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36 The Fretboard Less Traveled by Rich Severson

Inversions Continued 38 Ask Joe by Joe Riggio 44 Rehearsal, God Help Us by Bryan Duncan

Interviews 20 Phil Keaggy

Turning 60... Better Than Ever by Bruce Adolph

41 Philmontby Bob Waller

An Editor’s Best friend…It takes a lot of effort by a whole team to publish a magazine. My team starts with my wife Judy and her love and support of what we do (thanks yobo!). Then you have a whole array of talented writers who have a passion for teaching others and who keep providing good content issue after issue. On the production side, there is Matt Kees bringing home the design and layout, Kevin Wilber and Toddie Downs copyediting/proofing, and my dedicated printer bringing it to fruition. Now the free digital version of the magazine is on-line 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 who not only make good products for our musician readers (you), but who, for many of them, really have a desire to support what we all do because they “get it”… they have a heart for the things of the Lord too. It is pretty amazing to see all of these pieces come together every issue. It is like an unscripted free-flowing jam session where everyone finds the big ending and ends on “one” all at the same time. Amazing… and God gets all the glory for it. I am grateful to get to have such a good seat in the house to watch it all happen right in front of me.

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 right under my nose. Sitting on my lap actually. On Valentine’s Day Judy and I adopted a dog. Not just an ordinary dog, but a rescue dog by the name of Winston. He is a Shee Poo (a mix of poodle and Shih-Tzu). He was supposed to be put down in a shelter on a Friday in California, and the workers were too busy to do it that day. On Monday morning a lady called the pound and found out about Winston’s still pending execution and adopted him for one year, bringing him up north to Washington. I found Winston on Craigslist, and Judy and I have come to love this little dog like crazy. He follows me around the house. If I go downstairs, he follows me; if I am working 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 shadow (and she says we have the same hair… ha!). I have taken him

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 – how considerate of him! Anyway, Judy and I wanted you to meet the newest member of our magazine team. He brings us a lot of joy, and he truly is an editor’s best friend.

Lord Bless Ya!

Bruce & Judy

Features 8 Bassic Communication by Norm Stockton

Intro to Solo Bass Arranging (Part 5)

10 Guitar Workshop by John Standefer

Be Thou My Vision 12 Drumming Dynamics by David Owens

Chris Coleman 14 Vocal Coach’s Corner by Roger Beale

So Many Questions, So Little Time

16 Product Review by Bruce Adolph

Lâg Tramontane T300DCE Guitar

18 Show Us Your Groove by Rick & Diana Cua

Couples in Ministry: Double Blessings or Double Trouble, Part 2

24 Guitar From A2Z by Roger Zimish

Answering the Call 26 Selective Hearing by Shawn McLaughlin

Blessid Union of SoulsJenny and TylerBrandon BeeStryperMavis StaplesKemper CrabbEisley

32 Songwriting with Dwayne Larring

34 The Indie Mechanics by Keith Mohr

CONTENTS

4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373Phone: 253.445.1973 Fax: 253.655.5001

Email: bruce@christianmusician.comWebsite: www.christianmusician.com

Editor & President: Bruce AdolphVice President: Judy Adolph, judy@christianmusician.com

Customer Service: Brian Felix, brian@christianmusiciansummit.comStreet Team: Mike Adolph, Jesse Hill & Winston

Design & Layout: Matt Kees Copyediting: Kevin Wilber, Toddie DownsAccounting: Debi Davis

Advertising Sales: bruce@christianmusician.comPublished by the Adolph Agency Inc.

CHRISTIANMUSICIAN.COM MAY/JUNE 2011 7

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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!”).

Intro to Solo Bass Arranging (Part 5)

Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. He spends much of his time touring and recording with worship artist Lincoln Brewster, but his 2nd solo project (“Tea In The Typhoon”) has been receiving widespread acclaim from media around the world. Visit Norm at www.normstockton.com and on Facebook & Twitter for much bass-related info and fun. While there, be sure to check out his blog (The GrooveSpot) and register for his e-newsletter (the groove update) for tips, interviews, clinic invites, exclusive discount prices, and more.

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)

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

© 2009 Stocktones Music

Bassic CommunicationIntro to Solo Bass Arranging (Part 5)

Arr. Norm Stockton

Solo Bass ArrangingChord voicings around which melody was playedChorus Section (1st Part)"Angels We Have Heard on High" (Trad. Christmas Carol)

EC#-

F#-B

(or B7) EC#-

F#-

B

(or B7)

141416

161818

161614

141616

141413

16141616

1416

8 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Spreading the Word

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

Norm StocktonLincoln Brewster

POWER TO GROOVEwww.gallien.com

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 Pyrotechnics to Art

Be Thou My Vision

Over the years I’ve talked a lot about ‘arranging’ music, particularly hymns, to breathe some fresh life into them. The magic primarily comes from the use of colorful chord substitutions, along with specific chord voicings and fingerings. The catch is that when I write an arrangement of a hymn, it generally adds up 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 problem is that I can’t fit all of this into a 1-page magazine article for CM. All I can give you is bits and pieces. Well, maybe we can do something 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 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 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.

