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SEPT/OCT 2010Volume 15, Issue 5 Selective Hearing:

Waterdeep • Glass Harp • Sandra McCrackenThe Choir • Ed Kowalczyk • Michael W. Smith • Jars of Clay

Improving Musicianship | Inspiring Talent

15th Anniv. Give-Away: Roland’s CD-2i: SD/CD Recorder

Product Reviews:Flaxwood’s Liekki 290-T

Planet Waves’ O-Port

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1” Voice Coil, Studio-Quality,Super Tweeter for sizzlinghigh-end harmonics when

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Heavy Duty Rubber Feet forvibration dampening. Noscooting across the floor.

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3/4” Solid-Sheet, Void-FreeBaltic Birch Plywood forstrength, stiffness, lighterweight and tighter sound.

High-Grade Cross-Stitched Grille Cloth for

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3/4” Solid-Sheet, Void-FreeBaltic Birch Plywood forstrength, stiffness, lighterweight and tighter sound.

Best Quality FR4Double-Sided, Plated-Through PCB material.Resists heat & vibration.

Acoustically quieter, higher-cost Toroidal Transformerfor better efficiency, less

weight & low noise.

Oversized PowerSupply Filter Caps forlow noise & efficiency.

Grab one of the control knobs on anUltraSound amp. Try to shake it from left toright. It doesn’t happen. When you turn it,it’s incredibly smooth and a bit resistant.That’s because we use the best Oil-FilledMetal Shaft, Chassis-Mount Potentiometersyou can buy. That’s why they feel so solidand work so well—year after year after year.

UltraSound amps are ultra reliable, with lessthan 1/10th of 1% repair problems—that’san industry record! The best in design,engineering, materials, construction, andtone—you’ll hear a beautiful lush tone thatbrings out the best in your sound and willlast forever and ever. You and your musicwill never be the same.

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Ace guitar tech David Graef has a simple goal inlife:  to make sure that Rascal Flatt’s Joe DonRooney enjoys killer guitar tone every time he takes the stage.  That’s why David loves Flaxwoodguitars.  They look great, play great and soundgreat...night after night.

Made in Finland, Flaxwood guitars offer a uniquecombination of cutting-edge technology and oldschool lutherie:  each instrument is built with apatented spruce fiber-based tonewood that rivalsthe best exotic materials on the planet.  They’retruly environmentally friendly guitars – no hard-woods needed.

But that’s not what impresses David the most. Heloves Flaxwoods because they deliver unparalleledsustain and sumptuous tone under all conditions.They’re amazingly consistent, built to withstand therigors of the road, and they’re virtually imperviousto changes in humidity – a major bonus for touringbands. That makes guitarist Joe Don Rooneyhappy. And that makes David Graef really happy.

Find out for yourself why growing numbers ofworld-class guitarists – and world-class techs – arefalling in love with Flaxwood.  Visit flaxwood.comtoday and learn about Flaxwood’s efforts on behalfof better tone and a better world.

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KUR_PC3X_CMM.indd 1 6/25/10 2:22:32 PM

46 CODAClosingThoughts

Interviews

20 DavidEllefsonNewLifeforMegadeth

33 EventheQuietisRED

Salt & LightThisissuemarksanewmilestoneinourlifeasapublisher.Through

anewrelationshipwithHalLeonardMusicwearebeingdistributedtomusicstoresacrossthecountry.Youmaybestandinginamusicstorerightnowreadingthis.Welcome!

WearethrilledtohavethearticulatelyspokenDavidEllefsononthefrontcover.DavidhasrejoinedMegadethandwastouringwiththebandthroughSeattlealongwithTestamentandSlayer;tworeallyhardmusicsecularbands.Infact,itwasaninterestingnightoutforJudyandI.WeweregladtodriveintoSeattlefortheshowanditwaslikeadatenightout…untilwewerewalkinguptothevenueitselfandstartedtogetasenseofthetypeofcrowdthatwastherefortheshow.Therewasaharderedgevibe…alotmoreguysthangirlsandifyoujustlookedatitfromanoutsider’sperspectiveyouwouldsayitwasaprettyroughcrowd.IswitchedmoretoaprotectiveroleandkeptJudyclosetome.IteasedherthatImightevenfollowherintothebathroomjusttomakesureshewassafe.WehadmissedTestamenttheopeningbandandcameintothevenuewithMegadethonstage.Theywererockinghardandthecrowdwasenjoyingthem.Thisisquiteaplatformthatthebandhasandthatiswhytheycanstepforwardmoreandmoreandbesaltandlightinarowdyplace.

