafari faith
that contribute to this infectious sound and promotion of Ganja (Marijuana), its
true foundation is the Christian church
and feeling, and notes that “Gospel- in Jamaica. The first reggae artists of
Reggae is the fastest growing form of the genre began in the church singing
reggae music.” Mark’s insights into popular hymns in this infectious style.
this style of music and the mission Listen to early Marley and you’ll hear
of Christafari are inspiring and it plain and clear. Virtually every
intriguing… a lot like the music! single secular artist today started
singing in the church. The problem
is that back in the day, Jamaican
Aimee Herd: Mark, can you give us a little churches rejected the musical
background on Christafari, for those who style and insisted on sticking
are unfamiliar with it, how did you get with their traditions
started? (regrettably this is
still the case
Mark Mohr: Christafari started at a talent
show back in 1989, just two weeks after I
truly surrendered my life to Christ. It was
at a Christian camp and the Lord gave
me a song during my devotional time. I
asked the worship team if they could
back me for a reggae song and
they said “Sure, so you’re not a
Rastafarian anymore, you’re
a Christafarian.” The name
stuck and I eventually
formed my own band. in many churches).
Our first CD was When this happened, the
“Reggae Worship” artists were not welcome
released in the early in their own congregations.
90’s. Over the last two In search of a new spiritual
decades we’ve recorded fellowship they found the
12 albums, been to 50 countries, played all-welcoming Rastafari
two Olympic games and even performed faith.
before the President of the United States! In short, many Rastas
It’s been a wild ride and has no signs of believe that Emperor
slowing down! Haile Selassie was
AH: What is it about Reggae...especially Christ incarnate. They
Christian Reggae, that seems so joyful, and worship him as the King
brings peace? (That’s truly what I feel when of Kings and believe that
I listen!) Ethiopia is Zion and
often use marijuana
photo by Waldyr Oliveira Jr

MM: Because of its lack of emphasis on as a holy sacrament.