Over the past year I’ve been doing a lot of updating at www.johnstandefer.com. I’ve created several new products as well, including about 15 individual solo and accompaniment TAB arrangements (and the list is growing). These TAB arrangements vary in terms of length and skill level. The prices are very reasonable. For $3.95 you get a nice intermediate arrangement (2-pages or so) with a page of performance notes and an audio file of me playing the piece. For $7.95 you get an advanced arrangement like what you might hear on one of my CDs and the length averages 5 to 7 pages. The time it takes to learn one of these TAB arrangements could vary from a few days to a few weeks, depending on the difficulty level.

In this online collection I’ve done both a solo and an accompaniment arrangement of Be Thou My Vision (each is in the $3.95 price category) and the chord chart you see here exactly coincides with the online accompaniment TAB arrangement. But in the arrangement on my website you also get all the exact voicings, fingerings and a note-by-note 2-page TAB chart (plus the performance notes and the audio file). So… if you want to go further with Be Thou My Vision, here’s your chance. Just visit the ‘store’ page at my website. Oh, and I’ve also totally revamped my every-other-month E-Newsletters to include lots of cool free stuff (‘Guitar Tips And Tricks’ video clips, the ‘Ask John’ Forum, discounts on selected products, the latest

Have you seen John’s free ‘Praise Guitar Lessons’ online yet? Go to CCLI TV and start the weekly lessons today. And make sure to look over John’s calendar at www.praiseguitar.com to find an event near you where you can hear him live.

news, calendar events, etc.). When you sign up to be on my email list, you get these juicy little e-newsletters every other month, just like your CM magazine subscription. Thanks, and enjoy! - John

Arrangement Copyright © 2011 John Standefer Music.

C A‹7 D‹7 G7(“4) G7 C(„ˆˆ2) A‹7

q = 90

F(„ˆˆ2)/A G/B C(„ˆˆ2) G(„ˆˆ2)/B G/B C E‹ F C/E G(“4) G7

A‹11 E‹7 E‹ A‹ G F G C(„ˆˆ2) A‹713

D‹7 F/G C(„ˆˆ2) A‹9 E‹7 F6 G C19

G(„ˆˆ2)/B G A‹ C D‹ C A‹ G(“4) G A‹11 E‹725

E‹ A‹ G F G A‹11 E‹7 F6 G(“4) C(„ˆˆ2)31

Intro Verse 1

Be Thou My Vision: Chord Chart

Verse 2

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.

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

Chris ColemanIt’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

Crazy 16th note triplet fills

1:18 into the YouTube video: isreal and newbreed drummer

chris coleman drum solo

3

3 3 3 3 3 3 3

3

3

On to more crazy fast stuff

3 3 3 3

12 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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

and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is founder and host of the Christian Singers Workshop(www.christiansingersworkshop.com), dedicated to the teaching of contemporary and commercial vocal techniques.Roger can be contacted at: The Voice House, PO Box 87136, College Park, GA 30337, (404) 822-5097e-mail: voicehouse@mindspring.com,web site: www.thevoicehouse.com.

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

the vocal folds add resistance to increased air pressure. A portion of the vocal fold will actually cease to vibrate. As higher pitches are sung, the back side (posterior) of the vocal folds begins to dampen. In very high pitches, the front portion (anterior) of the vocal folds does the vibrating. The pitches used in the female whistle register cannot be sung without heavy damping. Since this is not a conscious event, I would not waste much time discussing this, if ever.

Question: What do I need to do to get a vibrato?

Answer: A vibrato is achieved when the airflow is regulated in an even manner. Incorrect breathing techniques are the main cause of a singer not having a vibrato. Attempts to imitate a scary ghost sound while singing a glissando both up and down may help to jump start a vibrato. Alternating pitches in half steps starting slowly and then increasing the speed is a very popular way to attempt to start a vibrato. But I have never known that approach to work. Vibrato is a result of a good breathing technique.

Now go sing well!Milestone: This is the 75th edition of

the Vocal Coach’s Corner. I am looking forward to 75 more. Bruce, thanks for letting me teach.

breath by the singer. As a great voice teacher once said, “Breathe to satisfy the lungs, not to overcrowd them.”

Question: During this course you have never mentioned the lip trill. Is there any value to lip trilling or is it a gimmick?

Answer: The lip trill or lip flutter has become an omnipresent, one stop shop, one trick pony cure-all for some voice teachers in America. It may provide mental health benefits, but it is doubtful that the lip trill is as important or as significant as some people think. The lip trill does activate the breathing muscles, which increases awareness of correct breathing techniques. But let us not place a major role on a minor device. Lesson time can be put to much better use.

Question: Our choir director tells us we should take the three middle fingers of the hand and place them between our teeth. It is supposed to open the throat and increase space. It feels very tight and uncomfortable.

Answer: Placing three fingers upright between the upper and lower teeth will produce a lowered jaw but this does not follow correct physical and acoustic function. The Vowel /i/ uses a lateral mouth position, which produces a greater throat space than does the vowel /ah/. The mouth is in its most open position when pronouncing /ah/. Forcing the jaw down creates unwanted tension and does not create more space in the throat. Dropping the jaw actually narrows the throat and forces the muscles to press down on the larynx. This approach reminds me of a student who, while in junior high school, had a choral director require them to place their entire fist in their mouth to create maximum space for singing. Another device is placing corks between the singer’s molars in order to keep the jaw open. None of these approaches have a place in a vocal teaching studio. They create tonal distortion and malfunction.

