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 Features
8 Bassic Communication
by Norm Stockton
CONTENTS
36 The Fretboard Less Traveled
Intro to Solo Bass Arranging
by Rich Severson
(Part 5)
Inversions Continued
10 Guitar Workshop
An Editor’s Best friend… by John Standefer
38 Ask Joe
by Joe Riggio
Be Thou My Vision
It takes a lot of effort by a whole team to publish a magazine. My 44 Rehearsal, God Help Us
12 Drumming Dynamics
team starts with my wife Judy and her love and support of what we by Bryan Duncan
by David Owens
do (thanks yobo!). Then you have a whole array of talented writers Chris Coleman
who have a passion for teaching others and who keep providing
good content issue after issue. On the production side, there is Matt
14 Vocal Coach’s Corner
by Roger Beale
Interviews
Kees bringing home the design and layout, Kevin Wilber and Toddie 20 Phil Keaggy
So Many Questions, So Little
Downs copyediting/proofing, and my dedicated printer bringing it Turning 60... Better Than Ever
to fruition. Now the free digital version of the magazine is on-line Time
16 Product Review by Bruce Adolph
accessible to anyone who wants to learn or be edified as a musician
- 24 hours a day. That is teamwork! Not to mention our advertisers by Bruce Adolph
who not only make good products for our musician readers (you), Lâg Tramontane
but who, for many of them, really have a desire to support what we T300DCE Guitar
all do because they “get it”… they have a heart for the things of the 18 Show Us Your Groove
Lord too. It is pretty amazing to see all of these pieces come together by Rick & Diana Cua
every issue. It is like an unscripted free-flowing jam session where Couples in Ministry: Double
everyone finds the big ending and ends on “one” all at the same time. Blessings or Double
Amazing… and God gets all the glory for it. I am grateful to get to Trouble, Part 2
have such a good seat in the house to watch it all happen right in 24 Guitar From A2Z
front of me. by Roger Zimish
Answering the Call
But the title of this article is “An Editor’s Best Friend…” so what gives?
Well, as I am sitting here writing this, the answer to that question is 26 Selective Hearing
right under my nose. Sitting on my lap actually. On Valentine’s Day by Shawn McLaughlin
Judy and I adopted a dog. Not just an ordinary dog, but a rescue Blessid Union of Souls
dog by the name of Winston. He is a Shee Poo (a mix of poodle Jenny and Tyler
and Shih-Tzu). He was supposed to be put down in a shelter on a Brandon Bee
Friday in California, and the workers were too busy to do it that day. Stryper 41 Philmont
On Monday morning a lady called the pound and found out about Mavis Staples by Bob Waller
Winston’s still pending execution and adopted him for one year, Kemper Crabb
bringing him up north to Washington. I found Winston on Craigslist, Eisley
and Judy and I have come to love this little dog like crazy. He follows 32 Songwriting with Dwayne
me around the house. If I go downstairs, he follows me; if I am working
Larring
in my home office - he is on my lap or by my feet; if I go to town to
get the mail, he is right there in the truck next to me. Judy calls him my 34 The Indie Mechanics
shadow (and she says we have the same hair… ha!). I have taken him by Keith Mohr
to meetings and on all kinds
of errands. He is very good-
natured and has become
quite a good companion
to me. I’ve never really
had a small dog like this
(mostly golden retrievers).
Winston doesn’t shed
and is hypo-allergenic – 4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373
how considerate of him! Phone: 253.445.1973 Fax: 253.655.5001
Anyway, Judy and I wanted Email: bruce@christianmusician.com
you to meet the newest Website: www.christianmusician.com
member of our magazine Editor & President: Bruce Adolph
Vice President: Judy Adolph, judy@christianmusician.com
team. He brings us a lot
Customer Service: Brian Felix, brian@christianmusiciansummit.com
of joy, and he truly is an
Street Team: Mike Adolph, Jesse Hill & Winston
editor’s best friend.
Design & Layout: Matt Kees Copyediting: Kevin Wilber, Toddie Downs
Accounting: Debi Davis
Lord Bless Ya!
Advertising Sales: bruce@christianmusician.com
Published by the Adolph Agency Inc.
Bruce & Judy

CHRISTIANMUSICIAN.COM MAY/JUNE 2011 7

 Intro to Solo Bass Arranging (Part 5)
Greetings, O Purveyors of Groove! I
hope this finds you well and enjoying our
exploration of solo bass arranging.
The journey continues with the ongoing
understanding that we’re (obviously!)
extending beyond the scope of our
fundamental role as part of the foundation of
a normal rhythm section. Yet there are huge
dividends for our overall musicianship to be
found in this evaluation of melody, harmony
and rhythm – plus it’s also just a lot of fun! :^)
If you’re just joining us, we’ve been looking
at the chord voicings and forms around which
the melody will be played for our solo bass
arrangement of the traditional Christmas
tune, Angels We Have Heard On High
(Gloria). Many of these chords might seem
fragmented or harmonically “incomplete”, but
don’t worry – the melody will fill in many of
these harmonic “holes”, and there’s a method
to the madness – stay tuned!
Last time, we focused on the verse section.
Today, we’ll be looking at the first part of the
chorus section (think “Glo-o-o-o-o-o-o-o-o-
o-o-o-o-o-o-o-ria!”).
Bassic Communication
Intro to Solo Bass Arranging (Part 5)
Solo Bass Arranging
Chord voicings around which melody was played
Chorus Section (1st Part)

"Angels We Have Heard on High" (Trad. Christmas Carol)
    
E C#- F#-

   

16 18 14
14 18 16
14 16 16
© 2009 Stocktones Music
8 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
The chorus progression in our arrangement
starts with I–VIm–IIm–V, played twice. As
in the verse section, the I chord (E Major) is
played with the 5th (or B) as the lowest note
(technically it’s an E5 chord or “power chord”
as we’re not including the 3rd on this pass).
As a quick aside, this chord voicing is
referred to as the “2nd inversion”. You can
think of inversions as the “bass” (or low note
of the chord) being a chord tone other than
the root note. The “1st inversion” would
have been if we played the 3rd (G#) under
that E Major chord. Some very cool motion
and voice leading can be found in exploring
inversions…but always use your musical
discernment and taste, as inversions are often
best used sparingly!
Anyway, back to the chorus. The VIm chord
(C# minor) is here voiced as a C#5 chord,
too, comprising the root, 5th and octave. The
IIm chord (F# minor) again employs the 2nd
inversion voicing, with the 5th (C#) as the low
note. The proceeding V chord (B or B7) is
voiced as a B5.
In bar 3, the chord progression repeats. The
Arr. Norm Stockton
B (or B7) E C#- F#-

 
   
16 13
16 14 16
14 14 16 16
14
I chord (E Major) is again voiced as the 2nd
inversion, but is now a true E Major as it
includes the 3rd (G#) on top. Take note of
the fact that the VIm chord (C# minor) this
time is covered by just the root (ooooh…
cliff hanger! – again, stay tuned! ha). The IIm
chord (F# minor) in bar 4 is played as F#5
this time, as is the V chord (B5) occurring in
the 2nd half of the measure.
As you may recall, the “8va” indicates that
the notes are played an octave higher than
written.
Once we dive into playing the tune, many
of the choices behind these chord voicings
will become clear. Until next time, have fun
in the woodshed!
Blessings!
(Adapted from curriculum in the Grooving
for Heaven instructional DVDs)
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
B (or B7)
The Typhoon”) 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
16
14 GrooveSpot) and register for his
e-newsletter (the groove update)
for tips, interviews, clinic invites,
exclusive discount prices, and more.
Spreading the Word
“Players at my clinics and concerts are
always floored by the tone, punch,
clarity and headroom of my GK.”

Norm Stockton
Lincoln Brewster

NORM’S WORKSHOPS at
CMS@theChapel 2011

SESSION 1: Grooving for

Heaven, The Bassist and
Contemporary Worship

SESSION 2: Bassists and

the Art of Groove

SESSION 5: Grooving
Together - Bass & Drums
w/ David Owens

SESSION 6: From Bass POWER TO GROOVE

Pyrotechnics to Art www.gallien.com
 Be Thou My Vision

Over the years I’ve talked a Be Thou My Vision: Chord Chart

lot about ‘arranging’ music, q = 90
particularly hymns, to breathe
some fresh life into them. The Verse 1
magic primarily comes from Intro
the use of colorful chord C A‹7 D‹7 G7(“4) G7 C(„ˆˆ2) A‹7
substitutions, along with

specific chord voicings and
fingerings. The catch is that
 
when I write an arrangement
of a hymn, it generally adds up 7 F(„ˆˆ2)/A G/B C(„ˆˆ2) G(„ˆˆ2)/B G/B C E‹ F C/E G(“4) G
to 2 or 3 pages of TAB, plus
performance notes. And what
would even be better would

be to get an audio file too
where you could hear me play
the arrangement, right? The 13 A‹11 E‹7 E‹ A‹ G F G C(„ˆˆ2) A‹7
problem is that I can’t fit all of
this into a 1-page magazine 
article for CM. All I can give Verse 2
you is bits and pieces. Well,
maybe we can do something 19 D‹7 F/G C(„ˆˆ2) A‹9 E‹7 F6 G C
to change all of that. What
you have here is a chord 
chart arrangement for Be
Thou My Vision. If you know
these chords and can simply 25 G(„ˆˆ2)/B G A‹ C D‹ C A‹ G(“4) G A‹11 E‹7
read and play it, you’ll get
something out of the article 
just like it sits. But… if you’re
interested in getting into the
specifics of the particular 31 E‹ A‹ G F G A‹11 E‹7 F6 G(“4) C(„ˆˆ2)
voicings and fingerings I use
and the exact note-for-note
way that I play it, then here’s

an option for you. Let me
explain. Arrangement Copyright © 2011 John Standefer Music.
Over the past year I’ve been In this online collection I’ve done both a news, calendar events, etc.). When you sign
doing a lot of updating at www.johnstandefer. solo and an accompaniment arrangement up to be on my email list, you get these juicy
com. I’ve created several new products as of Be Thou My Vision (each is in the $3.95 little e-newsletters every other month, just like
well, including about 15 individual solo and price category) and the chord chart you your CM magazine subscription. Thanks, and
accompaniment TAB arrangements (and the see here exactly coincides with the online enjoy! - John
list is growing). These TAB arrangements vary accompaniment TAB arrangement. But in the
in terms of length and skill level. The prices arrangement on my website you also get all
are very reasonable. For $3.95 you get a the exact voicings, fingerings and a note-by- Have you seen John’s free ‘Praise
nice intermediate arrangement (2-pages or note 2-page TAB chart (plus the performance
so) with a page of performance notes and notes and the audio file). So… if you want to Guitar Lessons’ online yet? Go
an audio file of me playing the piece. For go further with Be Thou My Vision, here’s to CCLI TV and start the weekly
$7.95 you get an advanced arrangement like your chance. Just visit the ‘store’ page at my lessons today. And make sure to
what you might hear on one of my CDs and website. Oh, and I’ve also totally revamped look over John’s calendar at www.
the length averages 5 to 7 pages. The time it my every-other-month E-Newsletters to praiseguitar.com to find an event
takes to learn one of these TAB arrangements include lots of cool free stuff (‘Guitar Tips
could vary from a few days to a few weeks, And Tricks’ video clips, the ‘Ask John’ Forum, near you where you can hear
depending on the difficulty level. him live.
discounts on selected products, the latest

