Christian Musician Magazine - JanFeb2012

Improving Musicianship | Inspiring Talent

Will McFarlaneSpirit Led Blues Power

PRS SE20 Amp & SE Bigmouth CabJAN/FEB 2012 Volume 17, Issue 101

Product Review

Project Studio Gear Reviews

Selective Hearing

Leigh Nash Sara Groves Eve Selis Geoff Moore Luke Brawner

Neumann KH 120 & TLM 102 PreSonus StudioOne 2 Waves Chris Lord-Alge & Tony Maserati Signature Collections

0

US $5.95 Can $6.95

74470 95962

5

Mark Kroos: 2x the Guitarist

Tips on Creative Lyric Writing

Ramirez & Associates 2011

Its all just jive until you try em.

HEARING IS BELIEVING.DeanMarkley.com e 800 800 1008

Come See us at NAMM Hall C #4283

Come See us at NAMM Hall C #4684ANTHONY ARMSTRONG

- RED

TY DIETZLER

- THOUSAND FOOT KRUTCH

MICAH SANNAN

- DISCIPLE

MARK ANTHONY THE LETTER BLACK

MATT FUQUA

- THE AFTERS

JUSTIN COX

- FIREFLIGHT

GHS Boomers now shipping in our new air-tight Fresh Pack guaranteed to deliver factory fresh tone. Rocktrons Guitar Silencer combines patented HUSH noise reduction with a noise gating process for the ultimate noise killing machine.

ghsstrings.com 800/388-4447 rocktron.com 800/432-ROCKGHS Music Products 2813 Wilbur Ave. Battle Creek, MI 49037

photos by Max Crace

Features8 Bassic Communication by Norm Stockton Intro to Solo Bass Arranging (Part 9) 10 Guitar Workshop by John Standefer Wonderful, Merciful Savior 12 Drumming Dynamics by David Owens Thomas Lang Shuffle 14 Vocal Coachs Corner by Roger Beale Over-Singing: A Cosmic Phenomenon 16 Product Review by Joe Riggio PRS SE20 Amp & SE Bigmouth Cab 18 Show Us Your Groove by Rick Cua Serving for the Long Haul (Part 1) 26 Selective Hearing by Shawn McLaughlin Leigh Nash Luke Brawner Eve Selis Geoff Moore Sara Groves

CONTENTS36 The Fretboard Less Traveled by Rich Severson 38 Ask Joe by Joe Riggio 44 The Genuine Art Tickle: Learning to Ask for Help by Bryan Duncan 46 Coda: Songwriting by Steve Rice Tips on Creative Lyric Writing

Whats Rattling Around In Your Brain?I believe that the Lord gives us ideas all the time. Sometimes we catch them, but Im sure I have missed some good ones because I simply wasnt paying attention, or I was so into my world that I wasnt thinking about His kingdom. Even small ideas can bear good fruit. Years ago I had the idea for a humorous t-shirt for musicians. The Love One Woman Many Guitars t-shirt idea was in my head for three years before I took that crucial first step and printed some up. I took the shirts to one of our Christian Musician Summit conferences and surprisingly sold a boatload of them. This shirt idea has been a good seller for seven years now and has brought a lot of laughs, and actually a serious (albeit stealthy) message of fidelity in marriage. Another new shirt idea was borne recently. Brian Felix (our trusted Customer Service Manager) and I were at a classic rock themed pizza place for lunch (The Rock in Puyallup, WA). We were sitting down having some pizza and over the sound system came on the song Aqualung, by Jethro Tull (one of my favorite bands growing up). The guitar solo by Martin Barre in the middle of the tune would go on my Top 10 Guitar Solos of All Time list. I told Brian that I had taught myself the first half of that solo from some guitar notation I had. Oddly enough, now I couldnt even remember much past the first few notes of it. I listened to the lead right up to the point where I used to know it through and then off the cuff I said out loud to Brian, Ive forgotten more guitar solos than I know how to play! After it rolled off my lips I said to Brian, Hey, that would make a good t-shirt! I made a note to myself so I wouldnt forget it. A few weeks later we printed up the new shirt idea and took 60 of them to our Summit in Seattle last November. My target audience for this shirt is a baby boomer guitarist. In fact, younger guitarists dont quite get the humor as much but anyone in their 40s, 50s, or beyond usually responds favorably. We sold over 40 of them that weekend, and I was thrilled to see the smile on guitarist faces when they bought them. I am curious to see how this shirt does at our many events in 2012... from vintage guitar shows, to our Christian Musician Summit conferences, to the summer music festivals this idea could have a good year as long as I hang out with baby boomer guitarists (who actually are some of my favorite people.) Thank you Lord for ideas, and thanks again Lord for giving us the gumption to take the first step to bring those ideas into play. Whats rattling around your brain? Lord Bless Ya! Bruce & Judy

Interviews

cover & story photos: Bruce DeBoer www.deboerworks.com

30 Product Reviews 41 Mark Kroos by Matt Kees Two Times the Guitarist Garaffice Gear: Great Tools by Roger Zimish for Improving Your Project Studio 34 The Indie Mechanics by Keith Mohr & Sue Mohr Whats Prayer Got to Do, Got to Do With It?

20 Will McFarlane Spirit Led Blues Power by Bruce Adolph

4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373 Phone: 253.445.1973 Fax: 253.655.5001 Email: [email protected] Website: www.christianmusician.com Editor & President: Bruce Adolph Vice President: Judy Adolph, [email protected] Customer Service: Brian Felix, [email protected] Street Team: Mike Adolph, Jesse Hill & Winston Design & Layout: Matt Kees Copyediting: Kevin Wilber, Toddie Downs Accounting: Debi Davis Advertising Sales: [email protected] Published by the Adolph Agency Inc.

CHRISTIANMUSICIAN.COM

JAN/FEB 2012

7

Intro to Solo Bass Arranging (Part 9)I hope each of you had a fantastic Christmas and I hope youve found this exploration of toward Option 2 (ending on the IV chord see season! the harmonic, melodic, and rhythmic aspects bars 7 & 8)but again, your call! :^) Due to the nature of timelines for print of a piece of music both illuminating and fun. Start slowly and work it up to tempo gradually, publications, Im preparing this column in the Lets look at the 2nd part of the chorus section ok? And as always, the 8va indicates that the midst of Christmastime, so I apologize if this (think, in excelsis Deo). notes are played an octave higher than written. finds you oversaturated and ready to take a As Ive mentioned in the past, dont let the I hope you will use what weve covered break from the seasonal music! For the record, transcription intimidate you: writing out a through this series as a springboard and we began this exercise of building a solo bass performance accurately often makes it look a take a stab at working up your own solo arrangement many months ago, and our use bit scarier than it actually is! bass arrangement. It doesnt have to be of the traditional Christmas tune, Angels We Just compare this transcription with the charts anything virtuosic. Just find the melody on Have Heard On High (Gloria) wasnt intended your fretboard (ideally in a key that allows to coincide with the seasonalthough, in from Parts 3 and 6 of this series, and youll find use of some of the open strings in your bass that were simply combining the melody and hindsight, that might have been cool! :^) chords weve gone over previously. The tied accompaniment), identify a practical way to Anyway, this is our final installment in the notes just reflect the fact that were plucking cover the root motion under that melody, series! Congratulations on making it this far, chords and arpeggiating some of the figures and if youre up for it (YES, YOU ARE!!!), try to provide motion to throw in some chordal accompaniment as Bassic Communication and support for the youre able. Again, whether or not you ever perform this stuff in public, this will pay big Intro to Solo Bass Arranging (Part 9) melody. dividends in your overall understanding of Intro to Solo Bass Arranging Note that that the first music. Chorus Section (Part 2) Arr. Norm Stockton "Angels We Have Heard on High" (Trad. Christmas Carol) staff (bars 1 & 2) are the 1st ending, so repeat A friendly word of caution: you just might 1. back to the first half discover at the end of the day that its also an Chordal Walk-Up of the chorus from last absolute BLAST! :^) E Ionian, F# Dorian, G# Phrygian, A Lydian G# Phrygian B Mixolydian issue, then play the 2nd Happy 2012 & hope to see you soon "Roots" "5" "Root" E F#G#A G#B ending (bars 3 & 4). For the overly observant ( ha), you probably (Adapted from curriculum in the Grooving for noticed that there Heaven instructional DVDs) 13 14 16 18 16 16 16 16 16 16 16 16 14 16 18 19 18 18 18 18 16 16 16 16 14 16 18 19 18 18 18 18 14 14 14 14 wasnt a start repeat sign at the beginning Norm Stockton is a of the chart last time; bassist/clinician/solo 2. I just didnt want to artist based in Orange Chordal Walk-Up E Ionian, F# Dorian, G# Phrygian, A Lydian create confusion since County, CA. He spends "Roots" we werent covering lots of time touring and 3 E F#G#A the repeat. Feel free to recording with worship write one in now! artist Lincoln Brewster, 3 3 3 3 The only new element but his solo projects 13 13 13 14 14 14 16 16 16 18 18 18 14 14 14 16 16 16 18 18 18 19 19 19 14 14 14 16 16 18 18 19 19 is that Ive given a (Pondering the Sushi couple of different and Tea In The Typhoon) have received options for the final widespread acclaim from around the world. G# Phrygian B Mixolydian chord. Give each a try Visit Norm at www.normstockton.com and "Root" "5" and pick the one you on Facebook & Twitter for much bass-related B G#Rit. 4 prefer. I generally like info and fun. While there, be sure to check the harmonic interest out his blog (The GrooveSpot) and register for resulting from not his e-newsletter (the groove update) for tips, 3 3 3 3 16 16 16 16 16 16 16 16 16 16 16 16 resolving on the tonic interviews, clinic invites, exclusive discount prices, 18 18 18 18 18 18 16 16 16 16 16 16 18 18 18 18 18 14 14 14 14 14 14 (the I chord see bars and more. 5 & 6), so would lean 2011 Stocktones Music 8 JAN/FEB 2012 CHRISTIANMUSICIAN.COM

Spreading the WordPlayers at my clinics and concerts are always floored by the tone, punch, clarity and headroom of my GK.