Question: Recently I attended a workshop led by a vocal teaching “guru.” He made a big deal out of damping in the singing voice. What is it, how is it done, and what does it accomplish?

Answer: Damping is not a conscious vocal event. Damping does not produce a physical sensation in the larynx. It happens when

So Many Questions, So Little Time

14 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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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 of tone woods delivers a warm, balanced sound that you have come to expect from a dreadnought, with less of the bass-side boom. The sound is centered more in the lower midrange with clearly defined bass notes, sweet midrange, and bright highs. The clean midrange provided warm tones for my key of A, bluesy half-rhythm and half-lead pentatonic playing style.

For electronics, this model has a Shadow Nanoflex undersaddle pickup, shaped by the proprietary StudioLâg Plus

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

Lâg Tramontane T300DCE Guitar by Bruce Adolph

onboard preamp, which features five

preset EQ curves accessed via a rotary

selector: Natural Folk, Mellow Mids, Studio Mid-

Cut, Fingerstyle, and Mellow Jazz. You can further color the

sound with the treble and bass controls. There is even a bypass

switch if you want to skip the pre-set EQ. Please keep in mind the

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.

16 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

D’ADDArio & CompAny inC. i FArmingDAle ny 1 1735 i D ’ADDArio AnD the plAyer’s ChoiCe Are trADemArks oF D ’ADDArio & CompAny, inC . or its AFFil iAtes in the Us AnD/or other CoUntries . © 201 1 D ’ADDArio & CompAny, inC . All rights reserveD.

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Robbie Seayisrael houghton lincoln brewster john mark mcmillan

phil wickham

playerschoIce.

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In the last issue we spoke about some of the wonderful benefits of working together as a couple in ministry. Things like having a lot of time together, sharing many experiences and memories together, and sharing a common vision. Let’s get right back to some challenges and guiding principles that will help us discover God’s heart for working together.

LEAD IN YOUR AREAS OF STRENGTHAll too often we want to take the reins in areas

of ministry other than where our strength lies. Maybe it comes from pride, or thinking we are being helpful by jumping in and trying to do everything. However, this can be stressful and bring about conflict, so make sure you are well acquainted with your partner’s strengths and weaknesses. This is different from knowing each other’s personality, which we touched on last issue. This is about knowing what you are great at, versus simply what you can do.

For example, you may be able to write out checks, but your spouse may be a bookkeeper. Or, you may be able to plan a small gathering, but your spouse is a wedding planner!

In Romans 12:3-6 we read – “For by the grace given me I say to every one of you: Do not think of yourself more highly than you ought, but rather think of yourself with sober judgment, in accordance with the faith God has distributed to each of you. For just as each of us has one body with many members, and these members do not all have the same function, so in Christ we, though many, form one body, and each member belongs to all the others. We have different

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 the “I can do it” mentality when our spouse can do a certain job better. God knew what He was doing when he picked you out for each other. We should celebrate the differences we possess. After all, God did, when He put us together!

DON’T TAKE YOUR WORK TOO SERIOUSLY

Now don’t misunderstand us on this one. Yes, the work is important and we should strive to do everything with excellence while utilizing our skills at their highest potential. But we have to remember that God is the one in control, and He says His yoke is easy and His burden is light. When we are walking in step with one another we can give our all, accomplish the task, and have joy in the process. If you are working with a furrowed brow most of the time…relax! God’s got it under control, and He’s equipped you both to get the job done without losing a pound of flesh in the process.

MAKE SURE YOU PLAY TOGETHER, NOT JUST WORK TOGETHER

Most of us are long on work and short on fun. One of the quickest ways to burn out is to get in the BAD habit of working too much. Balance is what we all need in this area, and more of it.

I read a book several years ago about Winston Churchill. What stuck with me more than anything was the number of hobbies he had. It was a ridiculous number, but they were his means for relaxation. Find out what it is that allows the two of you to relax and enjoy something other 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

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 OTHERSThere 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!

Couples In Ministry: Double Blessing or Double Trouble

Part 2 - by Rick & Diana Cua

18 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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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

musicians who just love wonderful covers and old songs. They asked me to be a part of it. Gene and Chris and Carl have such strong voices. Then I did a couple of songs that I sang lead to. But it was great to just be with the group and play my guitar bits and play some electric with them. But, before we did that set, Glass Harp did a full forty-five minute set! People seemed to really like it. Most of the people down here have never heard us play before. And they packed the place out, which was really great!

So that was the eve of my 60th birthday. And then on Wednesday, when I turned 60, we had a nice meal with Daniel and John, and then they left to go back to Ohio on Thursday.

It was really a whole birthday week, because we celebrated Bernadette’s birthday, as well as Alicia’s, (our daughter). We’re all March babies within 10 days of each other.

CM: Well congratulations on hitting 60! That’s really great!

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).

I just hope that my sense of humor can continue to grow as I get older, because aging is not for wimps.

CM: Last November at the Christian Musician Summit in Overlake, Washington, it was an honor to present you with the Roby Duke Creative Life award. Tell us about that evening for you.

PK: I was so blessed and humbled by that experience. I want to thank you, and all the folks that gave that to me. I really admired and respected Roby’s gift and talent, and his humanity. I think he was one of the greatest musicians in our genre that has ever come along. The thing that is so great about Roby, is that he was such a great human being, you couldn’t box him in and define him by any one thing. He was a human being that sought after God, yet experienced his own frailty, shortcomings, and sin as a human being (as we all do). But he plowed through. He went through the dark night of the soul, and he

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.