10 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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If you have not heard of Chris Coleman, it is
time to take a trip to YouTube and discover
his wonderful drumming skills. This guy has
everything. Great feel and time with tons of
power and chops.
Type into YouTube: “Israel and Newbreed
drummer Chris Coleman drum solo”. At
one minute and eighteen seconds into the
video you will hear him playing some very
fast 16th note triplet fills. Right after that he
establishes this wonderful groove and then
he plays a metric modulation of sorts.
The transcription starts with the eight note
triplet crashes setting up the groove. Then
after four bars of the groove he breaks into
eighth note triplets on the high hat, but
is playing groups of two, giving it a faster
two-beat vibe for a few bars. I love the way
he messes with the feel but his time stays
consistent.
Chris Coleman
It’s amazing how much information we
can pull out of a few seconds of this solo. I
encourage you to find those little moments
that interest you in a video or CD and really
dissect it. Always make sure to play it slowly
with a metronome, and then once you get
it under your hands, gradually pick up the
speed. I find it easiest to practice two bars
at a time and then put the two-bar phrases
together. If you have a way to record the
audio off YouTube and slow it down with
Audacity (or some other application), it
makes it much easier to figure out.
Practice hard and have fun.
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

1:18 into the YouTube video: 3

isreal and newbreed drummer
chris coleman drum solo     

     
       
  
  
Crazy 16th note triplet fills
 
 


          
  
            
3 3 3 3 3 3 3
                     
     
3 3 3 3 3 3
              On to more crazy fast stuff


    
         