Ayoungmanwalkedpastmewithhugelettersonthebackofhisblackt-shirt.Itread,“YourGodcannotsaveyou”.Thatwasabitshockingtosee.InmyspiritIprayedfortheguytolearnthetruth.OurGoddoeshavethepowertosaveus...HisarmisnottoshortnorHisloveforustooweak.ItwasasoberingthoughttoseesuchalargecrowdoffolkswhowerethereforagoodtimebutasJudypointedouttome…theywerepeoplejustlikeeveryoneelse,withjoysandpainsalltheirown…theyjustneedJesuslikeweneedJesus.

ThatiswhyIambehindbandslikeMegadethwhocangetoutthereandwithstreetcredibilityspeakintopeople’slivesthroughtheirmusic.WatchoutforthenextMegadethrecord,Ithinkitwillhavestrongelementsofsaltandlightinit.AttheendoftheshowDaveMustaine(theirleadsingerandoneoftheguitarists)shoutedout“GodBlessYouSeattle!”.WewentbackstageandsaidgoodnighttoDavidandthenasSlayerwastakingthestagewechoosetoheadforthedoorandcontinueourdatenightinamorequieterenvironment.

Aninterestingsidebar…thecovershotofDavidplayinglivewithMegadethwastakenbynoneotherthanRandyJohnson(famedmajorleaguebaseballpitcher).SinceRandywasonceaSeattleMarinerwehavebeenfansofRandy’sforquitesometime.Hetookseveralreallygoodshotsforustochoosefromandhasquiteaneyeforphotography.ThankstotheBigUnit!

Enjoythisissue.Wearealreadywork-ingonthenextoneandwehavesomegreatinterviewsweareliningupforyou.

Rememberwhereveryoumayfindyourself;besaltandlight!

BruceandJudy

Christian Musician

Features 9 BassicCommunication

IntrotoSoloBassArranging(Part1)

10 DrummingDynamicsLearningtoTranscribe

11 VocalCoach’sCornerSpeakUporSpeak

Down!12 GuitarWorkshop

ItisWell14 ProductReview

TheAmazingFlaxwoodLiekki290-T

16 ShowUsYourGrooveIt’sAllintheHearing

18 ProductReviewO-Port?O-Boy…

26 SelectiveHearingWaterdeepGlassHarpSandraMcCrackenTheChoirEdKowalczykMichaelW.SmithJarsofClay

30 AskJoe37 GuitarFromA2Z

StringBendingPart2

38 EssentialMusicTheoryfortheChristianMusicianSlashChords

39 TurningaMistake

40 IndieNoSpinZoneMoreIndieTips

42 RewindLesliePhillips(akaSam

Phillips)

CONTENTS

4227S.Meridian,SuiteCPMB#275,PuyallupWashington98373Phone:253.445.1973Fax:253.655.5001

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

Editor&President:BruceAdolphVicePresident:JudyAdolph,judy@christianmusician.com

CustomerService:BrianFelix,brian@christianmusiciansummit.comStreetTeam:MikeAdolph,JesseHill&CajLayout:MattKeesAccounting:DebiDavis

AdvertisingSales:bruce@christianmusician.comPublishedbytheAdolphAgencyInc.

coverphotobyRandyJohnson

7

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

Welcomebacktothewoodshed!Ihopeyoufoundourrecentserieson“Chimes,Thuds&Swells”helpfulforexpandingyourpaletteofavailabletimbres.

Ourdiscussionsoverthepastfewyearshavebeenpreparingusforthisnextstep:today,we’llbedippingourtoesintothepoolforsomesolobassarranging.Beforesomeofyougorunningfromtheroom,screamingsomethingabout“I’mtoooldtobeplayingcoffeehousegigs”,pleasehearmeout(andyou’renevertoooldtobeplayingcoffeehousegigs,bytheway!)!:^)

Thebassisanamazinglyrichandversa-tileinstrument;it’ssurprisinglywell-suitedforplayingasasoloinstrument.Butevenifthat’snotyourbag,Ithinkit’snonethelesshugelyvaluableforyourmusicianshiptodelveintothisareaatleastabit…evenifjustasaneducationalendeavor.

There’ssomethingabouttimespentbe-inginvolvedwithallaspectsofthemusicalarrangement–melody,harmony,rhythm,sonics–thatcandramaticallyaffectyourunderstandingofmusicandhowensemblesfunction.Itcanmakeyouabetterbassplayer,arranger,producer…andcanevenenhanceyourcompositionalskills.