Come See us at NAMM Hall C #4284

Norm StocktonLincoln Brewster

NORMS UPCOMING CLINICS & APPEARANCES January 19-22: NAMM Show (Anaheim, CA) **Including booth performances with the Norm Stockton Trio** January 19: Lincoln Brewster, Night of Worship @ NAMM (Anaheim, CA) January 21: Solo Performance, MTD Benefit Concert (Anaheim, CA) January 27-28: Clinics, Break Forth Canada 2012 (Edmonton, AB) January 28: Concert with Doug Doppler and Zoro (Edmonton, AB) February 21: Clinic (Cincinnati, OH) March 22: Lincoln Brewster (Albany, NY) March 24: Lincoln Brewster (Fredericton, NB) May 11-12: Clinics & Performances, BassBreak Live (Baltimore, MD) June 16: Lincoln Brewster, Big Ticket Festival (Allegan, MI) June 17: Lincoln Brewster, Cal Expo Sacramento City Fest (Sacramento, CA) June 22: Lincoln Brewster, Spirit West Coast (Salinas, CA) June 23: Lincoln Brewster, Fishfest 2012 (Irvine, CA) Many additional dates pending; check www.normstockton.com for updated schedule.

POWER TO GROOVEwww.gallien.com

Wonderful, Merciful SaviorWonderful, Merciful Savior (CM excerpt)q = 100Eric Wyse / Dawn Rogers

Verse

G[]3 1 2 3 0 2

G0 3 2 0 0 0 0 3 2 0

B3 2 3 4 4 3 4 4

C(2)0 3 3 0 2 1

7

G0 0 0 3 0 0

D3 0 2 3 0 3 0 3 2 0 2 2

E3 0 0 2 3 3

E/D3 0 0 0 2 0

C(2)0 3 0 3 2 0 3 0

C0 3

13

G0 0 0 3 0 3

D4 5

E2 0 0

2 2 0 0 0 3

G3 3 1 2 0 0 0

C

19

2 0

3

D/F0

0 2 2

Re-Intro

G0 3

0 0 0

C/G1 2

G7

3

C/G1 2

Some time back a local student requested that I TAB out a solo arrangement of Wonderful, Merciful Savior. I had actually never heard of the tune at the time, but he played it for me via his mp3 player. It turned out to be a lovely piece and I went to work charting it out. It took quite a bit of time as the arrangement developed and ended up being a 5-page chart! I liked the finished arrangement enough that I entered it into the computer and made a finished TAB version that I then put up for sale at my website, www.johnstandefer.com. The full 5-page chart (with performance notes and an audio track) sells for only $5.95. I think, though, that a lot of people are like me and arent familiar with the song. I thought Id give you a section of it in this issue of CM to play with. This first verse is fairly easy to play and, although the rest of the arrangement gets a bit more involved, its really all pretty accessible and it makes a nice solo piece to play in church or wherever. I hope you enjoy it. And remember, you can always get the rest of the piece at my website anytime. I hope your year 2012 will be a good one. Blessings to you... John

3

1 4 3

0

0

0

Arrangement Copyright 2010 John Standefer Music

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

10

JAN/FEB 2012


http://4wrd.it/aseriescm3

Scan this QR code

Thomas Lang ShuffleHere is a transcription I did for a student from a half-time shuffle played by Thomas Lang. The point of the transcription was to figure out a triplet fill that Lang plays towards the end of the video. The video can be found at http://youtu.be/ah4lUpsR3YI. The transcription starts at one minute and thirteen seconds. The triplet fill is pretty cool, so I wrote it out as an exercise in 6/8 and also as a three bar over the bar line exercise in 4/4. Right after that fill he does an inverted paradiddlediddle thing. I also wrote that out as an exercise. The confusing thing for me was the fact that he accents the 16th before down beats and ends the fill on the 16th before three. Maybe he meant to do this but it sounds like it might have been a mistake. If it was a mistake it was a cool one. My point with this is: sometimes a mistake can be an avenue to new and cool ideas. I discovered this while working with Thomas Dolby years back. What I thought was an obvious mistake, Thomas liked. He ended up making it a permanent part of the recording. Be open to hearing mistakes as possibilities for new ideas. I like the feel of accenting the 16th before the downbeat. It really gives a unique feel that I will try to develop and incorporate into my playing. I hope this inspires you to listen to things differently and with a fresh perspective. Blessings, DavidDavid 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

3 3 3 3 3 = 98

http://youtu.be/ah4lUpsR3YI This groove starts @ 1:13 into the video3

Play 3x's

3

3

3

3

R L

3

3

R

L

R

3

L

3

3

R

3

L

R

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3L R R L R L R R L R L R R L R L R R L R L R R L R L

3 3 3 3 3 3 3 3 3 3 3

3

3

3

3

R

L

R

L

R

L

R

L

R

L

R

R

L

L

R

L

R

R

L

L

R

L

R

L

R

L

L

R

R

L

R

L

R

R

L

R

R

3 3 3 3 3 3 3 3R L R L R R L R L R R L R

3 3 3 3L R R L L R L R R L L R

12

JAN/FEB 2012


B-334 SR

(Stain Red)

ESP 330 ACTIVE SERIES LTD BASSESVisit us at NAMM: ESP Room #213D 2nd FlrB-334 SBRN B-335 SBLK(Stain Brown) (Stain Black)

Quality. Reliability. Versatility.You should demand all of the above in your next bass, which is why you should check out the new LTD 330 Active Series basses from ESP. Available in both 4- and 5-string-thru versions, these basses have open pore nishes that highlight the texture and grain of the ash bodies. ese basses also include ESP high performance active pickups and active 3-band EQ to dial in a tone thats uniquely yours. Stop in to your local ESP/LTD dealer to "test-drive" any 330 Active Series LTD bass and we'll send you an ESP Bass care pack, absolutely FREE!**Scan the QR code on this page for more details. Oer good while supplies last.Supporting music education through Musicians Institute www.mi.edu

espguitars.com/espcustomguitars espguitarsusa.blogspot.com

/espguitars

/espguitarsusa

Over-Singing: A Cosmic PhenomenonOver-singing is a trend that is sweeping the musical world. Even if you are asking yourself what over-singing, is you will recognize it when you hear it. You have probably done some over-singing yourself at various times. A singer performing with this type of vocal production puts his voice in harms way, and presents a less-than-impressive performance. dynamic contrast. It is always loud with many high notes. Some singers that I have heard on the radio and television are actually fullon yelling. Whats with that? Loud singing can be done well, and has its place. But loud just to be loud does not create a great vocal performance. You do not want an overly loud or poorly produced note to be the last thing Many teachers of singing have agreed that an your audience hears. They will not buy your over-singing trend is here, and many singers album when they leave the concert. are afflicted with the phenomenon. You can #3 - Developing ring in the voice is what hear this type of singing anytime you turn its all about. on the television. With the proliferation of Contemporary singers know that their voice shows like American Idol, X-Factor, The Voice, must be bright, in the mask, and have ring. Americas Got Talent, Sundays Best, Sing-off, Some singers over use this and wind up and America Sings, singers are easily swayed singing out of tune. Avoid misuse of the voice in the direction of over-singing. Some have just to get it to ring. It is not the healthy thing even claimed that it was their style. As an to do. Keep in mind that the mood of the aside, a producer friend once told me that song dictates the vocal tone that is to be used. he called a singer out of the vocal booth to One would not sing a Good Friday text with a tell him that he was out of tune. The singer bright tone. The singer would save that for the responded by telling him not to worry about joy that is Resurrection Sunday. Remember to it, thats my style. Needless to say, that guy do service to the mood and expression of the did not sell many albums. We can make music. It is about the emotion. an assumption that due to singers hearing over-singing, they are imitating this type of #4 - Loud voices always sound better. performance; thereby making it their style. This is the war cry of most high school singers and it only gets worse as they get older. What Over-singing can be the result of singing with improper technique, but that is not always the is wrong with a beautiful lyric sound? Most case. It can creep into your performance by people who sing, and sing well, do not have misjudging what sounds good to an audience. huge voices. A true big voice is fairly rare. Let us take a look at some improper thinking But they always seem to show up at contests . . .many times winning them. But poor, loud about over-singing. singing creates tonal distortion in the voice #1 - To sound my best I should sound like and adds noise from untunable harmonics. the most popular singer at the moment. There is only one way to say it: it just sounds The Almighty gave you a personal vocal bad. At your next singing competition, sound, and it is very distinctive. So if the beware of the loud screamer from Bugtussle. best singers dont sound like each other, how They always win. would a singer pick one he wants to sound #5 - The louder the band plays, the louder like, and why? Yet its done every day. I have to sing. in an ENTs examining room. Rather than out-singing the electronic wattage, why not consider a nice set of ear monitors and learn how to use them. Your voice will thank you, and your audience can remove you from the threshold of screaming and bring you back down to the world of fortissimo. To sum up these discussion points lets take a look at what leads to an effective vocal and musical performance. - Always sing in tune. God gave us those notes in harmony. You do not have to reinvent this. Sing with a resonance that is balanced with evidence of both high and low frequencies. Free up your entire body to eliminate any unnecessary vocal tension. - Sing within yourself. Do not sing with your volume at one hundred percent. Bring it down to a manageable number. By the way, remember to use dynamics. Vary the use of loud and soft. - Do justice to the music. Sing with attention to the mood of the song. Its the only way to really make music. Its all about emotion and meaning. Now go sing well!