12 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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 So Many Questions, So Little Time
The spring semester is the time of the year
when I teach a collegiate course on vocal
pedagogy. I enjoy teaching the class and it is a
thrill to watch the students get excited about
the physical functions of the voice, different
voice training systems and developing a
desire to help others sing in a more enjoyable
manner. To keep my classes from getting
bogged down with too many questions, I have
the students write out questions during each
class session. They are then discussed before
the mid-term exam and before the final. I
have chosen some of the students’ questions
for you to ponder.
Question: What is the vocal tract?
Answer: The vocal tract extends from the
vocal folds to the outside of the mouth. It is
a flexible system that reacts to the articulation
that speaking and singing demand. In its
reaction to a vibrating voice, it will have a
direct influence on the tone of the singer,
hopefully a positive one.
Question: I have seen teachers ask
students to raise the head in order to free
the voice. On the other hand, I have seen
singers, mostly male, who sing with the
head very low all the time. Is there a head
position that is too low?
Answer: There is no need for any head
position that presses muscles down upon the
larynx. A singer’s head should be neither high
nor low. It must remain in a position similar
to normal speech. The head must never rise
on high pitches or lower on low pitches. To
eliminate this habit, work on your posture.
Question: I had a teacher that always
told me to “tank up” with air before long
passages. When I do this I feel tight in the
chest and ribcage. Is there another way?
Answer: It is not uncommon to “tank
up” for heavy physical activity. But over
breathing does not work to the singer’s
advantage. Forced inhalation like this
causes an overcrowding of the lungs and
causes the breath to expel at an even faster
rate. Singers who “tank up” also breathe
with their shoulders and we all know that
isn’t right. Singers who “tank up” are usually
noisy breathers. Quiet breathing eliminates
shoulder breathing. But the most effective
way to eliminate “tanking up” is to use short
exercises while eliminating any holding of the
14 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
breath by the singer. As a great voice teacher the vocal folds add resistance to increased
once said, “Breathe to satisfy the lungs, not to air pressure. A portion of the vocal fold will
overcrowd them.” actually cease to vibrate. As higher pitches
Question: During this course you have are sung, the back side (posterior) of the
never mentioned the lip trill. Is there any vocal folds begins to dampen. In very high
value to lip trilling or is it a gimmick? pitches, the front portion (anterior) of the
vocal folds does the vibrating. The pitches
Answer: The lip trill or lip flutter has used in the female whistle register cannot be
become an omnipresent, one stop shop, one sung without heavy damping. Since this is not
trick pony cure-all for some voice teachers a conscious event, I would not waste much
in America. It may provide mental health time discussing this, if ever.
benefits, but it is doubtful that the lip trill is
as important or as significant as some people Question: What do I need to do to get
think. The lip trill does activate the breathing a vibrato?
muscles, which increases awareness of correct Answer: A vibrato is achieved when the
breathing techniques. But let us not place a airflow is regulated in an even manner.
major role on a minor device. Lesson time can Incorrect breathing techniques are the
be put to much better use. main cause of a singer not having a vibrato.
Question: Our choir director tells us Attempts to imitate a scary ghost sound
we should take the three middle fingers while singing a glissando both up and down
of the hand and place them between our may help to jump start a vibrato. Alternating
teeth. It is supposed to open the throat pitches in half steps starting slowly and then
and increase space. It feels very tight and increasing the speed is a very popular way to
uncomfortable. attempt to start a vibrato. But I have never
known that approach to work. Vibrato is a
Answer: Placing three fingers upright result of a good breathing technique.
between the upper and lower teeth will
produce a lowered jaw but this does not Now go sing well!
follow correct physical and acoustic function. Milestone: This is the 75th edition of
The Vowel /i/ uses a lateral mouth position, the Vocal Coach’s Corner. I am looking
which produces a greater throat space than forward to 75 more. Bruce, thanks for
does the vowel /ah/. The mouth is in its letting me teach.
most open position when pronouncing /
ah/. Forcing the jaw down creates unwanted
Roger Beale is one of the
tension and does not create more space in the
nation’s foremost vocal coaches.
throat. Dropping the jaw actually narrows the He presently works with
throat and forces the muscles to press down professional singers in all areas
on the larynx. This approach reminds me of a of musical performance. His
student who, while in junior high school, had teaching and coaching facility,
a choral director require them to place their The Voice House, is involved
entire fist in their mouth to create maximum in the management and care of
space for singing. Another device is placing the professional voice. Many
corks between the singer’s molars in order to of his students have won
keep the jaw open. None of these approaches prestigious vocal competitions
have a place in a vocal teaching studio. They and scholarships. In addition, he has worked with
create tonal distortion and malfunction. Grammy and Dove award winners and nominees.
He also offers vocal clinics and seminars, as well as
Question: Recently I attended a assistance in recording sessions. Roger is founder
workshop led by a vocal teaching “guru.” and host of the Christian Singers Workshop
He made a big deal out of damping in the (www.christiansingersworkshop.com), dedicated to
singing voice. What is it, how is it done, the teaching of contemporary and commercial vocal
and what does it accomplish? techniques.
Roger can be contacted at: The Voice House, PO Box
Answer: Damping is not a conscious vocal 87136, College Park, GA 30337, (404) 822-5097
event. Damping does not produce a physical e-mail: voicehouse@mindspring.com,
sensation in the larynx. It happens when web site: www.thevoicehouse.com.
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PRODUCT REVIEW
Lâg Tramontane T300DCE Guitar
by Bruce Adolph
At the NAMM Show I wandered into the
Korg booth to look at some amps (Korg
distributes some of my favorites…Vox and
Blackstar to the US) and right in front of me
was a whole display of Lâg Guitars.
Michel Lâg-Chavarria has been building
guitars in southern France for more than 25
years now, but a new distribution deal with
Korg has brought these guitars to our shores.
Lâg guitars are unique and affordable. The
Tramontane T300DCE is French-designed
and built in China (thus keeping the retail
price down to a low $925.00, and a street
price of just $699.00). But before you jump
ahead and think it is going to sound like an
inexpensive import, just hold your horses
because this well-designed guitar has a lot
to offer, and a low price point is just one of
it’s merits. Lâg’s Tramontane line of guitars
includes dreadnoughts, auditoriums, nylon-
strings, and 12-strings. There are cutaway,
acoustic-electric, and left-handed options
in a variety of woods. But there are a few
distinctive features common to all models:
a flared headstock with bi-level overlay, a
pinless bridge, curved body bindings, a
compensated black graphite saddle, and an
Occitan cross rosette.
We received the Lâg T300DCE
cutaway dreadnought for review.
It sports a solid cedar top,
laminated Indonesian
rosewood back and sides,
and Lâg’s StudioLâg Plus
electronics loaded with
five preset EQ curves.
This may be a
factory guitar, but it
has it’s own look to
it with it’s satin finish,
black tuners, and
bi-level headstock.
The T300DCE has a
dreadnought shape
with X-bracing (not a
traditional Martin-style
dreadnought).
The construction and
craftsmanship on the Lâg is well done,
and guitarists who like a skinny neck will
love the 111/16-inch nut width (it is actually
a bit narrower than that because the nut is cut
so that the E strings are set 1/8 inch in from the
side of the neck). The more I find out about
16 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
this guitar the more appealing the price is to
me. The narrow C-shape neck is thin enough
for electric players, but not so thin as to scare
folks off. The action is low, and the neck plays
better than fine.
The cedar and rosewood combination onboard preamp,
of tone woods delivers a warm, balanced which features five
sound that you have come to expect from preset EQ curves
a dreadnought, with less of the bass-side accessed via a rotary
boom. The sound is centered more in the selector: Natural Folk,
lower midrange with clearly defined bass Mellow Mids, Studio Mid-
notes, sweet midrange, and bright highs. The Cut, Fingerstyle, and Mellow
clean midrange provided warm tones for my Jazz. You can further color the
key of A, bluesy half-rhythm and half-lead sound with the treble and bass
pentatonic playing style. controls. There is even a bypass
For electronics, this model has a Shadow switch if you want to skip the pre-
Nanoflex undersaddle pickup, shaped set EQ. Please keep in mind the
by the proprietary StudioLâg Plus price point of this guitar – you get a
pretty versatile and hip pre-amp for
the money… way cool! Plus the built-in
tuner gives you bright enough LED lights
to distract an airplane flying over.
With its warm midrange-based sounds
and a variety of amplified tones, the Lâg
Tramontane T300DCE could appeal to a
variety of players. Couple that with it’s
unique looks, cutaway body for easily
reaching the higher register, fast
action, and overall affordability, and
you have a winner on your hands
here.
The Specs: 14-fret cutaway
dreadnought body size. Solid red cedar
top. Indonesian rosewood back, sides,
fingerboard, headstock overlay, and bridge.
Mahogany neck. X-bracing. Black graphite
nut and saddle. 253/4-inch scale. 111/16-
inch nut width. French satin lacquer finish.
Proprietary tuners. Shadow Nanoflex pickup
and StudioLâg Plus preamp. Left-handed
models are available.
One Pro: The French satin lacquer finish
feels really smooth to the touch… it might get
addicting.
One Con: Like all cedar tops, if you are a
heavy strummer, you might want to place a
clear pick guard on the guitar to protect the
soft solid wood. I’ve scratched cedar tops
before just by looking at them!
Maker:
Lâg Guitar Co. (631) 390-6500; usa.
lagguitars.com.
 the
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daddario.com
D’ADDArio & CompAny inC. i FArmingDAle ny 11735 i D’ADDArio AnD the plAyer’s ChoiCe Are trADemArks oF D’ADDArio & CompAny, inC. or its AFFiliAtes in the Us AnD/or other CoUntries. © 2011 D’ADDArio & CompAny, inC. All rights reserveD.
 Couples In Ministry: Double
Blessing or Double Trouble
Part 2 - by Rick & Diana Cua
gifts, according to the grace given to each of
us. If your gift is prophesying, then prophesy in
accordance with your faith.”
As ministry partners we often need to let go of
In the last issue we spoke about some of the
wonderful benefits of working together as a the “I can do it” mentality when our spouse can
do a certain job better. God knew what He was
couple in ministry. Things like having a lot of
time together, sharing many experiences and doing when he picked you out for each other.
We should celebrate the differences we possess.
memories together, and sharing a common
vision. Let’s get right back to some challenges After all, God did, when He put us together!
and guiding principles that will help us discover DON’T TAKE YOUR WORK TOO
God’s heart for working together. SERIOUSLY
LEAD IN YOUR AREAS OF STRENGTH Now don’t misunderstand us on this one. Yes,
All too often we want to take the reins in areas the work is important and we should strive to
of ministry other than where our strength lies. do everything with excellence while utilizing our
Maybe it comes from pride, or thinking we are skills at their highest potential. But we have to
being helpful by jumping in and trying to do remember that God is the one in control, and
He says His yoke is easy and His burden is light.
everything. However, this can be stressful and
bring about conflict, so make sure you are well When we are walking in step with one another
acquainted with your partner’s strengths and we can give our all, accomplish the task, and
weaknesses. This is different from knowing each have joy in the process. If you are working with
other’s personality, which we touched on last a furrowed brow most of the time…relax! God’s
issue. This is about knowing what you are great got it under control, and He’s equipped you
at, versus simply what you can do. both to get the job done without losing a pound
of flesh in the process.
For example, you may be able to write out
checks, but your spouse may be a bookkeeper. MAKE SURE YOU PLAY TOGETHER, NOT
Or, you may be able to plan a small gathering, JUST WORK TOGETHER
but your spouse is a wedding planner! Most of us are long on work and short on fun.
In Romans 12:3-6 we read – “For by the grace One of the quickest ways to burn out is to get
given me I say to every one of you: Do not think in the BAD habit of working too much. Balance
of yourself more highly than you ought, but is what we all need in this area, and more of it.
rather think of yourself with sober judgment, in I read a book several years ago about Winston
accordance with the faith God has distributed to Churchill. What stuck with me more than
each of you. For just as each of us has one body anything was the number of hobbies he had. It
with many members, and these members do was a ridiculous number, but they were his means
not all have the same function, so in Christ we, for relaxation. Find out what it is that allows the
though many, form one body, and each member two of you to relax and enjoy something other
belongs to all the others. We have different than work. Some hobbies may be special to one
individual or the other. Allow time for
each to enjoy their hobby.
So, you need some play time
together, and some activities apart.
But the bottom line is you must have
down time. You will be healthier for it
and it will prepare you for a lifetime of
fruitful ministry.
ALTHOUGH YOU MAY HAVE
THE SAME PASSION, YOU MAY
BE DESIGNED TO ACHIEVE WORK
DIFFERENTLY
I say potato, and you say po-tah-toe.
I’m an early bird, you are a night owl.
One takes mini-breaks all morning,
while the other blasts through and
then takes a long lunch. Each partner
must recognize the other’s style of
18 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
working and come to a peace about it, or
you will lose your peace and gain anxiety as
your partner. You both need to come to an
understanding of how each of you works and
then come to an agreement of what that means
in how you reach your work goals. As long as
you are both pursuing the goal and working
according to your mission statement, you
should have mercy and grace for one anther.
Now, I am NOT saying that one’s style should
be an excuse to not meet deadlines, to avoid
setting appropriate meeting times, or to fail to
get the job done. But, I am saying that there
is more than one way to do things, and to
do them well. Please consider one another’s
differences.
KNOWING WHEN TO CALL IN OTHERS
There will be things that neither of you like
to do, have the ability to do, or the time to
learn how to do. That’s when, together, you
must call on someone else’s expertise. Do not
default back to,” the ministry can’t afford it” or
“I don’t know who to call” or any of a number
of other excuses. The price you pay will be
very steep if you do.
[Diana speaking]
The earlier in your working relationship you
realize this the better. I remember when Rick
thought I could do anything. He would ask me
to do things I had never done before. I was
stretched, with the outcome being that I grew
in areas I would have never thought of. That
was the good part. The bad part was when
I repeatedly was not successful in a task, or
was overcome physically or emotionally, and
he still thought I should continue. Not good.
Praise God we are past that!
Be a good listener. Really hear what your
spouse is saying. Be observant. See how your
spouse is behaving. Take it to heart and make
changes as necessary.
Ministry is never to hold a place above your
relationship with each other. And NEVER
should it be above your relationship with God.
Keep God’s order; there is a blessing in it.
“And you will love the Lord your God with
all your heart, with all your soul, with all your
mind, with all your strength.” And love your
neighbor as yourself. “ Matt. 22:37-40. Your
wife or your husband is your neighbor.
We hope this has been helpful for you. Enjoy
each other’s company as you do God’s work
together, and enjoy His presence in everything
you do!
http://4wrd.it/aseriescm
 By Bruce Adolph
I first met Phil Keaggy in person back in the early 80’s. I already had a lot of respect for him, of course, from his records What a
Day, Master and the Musician and the epic How the West was Won with 2nd Chapter of Acts. Phil was doing a guitar seminar
for the retail music store I managed back in Lomita, CA. We held the seminar in a nearby church because the music store was
too small to hold the attendees. The people who came to it were so excited to get to see Phil play in person! Now fast forward
almost three decades, and in those 30 years I have seen Phil play live more times than any other artist in my lifetime (there are
some years like last year, where we had Phil booked at all four of our Christian Musician Summit conferences). What has amazed
me the most is that - just like last November when I heard him play “live” most recently - he keeps getting better and better. His
playing style is more adventurous than ever, his singing has never been better, and his entertaining/comic attitude towards his
performance mixed with a humble respect for the gospel is stellar. I have seen Phil blow peoples minds for years now but I have
to tell you, if you haven’t seen Phil “live” in a few years or listened to his latest recordings - you are missing out on something
truly special. He is not only growing old gracefully - he is better than ever.

Christian Musician: A few weekends
back you celebrated your 60th birthday.
Tell us how you celebrated it.
Phil Keaggy: Bernadette threw a party for
me on the Sunday night before my birthday,
which was on a Wednesday. And I said,
“Honey, are you sure you want to celebrate
my 60th birthday three days before I
actually turn 60? I mean... we don’t want
to be presumptuous here!” (laughs) So we
had a bunch of friends over; about fifteen
couples and some single friends all came to
celebrate. And then, Monday night, Daniel
and John from Glass Harp came down so
that they could spend my actual birthday
with me on Wednesday. We messed around
and worked on some songs and just visited
with each other and hung out in the studio.
Then Tuesday night, we played at the 3rd
and Lindsey club in Nashville TN. I was
doing a gig there with Bobby Blazier, Chris
Rodriguez, Gene Miller, Carl Hezzelberg
and other players . We are a group of
Phil and his Dad
musicians who just love wonderful covers and I just hope that my sense of humor can
old songs. They asked me to be a part of it. continue to grow as I get older, because aging
Gene and Chris and Carl have such strong is not for wimps.
voices. Then I did a couple of songs that I CM: Last November at the Christian
sang lead to. But it was great to just be with Musician Summit in Overlake,
the group and play my guitar bits and play Washington, it was an honor to present
some electric with them. But, before we did you with the Roby Duke Creative Life
that set, Glass Harp did a full forty-five minute award. Tell us about that evening for you.
set! People seemed to really like it. Most of
the people down here have never heard us PK: I was so blessed and humbled by that
experience. I want to thank you, and all the
play before. And they packed the place out,
which was really great! folks that gave that to me. I really admired
and respected Roby’s gift and talent, and his
So that was the eve of my 60th birthday. And humanity. I think he was one of the greatest
then on Wednesday, when I turned 60, we musicians in our genre that has ever come
had a nice meal with Daniel and John, and along. The thing that is so great about Roby,
then they left to go back to Ohio on Thursday. is that he was such a great human being, you
It was really a whole birthday week, because couldn’t box him in and define him by any
we celebrated Bernadette’s birthday, as well one thing. He was a human being that sought
as Alicia’s, (our daughter). We’re all March after God, yet experienced his own frailty,
babies within 10 days of each other. shortcomings, and sin as a human being (as
we all do). But he plowed through. He went
CM: Well congratulations on hitting 60!
That’s really great! through the dark night of the soul, and he
PK: Thank you. I’m very grateful. It’s an odd
thing though. . . .I remember watching that
movie “The Curious Case of Benjamin Button”,
and I remember thinking, “That’s me!” You
know, when he was in that stage before he
was turning younger and he was starting out
as an old dude. . . but he had this boyishness
about him. Sometimes I look in the mirror
and I feel like a young ‘Phil’, but I look a bit
like Benjamin Button. Gray hair. . .balding...
wearing glasses. . . But I’m grateful that I can
still play and still sing and still sound like Phil
Keaggy. . .I just look like a small version of my
Uncle Duke (laughter).
Philly Sandwich - Bruce and Judy squishing Phil after the
Roby Duke award presentation