Gettingintoalengthyexplanationofar-rangementconceptsandeverythingthatcanpossiblygointoputtingtogetheranunaccompaniedbasspiecegoesbeyondtheintentofthisseries.Butprettymucheverycon-ceptwe’vediscussedinthiscolumnovertheyears(fingerboardfamiliar-ity,groove,playingapart,phrasing,technique,etc.)canhavedirectap-plicabilitytoputtingtogetherasolobassarrangementofatune.

Noteverypieceneedbeavir-tuosic,slappa-tappa-bippity,mind-boggling-jazz-reharmonization-from-Mars,bytheway.:^)Althoughthat’safunareatoexploredownthe

Intro to Solo Bass Arranging (Part 1)

Norm Stockton is a bassist/clinician/solo artist based in Orange County, CA. He spends most of

his time these days touring and recording with worship artist Lincoln Brewster, but his recently-released 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.

road,thesimplestuffcanbereallysweetandbeautiful,too.

We’llbelookingatthetraditionalChrist-mastune,Angels We Have Heard On High(Gloria).Inthisinstallment,we’lltakealookatjustthemelodyandharmonyoftheversesection.We’llgettotheactualsoloarrange-mentafterwehaveasolidunderstandingofthepiece,ok?:^)

Withabassguitar,it’shelpfultoputthesonginakeywhereyoucantakeadvantageofopenstrings,asthatobviouslysomewhatlightenstheburdenonyourfrettinghand.Forthisreason,manysolobassarrangementscanbefoundinthekeysofEorA,astheyallowformelodyorchordtonestobevoicedonthehigherstringswhilelettingalowstringring.

We’llbeplayingthistuneinthekeyofE.Thebasicchordmotionwillbeverysimple,modulatingbackandforthfromtheItotheVchords.Themelodyshouldbeafamiliaronetomostofyou.Inthetextabovethestaff,you’llseeboththedefaultapplicablescaleandtheintervalsfoundinthemelody(relativetotheunderlyingchord).Prettystraightforwardstuff-ifanyofthisisconfus-ingforyou,Iencourageyoutoreviewthe

© 2009 Stocktones Music

Bassic CommunicationIntro to Solo Bass Arranging (Part 1)

Norm Stockton

Intro to Solo Bass ArrangingMelodic/Harmonic Analysis: Verse Section"Angels We Have Heard on High" (Trad. Christmas Carol)

EE Ionian (Major Scale)"3, 3, 3, 5"

B Mixolydian"Root, b7"B

E Ionian (Major Scale)"3, 3, 2, 3, 5"

E B Mixolydian"6, 5"

B6E Ionian"Root"

E

13 13 13 16 16 14 13 1316

13 16 1316 14

modesectioninVolume2oftheGrooving for HeavenDVDs.

Pleasetakesometimetoplayandassimi-latetheversemelody.Aftergettingcomfort-ablewithit,tryplayingtherootofthechordwhileplayingthatmelody.Don’tworryabouttryingtomakeitsmoothand“solo-ish”…we’llgettothatstuffsoon!Blessingsandseeyounexttime...

(Adapted from curriculum in the GroovingforHeaven instructional DVDs)

9

Iknowthisisatoughthingformanyofyouwhodon’treadmusicbuttranscribingdrumpartsissuchanessentialpartofbecom-ingacompetentdrummer.Beingabletohearsomethingandquicklywritethebasicdrumpartouthassavedmeinmanymusicalsitua-tionsduringmycareer.ItisaskillIuseeveryweekofmylife.WhetheritbejustlearningsomesongsforSundayservicesorhavingtotranscribenotefornotepartsforaverycom-plexcomposition,theabilitytotranscribeispriceless.Thenextseriesofarticleswillcoverdifferentaspectsandusesfortranscribingdrumpartsandsometipsonhowtostarttranscribingandgetbetteratit.

Theabilitytoquicklywriteoutabassdrum,snaredrumandhighhatorridepat-ternquicklyisnoteasytodoatfirstbutwehavetostartsomewhere.Pickabasicgroovethatyoualreadyknoworwanttolearnandtrywritingitout.Thereareprogramsyoucangetonlinethatcanhelp.Audacityisonethatwillslowdownanypieceofmusicanditisdownloadableforfree.

Startbywritingoutthehighhatorcymbalpartbecausethatwillgiveyouthebasicsubdivisionofthegroove.Thatmightlooklikethis.