Roger Beale is one of the nations foremost vocal coaches. He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his students have won prestigious vocal competitions and scholarships. In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is an adjunct professor in the Fine Arts department at #2 - To impress an audience, sing really The response to this thinking should be Point University (formerly Atlanta Christian College), loud and blow the door off the hinges. obvious, but for too many singers it is not. I website: www.point.edu. In contemporary Christian music the have actually had more than one rock singer Roger can be contacted at: The Voice House, PO Box 87136, College Park, GA 30337, (404) 822-5097, ubiquitous power ballad has taken over. repeat those words in my teaching studio. e-mail: [email protected], web site: www. Power ballads rarely have a soft section or This approach will almost certainly place you thevoicehouse.com.

14

JAN/FEB 2012


Introducing the free QMix app for iPhone and iPod touch

Y

onitor o na l m . w pers y Birds nds ne y Angr aise baalso pla our pr m can systeStudioLive 24.4.2, 25 XMAXpreamps, 10 monitor mixes with 10 iPones

C

ontrol your own monitor mix from an iPhone or iPod touch with PreSonus free QMix app for StudioLive digital mixers. Up to ten individual on-stage mixes with a StudioLive 24.4.2! Pick which channels you want to include, tweak their levels and then use the ingenious Wheel of Me to boost only your channel with one nger swipe. Need to control your

P

i xe r Live m ! tudio s full S with an iPad lu control

whole mixer from the stage, pulpit or pew? Use StudioLive Remote and an iPad to adjust all major mixer functions including Fat Channel signal processing. Want to record the service in 24-bit multi-track? Capture 1.1 does it in two mouse clicks (and comes free with all three StudioLive models.) Editing, overdubs, extra tracks of sampled instruments and drum loops? Studio One 2 Artist DAW also comes free. At the heart of all this wireless control are the worlds best-selling compact digital mixers. Packed with easy-to-use Fat Channel digital signal processing and effects. Equipped with our renown XMAX Class A mic preampliers. In three different sizes for small to medium churches or second mixers in large worship facilities. Dont let your church settle for a mixer thats just a lump of hardware with bits of bundled software. Get the complete seamless integration that only StudioLive can deliver.

StudioLive 16.4.2, 17 XMAX preamps, 6 monitor mixes with 6 iPhones StudioLive 16.0.2, 12 XMAX preamps, 4 monitor mixes with 4 iPhones

2012 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, XMAX, Capture and QMix are trademarks of PreSonus Audio Electronics, Inc. Studio One is a trademark of PreSonus Software Ltd. Mac, iPad, iPod, and iPhone are registered trademarks of Apple, Inc. All other trademarks and registered trademarks are the property of their respective companies.

www.presonus.com Baton Rouge USA

PRODUCT REVIEW

PRS SE20 Amp & SE Bigmouth Cabby Joe RiggioAbout this time last year I reviewed the Paul Reed Smith Sweet 16 head. The famed company had just released their new line of USA-made amplifiers. This time the offering is the PRS SE20, from the latest SE series of imported amplifiers and cabinets. This line follows the successful line of PRS SE guitars and brings PRS into the world of imported, lower-priced amps, aimed at competing among the growing market of boutique amps. Features/Layout The SE20 is similar to the sweet 16 in that a pair of 6V6 tubes runs its power section. This continues to be a very popular choice in the current amp market. Other, higher-powered models from this line include 5881 and EL34 tubes, consecutively. top of the cab, made it quite easy to carry, for it worked equally for both. its size. Under The Hood Performance The most stand-out fact, worth mentioning I tested this amp with both a Strat and Les Paul model guitars and found that it responded very well to both, letting the unique voice of each guitar come through loud and clear. When I say Loud , I mean this thing is capable of playing comfortably at volumes rivaling much higher-powered amps. I would credit much of this to the fullness that the cabinet adds to the picture. Even at lower volumes the sound remains very full in the bottom end, much like a 4x12 cabinet.

The similarity stops there, as the front end of this model sports 2 channels; LEAD and CLEAN. Each channel contains independent TREBLE, MIDDLE and BASS controls, as well as VOLUME and MASTER VOLUME controls. A mini bright switch on each channel is also a plus. These independent controls, for each channel allow much greater versatility and tonal options from a single amplifier. Onboard REVERB is also included and is global to both The LEAD channel is ready to serve up channels, sharing a level control. much more saturated tones, even at lower Most of the desired use of tubes is present gain settings from the VOLUME control. as well. There are 3 12AX7 tubes for the The feeling here is like that of a hot-rodded preamp sections and 3 12AT7s running the master volume amp with lots of over-thereverb, effects loop and phase inverter, which top saturation and thunderous is the last preamp tube in the chain feeding bottom end. I was a bit surprised to find the over all sound a bit signal to the power section. Also included with this package is a 2 button sizzly for my personal taste, but footswitch for remotely switching channels very reminiscent of American high gain amps. and defeating REVERB. First Impressions At first glance, this is a very beautifully clothed amp. The SE 2x12 Bigmouth cabinet (as PRS calls it) and the head are both covered in a robust rough pigskin-like tolex, giving the rig an upper-end look and feel. The chassis is aluminum, giving good strength while keeping the head lightweight and easy to carry. The cabinet is deeper than most 2x12 cabs I have seen on the market, more like the depth of a Another observation is that, even 4x12. This made me assume that it would be though the REVERB control is awkward to carry, however, to my surprise, shared between the 2 channels, I the heavy-duty rigid handle mounted on the found that, at any desired setting, 16 JAN/FEB 2012 CHRISTIANMUSICIAN.COM Thirdly, I revisited the CLEAN channel to experiment with its VOLUME vs MASTER VOL combinations and found a more British type of growl available there. I found this to be a more well rounded overdriven guitar voice than the LEAD channel, proving that the amp is definitely more than a one trick pony.

is that all of this amps pots, jacks and switches are chassis mounted. This is definitely a feature of higher-priced amps and is likely to insure less problems associated with many imported amps. This means that all of these components are mounted directly to the walls of the chassis, adding strength to these points that often are mounted to circuit boards inside and can commonly work themselves loose. Also noteworthy is that the feel of the rotation for each control knob is very smooth, My testing started with the CLEAN channel yet sturdy enough to stay put. and the Strat. I found very sweet American- Wrap It Up style tones in this department. It was My over all impression of this amp is good immediately comfortable and responsive to the touch, as you would hope from a properly and it is backed by a 5 year warranty. The voiced tube amp. The tone controls are very tubes are even covered for 90 days and the active and capable of shaping a variety of speakers for a year. I would highly recommend choices. It was easy to dial up an inspiring and checking one out for yourself if you are in the market for a tube amp in this price range. familiar voice. http://www.prsguitars.com/se20/ PRS SE20 Amp MAP: $895 PRS SE Bigmouth Cab MAP: $379

the player s choIce .Robbie S e ay israel hough to n linco ln bre w st er john m ark mc mil lan phil w ickham

daddario.comDADDArio & CompAny inC. i FArmingDAle ny 11735 i DADDArio AnD the plAyers ChoiCe Are trADemArks oF DADDArio & CompAny, inC. or its AFFiliAtes in the Us AnD/or other CoUntries. 2011 DADDArio & CompAny, inC. All rights reserveD.