20 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

 Cover photo & this photo by Ian Keaggy

CHRISTIANMUSICIAN.COM MAY/JUNE 2011 21

came out on the other side refined by the fire.
His music, like his CD Relaxed Fits, and songs
like “Bridge Divine”, and “Cathedral Walk”;
those songs are actually on my desktop. That’s
how important those songs are to me.
So to be given that plaque and to be given
that acknowledgement and that honor in the
same pathway that Roby Duke was walking in
was a great honor, and I cherish it.
CM: It was an honor to give it to you.
And you were on fire that evening too!
Like a fine wine, you just keep getting
better and better with age Phil.
I know that, even though you’re “getting
up there”; you’re not short on musical
ideas. Tell us what new projects may have
just released, and then what you’ve got
coming around the corner.
PK: Okay. The thing is, even though
I’m prolifically involved
instrumentally, the emphasis
that Bernadette really wants
me to concentrate on this year
is getting back to writing some
new vocal music. I’ve got a
start with a couple of ideas that
I think are strong. So, before I
even mention the fact that I’ve
done another instrumental,
and then another instrumental
project . . .my heart really is to
come back again, collaborate
with a few good writers, and
come up with a new vocal
album. I feel like I really need
to do this. So, needless to say,
that’s something that is really
on the forefront of my mind at
the moment.
In the meantime, of course,
John Sferra and Jack Giering have repeatedly
sent me new music to put guitar to. We
did release the album Inter-dimensional
Traveler, for which I’d like to say ‘Thank you’
for the great review! We’ve got another one
completely done already. John is finalizing the
mixing on 13 new tracks. It’s more of the same,
but there are things about this new album that
I like even more than the first one. It’s more
adventurous, and it’s got more “rumpus”
going on, if it’s okay to say that (laughs.)
In fact, I think we might call it “Cosmic
Rumpus”. It’s just fun music! It’s sounds
a bit like Booker T and the MGs, with
some jazz and interesting rock emphasis
moments. There are definitely some
Michael Bloomfield guitar moments.
CM: Yeah! Like I told you before
about your first album, it really threw
me back to some of your moments on
Zion where you really just kicked out
and played some blues/rock guitar.
I love that about it and I’m glad that
22 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
you’re doing another one. There’s room prejudices about the message in the gospel,
for that! if they can feel some sort of true honesty in
So, you have the trio album that came the deliverance of it. I think people are really
out. Then you said you had a second hungry today for hope, and for some answers.
instrumental album? And I really believe that Jesus Christ is the
answer and the greatest news we could ever
PK: Yeah, it just came out. We did a limited hear in these times we live in.
run for now. The album is called Numen, with
Kyle Jones. Kyle is an amazing drummer and CM: Especially in light of what has been
percussionist. In fact, he is on the road right happening in Japan, the Middle East, and
now with Fleetwood Mac, playing percussion the natural disasters in America recently;
for them. He and I did an album that is even the casual observer would have to
primarily acoustic six-string guitar, and some say that the earth is being shaken up right
acoustic baritone twelve-string guitar with his now.
percussion. Then I played bass and electric in PK: Yes, it sure does seem like that. Our
places along with some guest musicians. It’s daughter, Olivia, has been living in Hawaii,
really a very interesting album. Kind of: Asian and when the tsunami took place we were
meets Middle-Eastern meets South American very concerned and felt stressed and really
meets a little of Zydeco. Because of the places had to deal with how to put our faith in God
that Kyle likes to go (and he’s a believer too. for her safety. And in the past few days we’ve
He loves Jesus), he’s been trained in the music just had to deal with some of the most horrific
of other cultures. He’s weather coming through our area. Last year
brilliant. He really brought we had the incredibly bad flooding, which
all these new things out of was literally the scariest thing I’ve ever seen.
me, just jamming with him. But just recently, though they missed our
CM: So on the new neighborhood, we had tornadoes all around
vocal album, you us bringing devastation to communities.
mentioned that you It does feel like the ‘last days’, with
were thinking of co- earthquakes and wars and rumors of wars. I
Christmas 1956 writing with some actually pulled out an old tune that I’d written
people. Are there any eleven years ago called “Headlines” and
songwriters that you’ve thought maybe I should be singing this song
already begun working in concert. Some of the lyrics are “As it was in
with? the days of Noah, as it was in the days of Lot.
PK: I wrote a song with Will we refuse to remember, and then blame
Tom Douglas that I want it on God? Earthquakes, famines, pestilence,
to consider putting on disease; Wars and rumors of wars while
the album. I’d also like to proclaiming peace. Unloving, unforgiving,
possibly put a couple of despising all that’s good. Lovers of their
covers on the album. I’m pleasure rather than lovers of God. Disregard
Christmas 2007 not sure right now. Really,
their mother, disregard their father, disregard
the power of the Lord.”
the thing I’m wrestling with right now is: do
I want to make an album with a real spiritual Those are words that mostly came right out
emphasis? Nostalgia can only take people of scripture. I feel that it’s time to lift up the
so far, and great music is great music, and I Word of God because that’s where we get
love covers! I’ve done “Good Vibrations” and our hope from, and that’s where the good
I’ve covered an Elvis tune here and there, news is found. Maybe what it means for me
as well as Dylan and The Beatles. But I just is to go out and find some good old gospel
wonder if God may draw something out of songs, and then re-vamp them and work with
me, because the gospel is the most important some musicians that can bring some soul out
message. I don’t think people have the same of me.
CM: Thanks for that word Phil. As a
part of this interview, I want to focus
on your many years being on the road.
Perhaps you can share some of the good,
as well as the bad, and maybe share a
God-filled moment as you chronicle
your journey. How long have you been
on the road now?
PK: Well, the first time I recall actually
leaving for a weekend and doing a series
of dates was June 1967. I was playing with
bands in 1965 and ’66, but it would be just
going out and playing one night and then
Phil in 1979 Continued on page 30
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Answering the Call
The phone rings and the voice on the other
end says, “We need a guitar player for an
event next week. Can you do it?” So how do
you prepare for it? First, check your calendar
to make sure you’re not scheduled for
something else that day, and that you’ll have
time to rehearse the music before the event.
If you can’t do it, be upfront and tell them
so you don’t take up their time and they can
find someone else. Or, if you know someone
else, recommend them for the gig. If you can
do it, be as prepared as possible for it. Ask
questions; don’t wait until the last minute.
Ask for copies of any charts and mp3 files
of the music. Email is the quickest way to get
these files. Then you can print out the charts
and add the music to your mp3 player. Get
any pre-show rehearsal dates and write them
down in your calendar.
Charts and homework:
Print out your charts and grab your pen
first, not your guitar. Now, listen to the song
while making notes. Not all charts are the
same. You might have a simple chart with
just words and chord names, or a lead sheet
with rhythms and map markings, or a full
score of the music. If the chart is written with
standard rhythm and measure notation look
at the beginning of the first measure. There
24 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
you will find what key the song is in and the
time signature, for example: 3/4 or 4/4, etc.
Look at the arrangement of the song. Is there
an intro, verse, pre-chorus, chorus, bridge
or a solo section? Look at the chart’s map
markings, such as repeat signs, numbered
endings, D.C., D.S. and Coda markings. Make
your own notes to help you navigate the
song, and for what settings you might need
to use on your pedal board. Now play along
with the track and do your best to memorize
the song. Then go back and use the chart as
a reference.
Prepare the sound
Listen to the music for the tone of the
guitars and then figure out your gear. Does it
call for an electric guitar with humbuckers, or
single coil pickups? What effects and amps
will you need? Check your strings and cables
and change them if you need to. There
is nothing worse than having a bad cable
in your pedal board and dead strings to
compromise your tone.
Example: Chart of Musical Map Symbols
By taking the time to go over your parts
you can attain the knowledge to play skillfully
with a level of excellence. Try the excercise
on this page as preparation for Sunday
morning services as well.
As a musician and a Christian we all have a
call on our lives, and we all have something
to say vocally or instrumentally. It doesn’t
matter if you’re on a Praise and Worship
team at a mega-church, or a church that’s
meeting in a small storefront. You might
not be playing at a church at all; you could
be playing in a cover band or coffee shops.
Maybe you’re just jamming with friends. You
have something to say and God does speak
through you, even with your guitar, whether
you know it or not.
Roger is an award
winning guitarist from the
“Songwriter Showcase of
America” Roger is available
for private lessons and at
The Covenant School of
the Arts in Lakeland Fl.
Endorses Greg Bennett
Design Guitars by Samick, G&L Guitars,
BBE Sound and PedalTrain Pedal Boards.
Email: rogerzimish@yahoo.com, www.
rogerzimish.com
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 selective hearing
The Mission Field
Blessid Union of
Souls
Salvation Road
Records/Providence
Many of you may remember this band from
such mid 90’s pop hits as “I Believe” and “Hey
Leonardo”. Over the years, Blessid Union of
Souls has become, ostensibly, Elliot Sloan
and a handful of studio musicians. Always a
man of Christian faith, Sloan makes that faith
much more explicit on The Mission Field, his
first intentional foray into the Contemporary
Christian genre. The soulful blend of funk/
adult rock of past releases has been modified
a bit here with a greater emphasis on piano
and pop melodies. The lyrics poetically relate
equally accessible themes. On “Healing”,
Sloan sings that he once prayed for personal
things and needs, but now his prayers
are aimed at universal healing and peace.
“Sweet Providence” is about God’s repeated