IscribblestuffoutonmusicpaperandthenputitinSibelius.Itisnotnecessarytousemusicwritingsoftwarebutforthepu-poseofthisarticleIamusingSibe-liussothetranscriptionwilllookniceandclean.Whenyoudoitbyhandmakesureallthesubdividednotesareevenlyspacedinabar.Ihavemusicpaperthatalreadyhasbarlinesonitsoitmakesiteasiertospacethenotesevenly.

ThenextthingIwriteoutisthebassdrumpart.Ialwaysfindit

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

Learning to Transcribe

Walk The WorldCharlie Hall

helpfultowearheadphonessoyoucanreallyhearthesubtletiesofthedrumparts.HereisthebassdrumandhighhatpartforacouplebarsofthebasicgroovefromCharlieHall’sWalkTheWorld.

NextIwriteoutthesnarepart.Hereiswhatthewholethinglookslike.

Hereiswhatthefirst8barsofthepiecelookslike.Theintroisfairlycomplex.Noticethehighhatopeningsandthesyncopatedbassdrumandsnareparts.

Writingoutthisintrowouldbeabitofachallengeforabeginningtranscriberbutthebasicgrooveisverydoable.Startoutwithsomethingrealsimple.Thebestthingaboutgettinggoodattranscribingisitwillhelpyouunderstandwhatdrummersareplayingwhenyouseethemplaylive.Trynottoget

Walk The World Hat

Walk The World Hat & BD

Walk The World Hat, BD & SN

frustrated.Itisdifficultatfirstbutitiswellworththeeffort.

Blessings…..David

10

Roger Bealeisoneofthenation’sforemostvocalcoaches.Hepresently

workswithprofessionalsingersinallareasofmusicalperformance.Histeachingandcoachingfacility,TheVoiceHouse,isinvolvedinthemanagement

andcareoftheprofessionalvoice.Manyofhisstudentshavewonprestigiousvocalcompetitionsandscholarships.Inaddition,hehasworkedwithGrammyandDoveawardwinnersandnominees.Healsooffersvocalclinicsandseminars,aswellasassistanceinrecordingsessions.RogerisfounderandhostoftheChristian Singers Workshop(www.christiansingersworkshop.com),dedicatedtotheteachingofcontemporaryandcommercialvocaltechniques.Rogercanbecontactedat:TheVoiceHouse,POBox87136,CollegePark,GA30337,(404)822-5097,e-mail:voicehouse@mindspring.com,website:www.thevoicehouse.com.

Ihaveayoungstudentwhotalkstoolow.Herspeakingpitchiswaydownthere.Thisisnotagoodthingforhervocaldevelopmentanditcertainlymakesusworkharderwhenin-troducingheadvoicesoundstoherpitchandtonalawareness.Sincethebasicmechanismisthesameforspeakingandsinging,thisleadstotheoldadagethat“oneaffectstheother”.

Speakingandsingingusethesamerespira-tor(breathing),larynx(phonation),resona-tor(tone),andarticulators(pronunciation).Eventhephysicalfunctionsareessentiallythesame.Insinging,vowelsoundsareextendedandconsonantshavealongerdurationthanspeech.Anormalspeechrateismuchfasterthanthatusedinsinging.SpeakthefirstphraseoftheStar Spangled Banner, andthensingit.Ifyouhadtimedityouwouldhavenoticedthesingingtakesabouttwicethetimeasspeaking.

Speakingalsousesalimitedrangeofpitches.Thisrangedoesnotextendpastaperfectfifth.Asingerschooledincontem-poraryvocaltechniquesisrequiredtouseanoctaveandafifth.Ontheotherhand,singerswhosingintheclassicaltraditionwouldberequiredtouseatleasttwooctaves.Asyoucanseepitchlevelinsingingismuchhigherthanthatusedforspeech.ThisiswhyIamwork-ingontheyoungsinger’shigherrangeandamveryconcernedabouttheunusuallylowspeakingvoice.

Goodspeechhabitsareanecessityforgoodsinging.Speechtherapistsworkonthebasicprinciplesofposture,breathing,anddic-tion.Theyteachthesesamesingingprincipleswhileworkingwiththeirclientsgettingthemtospeakatacomfortablepitchlevel.

Whentalkingwithothervoiceteachersandspeechtherapists,twotermskeeppoppingup:habitualpitchlevelandoptimalpitchlevel.Habitualpitchlevelisthegeneralpitchareawhichapersonusesineverydayconver-sation;optimalpitchlevelisthepitchareawhereapersonfindsthebestqualityoftonewithefficiency.Mostspeechtherapistsandvoiceteachersagreethatthehabitofspeakingaboveorbelowone’soptimalspeakingpitchlevelwillresultinvocaldamage.