the ‘one’ (downbeat), reggae has a sort In contrast, Christian
of bounce to it. Its bubbly and percolating reggae artists use the
rhythms can take a rocker off guard and Word of God to bring
the infectious riddim chank (guitar and the light of Christ to
key strum on the 2 and 4) are irresistible Rastas and the rest
to dance to. This whimsical music is often of the world, over
associated with a carefree island lifestyle heavy drum and
32
 contribute any ideas they may have. In just that you’re singing. And respond they do!
bass. Gospel reggae is growing fast. At my
last count there are over 1,000 Christiana week we narrow 200 ideas down to 20 We’ve seen around 3,000 give their lives
reggae artists now singing redemption or so rough demos and ultimately record to Christ in the last 6 months on tour!
songs for the Lord! Gospel reggae is the around 15 songs. AH: Pick a few of the songs on “No
fastest growing style of reggae. We are AH: One of your latest projects was sort Compromise” to give us a little back story
truly starting a roots revival! of a Spanish version of your album “To The on...
AH: Talk about the different members of Foundation”, is that right? Did you put that MM: The song “Most High” chronicles my
your band—who they are and what they together especially for your travels in South past as a drug addict, marijuana grower
play... America? and dealer. In it I share about how through
MM: Christafari tours with nine band MM: Actually, after “To the Foundation”, drugs, I was “Trying to escape, with
members. We have Tyrone Rudulph (drums), we recorded “No Compromise”, our nowhere to go” and “Tried to get high, but
Avion Blackman (bass and vocals), Solomon 20th Anniversary project. Then we took was really getting low.” The hook is “There
Jabby (rhythm guitar and vocals), Obie the biggest hits from those two albums to is no high like the Most High.”
Obien (lead guitar), Ryan Skiles (Keys/ create “Reggae de Redencion,” our second The song “Compromise” was inspired
Organ), Carlos Centeno (Trumpet), Dannie Spanish CD. We also added in Avion by the story, songs and messages of Keith
Ramirez (Trombone), Jennifer Howland Blackman’s “Yeshua” because it’s a mega Green, while “Try Jah Love” was prompted
(vocals) and myself (lead vocals). We are a hit and simply HAD to be on the album. by a personal letter that my Dad wrote me
big crew, but operate in synchronicity like The inspiration for this album came when years ago when I was a rebellious youth.
a small family. we were touring South America last year. In it he shared his personal testimony and
AH: What about the writing process? Is it Regardless of the language, our music stated that the best decision that he had
a band-collaboration, or do you and Avion resonates so much more with the people in ever made was to “Give God a try.” He
primarily write together? Latin America. Our smallest crowd south of urged me to do the same and I did. It was
MM: I write the vast majority of the songs. I the border is about 500 people and can get the best decision of my life!
usually come up with at least one song idea as large as 80,000! When you sing in front The final track on the album is a heartfelt
per day. When it comes time to record, I of that many people, you want them to be worship song called “Messiah.” I penned
sort through all those ideas, combine them able to digest and respond to the message that one while surfing during a big swell
(when possible) and pick out the strongest in Southern California. I wrote “Death
hooks that speak to me the most. Then we get could not hold Him down” while being
together as a band and start wood-shedding tumbled and ‘held down’ by some pretty
these ideas. This is the most exhilarating big waves! I write a lot of songs while
part! It’s so fun to hear the songs surfing. It’s great to get out in God’s
come to life in minutes. Though I creation without music, phones or a
don’t play any instruments, I hum computer to distract you. Sometimes
out the bass line or beat box the if you want to hear God the most,
drum part to communicate my you have to find a quiet place and
ideas to the guys. At that quiet your mind.
time I strongly encourage AH: Do you have any new projects
everyone to in the works?
MM: We do about 100 shows a
year and when I am not touring
I’m either surfing or in the studio.
I produce around 4 projects a
year. My latest is a solo project
for Jennifer Howland, one of the
singers in our band. It’s called
“Daughter of the King”. After this
I’m tracking a dub album, Avion’s
third CD and then Christafari’s
next full-length CD.
Our next project is going to be
a reggae worship album. We’ll
have some original stuff in there,
but also plan to do some hardcore
reggae interpretations of today’s
hottest worship anthems. I’m
sure people are going to flip
out when they hear this insane
one-drop reggae groove with
thunderous bass only to realize
that it’s a Hillsong cover!
AH: Christafari has been
doing a lot of traveling...
can you pick a couple places
you’ve been where you’ve
really had some very special
33
CHRISTAFARI
a bypass configuration that I call
the “One Dub”. We are all wireless
(except the Drummer and Keyboardist).
Movement is essential with reggae!
AH: When you look at the whole
picture of worship music and Christian
music in North America and Europe...
where do you see Reggae fitting into
that, and how can it be integrated
more consistently... or is that not an
issue?
MM: The issue that I have with some
worship music is that it has become
its own genre with one part U2, two
parts Cold Play, one part country and
a touch of classical. You know what
photo by Jessi Marri I am talking about… when you turn
the radio dial and you can tell you’re on a
experiences with the people entering into way. It was so freeing to praise God in my Christian station before you even hear the
worship, and special times with the Lord for own style. I felt like I had a glimpse of how lyrics. I think that it scares new Believers,
the band? it will be in heaven—everyone praising the
Lord in their own tongue and in their own and has them thinking that they have to give
MM: We have seen some incredible unique God given way. up their taste in music when they surrender
things over the years. I remember during their hearts to Christ.
one worship service that we played at in AH: I think, sonically, one of the unique I believe that people should have the
Holland, a deaf girl received her hearing characteristics of Reggae music is the freedom to worship the Lord to whatever
back from the Lord. It was just a typical strong bass line that supports all the rest of genre they are wired to like. I love to see
service for us, and after we played, our the music. I know Avion, your wife, plays turntables in church. It brings me joy to hear
band had a group Bible study. During the bass in Christafari... can you talk about her a worship team break into a salsa groove,
study, we were reasoning over whether gear... and maybe some of the other gear a hip hop beat or a reggae chank. I think
the Lord still does miracles like Christ did that is used in the band? that every worship leader should study their
in the Gospels. The next day we were MM: Yeah, reggae is all about the bass! congregation and whom they are trying
approached by the girl who had received Avion tours with a Steinberger Synapse XS- to reach, and incorporate that audience’s
her hearing and our eyes welled up with 15FPA Custom 5-String Bass. She’s endorsed musical leanings into his/her jambalaya of
tears as she shared her story of how the by the company. She uses flat wound strings worship styles. If that is reggae, then AMEN!
Lord healed her during the worship service. and EQ’s the bass and cabinet just right If reggae doesn’t fit in that congregation,
God is still doing miracles! to get that round FAT sound. Most of it is that’s fine too!
The first time that we went to Brazil was in the EQing and laidback delivery. With As staunch Christians we need to stretch
also a trip. We had no idea how big reggae it’s all about relaxing and fitting out of our comfort zones from time to time.
reggae was there. I was invited to speak at into the groove. If it were a car, the bassist The western world exports worship to
a church and their worship team just played would be in the trunk or hanging off the every other continent. We tell people that
reggae! I don’t speak Portuguese, but the back bumper! this is how worship sounds and have them
Lord really touched me that day. I’ve been Our guitarists use Fender Strats, Wah emulating our American, Australian or
such a reggae fan for so many years, all Wah pedals and Echo Parks (along with British styles to a T, even down to the accent.
while trapped in CCM churches in the USA. other Line 6 effects). I even use that delay If we expect the rest of the world to receive
I always wondered why God wired me this pedal on my vocals for certain spots using our music in this way, it must be reciprocal.
It’s full-time that we start importing worship
styles from other countries, continents and
yes, islands!
AH: Future plans for Christafari?
MM: Tour, record and repeat. Continue
preaching the Gospel to all nations, until
all have heard.
AH: What is the best way for people to
find out more about Christafari and other
Christian Reggae bands/artists?
MM: www.christafari.com will give you
everything that you need to know about
Christafari including links to our Twitter and
Facebook.
www.gospelreggae.com is the place to go
for everything that is gospel reggae! Our
webstore has CDs from over 500 artists
and is a complete resource for Christian
reggae and world music.
photo by Waldyr Oliveira Jr
34
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of The Dustin Burke Band
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Ask Joe as which one: that’s subjective. Personally I
have a thing for vintage Martins and Gibson
by Joe Riggio guitars, which can also be pricey. They have
a great re-sale value and every time I look at
NEVER experienced any exceptions. In fact,
registering the guitar rarely even plays a part
in getting any warranty work done. All that
is needed for coverage is the original sales