forgiveness, while the bouncy “Miracles”
reminds us to remain aware of the simple
miracles that surround us daily. One of the
most interesting songs on the album is the
title track, whose lyrics and melody sound
as though they could have been culled from
an old shape-note hymnal. The song also
carries the album’s theme: the whole world
is our mission field. “I Still Believe in Love”
may be the album’s finest moment. It’s a big,
bold, and stoutly sung testament to hope
in spite of the hopelessness surrounding
us. While The Mission Field is not gospel in
the traditional sense, it definitely contains
the requisite depth of emotion and overt,
hopeful message that propels some of
today’s finest spiritual pop music.
Faint Not
Jenny and Tyler
In their own words,
Jenny and Tyler
Sommers’ new
release, Faint Not
“chronicles our
journey of faith over the past year and a half.
It’s about not growing weary in seeking truth,
loving God, and loving people.” The thing that
is obvious right from the get go is this duos
ability at writing songs that deal with both
the beautiful and ugly aspects of life, framed
in the light of redemption. That they do so
in a genuine and truthful way is the triumph
of this beautiful, thoughtful disc. Featuring
26 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
by Shawn McLaughlin
Tyler’s Chris Martin-esque vocal delivery on Christian radio, Bee gives audiophiles
contrasted by Jenny’s floating, ethereal lines; a different and most welcome spin. His
the music is largely anchored in folk tradition, production allows for differentiation of all the
but can carry an experimental pop vibe at instruments instead of the compressed mess
times. With influences that include Keane, that I usually hear when I (reluctantly) turn
Coldplay, The Civil Wars, and Mumford and on a Christian radio station. In other words...
Sons, the music alternates between bright/ Guitars sound like guitars, keyboards sound
organic and darker/atmospheric depending like keyboards....it is wonderful to hear the
on the tenor of the song. The title track serves articulation of each string when Bee strums
as the albums fulcrum. It speaks of believers a guitar. He also manages to mix different
retaining a spirit of endurance and expectancy moods and textures of instruments within the
in the midst of heavy situations. The verses same mix, well displayed on “Stones on Bones”,
detail the circumstances of what our eyes see, a cut that combines delayed keys, crunchy
while the choruses encourage us to hold tight power chords, and a smart little acoustic
to what our heart knows to be true. It’s a rare guitar figure that wouldn’t sound out of place
and beautiful thing when a song can contrast on a straight folk record. However, the project
the concepts of sin and holiness in such a stark, still sounds perfectly
believable way, much like the psalmists of the current and in step with
scriptures. “Dreaming of Peace,” “Through any modern worship
Your Eyes”, and “Holding On To Hope” also project you’d care to
carry echoes of this approach, while “Carry mention. As for the
Me” (featuring the vocals of Mac Powell) material, Bee certainly
encourages the believer with promises of knows the requirements
God’s eternal providence: to write songs that fit in
a congregational structure, as “Bring Me To
When I first met you I drew you in close to Me Life” and “Nailed to the Cross” are all in that
Your weaknesses covered with strength and vein. Yet he is also adept at more personal
security fare, as in the winsome “Last Day”, the hook-
I’ve never left you, nor will I ever leave filled, yearning “Helpless” and piano pop
child believe, child believe gem, “Weight of This Illusion”, which also
features what sounds like pedal, or lap steel
The penultimate cut of the album is the Carter guitar accents about 2/3rds of the way in. The
family classic, “Anchored In Love”, lovingly album’s highlight may be the textured, slowly
rendered amidst tender harmonies and a building “Whispers In Silence”, which assigns
traditional bluegrass combo of mandolin, value to staying still and listening for God’s
stand-up bass, and sturdy acoustic guitar that voice. There is very little to criticize with this
reinforces the lyric relating the simple truth release. Bee may not yet have the songwriting
of God’s love for his people. Jenny and Tyler chops to produce an album with zero filler,
are masters at singing about the need to keep (how many writers really do?) but his affinity
Christ in the center of our lives, and they do for creative instrumental/textural alchemy
so honestly with a willingness to tackle the more than makes up for that small reservation.
tough circumstances that add real depth to
their experiences. The Covering
Stryper
Inside These Walls Big 3 records
Brandon Bee
Save the City Records With The Covering
Stryper decided to
On his sophomore effort, Inside These Walls, create an homage
artist/songwriter/producer Brandon Bee to all the bands that
continues to walk a line between the world of influenced their sound as a metal band coming
congregational worship and more personal, out of California in the early 80’s. While not a
experimental, musical fare. What strikes me tip-of-the-hat to their faith, the album does
most about this release, aside from a batch contain an original song, “God”, that puts to
of solid songs and Bee’s extremely appealing rest any question about their true allegiances,
vocals, is the mixing and engineering on the even as it points toward the future. The song
record. In a world where about 4 different harkens back to Stryper’s heyday, while
guys produce much of what is played including enough modern edge to keep the
sound fresh. The band chooses a really great
line-up of songs, including “Heaven and Hell”
- Black Sabbath, “Blackout” - Scorpions, “Lights
Out” - UFO, “Over the Mountain” by Ozzy,
and “Breaking the Law” from Judas Priest.
While being fairly faithful to the originals,
the band gives the songs a yellow-and-black
overcoat. It should be noted that the band has
chosen some very difficult songs (YOU try to
approximate Randy Rhodes guitar shredding
on “Over the Mountain”) and the band comes
out smelling like a rose. Especially Oz Fox,
who’s playing is gritty and resonant. Michael
Sweet sounds ageless and, while still able to
hit those high notes, has added a layer of
maturity to his voice. Timothy Gaines makes
a welcome return to the original line-up,
and Robert Sweet is as thunderous as ever,
really giving the track “On Fire” (Van Halen)
a huge bottom end. Although this works
to the bands disadvantage on the cover of
Kansas’ “Carry On My Wayward Son”, which
loses a bit of thrust in the midst of Robert’s
heavy-handedness. The most “pop” track on
the album, it could have used a lighter touch.
However, this is just nit picking. Anyone who
grew up, like I did, in the 70’s and early 80’s
will find much to howl about with this well
chosen, well executed album celebrating
early Metal’s finest.
You Are Not Alone
Mavis Staples
Anti
You can’t really classify
Mavis Staples--she’s less
a gospel singer or soul
singer, and more a piece of American history
in musical form who uses her voice to channel
her unique experiences and special spirit.
On this album she does sing quite a few
gospel songs, and you can really hear how
vital her faith is to her life. But her band is
a rocking, rootsy, bluesy trio. Her backup
singers range from indie rockers (the Neko
Case affiliated duo of Nora O’Connor
and Kelly Hogan) to 70’s-power ballad
veterans (Donny Gerrard sang lead on a
Top Ten hit for Skylark that Tupac sampled).
Additionally, with Wilco’s Jeff Tweedy (who
produced the record) picking decidedly
non-gospel songs by John Fogerty, Randy
Newman, Little Milton and Allen Touissant,
plus writing two new ones for her to sing,
the record easily transcends the “gospel” tag.
The result is a rollicking set of songs with the
common denominator being Mavis’ force-of-
nature voice soaring, celebrating, whispering,
and goading you into smiling and nodding
and singing along. While not every song
CHRISTIANMUSICIAN.COM
totally works (“Creep Along Moses” is a little
too stuttery and off-the-wall for me, despite
some awesome guitar work), the halfway
track, “I Belong To the Band” epitomizes the
album: Mavis singing an old-timey standard
with all her heart and soul and creating a
joyful, jumping house-party singalong with
a fat bass-line and a killer guitar solo. This
is Gospel that even an atheist could love.
Reliquarium
Kemper Crabb
http://www.reliquarium.net/
This album isn’t for everyone.
The instrumentation is
amazing, from traditional
instruments like guitar, to
eclectic and ancient instruments I can’t even
pronounce. If you know and love hymns,
the classic melodies are still there, but the
presentation is entirely new and creative.
The sound is medieval, sounding like a mix of
Celtic and Middle Eastern musical forms with
an aggressiveness derived from more modern
sources. Reliquarium opens with the hymn,
“This is Our Father’s World”, and at least three
of the songs, “Holy, Holy, Holy”, “Just as I Am”,
and “On Jordan’s Stormy Banks” embrace such
levels of minor-chord fervor and dissonance
MAY/JUNE 2011 27
that many listeners may think they
accidentally put in the new Radiohead CD.
Accessible, yet endlessly artistic, Kemper
Crabb offers up an album that stands toe-
to-toe with his classic release, The Vigil, while
exploring some new territory that threatens
to inject real life into the moribund world of
hymn re-imagining.
The Valley
Eisley
Equal Vision
After a 4 year break
in which the ups
and downs of the
music business, as well as personal peaks
and valleys, threatened to take the soul
of the band, Eisley returns with the aptly
titled, The Valley. Never completely at ease
with the concessions often required from a
major label deal, Eisley find themselves on
an independent label that lets the group
hone in on what they do best: create radio-
friendly pop songs infused with just-odd-
enough metaphors and orchestrated, mature
arrangements. Taking inspiration from the
personal AND professional struggles of the
SHUBB
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bitterness and resentment that come with a
broken relationship, while showing the first
tentative steps toward recovery. Contrasting
You Live It.
the stark honesty and raw relatability of the
lyrics are songs that are fraught with melodic
Now Wear It.
possibility. Airy, lush vocal harmonies
buttress the almost baroque arrangements,
and cranky guitars make an occasional
appearance to lend earthiness to the frothy
pop atmosphere. The dichotomy of these
extremes serves to illuminate the process
of finding hope and light in the midst of
trials that point towards despair. The result
is very therapeutic and gives insight into
both the human condition, as well as the
sometimes-distasteful machinations of the
music industry.
Shawn McLaughlin is a hard
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 EVENTS for CREATIVE TYPES to IMPROVE SKILL & INSPIRE TALENT for GOD’S GLORY