Someoftheresultscanbelistedasnod-ules,hoarseness,fatigueandvariousothervocalmalfunctions.OneofthetherapistsIhaveassistedactuallyfeelsthat“speakingwithtoolowofaspeakingpitchisthenumberone

Ifyoufindyourvoiceistoohighyoumustworktodevelopalower,deeper-feelingsoundthatyoucanfeelinyourupperchest.Youmighttrytoimitatethesoundofanineteenseventiesdiscjockey.Keepinminddeeper,rounder,richer.Goeasyandletthevoicefindalowerplace.

Ifyourvoiceistoolowtrytofeelvocalsoundinyourhead,nasalcavities,andthefrontofyourmouth.Usehummingexercisestofeelthesevibrations,higherandforwardinyourface.Onceagain,rememberitisanareaofpitchesnotaspecificpitch.

TheyoungsingerandIareworkingonallofthesehigherpitchexercisesateverylesson.Itisaslowprocessbutweareseeingsomeimprovement.Apparentlythisyoungladyhaspickedupatonalmodelandadoptedawrongpitchlevelandisnotawarethatshedidso.Surprisinglyhermotherspeaksatanicepitchandheryoungersisterspeakshigherthatthevoicestudent.Itisaninterestingcasestudy.Nowyoumakethecall,speakuporspeakdown.Nowgosingwell!Imean,gospeakwell!

misuseofthevoice”.Speakingwithtoolowofapitchisflirtingwithvocaldisaster.

Tofindyourhabitualspeakingpitch,trypronouncingafewsyllablesusingavowelandaconsonant.Maybetrytah,tay,tee,toh,andtoo.Trythisacoupleoftimesandthenstopononeofthesesoundsandholdthepitch.Nowmatchthepitchonakeyboard.Thisnoteisthecenterofyourhabitualpitcharea.Youprobablymovethispitchupordownoneorpossiblytwowholestepsthroughouttheday.

Tofindyouroptimalpitchkeepinmindthatthereisnoagreementastothebestwaytodeterminethis.Followingaresomebasicguidelines.Whenyoufindit,theoptimalpitchareasoundsbetterthantheotherchoices.Boythatreallyhelpsdoesn’tit.Pleasekeepinmindthatoptimalpitchareareferstoanareaofyourvoicenotaspecifiedpitch.Also,vocalproblemscansometimesconcealyouroptimalpitch.Soalwaysworkonfreeingupunwantedvocaltensions.

Asyoutrytofindthisoptimalpitchareaspeakasentenceoneachpitchofanascend-ingordescendingscale.Whenagoodvocalsoundsjumpsoutatyouthatwillbethestartofyouroptimalpitcharea.Thepitchwillflexupanddownabit.Itisanareanotapitch.

Afterworkingtofindyouroptimalpitchareayouwilldiscoveravoicethatsoundsgreat,hasmorepower,andendurance.Itisimportanttofindthisvoiceanduseit.Itwillmakeyouagreatcommunicator.

Speechtherapistspointtofourfaultsrelatedtopitch.Speakingwithtoohighapitchlevel,speakingtoolow,speakinginarestrictedrange(monotone),andspeakinginastereotypedpitchpattern.Whenthespeechlevelistoohighapersonsoundssmall,thinandimmature.Whenthespeechlevelistoolowapersonsoundsgravellyandrobotic.Thepitchanddynamiclevelmaybesolowthatclarityofspeechdisappears,andyoucan’tbeunderstood.

Itismypersonalobservationthatwhengirlsgoofftocollegetheywillsometimesdevelopanextremelyhigh,squeaky,childlike,annoyingvoice.Idon’tknowwhythatis,itisjustanobservation.OnegirlthatIknowisnowtwenty-sevenyearsoldandhasbeenintheworkplaceforfiveyears,andherspeechstillhasnotcomedowntoanythingclosetoanormallevel.Folks,Iamtalkingextremelyhighhere!

Speak Up or Speak Down!