By Bruce Adolph

20 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Phil and his Dad Philly Sandwich - Bruce and Judy squishing Phil after the Roby Duke award presentation

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

you’re doing another one. There’s room for that!

So, you have the trio album that came out. Then you said you had a second instrumental album?

PK: Yeah, it just came out. We did a limited run for now. The album is called Numen, with Kyle Jones. Kyle is an amazing drummer and percussionist. In fact, he is on the road right now with Fleetwood Mac, playing percussion for them. He and I did an album that is primarily acoustic six-string guitar, and some acoustic baritone twelve-string guitar with his percussion. Then I played bass and electric in places along with some guest musicians. It’s really a very interesting album. Kind of: Asian meets Middle-Eastern meets South American meets a little of Zydeco. Because of the places that Kyle likes to go (and he’s a believer too. He loves Jesus), he’s been trained in the music

of other cultures. He’s brilliant. He really brought all these new things out of me, just jamming with him.

CM: So on the new vocal album, you mentioned that you were thinking of co-writing with some people. Are there any songwriters that you’ve already begun working with?

PK: I wrote a song with Tom Douglas that I want to consider putting on the album. I’d also like to possibly put a couple of covers on the album. I’m not sure right now. Really,

the thing I’m wrestling with right now is: do I want to make an album with a real spiritual emphasis? Nostalgia can only take people so far, and great music is great music, and I love covers! I’ve done “Good Vibrations” and I’ve covered an Elvis tune here and there, as well as Dylan and The Beatles. But I just wonder if God may draw something out of me, because the gospel is the most important message. I don’t think people have the same

prejudices about the message in the gospel, if they can feel some sort of true honesty in the deliverance of it. I think people are really hungry today for hope, and for some answers. And I really believe that Jesus Christ is the answer and the greatest news we could ever hear in these times we live in.

CM: Especially in light of what has been happening in Japan, the Middle East, and the natural disasters in America recently; even the casual observer would have to say that the earth is being shaken up right now.

PK: Yes, it sure does seem like that. Our daughter, Olivia, has been living in Hawaii, and when the tsunami took place we were very concerned and felt stressed and really had to deal with how to put our faith in God for her safety. And in the past few days we’ve just had to deal with some of the most horrific weather coming through our area. Last year we had the incredibly bad flooding, which was literally the scariest thing I’ve ever seen. But just recently, though they missed our neighborhood, we had tornadoes all around us bringing devastation to communities.

It does feel like the ‘last days’, with earthquakes and wars and rumors of wars. I actually pulled out an old tune that I’d written eleven years ago called “Headlines” and thought maybe I should be singing this song in concert. Some of the lyrics are “As it was in the days of Noah, as it was in the days of Lot. Will we refuse to remember, and then blame it on God? Earthquakes, famines, pestilence, disease; Wars and rumors of wars while proclaiming peace. Unloving, unforgiving, despising all that’s good. Lovers of their pleasure rather than lovers of God. Disregard their mother, disregard their father, disregard the power of the Lord.”

Those are words that mostly came right out of scripture. I feel that it’s time to lift up the Word of God because that’s where we get our hope from, and that’s where the good news is found. Maybe what it means for me is to go out and find some good old gospel songs, and then re-vamp them and work with some musicians that can bring some soul out 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

Continued on page 30

22 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Phil in 1979

Christmas 1956

Christmas 2007

With a footprint so small it will fit inside most pulpits, the

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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

Answering the Call

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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.

24 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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selective hearingThe Mission FieldBlessid Union of SoulsSalvation 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 NotJenny 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

Tyler’s Chris Martin-esque vocal delivery contrasted by Jenny’s floating, ethereal lines; the music is largely anchored in folk tradition, but can carry an experimental pop vibe at times. With influences that include Keane, Coldplay, The Civil Wars, and Mumford and Sons, the music alternates between bright/organic and darker/atmospheric depending on the tenor of the song. The title track serves as the albums fulcrum. It speaks of believers retaining a spirit of endurance and expectancy in the midst of heavy situations. The verses detail the circumstances of what our eyes see, while the choruses encourage us to hold tight to what our heart knows to be true. It’s a rare and beautiful thing when a song can contrast the concepts of sin and holiness in such a stark, believable way, much like the psalmists of the scriptures. “Dreaming of Peace,” “Through Your Eyes”, and “Holding On To Hope” also carry echoes of this approach, while “Carry Me” (featuring the vocals of Mac Powell) encourages the believer with promises of God’s eternal providence:

When I first met you I drew you in close to Me Your weaknesses covered with strength and security I’ve never left you, nor will I ever leave child believe, child believe

The penultimate cut of the album is the Carter family classic, “Anchored In Love”, lovingly rendered amidst tender harmonies and a traditional bluegrass combo of mandolin, stand-up bass, and sturdy acoustic guitar that reinforces the lyric relating the simple truth of God’s love for his people. Jenny and Tyler are masters at singing about the need to keep Christ in the center of our lives, and they do so honestly with a willingness to tackle the tough circumstances that add real depth to their experiences.