September 16 & 17, 2011

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October 14 & 15, 2011
featuring Brenton Brown & others...
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 The Squires (1966)
Phil Keaggy (cont. page 22) paying any attention to my song “Little Ones”, a mother and a father
coming home. I had to go to him. But then he’d catch who have come up to me and introduced me
school the next morning! And my eye from across the to their 10 year-old child and said, “This is our
even in ’67, I was still in high room, through a dozen child, and your song is the reason why I had
school, but I remember on the people or more, and see this child.” And to know that those people
weekends, I was playing with me grinning at him and chose to bring a child into the world because
The Volumn IV and The New he would realize that he of the influence of that song is just amazing.
Hudson Exit. We were traveling wasn’t alone in his humor. CM: One question I was wondering
into central Pennsylvania from Glass Harp (1968)
I think the long trips about, is if your guitars have ever been
Ohio, and leaving mom and over to Europe have lost when you’ve been flying?
dad. That’s when I really started had some real challenges
going on the road. I remember PK: Oh yeah, sure. I’ve had to play a
due to the lack of sleep borrowed guitar for a concert before. But
the places in Pennsylvania: on those trips. Also,
DuBois, St. Mary’s, Ridgeway, I haven’t recently had a guitar stolen or lost
going up to Alaska and permanently. Now that I think about it, I guess
Williamsport. And from experiencing that whole
Youngstown we would go west I did have a few guitars stolen back in the
life up there, when it’s still ‘60’s due to our van being broken into. But
into Akron and up to Cleveland daylight but it’s 1:30 or
and down to Columbus. Then, I’m grateful for all that I have. I want to stay
2:00 in the morning. focused on the most precious things to me.
with Glass Harp, I started going Also one of the
on the road quite extensively My wife and the kids that we’ve raised; they
best tours ever was are my true treasures.
in 1970 and ’71. We toured the Invention tour
around the country in ’71. with Wes King and CM: We gave the opportunity for people
Especially the West Coast. So Scott Dente. Just to ask a few questions through Facebook,
you could say that I’ve been on a great time with so let me share a few with you. Rex
the road for 44 years now. lots of laughs—but asks, “Phil is so precious. How can fans
CM: Wow! That’s amazing! wonderful times specifically pray for him?”
In doing all of that traveling, musically and in PK: My prayer to God at this season in my life
what are some of the oddest, Phil live in 2005 photo by Randi Anglin fellowship! is that I’ll be faithful and courageous. That’s
or funniest things that happened to you Some of the things that I really enjoy and what’s in my mind and my heart. I believe that
out there? remember most are when people would the most important thing is to be faithful to
PK: Well, definitely the trips that were the come up to me and say, “This song really God, Jesus, and our
most fun for me were the ones where I had mattered to me. It meant something to me calling. And then
someone traveling with me. I remember back and brought me through a hard time in my to be courageous
in the days when Peter York and I used to life.” “Let Everything Else Go” was one of towards whatever
travel together. It wouldn’t take much to trip those songs. I met a couple once that actually may come. And I
us off and we’d be off into a laughing frenzy. met each other at a traffic light. She pulled up always pray that my
And then as we’d laugh we’d lose the ability alongside of him, and he was playing that song children will be filled
to hold on to our luggage and our guitar cases on his cassette player in his car. She listened to with His Spirit and
and everything. I remember one time we were the song for a few minutes (it was a long light), follow God.
in the Denver airport and we were just trying and then she said, “Excuse me, can I ask you I also pray that
to keep it together as we were negotiating the a question?” So they pulled off the road (he the light of the
sliding doors with our guitars under our arms thought she was lost and needed directions), Gospel will travel
and our suitcases. We both ended up falling but instead she said, “I just wanted to know . across the earth
over, and then the laughing started, and we Phil (1979) and that people will
could hardly manage to get up and pick up recognize how good and true Jesus is.
our gear because we were laughing so hard!
CM: Another Facebook question comes
I remember being on the road with Randy from Denny. He asks, “Do you have a gig
Stonehill, and we’d be in a room full of people emergency kit? And if so, what is in it?”
and he’d be doing his crazy antics, and then PK: Yes! I keep some Cayenne pepper,
he’d realize that nobody would actually be and now I’ve found a new kind called “Bird
pepper”, also called Pequin pepper. I keep
that pepper with me at all times. I also keep
my bible, my special capos, and a good book.
Randy Stonehill, Mike Pachelli and Phil I’m using some Kyser K-Lever capos, as well as
. . what were you playing? What was some from Shubb. I’ve written several songs
that song?” So he introduced her to with the K-Lever capos. It’s just so cool how
the song, and then introduced her to you can voice new chords and phrases with
where he went to church, which led those capos. I’ve got the white one and the
to him introducing her to Jesus . . .and red one. You put the capos in different places
eventually a marriage proposal! So on the fretboard and you can create some
they actually got married because of really nice sounds.
a song of mine! Which, of course, is CM: Are you using any new equipment?
really special for me to hear about. Are there any new guitars in your home
What A Day album cover original photo by Bob Combs (1973) And then I’ve also met, because of Continued on page 46.
30 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
 Chris Tomlin
and Collings Guitars

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Songwriting
I was in a writing session with an artist
recently, and we started talking about the
process of songwriting. He began to voice his
frustrations, feeling that many of the ideas and
songs seem to be similar in feel, tempo, chord
progressions, and melodic structure. This got
me thinking; by nature, most of us tend to be
creatures of habit. This, in and of itself, is not
necessarily a bad thing all the time. However,
when it comes to being musically creative it
can truly be the enemy!
How often do you sit down with your
instrument and try to play something new, and
before you know it you catch yourself playing
and singing something (almost through
muscle memory) that sounds and feels eerily
familiar? This has happened to me more
times than I care to remember, and it usually
leaves me feeling bored, uninspired, and even
“creatively” depressed. How do so many
people write such interesting and diverse
songs? What’s the secret? After talking with
many writers over the years, I’ve come to
realize that there is no magic secret or surefire
method when it comes to songwriting.
I envision a song being like a house that has
multiple points of entry: the front door, the
patio door, the garage, maybe a window, or
even the chimney for that matter! All I know is
that I have to get inside somehow so I can start
to decorate and rearrange things until it feels
like a home I’d want to live in; a home that
describes who I am, what I’ve experienced,
and is a place where people feel welcome and
can be open, honest, and vulnerable. After
all, isn’t that what we as Christian songwriters
should be trying to do; write songs about
issues that people can relate to, that tell
stories that touch, that move, that motivate,
and that give people hope?
Here are a few suggestions that may help you
to find new entry points in your songwriting.
• Collaborate
If you normally write by yourself, try
getting together with another person or
two and bounce ideas off of each other
and see what starts to stick. Sometimes
I’ll bring in a drummer to start jamming
through an idea that I like. There’s nothing
like being able to try out different
grooves, feels, and tempos when working
out an idea. If you excel more at writing
32 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
with Dwayne Larring
lyrics, try working with someone who
excels more at coming up with interesting
melodies and chord progressions…or
vice versa.
• Constantly Document Idea
“Snippets”
Keep a journal handy and write down
thoughts when they come. Write down a
word, a phrase, or maybe even a scripture
passage or a sermon title that grabs
you. Record a melodic hook or chord
progression with a Dictaphone, or a voice
note app on your phone; anything that
is easily accessible and will capture a few
seconds of audio. Start doing this, and
you’ll have a well of ideas that you can go
through when you sit down to write.
• Change Up Your Surroundings
Sometimes it can be refreshing and
inspiring to simply try to write somewhere
other than your normal place and time of
day. Try writing first-thing in the morning
when you are fresh, rested, and ready to
conquer the world. The mid-afternoon
works for some people who don’t get
“going” as quickly in the day. Personally,
my favorite time to write is later at night,
once the day has wrapped up for most
people and the noise of the day is
quieted. There’s something great about
a warmly lit room where I can listen to
music and get inspired and not deal
with the many distractions that can come
during the daytime. It could also be as
simple as going to a different room, or
even outside in the fresh air. You’ll be
surprised at how much this can affect
your creativity.
• Switch Up Your Instrument
Try picking up a different instrument.
Put down the guitar and plunk around
on a piano or keyboard. Pick up a bass,
or even bang around on the drums until
something grabs you. This may feel a bit
intimidating or daunting for some people
at first. If you play acoustic guitar, try
picking up an electric guitar and throw
some overdrive, delay, or other effects
on and play some riffs or melodies that
you hear in your head. If you write from
the piano, try another keyboard sound,
like maybe a classic Rhodes, Wurlitzer,
or even a cool pad or some crazy synth
sound. Try using Logic, Pro Tools, or even
Garage Band, and start pulling up loops
and sounds to play with that pull you in a
new direction. It’s amazing how inspiring
it can be just to hear some sounds other
than what you are used to when you are
in the early stages of the writing process!
• Just start from a different angle
than normal
I notice that a lot of people tend to
start playing a chord progression that
feels cool, and then try to come up with a
melody that fits within that. The problem
with that, like I mentioned earlier, is that
we tend to go to chord sequences that
we are comfortable with and that feel
“good” to us. Take a melody that gets
stuck in your head, or maybe that you
have documented in some form before,
and try putting chords to that instead. I
guarantee that sooner or later you will
start to see that your melodic and chord
vocabulary will start to grow, and you will
see a progression in your writing!
These are some of the ideas that I have
seen work for many people, including
myself! Hopefully, this will inspire you to
shake up your normal routine and be more
adventurous when you write. I encourage you
to search and find new and multiple points of
entry to your songs!
Dwayne Larring is an LA
based producer/songwriter
who was a founding member
of SONICFLOOD and has
produced artists such as
Matt Redman, Tim Hughes
and Ben Cantelon to name a
few. Dwayne is currently the
Creative Partner in an exciting
new online worship music production service called
Modern Worship Producer. He is also involved
in developing worship teams and speaking at
conferences worldwide. Dwayne can be reached at
dwayne@modernworshipproducer.com.
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 INSTRUMENTS
THAT ROCK!
THE INDIE MECHANICS
Every mechanic needs a good set of tools
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Check out our EBay She had previously worked with me at Indie
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 Summer NAMM
puts the world of music products and sound and lighting technology in front of you
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Inversions
Continued
Last issue we looked at how each chord
can have its factors rearranged to create
chord inversions. Every inversion has
its own quality of sound depending on
the order of the notes and where they
are placed on the guitar. This can give
us an almost endless palette of chord
shapes to choose from, each with its
own unique sound.

Mastering inversions can bring new

life to old chord progressions, and
as a secondary guitarist you will have
an array of chord voicing sounds to
enhance the band. Now, achieving
a new sound is not limited only to
changing a guitar processing effect, but
can also be attained by playing different
inversions of the progression.

The following music shows some

possibilities of a I, IV, V progression in
the key of G.
Memorize each example. These voicings
flow together nicely when giving each
chord 2 beats. You can also link each
example together to make a solo piece.

Beside each chord grid the chord shape

of each voicing is given so you can label
each chord, (G, E shape, C, G shape).
Analyze the notes of each one and add
them to your chord vocabulary. They
will make you a better player!

Until next time, may God bless your

work.