Serving for the Long Haulby Rick CuaThe first time I spoke on this topic was after a call from EMIs Jimi Williams, inviting me to teach at a Worship Together conference. Jimi thought this would be a good topic to cover. I was surprised to see that the classroom was filled with all ages, not just the older folks. From that day forward I have noticed not only the interest from seasoned saints, but also the interest that younger believers have in preparing for their future in ministry. Thanks, Jimi, for a great idea! After getting saved in 1977 I moved into ministry in 1981, and full-time ministry in 1983. In the years that followed, although energized because of my calling, I threatened to quit many times after being beat up, knocked down, misunderstood, and every thing else you could imagine. Fortunately a few things were working in my favordestiny, because of a mighty God, my own God-given determination, and having a wife that never gave up, who was my coach and biggest cheerleader. Burnout is a huge problem in any career, but may be bigger yet when you are serving others in ministry. Let me be clear: The joy of doing what you are called to do can certainly give you a leg up, but without having your life in proper alignment you can wear yourself out far before the finish line. In Part 1 we will look at some foundational thoughts on serving for the long haul: 1) Know Who You Are In Christ We are Gods unique creation, made in His image, and one of a kind. We are accepted: John 1:12 says Yet to all who did receive him, to those who believed in his name, he gave the right to become children of God. Acceptance doesnt get any better than that. Accepted Children of God, you need to know that and dwell on it. We are secure - in Col 3:1-4 we read Since, then, you have been raised with Christ, set your hearts on things above, where Christ is, seated at the right hand of God. Set your minds on things above, not on earthly things. For you died, and your life is now hidden with Christ in God. When Christ, who is your life, appears, then you also will appear with him in glory. To be hidden in Christ is the highest form of security. Actually, it is beyond compare. 18 JAN/FEB 2012 We are significant: John 15:16 - You did not 3) Do Your Ministry At A Sustainable choose me, but I chose you and appointed Pace you so that you might go and bear fruitfruit Related to your day-to-day activities; ask that will lastand so that whatever you ask yourselves these questions: in my name the Father will give you. You are chosen and trusted. What could be better What do I need to give up? Is it time to simplify? Is my life in proper alignment? What than being affirmed by God? is proper alignment? Where do I need to The more you reaffirm who you are in Christ, slowdown? What changes need to be made the more your behavior will begin to reflect to give me more margin? your true identity! (From Victory Over the God gave us a Sabbath rest so we could be Darkness, by Dr. Neil Anderson) with Him, hear His voice, and rest our bodies. Knowing who you are in Christ will help Sabbath means, To catch ones breath. prepare you for a lifetime of service filled with joy, and devoid of burnout. If you Hurry kills everything from compassion to havent done so already, do a study on your creativity. Some of us are not only wired to identity in Christ. In Gods word there are work, we are addicted to it. Pray about this approximately 10 times more references of one and see if your life doesnt get better. us being IN CHRIST than Christ being in us. 4) Make Time For Yourself Both are 100% true but it appears that the My wife Diana would always say, If you emphasis is on us being in Him. are bringing your bass its not a vacation. 2) Make Sure You Are Serving In The To stay fresh you need personal down time. Right Place Ask yourself what it is, aside from work, that Many times people get frustrated and worn you enjoy and make time for it. If you are out because they are serving in the wrong married, do things together that refresh you area. Here Are 5 valuable points from James both. What was the old sayingAll work and Ryle that will help you confirm what you were no play makes Jack a dull boy? Its true. Your life will be muted and possibly boring if you made for: dont make time for yourself and time to be 1) Desire Is this what you want to do? together with those you love. Try not to talk 2) Ability Is this what can you do? about business or ministry exclusively, even 3) Opportunity Are doors opening for if that topic of conversation comes easiest. If you dont have a hobby or two, you may want you? to think about getting one. You will be more 4) Effectiveness Do people receive what refreshed and ready to serve, not just today, you are doing and encourage you to do it but for the long haul! more? In the next issue we will look at 4 more 5) Durability Are you so energized by what points that I believe are critical for continued you do that you could do it forever? effectiveness in ministry and life. This is a great test when things are difficult Not just a musical artist, Rick and do not seem to be working out the way knows the business of music you had hoped. Many times its just the normal as well. Besides being a music publisher, artist manager and challenges of ministry, but it truly could be booking agent, he founded you are trying to serve in an area that you and ran his own record label, were not made for. Be honest with yourself UCA Records, in the 1990s and think on the 5 points above related to which led to a position for where you are serving. You need to answer five and 12 years as Vice yes to all 5 points. Although you may desire President, Creative/Copyright to do something, you may not have the Development at EMI CMG in Nashville. There he ability, any opportunity, or effectiveness in managed a large songwriter roster and exponentially that particular area of service. And . . .trying grew revenue through film and TV licensing, song to do something you are not made for can promotion and print music development. He is currently on staff as the minister of Pastoral Care and wear you out!Visitation at Grace Chapel in Franklin, TN.

(Part 1)


The 35th Annive rsary Cowgirl Model Exclusive Editio n of 10 Instrume nts See Website for D ealer Availabilit y

2012SANTACRUZGUITARCOMPANY

NAMM Booth 1700

If you ever get a chance to meet Will McFarlane, you wont soon forget him. A tall and slender man, very gregarious... with his southern drawl and stature you could easily mistake him for a confederate general from the civil war... if it wasnt for the 1955 by Bruce Adolph Fender Telecaster hanging from his side and the Scottish kilt he wears. Wills personality and heartfelt blues licks are both infectious. He is a zealous man after the heart of God who sees things differently than many in the mainstream church. Have I said enough to pique your interest yet? Ladies and gentleman, Id like to introduce you to my friend... Will McFarlane.

Will McFarlaneSpirit Led Blues Power

Christian Musician Magazine: Give us a quick overview of how you began playing music originally, and then wound up playing in a bar that Bonnie Raitt happened to walk into that night. Will McFarlane: You know, I was just talking about this last night. We had a Muscle Shoals Music Association Christmas party and I was sharing the stage with Spooner Oldham and Russell Smith. We were talking afterwards and it turns out that a bunch of us were the children of military families. And we realized that we all broke the pattern of military service in our families. It wasnt that we went out and found something deliberately different rather than join the military. . .it was that something found us! I realized that I was musical when I was very little, as a child. My stepmother began giving me music lessons, and I started taking voice lessons when I was 6 and being a part of little choral productions. But when I saw the Beatles on The Ed Sullivan show on Feb. 9th, 1964. . . . I had begged to stay up and watch T.V. on a school night . . . and I saw them that night and, as absurd as this sounds, I really thought, thats what Im going to do! I barely knew any guitarists, but I got a guitar and started playing in high school bands. I was in high school from 1966 to 1969, and if you ask me, that was one of the best times for music ever. The radio in those days wasnt just for pop music. There were all kinds of music being played. There were The Young Rascals, and Motown, and Otis Redding; Cream had Sunshine of Your Love on the radio. There was Hendrix. I saw Zepplin in 69; it was just an era of unbelievable music, most of which was totally over my head, but I was absolutely in love with it! So many players who could drive out the end of a song spontaneously--the standard was high. I went to the University of Denver in 69 and was playing in clubs and coffeehouses and trying to write songs. Once I got a high enough number in the draft lottery that I figured I wasnt going to Vietnam, I just basically dropped out

and started doing nothing but playing music. I played and lived with my band and had a pretty typical pseudo-hippie existence, practicing every day. And we were learning anything that we loved. It wasnt like we were only into one kind of music. We played Buddy Holly, and then wed learn a Merle Haggard song if we liked it. We played The Rolling Stones, and a lot of New Orleans soul and Memphis stuff. . . and I realized that I was really a rhythm guitar player at heart. I loved all of the grooves that really kept the band going. I never concentrated on any one style, I just learned a little bit about everything. And that set me up really well, for not just Bonnie Raitts band, but also for living in Muscle Shoals, Alabama, because the point down here is less about virtuosity, and more on versatility. So at that point in my life, after dropping out of college, I was just playing clubs and moving around and going where I thought the best club scenes were. I went from New York City, to upstate New York, down to D.C. for a while, and then we moved to Cambridge. And it was in Cambridge that Bonnie Raitts manager, Dick Waterman, started attending shows that I was playing. It turned out that Bonnie was looking to put a young band together that would travel with her, and Dick thought I might fit the bill, so he brought her to see me at Jacks, a club that I was playing in. And it all just worked out. . . it worked out really well!

their sense of musicality and their touch. That was school! I was 22 when I started with Bonnie and I played with her until I was 28. CM: Tell us about the importance of listening in a band, because you talk about that in your workshops, too. WM: Music should be like a good conversation. Take this interview for example. If I only respond with answers that Ive already been thinking about, or with some topic that I think Im good at or know something about, its going to be a very stilted conversation. And its the same musically: If youre just thinking about what you know and how you can cram it into the situation, its not going to be nearly as musical as it could be if you prepare to be spontaneous. Musically, conversationally, spiritually . . . if youve got a reservoir of musicality and concepts to put into your music, then when someone says something, or plays something, then it triggers something in you, and you play out your part of the conversation.

I think that good players are good listeners. They are always listening to the musical conversation. If there are 5 people on stage, theres a lot going on! And thats why Ive developed that rhythm-lead style where much of what Im doing is never more than 2 notes at a time. Because theres a piano with 2 hands going on, bass and drums--all sorts of holes being filled. And youre always trying to find, CM: And then from there, 6 years with Bonnie Wheres my place in this conversation? and Raitt, you had the chance to share the stage with trying to be able to add and float through that some Blues greats. Tell us about that. in a lyrical way. WM: Well, Bonnies musical integrity is off the CM: Was it during that time with Bonnie that chart, and the people that opened for us, or that you sensed a need for something larger in your we opened for were just incredible. I mean, my life, something on the spiritual side? What was first tour we opened for Jackson Brown on the going on that led you to the Lord? Late for the Sky tour. The next tour we had folks opening for us like Muddy Waters, Buddy Guy WM: Well honestly, Bruce, I was actually and Junior Wells, and Tom Waits. And not only incredibly fulfilled out there for a while. I would we see them play, but they would come couldnt have been with a better bunch of guys. out and jam with us, or they would invite us out I loved the music, and I loved the people that I to finish a set with them. And you just end up was with. I married the girl of my dreams, and playing with, and standing right next to them, we had this whirlwind relationship. I married th and you dont just hear it, you feel it. You feel Janet on the 27 day that Id ever been in the

and it was driving a wedge between us, because now... she wouldnt even get high with me! We seemed to have very little in common. Id be gone for weeks at a time and come home and shed want me to watch the kids while she went to church on Wednesday nights. And my attitude was like Hey, whatever works for you baby. I wasnt into it at all, and really resisted it and even mocked it for years. We left Los Angeles in 1980. Id met Jimmy Johnson, the rhythm guitar player for The Swampers, in a hotel in L.A. and hed said, Come on down to Muscle Shoals, and lets do some demos! So I flew down to Alabama and there I was in the studio with David Hood and Roger Hawkins. And I couldnt believe how it felt! I mean, ever since Id heard the Beatitudes album by the Staple Singers, I was a huge Muscle Shoals fan, and started realizing how much else theyd done. So I went back to L.A. and gave notice to everybody and just said, Im leaving for Alabama. Half my friends thought I was committing career suicide. And about halfway across the Mojave desert, I came unhinged and thought, What am I doing? Im leaving L.A.?? I mean, I had just played on the Urban Cowboy soundtrack and was getting sessions. . . .but I just drove away. I got down to Muscle Shoals and had been there for about 6 weeks, and some of Janets new friends were trying to get me to go to church, but that was the last thing on earth that I wanted to do. But one day, just in frustration, after being witnessed to for the, who knows how many times, I actually got in my car and drove away and went out into the woods and said, Okay... is there a God? I was actually sort of railing at the sky. I had one of those thoughts like, This is why they check people into padded cells. Im out here in the woods trying to talk to God. But I just knew, all of a sudden, that I was in His presence. I had said something like, This is crazy! Im out here talking to a God that I dont believe in. Suddenly, I just knew He was there, and that it wasnt my intellect that I was dealing with at that point. I was having a confrontation with God in my soul. And I got down on my knees, all by myself in the woods, and I said, Okay, I cant walk out of here today as an honest man and say that this didnt happen. So, Im sorry, God. Lets deal with it. Lets start. And that was the beginning! CM: Wow! Thats a great story! I love that!