11

It is Well

AfewmonthsagoImadeayoutubevideodescribingallthecustomfeaturesofmynew‘JohnStandeferSignatureModel’Bertonciniguitar.AttheendofthevideoIneededtoplaysomethingtodemonstratethesound.Thetunethatcametomindwas‘ItIsWellWithMySoul’.IhadrecordedareallyprettyduetversionofthesongonmylatestCD,‘GuitarCafé’ayearagoandhadbeenrecentlyworkingonmoreofasoloversionofthesongforconcerts.IwentaheadandplayedaverseofwhatIhaddevelopedsofartoenduptheyoutubeclip.Tomysurprise,thesongarrange-mentmadealmostasbigofasplashastheguitardesign.IgotseveralemailswantingtoknowwherefolkscouldfindtheTABfor‘ItIsWell’.Thatspurredmeontofinishanicesoloarrange-ment,TABitoutinthecomputerandofferitasaTABdownloadatthewebsite.ForthisissueofCMIthoughtI’dgiveyouasimilarstyledaccompanimentversionofthepiece.

Moremodernchordalhar-moniesandthefingerpickingstylegivethisarrangementasortoffolk/bossastylethatisreallyquitecompellingtoplayandtolistento.Hopefullyyou’llbeabletousethesefeaturestodrawfolksintoworshipwiththisfresharrangementofagreatstandardhymn.

I’vewrittenthisoneoutinmy‘picture-perfect’TABformatsoyoucanseethelefthandfingeringsIusetoplaythesechords.Aclassicalplayerwillwanttoshootmeforusingmythumbtocreatethebassnoteshereandthere,buttrythesespecificfingeringsforawhileandseewhatyouthink.Theyareabitunorthodoxbuttheyadhere

tothe‘minimummovementprincipal’whichmakesthemovementfromchordtochordverysmoothandeasyonceyougetusedtothem.

And…ifyouhaven’tbeentomywebsitelately,doalittleinvestigatingatwww.johnstandefer.comandbesuretosignupformynewmonthlye-newsletters,whicheachcontainafreevideotip,adealofthemonth,an‘AskJohn’forum,etc.Thanks,andenjoy‘ItIsWellWithMySoul’.

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.

12

Chris Tom

lin and his 1999 Collings O

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

Chris Tomlin and Collings Guitars

roduct eview

by Michael Hodge

WhenIfirstheardaboutFlaxwood,Iwasreallyintrigued.AFinnishcompanythatmakeshigh-endguitars?...Cool.Aguitarwithnodeadspotsandperfectlyconsistenttone?...Sweet.

Idecidedtodoalittleresearchbeforetheguitarshowedup.IGoogle’dFlaxwood,&foundsomevideosonYouTubeoftheirguitarsandwasreallylookingforwardtothereview.Soyoumightask,“Pleaseexplain.Whatis“Flaxwood”?Flax-woodisactuallythenameofthematerialthattheseguitarsaremadeof.Theirgoalwastocreatean“almostperfect”tonewoodwiththepropertiesofthemostexpensiveandbestsoundingexoticwoods.

Woodbynatureisamazinginhowitvibratesandiswonderfulformakinginstruments.Thebeautyandchallengewithwoodisthateverysinglepieceisslightlydifferent.Notwoguitarseversoundorbehavetheexactlythesame.Thisislargelybecauseoftheactualin-dividualgrainpatternsandknotsinthewood.

HAPM.IhavetoLOLhere.IbrokeahighEstringandcouldn’tfigureouthowtogetthelittlepieceoutofthetunerorgetanotherstringin.ThreeofmyfriendsandIpouredovertheinstructionsheet&werestillcon-fused.Irememberthinkingthatitmustbe“re-ally”simpletocausethismuchtrouble.LaterIwenttotheFlaxwoodsiteandwatchedoneoftheinstructionalvideos.TheseGotohlockingtunersweretooeasy.Youjustputthestringin&startcrankingaway.Theylockautomati-cally!Howcoolisthat!Ihighlyrecommendyoucheckthevideoout.

http://www.youtube.com/watch?v=IfudI2d_TPY&feature=player_embed-ded

TheSeymourP-90sgivetheLiekkiavin-tageLesPaulvibe.I’vehadacoupleLesPaulsandmybiggestfrustrationwasintonation.Fortunatelythisguitariskiller!ThebodyfeltalittlesmallatfirstbutIquicklygotusedtoit.Theweight(7pounds)andbalancearenice.Theshapeofthebodyisveryfriendlyforsit-tingorstanding.TheKultagoldfinishistrulybeautifulaswell.