Rich Severson
offers over 600
affordable,
download video
guitar lessons
available at
www.99centGuitarLessons.com. All
levels, many styles, most featuring
fretboard close ups, demonstrated
slowly by measure and with PDFs in tab
and notation, only 99¢ to $4.99.

36 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Ask Joe
by Joe Riggio
Q
I own a Dillion DL
Extreme guitar, my
first and only electric
guitar. I run it through
a BOSS Metal Zone MT-2
pedal for my distortion
and lead tones. One thing I have always
struggled with is getting enough gain out
of my sound. Even with my Metal Zone
cranked, I have to press very hard on my
strings to do any tapping or fast finger-
work with hammer-ons and pull-offs; it’s
like the pickups aren’t hot enough.
A
I assume by “gain”, that we’re
talking about saturation and
sustain, when you’re in a
heavy distortion setting on the
pedal/amp. The MT-2 pedal,
combined with the humbucking pickups in
your guitar, should be capable of getting
you into high-gain land with no problem.
So, assuming the pedal and amp are working
properly, I’m going to guess that the set-up
on your guitar may not be as it should be.
Having all adjustments fine-tuned, including
truss rod, nut slots, bridge height, saddle
intonation placement, and pickup height
is a commonly overlooked element in your
overall tone. This is crucial for getting great
tone and sustain.
38 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM
Q
I’m trying to date my Father’s vintage Gibson guitar. It’s a hollow-
body electric, and the only number I can see does not line up with
any Gibson serial number schemes. It is very faint, and starts with the
letter “U”. Any ideas?
A
Until 1977, Gibson changed
their serial number schemes
quite often and even had
lengths of time when certain
models didn’t have any
serial number marked on them at all. If the
number you have found does not jive with
any of the older charts, you are probably
looking at a “Factory Order Number”
(FON). This is a number system used within
the manufacturing process and is not a serial
number. However, the good news is that, in
most cases, there is a date code attached to
the FON. Many hollow body electrics were
manufactured during the 1950’s and do
not have a visible serial number. Through
this period, a letter that designated the
year that the manufacturing process started
preceded the FON. This system was put in
place in 1952 and started with the letter “Z”.
Letters followed years, in backward order,
and continued through 1961. In some cases
where both a serial number and a FON are
present, the serial number might date to
the year after the letter on the FON. All this
means is that the manufacturing process was
started late enough in the year (receiving
its FON) and finished during the following
year. When only the FON is present, it is
commonly accepted to date the instrument
using the letter. Your father’s guitar was most
likely made in 1957.
Joe Riggio is a professional guitar
repairman/technician and recording
engineer, based in Tacoma, WA. He
owns and operates “Service Guitar
Repair” and “House Of Sound
Recording Studio” He has a deep
love and knowledge of vintage guitars, as well as modern
and loves to share his passion with others. He can be
contacted at ServiceGuitarRepair@gmail.com, website:
www.ServiceGuitarRepair.com
From their roots in southern France to
the streets of San Francisco, Lâg guitars
are inspiring a new breed of player all
across America.

Find your voice.

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www.lagguitars.com 40
 Philmont
by Bob Waller
Good bands are not usually created
overnight. Instead, it takes time for a
band to simmer and grow and find its
way; perhaps even to find its purpose.
Charlotte, North Carolina’s Philmont
is one of those bands, having started
nearly seven years ago.
Calling themselves a “pop punk
rock” band, Philmont plays with a high
energy level, yet sustains a balance
with thoughtful lyrics, while delivering
spiritual meaning to the music.
“We were all in other local bands and
had known each other through the
local scene and kind of wanted to make
the same kind of music as each other,
so we started Philmont,” stated Josiah
Prince (lead guitar and keyboards).
Current members include Scott
Taube (lead vocals), Justin Sams
(rhythm guitar), Josh Guion (bass guitar) and
Jeremi Hough (drums).
“Along the way it kept growing and molding
and then we picked up Justin, and more
recently Jeremy and Josh,” said Josiah. They
recorded their first full-length album back in
2009, called “Attention”, and more recently
followed that up with a new EP titled “The
Transition”.
While the average age for members of the
band is in the early 20’s, there is a certain
maturity that’s been gained from having
been active for so many years already.
“We’ve been trying to grow and mature
which is why the new EP is called ‘Transition’.
That is the phase we have been in,” explained
Josiah. “The arrangements and musicality are
more sophisticated on the EP.”
“On the last album it was a lot about
complacency in Christianity and starting
over and finding a foothold and taking faith
further,” he continued. “Newer songs on the
EP have themes about control and patience
and God’s timing.”
Scott chimed in, “A lot of bands write
songs about Christian struggles, but it’s very
passive. I think that we try to make it very
urgent and a little more active, so there is
always this very consistent feeling. There is
energy in the lyrics, as well as the music.”
Energy is a key aspect to Philmont’s live
show as well.
“It grew from spontaneity,” explained
Josiah. “In a song we learn that someone will
be in certain spot and we won’t get whacked
in the face by a guitar.”
“We took a few days and worked things
out,” added Scott. “Not like choreography,
but, for example, when it’s a good time for
all of us to do the same thing, and when it’s
a good time to do our own thing and move
around the stage.”
“And give kids something that is visually cool
to watch,” continued Josiah. “It’s important, I
think, to always be connecting with the kids
in the audience and be interacting with all
of them.”
Connecting with kids is not only an
important part of Philmont’s performances,
but the songwriting as well.
“We all grew up in church, and were kind
of struggling with the same things that these
kids do,” said Josiah. “They have a foundation
in their faith, but it is more about ‘what do I
do with this, and how do I take it further?’
And we naturally write songs about that,
and those kids just connect with it.”
Any pop punk band worth its weight can
rock out, but can they write songs with
meaning?
“I think we hear all these other bands, and
we don’t want our songs to be simple and
bland. When we go into a writing session
we try to go a little deeper. We challenge
ourselves because we want to make it
accessible. We try to find a balance between
lyrical integrity and accessibility.”
“All of our first bands were pop punk bands
emulating Relient K and Green Day,” added
Scott. “But after seven years of songwriting
it has to mature over time. So even our first
release had a lot of songwriting maturity
with us for that record.”
CHRISTIANMUSICIAN.COM
When asked about the
inspiration for Philmont
songs, Scott replied, “it’s
usually just kind of what’s
going on in our lives. We
write about our faith a good
bit, and about our struggles.
At the same time we try to
write encouraging music for
people.”
Philmont is a solid fixture in
the Christian music market,
often playing festivals as well
as churches and other events.
“When we started out it
was a mix,” explained Josiah.
“We played churches and we
played clubs, pretty much
anywhere. But we found
ourselves gravitating towards
the Christian market. It was
the Christian kids and the
youth group crowd that really
connected with our music
and our songs. It was a great
fit, and where we felt called
to be.
“I know there are bands that feel called to
play bars and minister to those people in
their way, but in the same way for us it has
been the youth group crowd.”
Most members of the band played in
worship bands before playing in other
groups. “Doing that, growing up, it kind of
teaches you in a very natural way to learn
how to function as a group and with other
musicians, and kind of handle the dynamics
between the instruments and other things,”
commented Josiah. “It was very crucial for
me anyway.”
According to Philmont, there are key
differences between playing for the
Christian market and the secular market.
One of those differences is the camaraderie
between bands.
“With the Christian market, there is not that
competition aspect as much,” stated Scott.
“You don’t look at a successful Christian band
and think, ‘man, that should be us,’ or, ‘I wish
they would do worse so we could do better.’
There is a deeper meaning. When they are
reaching so many kids, it is awesome. You
can really respect a band’s music. Maybe it
is something really weird, like acoustic funk,
and not us at all. But it reaches a completely
different crowd, and we need that in the
Christian market, so we feel good for them.”
“We all have a greater calling, and it is
the same calling and we are all fighting for
that through music as a whole,” commented
Josiah.
Touring with bands in the Christian market
actually builds great relationships.
MAY/JUNE 2011 41

“With the bands we have gone out with,
you are on tour for a month and it makes
you friends forever, even if you don’t see
them again for three years,” said Scott.
“There is a lot of respect when you see a
band and they are working so hard and they
are living out their calling. You really respect
them and kind of bond over that and that
carries on forever,” added Josiah.
What about that rock star status craved by
so many in the music industry?
“In the secular market there is always that
goal of rock star status,” answered Josiah.
“You do a lot of nothing until you play
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that first note. Then you play
for the people, and then leave.
But the Christian Market should
have a different kind of focus,
and it should be consistent at
every level. If we were to be
the most successful band in the
world, we would still get to our
merchandise table and hang out
with kids because that is where
we really connect, and where we
are able to be something more
than just ‘rock stars’. So in the
Christian market, that is a big
difference.”
Still, attention is paid to the
other acts at all times.
“We are always taking notes,” commented
Scott. “I don’t go to a show or watch a live
band without asking ‘why are they doing
that? What works, and what could we do to
adapt?’ Everything from what bands do on
stage and how they get crowd response, to
how they connect with kids.”
“It gets professional and personal,” added
Josiah. “You look at what they are doing as a
band, and you look at the personalities and
what they do as a band offstage. You see
who is truer to their message. Some bands
are more than others.”
Preparing for a tour wakes up various
42
feelings for Philmont members.
“When we are home we focus on spending
time with family and enjoying where we are,”
said Scott. “When we get on the road we
are grateful we are on the road, but if we are
home we are grateful we are home, and we
soak up time with friends and family while
we are there.”
“Going out is really exciting,” said Josiah.
“We love the road and love going to new
places. We feel we are the luckiest people in
the world. We try not to take it for granted.”
The gear selection for Philmont includes
Avenue drums, A Yamaha piano, and an
Ampeg FBT head for the bass with a Peavey
8x10 cabinet. Guitars include Les Pauls, PRS,
Fender Tele and Gibson SG, all with GHS
Boomers strings for both guitar and bass.
Josiah Prince uses an Egnater Renegade
head through an Avatar 2x12 cabinet and
his pedal selection includes Rocktron’s Mega
Booster, Guitar Silencer and Reaction Series
Octaver.
Watch for Philmont this summer at a festival
near you.
“We love doing festivals,” stated Josiah. “It is
awesome to spend the whole day interacting
and hanging out with the kids.”
Some would call Philmont kids themselves,
but to be sure, these kids take a mature
approach to the music. l
The Capo Company
Rehearsal, God Help Us!
By Bryan Duncan