Q
I am considering the purchase
of a high-end, boutique acoustic
guitar. My wife and I are trying to
determine if they are really worth
the extra cost.
them, I’m inspired. There are no laws restrict-
ing you from paying too much or too little
for something that you really love.
I will say this: If you can’t see and play
the guitar, before buying (unless its such
a steal of a price), stay away until you can
invoice, in your name. He, as the original
purchaser, is the only person that would
ever be eligible for any warranty work. In
that light, this is no different than any other
“used” guitar.
In this case, the guitar’s excellent condi-

A
You are deep in “subjec- know for sure that it’s “the one”. tion may be where the value lies. However, do

tive territory” on this one. I feel
that you must first ponder two
criteria, for whether something
is “worth” the large investment: 1) Does it
have strong resale value, in the future? 2) Is
it something that, for one or many reasons,
Q
I recently found a used guitar,
in mint condition, with all of the
warranty papers unregistered. Is
there value in the fact that I could register the
papers, in my name?
your research and keep in mind that upper-
end models in particular, are often found in
this kind of condition, on the used market.
Joe Riggio is a professional
guitar repairman/technician

really inspires you, personally to want to own
and play it?
Certain high-end boutique guitars have
a better re-sale value than others, simply
because the supply doesn’t meet the demand.
I would expect that this may fall under that
category.
The bottom line is: if the guitar knocks
your socks off, and you can afford it, without
skipping a house payment, go for it. As far
A
It sounds like the seller is
trying to play the angle that the
guitar will be “new”, in the eyes
of the manufacturer, for the first person to
register the papers. This is simply not true,
in my experience as an Authorized Repair
Center. Manufacturers will require an original
sales receipt, from the original dealer, sold to
the person trying to use the warranty. I have
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

50 Great Gifts (cont. page 30) 15). Pro-Mark 6 pack of songs. The ever popular E-Bow – no picks
13). Audio Drumsticks pairs allowed! Retail $135.00
Technica Wood or nylon tips, 19). Pedal Train Nano Pedal
ATH-M10 several sizes to choose Board with Gig Bag
Professional from, made of American Perfect for the ever-expanding
Monitor hickory. List $82.50 world of super-compact pedals, the
Headphones 16). Auralex Pedaltrain PT-NANO-SC lets you
WHAT? Oh, Studiofoam Wed- take your favorite tones to the
I’m wearing these gies gig without getting in your way
great head- Box of 24 one onstage. $129.95
phones. List $59.00 foot squares of 20). Fulltone OCD Effect
14). Planet 2 inch thick Pedal
Waves NS Capo Studiofoam for Tube-like overdrive with
Tuner your home stu- sensitive playing response. True
It’s a dios trouble spots. by-pass switching comes with a
capo; List $109.00 ton of good tone. $135.00 Map
it’s a 17). TC Electronic PolyTune Pedal 21). Zildjian 8” Splash Cymbal
tuner! Simply strum your guitar or bass Add some splash to
The first of and see instantly which strings your drumming. Crisp and
its kind, the are out of tune. Way cool fac- clean. $163.00
NS Capo Tuner provides tor. $149.00 22). Rocktron Gui-
accurate tuning at any fret 18). Heet Sound tar Silencer Effect Pedal
or when clipped on the PlusEbow Electronic Stomp box that com-
headstock or neck of your Bow for Guitar bines patented HUSH®
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U2 tunes to Vineyard Worship Continued on page 46.
38
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 YES VIRGINIA,
THERE IS A DEAN MARKLEY.