Thisisactuallyahollowbodyguitarbydesign.Becauseofthatresonatingbackplateontheguitarthereisalotofsustain!Ipluggedintoavarietyofamps,aTopHatRoyal,a62FenderDeluxe&aVoxAC30andtheywereallhappywiththisguitar.Pedalslikeditaswell.IwasdiggingtheclassicP-90’stoneineveryamp.Itrockedinthebridgeposition,hadthesweetvintageLesPaulthinginthemiddleposition&intheneckposition.TheP-90’shaveawarmsoundwithsomenicehighend.Ifyouareasoloingkindofguy,youaregoingtolovethisguitar!Thereisofcoursealittlevintagenoisethatallsinglecoilshave.Cleanintotheampitsoundsfantastic.It’sgotthatvintage“chimey”bridgeandsweetmiddlepo-sitionwithveryacoolvintageneckposition.Insummary,thetoneiswoodyandexpensivesounding.

TheFlaxwoodLiekki290-Tisaversatileguitarthatplays&soundsamazing…anditwon’teverbeaffectedbyhumidity!Thisisgreatguitar,sturdyenoughfortheroadandtonallyrichforthestudio.Plusyouwon’tfindabetterplayingneckanywhere.Ifyouarelookingforauniquehigh-endguitar,checkoutFlaxwood’swebsite&findastorenearyoutoplayone.ThisguitarWILLsurpriseyou!

CurrentMSRPis$3,242/MAPis$2,199;thehardtailversionMSRPis$2,919/MAP$1,979.www.flaxwood.com

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Iwillsaytheneckonthisguitarisamazingandcaninspiresomefirefilledplaying.It’sgotaflawlessfretjoblikeyouwouldexpectfromaveryexpensivecustomshopguitar.Thisisabigdealwhenyou’reinthemomentandreachforthat“big”noteinyour“little”solo,onlytohaveitfretoutandquacklikeaduck.Howaboutwhenyouhaveyourcleandelayssetjustrightandthatbuzzingnotejumpsoutwitheverydelay.Yikes!Fortunatelyyouwon’thavethatissuewiththisguitar.Theintonationisexcellentaswell.

Thecaseisanicelightweightmoldedblackhardshelltype.Atfirstsighttheguitaritselfisbeauti-ful.Theworkmanshipandsetuparegoodtogorightoutofthebox.Thebodyisahollowarchtopde-signwithaniceFholeonthefrontlikea335.Thebackoftheguitar

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Knotscanmakefor“deadspots”ontheneckwherecertainnotesdon’tringoutwell.“Flaxwood”isawoodbasedtonematerialmadeprimar-ilyofSprucewoodparticleswithaproprietary“acousticallysensitivebindingagent”mixedin.Thenecks,bodiesandbackplatesareallmadebyahightechinjection-moldingtechnology.Thesedaysallbigguitarmakersareusingmanufacturingtechniquesinvolvingcomputerassisteddesigns(CAD)andmachines.TheFlaxwoodcompanyhasreallytakenhightechtothenextlevel.

14

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AmongthemanyhappythingsinmylifearemynewWestoneES3Xin-earmonitors.OtherthanplayingatchurchwithourAviomsystemandconventionalfoaminsertedin-ears,Ihaveal-waysbeenawedgeguy.Actually,intheearlyyears,noneofususedmonitorsofanykind.Wejustsangasloudaswecouldandhopedforthebest,asI’msuremanyofyoudid.

Oflate,I’mnothopingforthebest.Ihavethebest.FromthefirsttimeIinsertedtheWestonesandlockedtheminplace,Iwasinawholenewworld.Iwaslikeakidwithmyfirstbike!Ididn’tknowIcouldhavesuchincredibleisolationandfullspectrumsound.IamalsointheprocessofacquiringanAudio-TechnicawirelesssystemsoIcanusemy“ears”whereverIplay.Iwillbehearingeverythingandsavingmyhearingatthesametime.When You Hear Well You Play Well

Youcan’tplaywellwithotherpeopleunlessyoucanhearthem.Onstage,wherethevolumecangetoutofhand,youmayfindyourselflookingatthedrummer’skickpedaljusttobesureyouareinthegroove.Lookinghelps,buthearingisessential.Whenasingersingspartoftheverse,chorus,orbridgelyrictocuetheband,youneedtohearthatcuetobeabletogothere.Althoughwefollowcharts,wewanttoaccommodatefreedomaswell.And,asyouknow,playinginthemo-mentiswherethewonderfulis.

Anotherareacriticaltohearingisknow-ingwhentolaybackandwhentostepout.Whenyouarehearingthewholeband,youcangetintothezoneeasier,whichmakeswayforgreatplayingandnotsteppingonyourbandintheprocess.Mosttrainwreckshappenwhenmusicianscan’thearwell;thementaldistractionthatcomesfromittakesyoutotallyoutofthebandandintoaveryuncomfortableplace.