Inside These WallsBrandon BeeSave the City Records

On his sophomore effort, Inside These Walls, artist/songwriter/producer Brandon Bee continues to walk a line between the world of congregational worship and more personal, experimental, musical fare. What strikes me most about this release, aside from a batch of solid songs and Bee’s extremely appealing vocals, is the mixing and engineering on the record. In a world where about 4 different guys produce much of what is played

on Christian radio, Bee gives audiophiles a different and most welcome spin. His production allows for differentiation of all the instruments instead of the compressed mess that I usually hear when I (reluctantly) turn on a Christian radio station. In other words...Guitars sound like guitars, keyboards sound like keyboards....it is wonderful to hear the articulation of each string when Bee strums a guitar. He also manages to mix different moods and textures of instruments within the same mix, well displayed on “Stones on Bones”, a cut that combines delayed keys, crunchy power chords, and a smart little acoustic guitar figure that wouldn’t sound out of place on a straight folk record. However, the project

still sounds perfectly current and in step with any modern worship project you’d care to mention. As for the material, Bee certainly knows the requirements to write songs that fit in

a congregational structure, as “Bring Me To Life” and “Nailed to the Cross” are all in that vein. Yet he is also adept at more personal fare, as in the winsome “Last Day”, the hook-filled, yearning “Helpless” and piano pop gem, “Weight of This Illusion”, which also features what sounds like pedal, or lap steel guitar accents about 2/3rds of the way in. The album’s highlight may be the textured, slowly building “Whispers In Silence”, which assigns value to staying still and listening for God’s voice. There is very little to criticize with this release. Bee may not yet have the songwriting chops to produce an album with zero filler, (how many writers really do?) but his affinity for creative instrumental/textural alchemy more than makes up for that small reservation.

The CoveringStryperBig 3 records

With The Covering Stryper decided to create an homage to all the bands that influenced their sound as a metal band coming out of California in the early 80’s. While not a tip-of-the-hat to their faith, the album does contain an original song, “God”, that puts to rest any question about their true allegiances, even as it points toward the future. The song harkens back to Stryper’s heyday, while including enough modern edge to keep the

by Shawn McLaughlin

26 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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 AloneMavis StaplesAnti

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

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.

ReliquariumKemper Crabbhttp://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

CHRISTIANMUSICIAN.COM 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 ValleyEisleyEqual 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 past 4 years, many of the songs relate the

bitterness and resentment that come with a broken relationship, while showing the first tentative steps toward recovery. Contrasting the stark honesty and raw relatability of the lyrics are songs that are fraught with melodic 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 working dedicated, tireless worshipper of Christ

28 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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EVENTS for CREATIVE TYPES to IMPROVE SKILL & INSPIRE TALENT for GOD’S GLORY

September 16 & 17, 2011Cornerstone Fellowship, Livermore, CA

featuring Brenton Brown & others...

October 8, 2011Calvary Community Church

Westlake Village, CAfeaturing Brenton Brown &

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November 11 & 12, 2011Overlake Christian Church, Redmond, WAfeaturing Peter Furler, Paul Baloche,Christy & Nathan Nockels, The City Harmonic, Zoro, Doyle Dykes, Jonathan Lee & others...

ONE-DAY INTENSIVESheld the Thursdaybefore each CMS

October 14 & 15, 2011Scottsdale Bible ChurchScottsdale, AZ, Roster TBA

CMS-2011-Fall Ad.indd 1 4/25/11 11:41 AM

Continued on page 46.

Phil Keaggy (cont. page 22)coming home. I had to go to school the next morning! And even in ’67, I was still in high school, but I remember on the weekends, I was playing with The Volumn IV and The New Hudson Exit. We were traveling into central Pennsylvania from Ohio, and leaving mom and dad. That’s when I really started going on the road. I remember the places in Pennsylvania: DuBois, St. Mary’s, Ridgeway, Williamsport. And from Youngstown we would go west into Akron and up to Cleveland and down to Columbus. Then, with Glass Harp, I started going on the road quite extensively in 1970 and ’71. We toured around the country in ’71. Especially the West Coast. So you could say that I’ve been on the road for 44 years now.

CM: Wow! That’s amazing! In doing all of that traveling, what are some of the oddest, or funniest things that happened to you out there?

PK: Well, definitely the trips that were the most fun for me were the ones where I had someone traveling with me. I remember back in the days when Peter York and I used to travel together. It wouldn’t take much to trip us off and we’d be off into a laughing frenzy. And then as we’d laugh we’d lose the ability to hold on to our luggage and our guitar cases and everything. I remember one time we were in the Denver airport and we were just trying to keep it together as we were negotiating the sliding doors with our guitars under our arms and our suitcases. We both ended up falling over, and then the laughing started, and we could hardly manage to get up and pick up our gear because we were laughing so hard!

I remember being on the road with Randy Stonehill, and we’d be in a room full of people and he’d be doing his crazy antics, and then he’d realize that nobody would actually be

paying any attention to him. But then he’d catch my eye from across the room, through a dozen people or more, and see me grinning at him and he would realize that he wasn’t alone in his humor.

I think the long trips over to Europe have had some real challenges due to the lack of sleep on those trips. Also, going up to Alaska and experiencing that whole life up there, when it’s still daylight but it’s 1:30 or

2:00 in the morning. Also one of the best tours ever was the Invention tour with Wes King and Scott Dente. Just a great time with lots of laughs—but wonderful times musically and in fellowship!