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40
String Bending Part 3 Roger is a member of the
Audio and Praise teams
at Freedom Life Church in
Before getting into String Bending part 3 on the 8th fret B string and your index finger
Kissimmee Fl. Endorses Greg
and since this is the last issue of 2010, it’s the on the G string for the movement from the 5th
most wonderful time of the year, Christmas and fret to the 4th fret then a slide back to the 5th Bennett Design Guitars by
the season for giving. So I’d like to share my top fret. Example 8 This is a triad chord bend of a Samick , G&L Guitars, BBE
three picks that guitar players might like to find Csus2 to a C major. The bend for both shapes is Sound and PedalTrain Pedal Boards. Is an award
under the Christmas Tree : a dual subscription on the G string. Let all the notes ring out while winning guitarist from the “Songwriter Showcase
of “Worship” and “Christian Musician” maga- you bend the note on the G string. Try picking of America”. For music, videos and more surf
zine, a Fulltone “OCD” (Obsessive Compulsive with an up stroke across the triad. Try all the
to www.rogerzimish.com, email: rogerzimish@
Drive) pedal and “Man it’s Christmas” DVD/ examples in different positions and keys over
CD from guitarist Jimmie Bratcher. I just like the neck, get creative and GOD Bless. yahoo.com
all three and think you would too. Now, on to
part 3.
We’ve looked at starting string bends and
hitting the notes you’re stretching to along
with Classic rock bands, so now let’s take a look
at some Blues and Country Steel style bending
to add to your repertoire of riffs. The first set
“Blues Bends”. Example 1 is a bend slide up
bend on the G string with your index finger
then on the B string with a bend and release.
Example 2 starts with a full bend G to A
with no release on the B string, I use my index
finger to cover the B and E string to play the A
and E notes. Think of this riff in 3’s, pick-bend
pick-pick. Start with an up-stroke pick then
down, up. Your pick will stay within the E and
B strings. Example 3 can be used over the end
turnaround of a blues progression. Example
4 is a bluesy Stevie Ray riff starting with a full
bend no release on the high E string, once you
hit the whole step bend stop the note with
the palm of your picking hand. The riff moves
down just stopping short for a full bend on the
G string again no release then skip over the B
string to hit the last note. Add some vibrato
into this and it will just sing.
The next four “Country Style” examples
work best with a clean tone with some reverb
and compression. Example 5 Is a mix of
double string bends and 2 note double stops.
These are meant to be played up-tempo with
quick bends. Use you index and ring finger,
pick both notes at the same time. In the second
measure use your index finger to cover the G
and B strings at the 5th fret, Play it with a pick
and then try using your fingers of the picking
hand to pluck the strings. Examples 6 to 8 are
Steel Guitar style bends. Example 6 Bend the
lower note on the B string up a whole tone
then back down (bend and release) while both
notes are ringing out. Example 7 Is a set of
bends in the second measure use your pinky
41
Harmonizing the Blues Scale
The blues scale is a favorite tool for single
note improv soloing. When it’s harmonized
it takes on an almost horn section sound
and adds a new dimension to your playing.
This idea works best over dominant chords
and blues progressions. If we add a minor 3rd
below each note of the blues scale and then
add a perfect 4th below that note, we get a
movable shape that we can apply to each
degree on the blues scale for that bluesy horn
line effect. If you would like to see video on
this idea go to www.99centGuitarLessons.com
click on the “BLUES” button and then on
“Horn Section Style Lines by Rich Severson”.
Hope you enjoy this lesson and work this
idea into your playing.

Till next time may God bless your hard work!

Ex. 1 Shows how the blues scale is played

across the fretboard using the 4 chord
shapes within string groups. String
group 1 encompasses string 1,2&3.
String group 2 uses string 2,3 & 4. Get
the idea?
Ex. 2 Focus on string group 1 and playing
the harmonized scale up the neck.
This is where you’ll probably do most
of your playing. This shape looks like
an open position D minor chord.
Ex. 3 Focus on string group 2, string 2,
3 & 4 ( Looks like an Aminor chord)
Ex. 4 Focus on string group 3, string 3,
4 & 5 (Eminor chord shape)
Ex. 5 Focus on string group 4, string 4,
5&6

Rich has a 6 CD audio program for learning, hearing

and memorizing music theory called “Theory For The
Road” which can be found at www.GuitarCollege.com.
It explains everything in detail and includes audio music
illustrations on keyboard and guitar, and ear training.