Okay, now... fast forward for us a little bit because Ive heard you talk about doing church in a bar now. You and Janet go back into the bars that you came out of and hold church. Tell us about that. WM: Ive been very committed to the local church body for 31 years, and honestly, Ive become relatively disillusioned with the package that it comes in. I mean, I cant picture the Lord in at least half of our corporate church environments... its just very difficult for me to. And I started feeling like 90% of the time on a Sunday morning, you play not to offend, rather than to take ground and never give it back. I realized that if I ever played outside the church walls in a professional environment the same way that I played every Sunday for church, Id be fired from that gig and never asked back. I just got tired of serving the most creative Being in the universe, but playing some of the most predictable, plagiarized music . . . song after song, I, V, VI minor, IV. . . .you know, song after song. I wrote a lot of my own stuff, and I went through prophetic times when I thought I had something to add. But in general, it was just incredibly boring. It just started getting to where the event [a church service] was more important than the actual presence of the Lord. So, I just started going to Blues jams, I have a lot of dear friends who are musicians, and I just started to enjoy playing with them. And every now and then Id pull out an old slidegospel song and Id play it, and it would just absolutely galvanize the room! Afterwards, Id be having conversations that were eminently more provocative and enjoyable than some of the safe, clichd conversations that are common within the 4 walls of a church. Janet and I just started singing together out in the clubs and the bars, and women would come up to Janet after a set and ask, How did you and Will keep it together for that long? You know, here we are, still together after 35 years. And she would have a chance to share. We just really started to enjoy those nights. And there have been times that we have actually rented out a club and done a straight gospel night, and Id pull out old-school gospel stuff. You know, we didnt do anything really contemporary... well, its all just soulful, bluesbased stuff. And we play just like we would play if we were sitting in with Buddy Guy... we played strong and hard! CM: What kind of songs are you using? Tell us some tunes that you use in that situation that really work. WM: Lay My Burden Down, for one. And we do a version of Eric Bibbs, Dont let Nobody Drag Your Spirit Down. Every now and then, I might even do, Hallelujah, Thine the Glory, Motherless Child and Amazing Grace, but real vibey and back in the pocket and bluesy. That kind of stuff. . . CM: Great... thanks! And as far as the prophetic

same room with her... I was introduced to her at a show by a mutual friend. We had 2 babies (boy/girl twins), a year after we were married, and I took a tour off to stay home and be a dad. And honestly, my heart was full. I think of the scripture none seek after me, no not one. I was definitely not seeking for any kind of spirituality. And then, when my twins were 3 months old, my kid brother was murdered. It was about a mile from my house in Cambridge. He was just hanging out with friends and they were helping a friend move out of her apartment. There were a bunch of tough kids on the streets around there that were claiming turf... you know, that kind of thing. Some words were exchanged, and they went around a corner and came back with a gun, and they just shot my brother in the chest 3 times. And then, it was just like CSI, I had to go and identify his body in the morgue. And it was surreal, you know? But something kind of clicked in my head at that point, and I actually sort of made a couple of decisions that I didnt want to let anything ever hurt me like that again. I just kind of closed up and descended into myself. I went right back out on the road with Bonnie, and for the next 3 years I was really pretty self-destructive. I didnt mean to be... but I was just compensating for the fact that Id had a very severe loss. In the meantime, my wife was becoming very committed and devoted to God,

22

JAN/FEB 2011


What does your dream guitar look like?My Riggio Tango sounds and plays fantastic. Its the first guitar I go to for that classic sound. ~ Ben Gowell Guitarist, Songwriter - Paul Baloche, Michael W. Smith, Sara Groves

Custom Guitars and Basseswww.RiggioCustomGuitars.com - 253-686-5017 See us at NAMM Booth #4698 Hall C - Dealer Inquiries Welcome

voice and ministry, we always ask you to talk of it . . .the sense that all of a sudden one of the way right now. about that at our Christian Musician Summits, lines in the song is meatier and its weightier CM: I definitely see that! That was very well but tell us how that ties into what youre doing. and you can feel the burden of it. said! Lets switch gears a bit. Tell us about your WM: Well, You always hope that you are Its interesting that Chenaniah, who was one guitars, amps, and pedals that you are using now. spiritually tracking in some way; that you might of the Davidic tabernacle music leaders; has a WM: Ive tried to be a good steward with have something in the now. Not just good name that can imply burden bearing. It conveys some of my old stuff. My primary guitar when I information, or pulling out your index card of the idea that you would actually get out there was with Bonnie Raitt was an old, white, 54 Strat, scripture references that you always use. But in front of people and sense this burden that and its still one of my main guitars; but lately, that you are there in a certain situation, and you stays on you until you dispel it and release it the Telecaster bug has hit me, and Ive got my realize that theres a now moment, and a word and realize, That was it! God had a purpose! 55 Tele in such good shape. A Telecaster really needs to be spoken. And you dont know what Thats where the moment was! I think a lot of requires you to touch it sweetly, or it will just it is. . but you just sing it! You just sing something musicians feel that, and if theyre not afforded hurt people, you know? (laughs) And so, Im that comes in the moment. And for me, its the opportunity to move in that way, then they really into my Tele thing right now. I plug into usually very bluesy. Its how I sort of wrote The get really frustrated. a 69, silver-face Fender Princeton thats a freak! River is Rising. I mean, how many times have I think the prophetic has been something I dont know what it is, but all of my friends are we all read Ezekiel? Many jealous of my Princeton. times, Im sure. And we all Its just so toneful, I can know the passage about barely explain it to the river that flows out you. Ive got a speaker from the throne of God. that maybe gives it a At first its ankle deep, little more headroom, then its knee deep, and but its been gone then it becomes a mighty through by Superfine river. And I just realized Ampworks in Raleigh, one night that I was in a and its just cherriedsituation where there was out. Its one of the most an energy and a power toneful amps I have. in that place, and I just I also have a Carr started singing, the river Rambler. I really enjoy is rising, and I cant hold it Steve Carrs stuff. Also, back no more. And it just a matching silver-face became a very prophetic early 70s Vibrolux. I moment for us. have a 59, tweed, 4X10 Sometimes I play out, Bassman. I mean, all the and I can tell that what amps I have right now Im playing is just a blues are about tone. I dont song and theres nothing have time to sit around prophetic in it. But you in my life without can tell when theres good tone. I still believe that it all starts at your something in the now. I think that musicians thats been held in check a lot. Every now and fingers, and you can basically communicate who are always tracking with certain things. It says then, certain traditions or groups of people will you are through anything that you plug into, but in Revelation 19:10 Worship God! For the release it for seasons at a time, and its been sometimes the amp really, truly makes it easier. testimony of Jesus is the spirit of prophecy. It abused at times, too. Some people may think, So I play a 55 Tele or a 54 Strat most of the doesnt just say that it will release something, Ive been doing that for 30 years. Well, yeah, time, but I also have a very nice, mid-2000 classic or the gift will operate in that moment. It says I have too. We know that Jesus said, The wind Les Paul that is a very toneful guitar. I tend to that the worship of God actually is the spirit of blows wherever it pleases. You hear its sound, like the Fender string length more, generally, just prophecy. It is vision causing. but you cannot tell where it comes from, or because Im a rhythm player and I need that lowEven if I were to ask you right now about the where it is going. So it is with everyone born of volume spank, but Ive really enjoyed my Les song, My Girl. When I say that song name to the Spirit. ( John 3:8) But in the average, cookie- Paul lately, as well, and have done a ton of solos you, do you think of just the words to the song? cutter Sunday morning situation, I can tell you and overdubs with it. Those are my 3 primary Or do you picture where you were, and what that theres going to be a fast song, and then guitars. kind of car you were sitting in when you first a 2 minute greeting, and then theres going to My acoustic is a James Goodall concert model. heard that song on AM radio? Its visionary! be another fast song, and then a medium song, It was a gift to me from Lenny LeBlanc, and it My Girl takes you to a certain place and time. and then were going to wait at the end of that honestly still takes my breath away every time It should be the same with the music that we medium song and were going to go into a slow I open the case. I cant believe that its mine! play. If Im playing something that has relevance song, and at the end of that slow song theres At the risk of sounding downright unspiritual, I to it, it should feel like theres a now moment going to be a video presentation that comes up outright coveted that guitar for about 7 years. to it and an improvisational sense that causes as the lights dim. In Nashville, Ive had a few engineers, as soon you to want to take a solo. . . .and of course you I would say that we have a lot of liturgy. We as I come up in the headphones with the guitar, dont take the same solo that you took the last have just canonized our preferences to say, walk back out in the room saying, What is time! And its the same with the prophetic use This is how it runs, and this is how we meet that? Ive got your EQ flat, but that sound is just of music. I feel that what is lacking many times and worship. I think theres something musical glistening! And all of a sudden theyre carefully in Sunday morning church, is that it becomes and prophetic thats sitting there just waiting to positioning the mic, and getting all into it. And a song service. I feel that weve taken the explode right now, and a lot of musicians are Continued on page 32. prophetic out of it, and the sense of now out very frustrated because were not moving in that