I follow Jesus because I’ve been to the play to sound impressive. You know the ones, a red “Recording” sign on over the door!
rehearsal! Personally, I’d rather chew tin foil it’s what you play when you’re in the music You might want to put one of those up in the
and shave my head with a cheese grater than store and you kind of want someone to be rehearsal studio just for fun in the future. It
rehearse songs. Just the writing process gives impressed by what you know. So checking helps musicians “dial down.” In layman’s terms,
me more time with a song than I spend with levels becomes a mini concert that sounds we like to call it “stupifying the articulates.”
my entire family. With enough repetition, any like an orchestra tuning up. And let’s not I get nervous at a rehearsal, because it’s
tune can start to sound as irritating as “The forget the part where a line in a song you’re a runthrough at half speed that hopefully
Candy Man” - “Who can make a sunrise?” - rehearsing sounds like another hit song, and will change when you go “live.” Right now, it
sung through clenched teeth. the band suddenly feels obligated to run sounds like dinner theater music, because the
These days, I’ll change the writing of songs hrough a Def Leppard remake.  drummers are using brushes on a tambourine
to accommodate a quicker rehearsal. If you I’m amazed at how many times we get lost for a snare, and kicking a Cajon, mostly so you
start putting complicated riffs at the end of a in the number of measures, even before I can hear the tinny acoustic guitar parts in the
turnaround, you’ll be rehearsing a train wreck come in singing. “When I start singing, you’ll intro.
in the making. Simple is better they say, and it know where I am,” I said the other day. Why? I have a local bass player with the face of a
takes a genius to come up with a three chord Because we’re repeating three chords in this curmudgeon; you can’t tell when he’s happy.
melody that has substance. and we’re depending on the drummer to And he never wants to play the same thing
Rehearsal is how you discover the defects make the groove interesting (He’s not here twice. “That’s why we call it pop music,” I told
of musicians generally, the first of which is yet, by the way). him. Get acquainted with whole lotta whole
the punctuality factor! Let’s admit it, we’ve I’m playing with a number of thrown- notes!  
earned our reputations. And let us not forget together bands these days. Flying a whole Finally the big crescendo comes, when it’s
to factor in the “dilly dally” time that it’s going band into a city is a deal breaker in concerts sounding pretty good, which means we’ve at
to take to set up the equipment while the that don’t come with a coffee shop attached. least reached the end of the song at the same
singers go to Starbucks. Now I know why “worship” songs are so time. And then someone brings up the fact
Every musician has that riff they just have to popular. The band can only get together for that I’m paying the sound man more than all
an hour before the church service in most the musicians! “I do that because I’ve heard
places. you play,” I laugh. But seriously, if the engineer
Count yourself lucky if doesn’t work some miracles, nobody’s is
you have the luxury of going to hear the guitar solo, where finally
paying for a sound stage there’s a break-free run to originality. A sound
in a downtown industrial man knows who to turn down in that part
park, where the dB level where a musician gets confused. In my band,
is not a problem. I have that’s usually me! I can’t sing AND play at the
my own rehearsal studio same time; I’m just not that good of a multi-
and I still get warning tasker, and on stage, I’m mostly trying to have
notices from the city! So a conversation with the audience.
now we’re huddled in a It’s a magic show really, mastering the art of
circle like Indians over a distraction to create the illusion that mistakes
campfire, trying to put disappear just because we rehearsed.
energy into a rockin’ tune Honestly, I’m convinced that “improvisational
at “retirement volume.” jazz” was born out of a lack of time to
And singing the high notes rehearse! Thank God for Christian musicians!
comes with a governor. We can at least pray before the gig. Prayer
Let me just say here that changes things, but can we all start in the same
the quality of a rehearsal key this time!
is directly affected by the
distance between now
and the performance.
I rehearse songs that Bryan Duncan... CCM artist for
we want to record thirty years. With the Sweet
eventually; trying to work Comfort Band, then solo and
out arrangements is not now with the Nehosoul band.
something that goes well Owner of Red Road Records and
when everyone’s waiting
Host of Radio Rehab at  www.
for their cue. Thank God
for Pro Tools. There’s a real radiorehab.com inducted into the Christian music Hall of
lack of focus unless there’s Fame in 2007.

44 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

 Phil Keaggy (cont. page 30) time the music was still under-funded and
studio? Or pedals, or amps? under-recorded, yet you were faithful to
PK: Well, a company named Flatline Guitars serve that genre for so many years. It’s
has put one in my hands. I’ve done some heartwarming to see you now getting
recording with it and I’ve played out live with some of the acknowledgement from some
it. It’s a very interesting sounding guitar. It has of the mainstream artists and producers.
almost a solid-body ‘Gretsch’ vibe to it. It’s They are recognizing you not only as a
lightweight, and very cool sounding. musician, but also as a Christian. Talk
about what that is like for you now at this
Over the last year, I’ve sold my Fender stage of your career.
Princeton amp and my silver-faced Fender
Deluxe Reverb amp. But I’ve still got the old PK: It really does blow my mind. I mean,
Vox AC-30, and I’ve got a Peavey classic 30 I’m not really rubbing shoulders with all that
which my sister and her husband gave to me. many people . . . but, for example, a couple
of years ago I got a call (out of the blue) from
A friend of mine has let me use a pedal of his, Peter Frampton saying, “I’m coming to town . .
made by Tonefreak. It’s a purple overdrive .let’s have dinner.” He and I used to hang out
pedal called the “Abunai 2”. It has some really a lot back in the early days when Glass Harp
Improving Musicianship | Inspiring Talent

good sounds! I’ve also tried some pedals like first got signed to Decca Records and we
Blessings
through the
the Franklin ProDrive. I like that one. I’ve also were doing concerts. So after all these years,
Raindrops
tried the G-Tod, by Swell. It has a tube in it it meant a lot to me that he would think to
and it is very versatile! In fact, I use it in my call and want to have dinner. I would love to
acoustic sets. meet up with some of the other musicians that
Sometimes I record electric guitars direct I used to jam with, like Joe Walsh. I would love
Chrissy Shefts
The Passion of Playing

Product
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Broken Walls PRS Sweet 16
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Disciple
An Interview with Kevin Young
MARCH/APRIL 2011
Volume 9, Issue 2 JAN/FEB 2011
Selective Hearing:

I also record through the Peavey or Vox with a We’ve written notes to each other and I think
Volume 16, Issue 1
03
Record Reviews Product Review 01 Phil Keaggy Trio
Know Jesus Collective * Brenton Brown * Parachute Band Wickstrom Grand Theatre
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Les Paul or a strat, or I’ll use the Zion. The Zion there is a mutual admiration, but it would be
has continued to be a great guitar for me. It’s a great to meet and play together sometime.
great studio guitar. I love the arrangement of Tommy Emmanuel is an example of another
the pickups and how the electronics are laid guy that is totally amazing. He needs nothing
out. but six strings and a box. Without any effects
CM: Tell us about the rest of 2011. Are or anything, he is so full of life! He is a brilliant
you going to be traveling several weekends musician whom I highly respect. In fact, when
per month this year and playing gigs? I do guitar clinics and people ask me all about
my pedals and my loop machines, I tell them
PK: Yes, that’s pretty much how the schedule “This is a lot of fun, and I have 9 fingers, so
goes. Traveling a few weekends a month, and I have a good excuse. But I’ll tell you that
then doing session work the rest of the time. I the guys I really admire are the guys that
recently played on David Huff’s new project. don’t need any effects or pedals.” Tommy
Remember David and the Giants? I love his Emmanuel is one of the guys that I cite. Doyle
songs! I also collaborated with Bryan Duncan Dykes is another one. I’m a big fan of both
on a new song that we worked on through Doyle and Tommy.
the Internet together. I sent him a couple of
acoustic guitar tracks and he wrote lyrics to it One more thing I wanted to share is about
and sent it back to me and had me do it as a my good friend Brian Mason. He will be
duet with him. doing his last show for Nashville’s “Mix 92.9”
FM radio station soon. On May 2nd, he will
I did a song recently for Billy Batstone and be celebrating 30 years of doing his Sunday
Bob Bennett. They’re making a new album morning radio show. There has never been
with a remake of an old song called “Presence a DJ more supportive of my music than Brian
of the Lord” by Blind Faith. That song has a lot Mason. I just wanted to acknowledge that
of significance for me. When I gave Jesus my with my thanks.
heart in February of 1970, I went home from
that church service and I played “Presence I also want to thank Christian Musician
of the Lord” over and over again. So, to be magazine, and you as the publisher Bruce, for
invited to play on that song with Billy and Bob always being such an encouragement and for
was a huge privilege for me. having me in your
magazine. There
CM: One final question has never been a
for you. You talk about publication that has
being with people like supported Christian
Mickey Dolenz and others musicians like you
like that. And you left have. It means a
a very promising career lot to me, and I just
in the mainstream music wanted to thank
industry to serve the Lord you personally. l
in Christian music. At that
Phil, Micky Dolenz and producer David Harris

46 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

BREAK
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From all of us at PRS Guitars,
thank you for your support.

Adam Agee, Stellar Kart • Andy Davis/Randy Williams, Jeremy Camp • Hector Cervantes/Juan DeVevo,
Casting Crowns • Derek Mount, Family Force 5 • Matt Hoopes, Relient K • Sameer Bhattacharya/Jared
Hartmann, Flyleaf • Jon Foreman, Switchfoot • Jon Schneck/Matthew Thiessen, Relient K • Justin Cox,
Fireflight • Ben Kasica/Korey Cooper, Skillet • Mac Powell/Mark Lee, Third Day • Noah Henson, Pillar •
Pete Prevost, Sanctus Real • Jonathan Steingard, Hawk Nelson • Barry Graul/Mike Scheuchzer, Mercy Me
• Jeremy Holderfield, Seventh Day Slumber • Tim Rosenau, TobyMac • Tim Skipper, House of Heroes • Jeff
Owen, 10th Avenue North • Paul Zach, Remedy Drive • Jack Parker/Mark Waldrop, David Crowder Band •
James Mead/Nick DePartee, Kutless • Anthony Armstrong, RED • Justin York, Steven Curtiss Chapman •
Jason Roy, Building 429 • Trevor McNevan, Thousand Foot Krutch & FM Static • Eric Miker, Decemberadio •
Todd Agnew, Todd Agnew Band • Luke Graham, Since October

© 2010 PRS Guitars photo of Jason Lee © Jannis Lootens Photographic | www.jannislootens.nl