42
A Musician’s Disposition
By Bryan Duncan
I never meant to stop praying altogether.
It just kind of happened for a while. The more
aware I became in my conscious contact with
God, the less I believed in my own requests. I
became painfully aware that all of my prayers
were selfish and self-motivated. I want mostly
what will make me more comfortable.
Prayers for other people seemed a waste of
time too, given my lack of insight and, hon-
estly, disinterest. I watched too many people go
unhealed, file for bankruptcy, or die of cancer.
What do I know about the string of poor deci-
sions that others make before they ask me to
pray for a miracle?
Now, it’s not that I stopped listening for the
voice of God. But even there, you can start get-
ting twitchy about the curtains blowing when
the windows aren’t open. You can start seeing
little road maps in odd coincidences and find
yourself in a cul-de-sac of spiritual delusion.
What I read in scripture sometimes makes
me want to look for help elsewhere. There are
no magic formulas in there. There is a curious
call to a life and faith that seems impossible to
maintain. And in my case, there is an often un-
willingness to sacrifice for a glory that doesn’t
involve me.
What can I do but ask God what he wants?
And leave it there. People don’t flock to your
prayers when you do that. “Hey, I could
pray that one by myself,” someone told me.
“In fact, I already have.” Well, maybe that’s
the point. What I do understand is that the
Bible claims that God wants an individual
relationship with every human being. That
might mean those people are not going to need
your advice if they’ve found an open line to the
supreme counselor.
“So what does that have to do with me?”
you’re asking. “I’m not a counselor. I’m a musi-
cian,” you might add. And I say, let’s define
what you do. You lead with music and passion
for what you love, and that, my friend, is a way
of offering advice. And if you’re writing the
lyrics, well… you’re counseling! Either way, I
know you pray – because you’ve had to wing it
on a couple of songs in your set at one time or
another.
“Christian musician” isn’t a job description
– it’s a disposition!  You have an opportunity
to shine with something different, an inner
strength that comes with a transcendent pas-
sion because you are seeing the biggest picture
how present that moment was. More than a
circumstance to be overcome, or a presentation
to be blessed, it was a sense of being connected.
It was a prayer that produced an electricity of
with clarity of truth that magnifies the tiniest of current that needed no further upgrades. Sud-
details. It’s a disposition toward the adventure denly, there was not even a sense that I should
of discoveries, transferred to a pliable instru- plug something in to accomplish any purpose
ment. You are driven by an unwavering pursuit whatsoever. The power was on. The house was
of the awe-inspiring! Even if your mouth lit, and everything was clean.
doesn’t fall open on every chord change, you I found myself singing “Doctor My Eyes”
know you are searching for that in the overall this morning: “I got this feeling that it’s later
presentation. than it seems.” My prayer is that God will cut
I personally believe music itself is wor- to the quick of my own false belief. “Adopted
ship! The glorification of what God has set in faith” is what I have ‘inherited’ simply by not
motion. It always brings me personally to a pursuing anything further. I still believe in the
gratitude for my own growing understanding of power of a song, don’t get me wrong, but I’ve
his purpose. If “imitation” is the purest form of heard the same songs sung by hundreds of
flattery, what better form of worship of the Cre- musicians, and what resonates begins with the
ator then, than to be creative. It’s not settling disposition of the player.
for the standard hand-me-down progression I think it’s a matter of plugging in my heart
because it’s the way we’ve always done it. before my amplifier.
I read somewhere recently that “Ruin is
the Road to Transformation.” I think it was Bryan Duncan... CCM
twittered/tweeted at me. So is your gig drying artist for thirty years. With
up? Are church politics getting a little sticky? the Sweet Comfort Band,
Having trouble performing those same tired then solo and now with the
chords and seven words that stopped being Nehosoul band. Owner of
meaningful after the last U2 record came out? Red Road Records and Host
Maybe you’ve run out of descriptive terms for of Radio Rehab at  www.radiorehab.com inducted
God. You’ve used up all the rhymes in your the- into the Christian music Hall of Fame in 2007.
saurus. Or, maybe you’ve
lost the will to risk being
creative at all.
The real homework
Quality Comfort Style
in songwriting and play-
ing music doesn’t even
start in the woodshed.
It starts before we pick
up any instrument or
put pen to paper. I don’t
have to add commen-
tary here about the state
of the Christian music
industry or the way
new technology has
streamlined the profit
margins for most of the
middle men. You’ve seen
the foreclosures. Maybe
we need to go kill a giant
before we tune up our
harp to play for the king.
Only once in this
decade do I recall a par-
ticularly prolific public
LONG 1131 W. Main St.
Franklin, TN 37064
prayer – that I now
can’t remember because
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I was simply aware of LEATHER www.longhollowleather.com
43
Indie No Spin Zone
How To Get Rich and
Famous in Christian
Music
by Keith Mohr
OK… What’s up with this? Getting rich
and famous in Christian music? We’re not
supposed to get rich and famous doing Chris-
tian music; are you crazy?
Alright, let me explain where I’m coming
from. This isn’t about making gads of money
and being a household name; this is about
the importance of creating rich content,
which will naturally draw people to you. As
you draw people in, then you can enrich their
lives, which will cause them to tell others
about your ministry, which will in turn bring
more people to you, and the cycle continues.
This is what is called viral marketing, and
guess what – Jesus and His disciples were a
great example of what happens when passion
and excellence teams up with commitment
to the call.
There was no richer content than the
message Jesus brought to this earth. There
was no better street team than the disciples,
who carried on the message of the cross after
Jesus was crucified. These guys did not give
up, they didn’t buckle to rejection, and the
ultimately gave their lives for their mission.
How’s that for commitment to the call?
You may wonder how this relates to the
independent artist, musician and songwriter?
Everything! Why? Because we are to pattern
what we do, why we are doing it, and how we
are doing it based on our example, Jesus. Ev-
erything Jesus did pointed outward. He never
pointed inward; meaning, His mission was
to bring to this earth content that changed
everything for everyone, and He gave his life