24

JAN/FEB 2011


AG_MSR_4.125x3.125_NAMM2012.indd 1 AG_MSR_4.125x3.125_NAMM2012.indd 1 AG_MSR_4.125x3.125_NAMM2012.indd 1

0 8 MTM

12/29/11 6:08 PM 12/29/11 6:08 PM 12/29/11 6:08 PM

ty itivi sens ody b ange ull r ith f w ckup ic pi gnet ma

M O R E B O DYHear it for yourself at NAMM 2012 - booth #5256 hall Bwww.lrbaggs.com/m80

selective hearingby Shawn McLaughlinHymns and Sacred Songs Leigh Nash Kingsway Music Alternating between an Americana/folk sound represented by the two tracks that bookend the disc and an eclectic, quirky brand of modern pop that features chimes, glockenspiel, and other left-of-center instrumental choices, Leigh Nash fulfills the expectation put forward by the pixieish, angelic album cover photo of her new (yet somewhat old as it has taken 5 years to complete) Hymns and Sacred Songs project. It is a collection that takes the texts of several classic hymns modernized with fresh new melodies and arrangements and merges them with more current takes on the hymn tradition. Nashs voice is the real star here, conveying the weight and gravity of these ancient words with surprising warmth and accessibility. It helps to have smart, unobtrusive arrangements courtesy of producer John Hartley and the wonderful musicianship of a band that features Delirious guitarist Stu G and Nashville bass stalwart Chris Donahue. Great classics like Savior, Like a Shepherd Lead Us, Come Thou Fount of Every Blessing and Oh, Heart Bereaved and Lonely sound just as modern as hymns like Stuart Townend and Keith Gettys Power of the Cross, or Kate Gustafsons Isaiah 55, and are awash with Nashs charm and vocal grace, which explains why the project has such incredible continuity despite recalling influences as disparate as Civil Wars, Jenny and Tyler, The Weepies, Sufjan Stevens, and Katie Herzig. Tellingly, Nash tends toward the more somber, reflective contributions of hymn cannon, but still manages to shine a luminous light on the redemptive and restorative power of Christ. This is no mean feat, and is only one of several reasons to pick up Leigh Nashs triumphant return to celluloid. Flannelgraph Sessions Luke Brawner Independent www.lukebrawner.bandcamp.com Flannelgraph Sessions is a project intended to spark its listeners interest in Biblical study. I dont mean daily Bible reading. I mean really digging in to the historical, cultural, geographic, and linguistic26 JAN/FEB 2012 context of the Bible. Over the last couple of years Ive become CONVINCED that none of us can presume to understand who Jesus was, or the things He said and did, without having an understanding of the world He lived in, the religious culture He and His audience were immersed in, the Scriptures He read, and the way that He interpreted them. As Ive dug into those studies personally, and in order that I might continue to push myself to dig deeper, I started Flannelgraph Sessions Luke Brawner. Luke Brawner is a young man from Texas who leads a four-piece band called Poor Rich Folk. His music is a bracing blend of Americana, Bluegrass, and pop music that draws from the same well as Rich Mullins and Caedmons Call. Lyrically, he is clearly from a lineage that began with Mark Heard, and ran through Rich Mullins and Derek Webb. On The Flannelgraph Sessions Brawner seeks to do, with his words and music, what teachers seek to do with flannelgraph when telling bible stories: Give context to biblical passages to make them more real, or three dimensional, as it were, as he states in the above exerpt. So, Brawners rich, experiential lyrics are paired with Randy Holsapples (early Caedmons Call) classic B3 organ licks, as well as rich acoustic guitars, banjo and dulcimer, all in support of the sort of simple but immediate melodies that are representative of the traditional folk medium. As a result, we get to hear what David may have been thinking as he was struggling with temptation (Make Love, Not War); learn the significance of water in the Judaic culture (Living Water); understand the wavering faith of the Hebrew nation as they wandered in the desert (A Rock in the Wilderness); and experience the trauma that was man being kicked out of paradise (Aching for Eden). Webb makes a guest appearance on the album ending The Land Between, a bluegrass-fueled romp of celebration for Christs redemptive work on the cross. Brawner really deserves a lot of credit for making art, reflective of what he has learned, that focuses more on enriching the listener than shifting units. The Flannelgraph Sessions is 12 slices of bread for the soul that will nourish the listener, yet taste great going down. I can recommend few records more highly than this.

Family Tree Eve Selis Hippy Chick Twang Records http://www.eveselis.com/store/ I often sit and ponder the big questions in life: Why do we do what we dont want to do?; Do we go to heaven right after we die, or does everyone rest for awhile and enter together?; How can Taylor Lautner and Robert Pattinson not feel guilty when people describe their performances as acting?; but by far the biggest mystery to me is why Eve Selis is not one of the biggest stars in the entertainment universe. I guess it isnt a huge mystery...... quality art that asks hard questions, reflects honesty, and doesnt pander to the audience is just not in high demand in this day and age. And that is a shame....Eve Selis is a highly decorated, but rarely listened to (outside of SanDiego) Americana artist, deeply versed in folk/country/blues traditions, who has been busting her behind for years, first with a short stint in the Christian market as part of Kings Road and then, in the independent scene as The Eve Selis Band, including long-time musical and writing partner, Marc Intravaia. She leaves behind her a trail of exemplary records that have helped cement her sterling reputation among the musical community. Her new disc, Family Tree, simply continues this tradition of excellence as Selis cooks up 14 sizzling tracks of authentic, hearty, American music. The biggest asset Selis has going for her is her voice...an absolute miracle of an instrument that has been memorably described as honey/chipotle denoting her ease singing both sensitive songwriter fare, as well as blistering roadhouse rock. Outside of the ridiculously awesome Ashley Cleveland, no other female voice around today even compares to Selis in her chosen genre. She also has built a stable of songwriting friends/ collaborators (Intravaia, Kim McLean, Calman Hart, Rich Wiley, Doug Crider) who know her talents well, and that makes for a catalog of very strong material. One of the big stories behind Family Tree is the recording process. Grammy winning producer, Steve Churchyard decided to record straight to 2-inch tape, eschewing the digital world for initial recording sessions before dumping the masters into ProTools on a Mac. This results in an amazingly current ambiance while simultaneously sounding like it was recorded a generation before.


Swampy, roadhouse rock & blues, slow country weepers, bluegrass tinged folk, midtempo country pop, and jangle rock all sound like empathetic branches of one root, while accompanying songs that, as Selis puts it, run the gamut of the human experience touching on the things loss and love, sadness and joy, hardship and triumph, faith and family that mean the most to her. As emphasized on her version of the classic childrens response to verbal abuse Rubber and Glue Selis places a particular emphasis on standing firm and retaining integrity in the face of trial and persecution. This optimistic view is echoed in the fiddle-laden, Western swing of Bump on the Road as well. My personal favorite cut is the jangle-rock sparkler, 65 Roses, which is what some sufferers of Cystic Fibrosis call their condition. Using an arrangement that can reasonably be described as Eve Selis and the Heartbreakers, Selis manages to wring joy and encouragement from the victims of one of humanitys most brutal diseases, using contrasting keys, driving percussion and a KILLER harmony arrangement to reinforce the optimism she draws from these kids. There really isnt a dud on the project, although, the artists take on Leonard Cohens much covered Hallelujah, while one of the 3 or 4 best versions of the song Ive heard, still seems a little out of place among the strong connectedness of the original material. But that is a microscopically tiny quibble when an albums music and vision are this clear, creative, and artistically truthful. Those who, like me, have long been prey to Selis musical charms will absolutely love Family Tree. For those unfamiliar....well....what are you waiting for?

the inspiring statement of faith, I Believe which features this strong affirmation: When the storm clouds roll over me / When Im seized by uncertainty / When the odds are too great / When I bend from the weight / I believe, I believe, I believe. From an artist who has experienced the career and personal ups and downs that Moore has, these words carry the ring of truth, and he sings them with a world weariness that underscores their authenticity. Saying Grace is a song that encourages the listener to live a life full of thanks, while Loved poignantly reminds us how nothing we can do will separate us from Gods love. Overwhelming Love, Find Me in These Fields and The Long Way occupy the middle of the album, and are more full-service productions with the latter,

SHUBBCome See us at NAMM Booth #6240

in particular, rocking harder than anything Moore has done in years. The two emotional centers of the album, however, are the folktinged, stripped back, The Story of Love and The Wonder of Kindness. The former is a truly moving track inspired by his family as Moore reflects on how effectively his life has expressed the story of Christs love and mercy, while the latter intimately portrays the importance of relationship and Christs ultimate model for how we treat each other. Staying true to the folk tradition that has been at the core of his music since the beginning (even with side trips into more youth oriented styles) Moore honestly portrays his faith, with all of his triumph and brokenness included, and gives his listeners an even greater reason to feel strongly connected with him.