Some of the things that I really enjoy and remember most are when people would come up to me and say, “This song really mattered to me. It meant something to me and brought me through a hard time in my life.” “Let Everything Else Go” was one of those songs. I met a couple once that actually met each other at a traffic light. She pulled up alongside of him, and he was playing that song on his cassette player in his car. She listened to the song for a few minutes (it was a long light), and then she said, “Excuse me, can I ask you a question?” So they pulled off the road (he thought she was lost and needed directions), but instead she said, “I just wanted to know .

. . what were you playing? What was that song?” So he introduced her to the song, and then introduced her to where he went to church, which led to him introducing her to Jesus . . .and eventually a marriage proposal! So they actually got married because of a song of mine! Which, of course, is really special for me to hear about.

And then I’ve also met, because of

my song “Little Ones”, a mother and a father who have come up to me and introduced me to their 10 year-old child and said, “This is our child, and your song is the reason why I had this child.” And to know that those people chose to bring a child into the world because of the influence of that song is just amazing.

CM: One question I was wondering about, is if your guitars have ever been lost when you’ve been flying?

PK: Oh yeah, sure. I’ve had to play a borrowed guitar for a concert before. But I haven’t recently had a guitar stolen or lost permanently. Now that I think about it, I guess I did have a few guitars stolen back in the ‘60’s due to our van being broken into. But I’m grateful for all that I have. I want to stay focused on the most precious things to me. My wife and the kids that we’ve raised; they are my true treasures.

CM: We gave the opportunity for people to ask a few questions through Facebook, so let me share a few with you. Rex asks, “Phil is so precious. How can fans specifically pray for him?”

PK: My prayer to God at this season in my life is that I’ll be faithful and courageous. That’s what’s in my mind and my heart. I believe that the most important thing is to be faithful to

God, Jesus, and our calling. And then to be courageous towards whatever may come. And I always pray that my children will be filled with His Spirit and follow God.

I also pray that the light of the Gospel will travel across the earth and that people will

recognize how good and true Jesus is.CM: Another Facebook question comes

from Denny. He asks, “Do you have a gig emergency kit? And if so, what is in it?”

PK: Yes! I keep some Cayenne pepper, 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. I’m using some Kyser K-Lever capos, as well as some from Shubb. I’ve written several songs with the K-Lever capos. It’s just so cool how you can voice new chords and phrases with those capos. I’ve got the white one and the red one. You put the capos in different places on the fretboard and you can create some really nice sounds.

CM: Are you using any new equipment? Are there any new guitars in your home

30 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Randy Stonehill, Mike Pachelli and Phil

What A Day album cover original photo by Bob Combs (1973)

Phil (1979)

Phil live in 2005 photo by Randi Anglin

Glass Harp (1968)

The Squires (1966)

Chris Tom

lin and his 1999 Collings O

M42 SBSerious Guitars | www.CollingsGuitars.com | (1) -

Chris Tomlin and Collings Guitars

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.

• CollaborateIf 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

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 SurroundingsSometimes 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 InstrumentTry 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 normalI 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.

Songwritingwith Dwayne Larring

32 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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Every mechanic needs a good set of tools before he even begins work on a vehicle. This statement is what gave fuel to the idea of a weekly podcast show that would provide a place for Independent Music Artists to listen to and gather information on the who, what, where, when’s, why’s and how’s of building a successful music career. While sitting at the brainstorming table, the idea of adding a unique element of a ‘he said, she said’ conversation between myself and one of Nashville’s female music/small business industry consultants began to take form. The Indie Mechanics Show was born.

My female co-host is none other than Sue Ross, founder and owner of The Inner Vizion, www.theinnervizion.com and mother/prior manager of the band, EVERLIFE. Sue has been providing innovative and individual creative consulting to small business and music artists for the past 10 years. What she brings to the table is her experience as a speaker, manager, consultant, author, concert promoter, booking agent, publicist and all around creative guru-ette who has helped artists “kick it up a notch” by finding their inner vision. “Everyone has a vision deep inside of them, but they’ve packed on the layers that life brings and find it hard to define their vision. I help them dig deep and bring out what is already there and then work within their ‘box’ to create a successful, creative ministry/business.” states Sue.

Sue and I have crossed paths many times within the industry over the past 7 years. She had previously worked with me at Indie Heaven as a promotion consultant and has also been a speaker at my conferences. The key word that describes her input is definitely “creative.” We’ve discovered that there is a bit of magic that takes place when we just sit down and talk about our passion and vision for the success of independent artists across the table. With mic’s in hand, we choose a theme and in the vein of a talk show, we just brainstorm out loud. That is the meat of The Indie Mechanics Show. Armed with our knowledge and combined experience in the industry, from both sides of the fence, we provide suggestions, real life stories, one-liners and much more for one whole hour. We’ve made it free to the public and it is currently available on I-Tunes for download and also at www.indiemechanics.com. We give a money-back guarantee on all of our free advice! Now that’s a deal you just can’t pass up!

We understand the never-ending change that is happening in the music and media arena and the need to implement a blend of both tried and true, along with new and innovative ideas. We’ve just completed our 11th show and from all the correspondence that we have received thus far, we realize we are making some noise that has value.