fulfilling that mission.
If you feel God is leading you to Chris-
tian music, we should do nothing less in our
mission than what Jesus did in His. I see quite
a few indie artists out there who are not com-
mitted to the mission God has them on. They
dabble at it, they invest capfuls of work and
thimbles of faith in their mission, and they
wonder why God isn’t “blowing them up!”
From what I have read in the Word, God does
not care very much for dabblers or those who
are lukewarm. As a matter of fact, He spits
line is called passion! If you are too far off
that line, you are either a limp noodle who
doesn’t believe in your mission, or a hard-
headed egomaniac who is unteachable and
filled with pride.
4. In everything you do, point outward,
not inward. This isn’t about what you get, it’s
all about what you give! I say give to give and
let the getting be up to God. God will provide
them out. Yuck! Who wants to be spit out of for you as you invest in your mission and
God’s mouth? strive for professional vision. You can do it
So, what’s an indie to do to make sure with God’s help!
God doesn’t spit them out?
1. Be very sure your music mission is Keep up the excellent faith-work!
something you have time to pursue. If your Keith Mohr
life is not aligned in a way where you can
invest resources, time, and your talent, then Keith is founder/president
my advice is do not pursue your mission.  If of Indieheaven, an
you have debt, mortgage, obligations and organization for independent
burdens, then my advice is do not pursue Christian musicians, song
your mission until these issues are dealt with writers and artists. For
and resolved. Your life needs to be set up to more info, visit: www.
allow you the freedom to pursue your music indieheaven.com. Keith is
mission. If it isn’t, you will experience many the founder of Indie University, an education
trials and much strife because you simply resource. Visit: www.indieuniversity.com. Follow
cannot devote what it takes to build a music Keith on Twitter: www.twitter.com/keithmohr,
mission. Facebook: www.facebook.com/keithmohr, and
2. If you have started your music mission, www.facebook.com/indieheaven
be sure that the content you are produc-
ing has value to others. Christian artists,
musicians and songwriters have a very
tough time self evaluating their content.
Why is this? It is because they are highly
attached emotionally to what they have
created. And I get that. We should be
attached to what we are creating with the
Creator. However, I see many out there
who settle for mediocrity and believe God
will make up for their lack of quality, or
they simply do not know they are me-
diocre. And, Christians are notorious for
telling artistic creatives they are “anoint-
ed” or great because they are afraid to
discourage them by telling them the truth
about their content. I cherish truthful
criticism of what I am doing and never
discount it or blow it off as someone not
getting what I am doing. Talk about pride
and arrogance. I used to think that way,
but God broke me of that.
3. Be passionate about your mission.
Passion draws people to you as much as
or maybe more than excellence. Don’t
be arrogant, or think you are God’s gift
to humankind. I have news for you, you
aren’t.  And that is the first step to pas-
sion. There is a fine line between holy
boldness and prideful arrogance. That
44
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Rewind
by Jim Oas
Bob Kilpatrick -
Set Aside
Born in Kentucky, raised in both
Japan and the Lone Star State, then
as a teen the big move to Turkey (as
in the country). My goodness, mak-
ing me jet lagged just reading about
it. His parents saw the pitfalls of
an American teen living in Turkey,
smack dab in the middle of a very
rich drug culture and with extremely
harsh penalties for those who par-
ticipated and were caught. So they
sent Bobby packing to a cousin’s
house in Georgia (not the country)
for his junior year of high school,
as in the 11th grade. Bob was already starting to
play guitar and sing by this time. He wanted to
be like the Beatles and he had started a couple
of bands by the time he got to high school.
Now something good happened in Georgia,
besides those sweet peaches. Bob went to a
retreat with a friend and met our Lord in a
real way. It would change his life like he never
imagined. The following year Bob’s family
returned from overseas and they all touched
down in Northern California for his last year
of high school and he has never wanted to live
anywhere else since – he has become a West
Coastian thru and thru. There ought to be a
song in there somewhere.
There was a period of time where Bob felt
he was letting music become his God. In an
effort to convince himself that he was not put-
ting anything before his
relationship with Jesus,
he broke his guitar in half
Question:
and burned it in a fire, not What connection
unlike sacrificing it on the
altar. God honored that did Bob Kilpatrick
because a few months
later a friend gave Bob have with Keith
a guitar and he started
singing, singing and sing-
Green? Answer
ing. Bob got involved in
an outreach ministry to
at the end of
both UC Berkley and UC this article.
Davis, and one evening at
a prayer time he moved to another room with a
few others. They ended up spending five hours
in that room praying and Bob left knowing he
had been set aside for the ministry; he was
only 17, this was 1970, and it was a very good
year.
Summer of ’70 saw Bob start a house minis-
try and it was during this time he started dating
Cindy, who he had met in high school. After a
period of time they broke up and Bob was really
hoping that he wasn’t going to end up being
a eunuch
for Christ;
didn’t feel
like he was
gifted in that area. He thankfully got her back
and they were married in Nov. 1971 (moving
in on 40 years now). With the house ministry
still going strong, Bob and his expectant wife
left for an outreach in Europe for a few months,
leaving a couple of good friends in charge of
the ministry. While overseas, they realized their
house ministry time was up and decided to let
it stay in the capable hands of their friends.
Upon returning from Europe in 1972, they
were given the opportunity to meet Corrie ten
Boom. She saw that Cindy was expecting and
asked if she could pray for her child. Cindy
agreed and Corrie layed hands on her stomach
praying a blessing over the yet unborn Joel.
That was an honor not afforded to many and
coincidence or not, Joel has become a gifted
writer. The family moved to Sacramento, Ca.
where Bob became a youth
pastor and made some lasting
friendships. There was only
one little problem; Bob wasn’t
any good at being a ‘youth pas-
tor’. It was a round peg, square
hole type of thing, rhetorically.
The Kilpatrick clan made
the move up to Redding, Ca.
where he became the music
pastor for Earl Johnson at
Bethel Church. Bob felt he was
only marginally better at that;
he felt somewhat stifled and
knew his calling was something different. One