Now available in a variety of

te i LCOLORS!

Half the weight of an original Shubb Capo!

Saying Grace Geoff Moore Independent Hearing a REALLY solid album from 30 year CCM veteran Geoff Moore is not unlike finding that favorite t-shirt you thought was lost for the last few years. It may not be the sturdiest, or the best designed in your collection, but it just fits the best. Moore has never climbed to the top of the commercial or artistic heap over his years as a faith-based recording artist, but those who have been affected by his music are VERY connected to him. Saying Grace is an interesting collaborative effort between Moore and co-producers, Jeff Pardo and Don Chaffer (Waterdeep). The project was largely written around conversations the writers and band had about their lives, careers, families, and the benefits gained from each. And the thankfulness each had for those blessings became the central theme of the songs on the record. The disc opens with

[email protected] www.shubb.com 707-843-4068CHRISTIANMUSICIAN.COM JAN/FEB 2012 27

Invisible Empires Sara Groves Fair Trade Services After the clearly defined singer/ songwriter vibe of Groves last album, Fireflies and Songs, the artist decided to pop it up a little on her newest opus, Invisible Empires. To that end, she enlisted the help of a new (for her) collaborator - Producer Steve Hindalong, mastermind of the City on the Hill series, Co-author of God of Wonders and drummer/songwriter in legendary Christian alt-rockers, The Choir and The Lost Dogs. Having made a couple of more aggressive albums with Charlie Peacock, Groves is certainly no stranger to stepping away from her piano based, folk-pop M.O. The lovely thing about Invisible Empires is that it seems to hone in on, and even expand Groves strongest areas, while remaining true to her singer/songwriter aesthetic. Hindalong wisely allows Groves piano playing to drive the project, then fills in the musical beds with adroitly placed accents. The projects first cut, Miracle begins with Groves own elegiac piano intro and voice. Groves and Hindalong then layer gently brushed acoustic, spare percussion, a sonorous cello, Hammond B3, and Tyler Burkums otherworldly guitar tones, as the song builds to a contained but powerful crescendo. One thing to note on Invisible Empires is the gorgeous tone Hindalong wrings from his guitar players. At

times warm, at others vibey and atmospheric, but always attuned to the mature, surprisingly Beatles (with hints of Carole King) informed pop sound that Groves so skillfully cultivates here. Lyrically, the artist draws inspiration from psalm 127, Unless the Lord builds the house, then the builder builds in vain, implying that the works we accomplish without Gods presence are just flotsam and jetsam when looked at with an eternal perspective. Groves centers in on modern technology as a huge distraction from living intentionally for God, especially on the delightful Scientists in Japan, written with reliable song-smith, Andy Gullahorn. Marrying wry, observational wit with quirky, yet insanely catchy pop music, the duo yields a true winner, and perhaps the funniest line a Christian pop song has produced in some time While lamenting technologys obsession with extending life beyond natural duration, Groves sings, Robbing from Peter to save Pauls life, cause dyin aint no way to die. Elsewhere, Precious Again rides a luscious bed of backing vocals to pop nirvana and benefits from some wonderful arpeggiod guitars and a classic rock groove. The Gospel informed, Eyes on the Prize references the civil rights movement and is inspired by Groves involvement with The International Justice Mission. Another favorite

is Finite, wherein Groves seems to answer Chaka Khan by stating from the get-go, Im not every woman, Its not all in me.....Im proud and guarded, when it comes to my needs, progressing to the point where she laments the demands placed on todays woman: This frenetic fascination is really driving me insane. Does anybody feel that, anybody feel that? This poignancy accompanies one of Groves trademark moving bridges characterized by an almost hymn-like traveling chord structure. Groves has long been a detailed observer of lifes tension, the struggle between light and dark, aka the things of God vs. the things of man. She has, again, delivered on that reputation with Invisible Empires, an organic, brilliantly conceived album that delves into the human side of relationships and the eternal search for significance that is best achieved by surrender and obedience to our maker. Dont hesitate to pick this one up and dont be surprised to see it right up there with Glen Campbell on several year-end best album lists.

Shawn McLaughlin is a hard working dedicated, tireless worshipper of Christ

28

JAN/FEB 2012


A conference for musicians, lead worshipers, technicians, songwriters, indie artists, and creative types of all kinds to improve skill and inspire talent for Gods glory! REGISTER ONLINE www.ChristianMusicianSummit.comRegister before January 31, 2012 at the Super Early Bird Rate of $119 per person.

The Chapel at Crosspoint Buffalo, NY

MAY 4 - 5, 2012

PETER FURLER

PHIL JOEL

THE CITY DAVID CROWDER HARMONIC

CHRISTY & NATHAN NOCKELS

BRENTON BROWN & THE WORSHIP REPUBLICLeadership, Guitar, Bass, Drums, Keys, Vocals, Percussion, Melodic Instruments, Songwriting, Indie Artists, Photography/Film, Graphic Design, Drama, Audio, Video, Lighting...

DOYLE DYKES

PAUL BALOCHEphotographer & visual artist

BENJI & JENNA COWART

Learn from the best...

JEREMY COWART

BLUES COUNSEL

more information CMS PRODUCTIONS www.christianmusician.com 253-655-5000 KINGDOM BOUND MINISTRIES www.kingdombound.org 800-461-4485

Heres the latest from the Garaffice studio (garage/ office). A few tid-bits about some gear Im using...

Garaffice Gear

great tools for improving your project studio by Matt Keesclass engineers who use Waves. They are great for beginner engineers who are still figuring out compression ratios and appropriate EQ settings in various applications. However, this is not to say that they are only for the inexperienced... many pros jump to these plug-ins when theyre looking for that sound and they dont have time for tweaking. I absolutely fell in love with 2 of the bundles, the Chris Lord-Alge (U2, Creed, Foo Fighters...) and the Tony Maserati collections (Black Eyed Peas, Beyonc, John Legend, Jason Mraz...). Both the CLA Bass and the CLA Vocals are go-to plug-ins for me. The Maserati Group Processor (EQ/ Comp) is a must-have in just about all of my busses, as well as in mastering. And the Maserati Acoustic Guitar Designer does wonders for dull strings! The controls are simplified, yet powerful enough to give you the kind of results these great engineers get every time, drawing from their favorite Waves plug-ins. MSRP for each is $500, but they usually list around $375-$400. MICROPHONE TLM 102, Neumann The TLM 102, shown in the picture above, is a workhorse of a mic, and its perfect for a serious project studio. If you only have enough money for one great mic, get this one, and youll be surprised by what you get for the money! Its a simple condenser mic with no switches, but it contains all of the superior quality that youd expect from Neumann. It has a large-diaphragm cardiod capsule with a max SPL of 144dB. I use it on loud guitar amps, but also on the most critical sound sources like vocals and acoustic guitar. It has a slight boost above 6kHz that helps with vocal presence, and honestly, I rarely adjust EQ with this mic... maybe high pass filtering, but thats about it. This gem sells for only $700. ~~~~~~ These are all great tools to help you get better results in the studio, but simply having great gear does not make one a great producer/engineer... Do like I do, and learn from those who are better than you and keep moving forward. As with any hobby or profession, theres always more to learn!

REFERENCE MONITORS KH 120A nearfield monitors, Neumann Last November at our Christian Musician Summit conference, Kent Margraves from Sennheiser hooked me up with a pair of KH 120 active studio monitor speakers from Neumann. In 2010, Neumann assumed the product line from Klein + Hummel speakers. As you might expect from the industrys leading transducer manufacturer, along with the incredible sound quality of K+H, these nearfield monitors are second to none in performance.

DIGITAL AUDIO WORKSTATION: StudioOne 2, PreSonus For a couple years now, I have been exclusively using PreSonus StudioOne software. Recently, they released version 2... Wow!

Ive already converted a few ProTools users, and Im on a mission to change the industry standard. StudioOne Version 2 is far and away the best DAW Ive ever used. The workflow is intuitive and fast with drag & drop functionality that just makes total sense! And with improvements like integrated Melodyne pitch correction, transient detection & editing/quantization, and multi-track/ layered comping tools, StudioOne makes tracking and editing a breeze! Not to mention the audio quality with 64-bit processing (even on 32-bit At first listen, I was very impressed by the machines). frequency response from these small boxes. There Ive always loved the built-in project mastering was no coloring in the spectrum. It was a very flat portion of StudioOne. Now, mastering requires skill and real reproduction of the sound source. As Kent Margraves warned me, youll want to remix and a well set-up room and reference monitors... yet everything youve done, because youll hear things with the Project side of StudioOne 2, it makes the in your mix that you never heard before! Its true. process of mastering attainable in a project studio. The highs are transparent and clear and the lows are Mixes are updated automatically, and you can prep your masters with Red Book CD burning standards, solid and punchy. and also create digital releases. Another thing I love about these little guys (5.25 StudioOne 2 comes with a plethora of great low frequency driver, and 1 high-frequency driver) is that you can adjust the acoustic response of the plug-ins, instruments & effects, as well. They are all speakers based on your own environment to get outfitted with some great presets to get you pointed the truest sound possible. There are switches on in the right direction. The pro version sells for $399, the back that enable you to adjust bass, lo-mid, and you can get a great audio interface like the and high EQ. So, if youre speakers are up against PreSonus AudioBox 1818VSL for $499 (look for a a wall (like mine), you can reduce your bass by review of that soon).