“I learned so much of what you spoke about the hard way....through 24 yrs of trials and tribulations......The info you guys spoke about would have been worth its weight in gold to me 20 years ago.” ~ Mike Detrick

“I have listened to every show you and Sue have produced. I have one complaint!! They only last one hour! I love what you guys are doing!” ~Randy Norton

Whether we are talking about how to Crank it to 11 in 2011, discussing the importance of creating and implementing a plan in your music mission, or Indie Zingers, talking about our favorite one-liners that will help your music mission grow, the tips just flow. You see, we understand, firsthand, the need for continued education and also the importance of bouncing ideas off of another set of brains. We do it all the time in our own businesses.

So, take a minute and come and visit us. Grab your computer and a cup of coffee or put on your running shoes and take us with you on your next run. With our quirky sense of humor and ‘off our cuff’ information, we don’t promise to make you a rock star or a super hero. We just promise to deliver ‘real’ answers to questions we’ve asked and heard along the way.

And, from here on out, my column here in Christian Musician will be known as “The Indie Mechanics,” I am looking forward to continuing to serve independents and help them grow and go!

Keep up the excellent faith-work!

Keith Mohr, Indie Heavenwww.indieheaven.com

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34 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Summer NAMM puts the world of music products and sound and lighting technology in front of you

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2011 Summer NAMM • Nashville, Tennessee Nashville Convention Center

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Badge is non-transferable and valid for all three days of the trade show, Please register by the June 22 deadline to avoid an additional $25 late charge.

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SN11_HSofWorshipƒ.indd 1 4/22/11 12:20 PM

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.

Inversions ContinuedLast 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.

36 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

http://www.bedellguitars.com

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

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.

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.

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?

Q

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

Ask Joe by Joe Riggio

QAA

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.

38 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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Philmontby 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.”

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.

CHRISTIANMUSICIAN.COM MAY/JUNE 2011 41

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“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

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

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

42

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Bryan Duncan... CCM artist for thirty years. With the Sweet Comfort Band, then solo and now with the Nehosoul band. Owner of Red Road Records and Host of Radio Rehab at  www.radiorehab.com inducted into the Christian music Hall of Fame in 2007.

I follow Jesus because I’ve been to the rehearsal! Personally, I’d rather chew tin foil and shave my head with a cheese grater than rehearse songs. Just the writing process gives me more time with a song than I spend with my entire family. With enough repetition, any tune can start to sound as irritating as “The Candy Man” - “Who can make a sunrise?” - sung through clenched teeth.

These days, I’ll change the writing of songs to accommodate a quicker rehearsal. If you start putting complicated riffs at the end of a turnaround, you’ll be rehearsing a train wreck in the making. Simple is better they say, and it takes a genius to come up with a three chord melody that has substance.

Rehearsal is how you discover the defects of musicians generally, the first of which is the punctuality factor! Let’s admit it, we’ve earned our reputations. And let us not forget to factor in the “dilly dally” time that it’s going to take to set up the equipment while the singers go to Starbucks.

Every musician has that riff they just have to

Rehearsal, God Help Us!By Bryan Duncan

play to sound impressive. You know the ones, it’s what you play when you’re in the music store and you kind of want someone to be impressed by what you know. So checking levels becomes a mini concert that sounds like an orchestra tuning up. And let’s not forget the part where a line in a song you’re rehearsing sounds like another hit song, and the band suddenly feels obligated to run hrough a Def Leppard remake. 

I’m amazed at how many times we get lost in the number of measures, even before I come in singing. “When I start singing, you’ll know where I am,” I said the other day. Why? Because we’re repeating three chords in this and we’re depending on the drummer to make the groove interesting (He’s not here yet, by the way).

I’m playing with a number of thrown-together bands these days. Flying a whole band into a city is a deal breaker in concerts that don’t come with a coffee shop attached. Now I know why “worship” songs are so popular. The band can only get together for an hour before the church service in most

places.Count yourself lucky if

you have the luxury of paying for a sound stage in a downtown industrial park, where the dB level is not a problem. I have my own rehearsal studio and I still get warning notices from the city! So now we’re huddled in a circle like Indians over a campfire, trying to put energy into a rockin’ tune at “retirement volume.” And singing the high notes comes with a governor.

Let me just say here that the quality of a rehearsal is directly affected by the distance between now and the performance. I rehearse songs that we want to record eventually; trying to work out arrangements is not something that goes well when everyone’s waiting for their cue. Thank God for Pro Tools. There’s a real lack of focus unless there’s

a red “Recording” sign on over the door! You might want to put one of those up in the rehearsal studio just for fun in the future. It helps musicians “dial down.” In layman’s terms, we like to call it “stupifying the articulates.”

I get nervous at a rehearsal, because it’s a runthrough at half speed that hopefully will change when you go “live.” Right now, it sounds like dinner theater music, because the drummers are using brushes on a tambourine for a snare, and kicking a Cajon, mostly so you can hear the tinny acoustic guitar parts in the intro.

I have a local bass player with the face of a curmudgeon; you can’t tell when he’s happy. And he never wants to play the same thing twice. “That’s why we call it pop music,” I told him. Get acquainted with whole lotta whole notes!  

Finally the big crescendo comes, when it’s sounding pretty good, which means we’ve at least reached the end of the song at the same time. And then someone brings up the fact that I’m paying the sound man more than all the musicians! “I do that because I’ve heard you play,” I laugh. But seriously, if the engineer doesn’t work some miracles, nobody’s is going to hear the guitar solo, where finally there’s a break-free run to originality. A sound man knows who to turn down in that part where a musician gets confused. In my band, that’s usually me! I can’t sing AND play at the same time; I’m just not that good of a multi-tasker, and on stage, I’m mostly trying to have a conversation with the audience.