day Earl called him in and they had a ‘mano y
mano’. He told Bob that he wasn’t doing either
one of them any good in that position and
that he needed to get out and write/perform
his songs to the body of Christ. For the next
two years, the only time Bob attended Bethel
Church was at Easter and Christmas. Other
than that he was on the road traveling and
singing.
50
It was during this time
that Bob wrote the well
known worship song, “[In
My Life Lord,] Be Glorified”
– Spring of ’76. Earl was
the father of that song, in
that he encouraged and
empowered Bob in this
ministry. How did it happen
to become a hit? No easy
answer – others began to
sing it. It picked up with a
ground swell. A friend of
Bob’s at Calvary Chapel,
in Costa Mesa, led music
there. He heard the song
and played it there for two
years. Karen Lafferty, a
Maranatha! Recording artist,
heard it, really liked it and
began performing it. She
took it on tour with her all the way to Europe
and back while Maranatha! Music recording art-
ist/producer, Tommy Coomes, put it to vinyl.
And Bob recorded it on his first album as well
with the band, David, featuring Randy Mitchell
on guitar and Alex MacDougall (later of Daniel
Amos).
Bob’s ministry is focused on communica-
tion. He says that people remember what they
laugh about and they remember stories; Bob
provides both intertwined with great music
when he ministers to churches and groups.
Although Bob had inside thoughts of touring
and attaining album sales success the way other
well known artists were able to do, he realized
he could not afford to take a band on the road
and he was losing his hair. Dagnabbit as Walter
Brennan used to say. Really long hair was still
a tough sell in churches back at the start of his
ministry anyway; looking at him from the front
he’d get hired, when he turned around and
walked away, they’d think, what in the world
did we just do? (just kidding Bob). Since Bob’s
primary ministry was to the Body of Christ, he
needed to fit in there and he did.
During 1990 Bob, Cindy and their family
made the move to Sacramento and they have
been there since. Note that the reason for the
move was to live near a larger airport for direct
flights to his destinations – which ended up
saving him about 28 travel days a year, not
spending nights different places waiting for
connecting flights. That afforded him more
time with his family. As the ministry has
grown, he now travels worldwide.
Bob took his oldest son, Joel, with him on
a two week outreach in Mexico City where Joel
played keyboards for Bob. That outreach sealed
Joel’s commitment to the Lord. Bob has also
taken his other children on ministry trips to
Mexico and Australia. Bob and Cindy have four
sons and a daughter:
Joel, Ian, Andrew, Kyle and Brittany. There
was much prayer between the birth of Kyle and
Brittany, and the Lord honored them with a
girl.
A listing of Bob’s many
gifts:
Musician
Writer
Singer
Producer
Enginner
Author
Teacher
Radio personality:
KLOVE.com
Like most guitarists, Bob wanted a studio
to record in. He is somewhat of a gearhead.
Working on a soundtrack for a film gave him
some budget wiggle room – and what did he
spend it on: gear. His house had room for a
nice studio and he had a contractor friend who
sent in a crew and just blessed his socks off.
Cindy finally asked Bob what it would take to
make it a world class studio? Now how many
of us have wives that would ask that? Well Bob
said a few more $1000, just a few. So they did
it; vocal booth, drum booth, main room. Bob
has recorded Randy Stonehill, Phil Keaggy and
many others in that studio. Also, using today’s
technology where you can upload and down-
load tracks to work on, he has used the studio
for recording parts on other artists albums for
Noel Paul Stookey, Sara Groves, Larry Norman,
Russ Taff, Phil Madeira, and more I am forget-
The G7TH Nashville Capo
designed for accuracy & speed
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In Pursuit of Excellence
ting. Electronic transfer – who would have
thought 20 years ago! Lincoln and Jeremy
Camp have stopped by to hang but never
recorded there.
Bob started his own Label during the
90’s in order to more easily distribute his
music projects and those of other artists
he was working with as well. It also af-
forded him the opportunity to put some
records out with other recording musi-
cians. However, studio work is just that
for Bob, necessary work in order to get
his music into peoples’ homes and cars. He is
most comfortable on stage; performing music,
telling stories, communicating truths to the
Body of believers. He is a firm believer that the
saints can be entertained and equipped all in
one sitting.
Bob and Joel Kilpatrick co-authored a new
book due out this December with Zondervan,
titled The Art Of Being You: how to live as
God’s masterpiece. Based on some thoughts
from English writer, Dorothy L Sayers, Bob
started collecting and expanding his thoughts
on this subject. His son, Joel, even spoke of
this at his 1990 graduation; God is an artist,
life is art. Well the time is at hand for compil-
ing and presenting these ideas and truths to
engage us in thinking and living our fullness in
Christ. Bob also just completed recording the
audio version of the book as well and both are
available for pre-order at Amazon and all other
major retailers. Bob’s first book, Secrets of the
Silence, is a 21 day devotional and came out
last summer.
You might also recognize Bob Kilpatrick’s
name from CMS workshops and this magazine.
Bob was a contributing writer from 1996 to
2009. He met CM.com President and Editor
Bruce Adolph at Spirit West Coast, on stage.
Bob bought the give-away guitar from Bruce
and it all started from there. Bob says his maga-
zine writing was bootcamp for him and allowed
him to hone his writing skills to the point
where he was ready to do a book. To Bruce, Bob
says ‘thank you’.
Well as we are wrapping up this calendar
year, it is clear to see what a blessing to so many
Bob Kilpatrick has been – and will continue to
be as he is set aside. Remember to check out his
new book; this is 2010, and it was a very good
year.
Answer: Bob Kilpatrick performed with Keith
Green at Jesus West Coast in Santa Rosa, Ca,
1982, along with Loren Cunningham. That was to
be Keith’s final concert before he passed from us in
that tragic plane crash a few days later, back home
in Texas.
Until next time, ‘2nd star to the right and
straight on til’ morning’; Peter Pan, Capt James
T. Kirk, and I, Jim Oas
The Capo Company
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 Think Inside the box
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CODA
a friend suggested he might really be more
like the elder one. Later, when another friend
prompted him to consider whether his true
calling might be to become the father, Nou-
wen began to view the parable as the story of
his own earthly life.
Something about the elder brother
grabbed Brian and Christopher from the
beginning. That’s why they decided to make