-2.5dB, -5dB or -7.5dB. Or if you have a large desk AUDIO PLUG-INS between your sitting position and the speakers, you CL A and Tony M aserati can adjust those troublesome lo-mids. In the quick Signature Collections, Waves start documentation, it gives you some help on how Waves plug-ins are well-known to make good decisions here. for their high quality, and they The KH 120s include a Mathematically Modeled are preferred by many top-notch producers and Dispersion (MMD) waveguide which helps create a engineers, including yours truly :) (not that Im topvery large sweet spot for the listening position. Very notch, I just like em). handy for a project studio. They are powered with I had an opportunity to audition Waves new 100W bi-amped for each driver and are shielded for Signature series bundles inspired by 4 great use next to your video monitors. They come with a engineers; Chris Lord-Alge, Jack Joseph Puig, Eddie low & high limiter to protect the speakers, very wise. Kramer, and Tony Maserati. Matt Kees, Director of CMS Productions, is a freeKH 120s are the best sounding reference monitors The purpose behind these 4 collections was to lance producer, endorsed by Neumann/Sennheiser give engineers several application specific plug-ins and PreSonus. Visit www.mattkees.com or Ive ever used! They sell for $750 each. (e.g. vocals, guitar, bass, drums) inspired by world- www.producedbymattkees.com

30

JAN/FEB 2011


Chris Tomlin and Collings Guitars

Chris Tomlin and his 1999 Collings OM 42 SB

Serious Guitars | www.CollingsGuitars.com | (1) -

Will McFarlane (cont. page 24)all through the session hell be giving me the thumbs-up because my acoustic guitar tone is so awesome! My pedals... If I use a Wah-Wah, I go through a Buddha-Wah that Ive had now for about 16 years. I do have an old Thomas Organ Cry-baby that is just so toneful, but I dont take it on the road anymore. I didnt pull the bottom off of it to put Velcro on it. I go then into a tuner. Planet Waves has been gracious enough to endorse me here in this last year and I thoroughly enjoy their stuff, so I use a Planet Waves tuner. And I go out of that into an FX Mirage, which is just one of the most transparent and delightful compressors out there. It doesnt squash the sound and pump it like the DynaComp/Ross thing. For Telecasters, I like a little compression on the sound, and this just does it so cleanly. A lot of times, in the studio, an engineer will automatically compress an electric-guitar player so he doesnt get spiked. And Ill say, Hey, are you compressing me? Because Im already sending you a compressed signal. And hell say, Yeah? Lets listen to it. And 90% of the time they say, Yeah! Lets just go with that. It sounds great! Its just a little stomp-box called an FX Mirage. And then I go out of that into a Morning Glory. Ive been using a JHS Morning Glory Discreet Overdrive. It took me awhile to get away from my Klon, because Ive played a Klon Centaur now for about 15 years, and I love that pedal. But this little Morning Glory has just got that Wind Cries Mary kind of thing. Its like I just turn up the Princeton 2 numbers and it just gets a little hairier, you know? On my main pedal-board, I still have a JHS modded Tube Screamer, which is way more transparent and a lot cleaner, with a little more gain. . . but still without getting too hairy. Then I go out of that, depending on how precise I have to be, into a little Dunlop MXR Carbon Copy delay for a little slap. They use some old school analog technology, so its not the perfect digital delay. . . its got a little play in the sound. I use just a little bit of delay with one slap on it in a dry room that needs the guitar to fill it out a bit. And thats about it for my pedals. CM: At our Summits, you teach a class on guitar tone, and I know you really boil it down to being about your hands. But give us a little in a nutshell take-away for our readers about how to achieve the tone that theyre looking for. WM: A lot of people let their equipment dictate tone to them. Theyre sort of stuck on the effects that theyre using. But my big thing is... listen to your fingers. Listen to who it is that you are. Listen to one note at a time. A lot of people go for speed before they go for touch. They just want to put the musical information

Improving Musicianship | Inspiring Talent

out there as fast as they can. But thats just like math at that point. It stops being music. I say, if youre not giving weight to the notes you hit, if youre not meaning them and touching each note sweetly, then dont try to get faster than you have the ability to give every note the value that you want it to have. Muscle memory will lead to speed, but if you just try to get fast, without good touch, its very hard to go back. I really try to encourage young players to accept who they are right now. Like, if you only had one note left to play for the King... just one note to represent your life, how would you play that note? Would you snap off a staccato note and be done with it, or would you ring out this big soulful note with vibrato and sustain and tone that really conveys emotion and expression? Once you hear a sound coming from your guitar that makes you say, Thats what I like!, then give all the notes that value. Make your music valuable. Use your guitar to speak as if it means something to you and youre not just giving your listeners information. CM: Thank you Will. One more question for you: Youre a music man, through-and-through. What thoughts and advice do you have for our Christian Musician readers out there? WM: I really want to encourage them to listen. I want to go back to that. The Christian music business... I almost hate to say this... but when youre cruising down the highway and youre channel surfing the radio, you can tell the second you hit a Christian radio station, because the sound has been homogenized. Its almost as if, in trying to please everyone, were pleasing no-one. We dont rock enough for rockers, were not country enough for country, were not soulful enough for the blues. Weve sort of metastasized into a worship style. And to say that we serve the most creative Being in the Universe, and then to think that He just likes one style would be absurd. He didnt just make red and blue. . . He made vermillion and indigo, and all sorts of subtleties of shade. I would encourage musicians to listen to the music that is in their souls to play. Start to train their hands and their ears to play what they hear. They should be able to sing along with any solo they take. Strive for individuality and for creating a unique voice as a player and an artist. No two of you out there have the same fingerprints. Theres no reason that you should sound exactly like anyone else. Theres no reason that you should let that delay pedal dictate your touch and your tone. Listen to who you are. You may be the voice that someone needs to hear, thats going to come in a package thats different than the sort of homogenized package that much of our Christian music is coming in now. Find out more and visit Will at www.WillMcFarlane.com

JOHN MARK McMILLAN

the Economy of Life

Zoro the DrummerWhat Matters Most?

Product ReviewVisual Sound Dual Tap Delay

Selective HearingProduct ReviewNOV/DEC 2011 Volume 9, Issue 611

Record Reviews

Eastmans AC622CE Grand Auditorium Guitar

Mutemath Glenn Kaiser Needtobreathe Switchfoot Matt Maher Shaun Groves plus a special review of Ghost on the Canvas by Glen CampbellNOV/DEC 2011 Volume 16, Issue 611

Product ReviewYahama A3R Acoustic Guitar

Tommy Walker l The City Harmonic l Mosaic l Hillsong l Jon Bauer l Elevation Worship Songchart Sins Are Stonel

0

74470 58440

7

US $5.95 Can $6.95

A Few Moments with Brian Doerksen

0

US $5.95 Can $6.95

74470 95962

5

Your Vision Defined - Indie Mechanics

OneVerse by Jill Monaco

32

JAN/FEB 2012


Whats Prayer Got To Do, Got To Do With It?by Keith Mohr & Sue MohrPRAY. A LITTLE WORD. This little word transcends time. Prayer is an utterance both verbally and non-verbally that can take place in public or in private. It is something that most can give away for free, but something that has also cost others their freedom. It is the one thing that can bring comfort in good times and in not so good times. It can be screamed, whispered, sung, brought forth in anguish, in joy, confusion, or sorrow. It has caused wars, and prevented wars. There are prayers of petition, desperate pleas for help, offered thanksgiving, spoken formally and informally. It precedes a meal, opens a funeral, closes and opens numerous ceremonies. It is spoken for guidance and for help, to seek answers for unanswered questions, to confess something we did wrong, or to ask for forgiveness for sitting idly by. We use it to ask for ourselves, or intercede for other individuals, or to just plain talk out loud to God about everything and nothing, and the list goes on. We say, Im praying for you. Will you pray for me? You should pray more. Are you praying? Football players pray before the game. Viewers pray while the game is in process. The list of what, who, when, why, how, and where to pray seems to have no limits!!!!! House hash browns) in it 24/7/365. Incoming name and her email address in that spot. Easy and outgoing? as pie. When we talk to artists who are not covered up and prayered up, we tell the FIGHTER PILOT story. You see, when a fighter pilot sees his target, he begins to circle around it. Making sure that his air speed is noted, that the distance the bomb has to travel is accurate, and I am sure many other minutia to insure he has the right trajectory for a direct hit. While this pilot is considering all of this, here comes the enemy, trying to shoot him down and take him out so that his plan of action cannot take place. What can thwart the enemy? Having a plan of action in advance of the plan of action. You still there? Ok, so if you are Waffle Housed in prayer, it means that you have lots of fighter pilots next to you, keeping you safe and allowing you to concentrate on the task at hand. They are shooting at your enemy, and covering your position. Thats what prayer can do for a musicanary, like you. It keeps you aligned. It keeps you zeroed in on the target. It keeps you alive. THE PRAYER GRID Many years ago, the importance of prayer covering came to light when we were in the field. This idea came from the concept of a football poll (go figure), but instead of the teams on the horizontal and vertical, there were the months of the year on the top and the days of the month on the side. With vertical and horizontal lines placed

Christian Musician Magazine - JanFeb2012

Documents

Transcript of Christian Musician Magazine - JanFeb2012