It’s a magic show really, mastering the art of distraction to create the illusion that mistakes disappear just because we rehearsed. Honestly, I’m convinced that “improvisational jazz” was born out of a lack of time to rehearse! Thank God for Christian musicians! We can at least pray before the gig. Prayer changes things, but can we all start in the same key this time!

44 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

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Phil Keaggy (cont. page 30)studio? Or pedals, or amps?

PK: Well, a company named Flatline Guitars has put one in my hands. I’ve done some recording with it and I’ve played out live with it. It’s a very interesting sounding guitar. It has almost a solid-body ‘Gretsch’ vibe to it. It’s lightweight, and very cool sounding.

Over the last year, I’ve sold my Fender Princeton amp and my silver-faced Fender Deluxe Reverb amp. But I’ve still got the old Vox AC-30, and I’ve got a Peavey classic 30 which my sister and her husband gave to me.

A friend of mine has let me use a pedal of his, made by Tonefreak. It’s a purple overdrive pedal called the “Abunai 2”. It has some really good sounds! I’ve also tried some pedals like the Franklin ProDrive. I like that one. I’ve also tried the G-Tod, by Swell. It has a tube in it and it is very versatile! In fact, I use it in my acoustic sets.

Sometimes I record electric guitars direct through a series of different modeled sounds. I also record through the Peavey or Vox with a Les Paul or a strat, or I’ll use the Zion. The Zion has continued to be a great guitar for me. It’s a great studio guitar. I love the arrangement of the pickups and how the electronics are laid out.

CM: Tell us about the rest of 2011. Are you going to be traveling several weekends per month this year and playing gigs?

PK: Yes, that’s pretty much how the schedule goes. Traveling a few weekends a month, and then doing session work the rest of the time. I recently played on David Huff’s new project. Remember David and the Giants? I love his songs! I also collaborated with Bryan Duncan on a new song that we worked on through the Internet together. I sent him a couple of acoustic guitar tracks and he wrote lyrics to it and sent it back to me and had me do it as a duet with him.

I did a song recently for Billy Batstone and Bob Bennett. They’re making a new album with a remake of an old song called “Presence of the Lord” by Blind Faith. That song has a lot of significance for me. When I gave Jesus my heart in February of 1970, I went home from that church service and I played “Presence of the Lord” over and over again. So, to be invited to play on that song with Billy and Bob was a huge privilege for me.

CM: One final question for you. You talk about being with people like Mickey Dolenz and others like that. And you left a very promising career in the mainstream music industry to serve the Lord in Christian music. At that

time the music was still under-funded and under-recorded, yet you were faithful to serve that genre for so many years. It’s heartwarming to see you now getting some of the acknowledgement from some of the mainstream artists and producers. They are recognizing you not only as a musician, but also as a Christian. Talk about what that is like for you now at this stage of your career.

PK: It really does blow my mind. I mean, I’m not really rubbing shoulders with all that many people . . . but, for example, a couple of years ago I got a call (out of the blue) from Peter Frampton saying, “I’m coming to town . . .let’s have dinner.” He and I used to hang out a lot back in the early days when Glass Harp first got signed to Decca Records and we were doing concerts. So after all these years, it meant a lot to me that he would think to call and want to have dinner. I would love to meet up with some of the other musicians that I used to jam with, like Joe Walsh. I would love to meet Eric Johnson face to face sometime. We’ve written notes to each other and I think there is a mutual admiration, but it would be great to meet and play together sometime.

Tommy Emmanuel is an example of another guy that is totally amazing. He needs nothing but six strings and a box. Without any effects or anything, he is so full of life! He is a brilliant musician whom I highly respect. In fact, when I do guitar clinics and people ask me all about my pedals and my loop machines, I tell them “This is a lot of fun, and I have 9 fingers, so I have a good excuse. But I’ll tell you that the guys I really admire are the guys that don’t need any effects or pedals.” Tommy Emmanuel is one of the guys that I cite. Doyle Dykes is another one. I’m a big fan of both Doyle and Tommy.

One more thing I wanted to share is about my good friend Brian Mason. He will be doing his last show for Nashville’s “Mix 92.9” FM radio station soon. On May 2nd, he will be celebrating 30 years of doing his Sunday morning radio show. There has never been a DJ more supportive of my music than Brian Mason. I just wanted to acknowledge that with my thanks.

I also want to thank Christian Musician magazine, and you as the publisher Bruce, for always being such an encouragement and for

having me in your magazine. There has never been a publication that has supported Christian musicians like you have. It means a lot to me, and I just wanted to thank you personally. l

46 MAY/JUNE 2011 CHRISTIANMUSICIAN.COM

Songchart: What a Savior • A Few Moments With… Lowering the Bar

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Record ReviewsKnow Jesus Collective * Brenton Brown * Parachute BandBrandon Heath * Lakeside Live * Daniel Bashta

The Freedom and Restoration of Broken Walls

Product ReviewWickstrom Grand Theatre

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Blessings through theRaindrops

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DiscipleAn Interview with Kevin Young

Product Review:

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Chrissy SheftsThe Passion of Playing

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