Long, Satisfying Road him the narrator of the story. They wondered
what did it feel like for him the day after his
brother’s celebrated return. And the next

to Provision day. What if the elder brother had his own

opportunity for redemption? What would it

by Brian Doerksen & Christopher Greco take for him to gain his own long-awaited
homecoming party?
Brian sings the role of the elder son on
When Brian helped them stay the the recording, and says, “As I sang the elder
Doerksen and Chris- course. son’s thoughts and feelings over and over, I
topher Greco set out Both have “day identified with his struggle. Grace is much
to write Prodigal God, jobs”, as it were: easier to receive when it’s covering my own
the musical tale of Brian as an Integrity sin, rather than when it’s extended to some-
two brothers and one recording artist and one I perceive doesn’t deserve it.”
wastefully extravagant local church worship Not only did Nouwen’s book goad them
father, they weren’t pastor on the west to look deeper into the story, it offered a most
expecting it to be a coast of Canada, and remarkable example of an art consumer and
work-in-progress some Christopher as an arts audience member. At once a learned man and
8 years later. They and worship pastor a curious child, Nouwen savored all he read
weren’t planning to re- of the Greater Boston in the parable and all he saw in the painting.
cord all 23 songs first Vineyard on the east He hung on the details over years. What Nou-
and release a premium coast of the U.S. wen beheld in the art informed the choices
double CD. Or to be Do they have any he made about what to do next with his life.
adapting the story to anguish about the long Through art, he made more art, and lived a
a screenplay before it’s road to Provision, the more satisfying life because of it.
even seen the light of name of the fictional In similar fashion, Prodigal God has
a theatre. town in which the become an intensely personal project to both
They knew writing story is set? “Not any- Brian and Christopher, as they each are sons,
a full-length musical more,” says scriptwriter brothers, and fathers who find parallels be-
is more involved than and co-lyricist, Christo- tween the characters and their own spiritual
collaborating on a pher Greco. “The story homecoming journeys.
worship song, piecing has only gotten clearer “Had we not had such a personal invest-
together a cohesive and more powerful ment in the story, I’m not sure we could’ve
worship set, or record- as we’ve lived in it all sustained this long road,” says Greco. “This
ing an album. From these years.” story has become a bell-weather for me as I’ve
the first song they wrote, “A Father’s Love,” Brian, composer of the music and co- navigated my sons’ entry into the teen years.
to the last song of the show, “Provision”, lyricist, adds, “The journey started for me in I hope it’ll offer my sons half as much as I’ve
they knew the music would have to carry the 1991, the month my special needs son was gotten out of it.” For Doerksen, reaching this
emotional heft of an all-too-familiar parable, born with Fragile X Syndrome. Benjamin is milestone is a little more bittersweet. “Due to
and to do so in surprising and contemporary now 19 and here I am, still on the road to the my son’s mental disability, Benjamin won’t
ways. They knew the characters of that story fulfillment of this vision: an epic story inter- comprehend the intricacies of the story – but
were going to drive the creative process in woven with songs that communicates father one thing he gets; unconditional father love
ways they couldn’t predict or control. love to a fatherless world!” which is at the heart of this story.”
But they had no way of knowing how A key inspiration came from Henri Nou- Prodigal God was released as an indie
long it would take, how many pages of dia- wen’s classic spiritual memoir, The Return of project on October 12, 2010, exclusively
logue would be written, cut and rewritten, or the Prodigal Son, based on his reflections on through www.prodigal-god.com, and can be
how many lyric changes a single song could the Rembrandt painting of the same name. purchased for various amounts, depending on
sustain. They didn’t know what they didn’t In brief, Nouwen’s strong identification with how much you can afford, and with which
know. And they still don’t. And maybe that’s the younger son took a surprising turn when character you want to identify.
54
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