Beingcompletelyhonest,Ihavetosaythatthereisauniquejoythatcomesfromwonderfullymixedwedgesandhearingtheoverallsoundfromtheroom.But,aswonder-fulasthatcanbe,it’salsodependentonmanyfactors,mostofwhichareoutofyourcontrol.

When You Hear Well You Live Well

InIsaiah55:3weread“Inclineyourear,andcometoMe.Hear,andyoursoulshalllive;andIwillmakeaneverlastingcovenantwithyou—thesuremerciesofDavid.”

Justaswecangetdistractedwhenweplaybynothearingwell,wecanalsobedistractedinlife,nothearingwellfromtheworriesofthemoment,insecurities,andthelike.ThegoalistohearfromGod,tolivewellandinHiswillandpurposeforourlives.HearingGodisthefirststeptothat.Thehopeisthathearingleadstounderstanding,thenunder-standingtoobedience.“Hearandyoursoulshalllive.”WehavetolivetoexperiencelifethewayGodintendedit.

Anotherthingtolookatiswhat“thesuremerciesofDavid”arethatarepromisedtousinIsaiah55:3whenweinclineourearandhear?Thesemercies–partoftheeverlastingcovenant–areeternallyfaithfulloving-kind-nesses.Allthisfromhearing.It’sfoundation-al.It’sthebeginningsteptosomanygoodthings.Thingsthatareessentialforlivingbothnaturallyandspiritually.When You Hear Well You Finish Well

Startingisonlythebeginning.Howmanyunfinishedprojectsdoyouhavegoingon?Whetherit’sasong,ataskaroundthehouse,aministryresponsibilityortheBIGfinishoflife,hearingwillhelpyoucompletewellthethingsthatyoustart.

Firstofall,youneedfaith.Romans10:17says,“SothenfaithcomesbyHEARING,andhearingbythewordofGod.”Youhavetobelieveinyourheartthatyoucandoit,what-everthe“it”is.Canyoudoit?Philippians4:13saysyes!“IcandoALLTHINGSthroughChristthatstrengthensme.”Remember–faithtobelievethisstartswithhearing.

Next,youneedtobeconfidentthatifyoudoyourpart,GodwilldoHis.InPhilippians1:6bweread,“HewhohasbegunagoodworkinyouwillcompleteituntilthedayofJesusChrist.”AgainweseethathearingGod’swordleadstobelievingandbelievingleadstocompletion.

Irememberprobablyfifteenyearsago,IwasataconcertinFortLauderdale,andthePastor’swifelookedatmeattheendoftheeveningandsaid,“Youwillfinishwell.”Istill

hadhairbackthen!Ithought,“Finishwell?I’mnowherenearfinishing”–atleastIhopednot.AfterIgotovertheinitialshock,feelingastrongurgetogotothedoctor’sforcheck-up,Ithought,“Wow,thatwasabeautifulthingshesaid.”AndforthattocometopassinmylifeIknewIwouldhavetocontinuetohearanddo…”hearandyoursoulshalllive.”

MyprayerforeachofyouandmyselfisthatbyGod’sgraceandbyhearingandbelievingwewillallliveourlivesdisplay-ingthequalitiesthatspeaktofinishingwell.Whetherit’sthatsmallbutimportanttaskathandorthegrandfinaleoflifeonthisearth,let’sbehearersanddoers.Whenwearefinallyswallowedbyeternallife,let’senterheavenasthosewhoheardwelltofinishwell,livingev-erydaytoitsordainedcompletioninChrist.

It’s All in the Hearing

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L I F T Worship

20

CM: Last time we interviewed you, the MEGA Life! Worship ministry was doing its thing in your home church in Phoenix. Can you let us into your thought process when the opportunity to rejoin Megadeth came around and what where some of the deciding factors?

DE: In my eight years away from Megadeth, I seized the moment to branch out into many new artistic opportunities, all of which really helped me grow as an artist, a musician and as a person. Initially, I got calls to tour with some big rock and roll artists, but first and foremost, I really wanted to have time at home with my wife and two children, and I knew that wouldn’t happen if I was on the road for someone else all the time. I feared waking up one day and finding my kids were off to college, I’d be 50 years old, and would have missed their whole childhood.

A few years ago we interviewed David Ellefson and heard about how he had left Megadeth and started a local worship ministry called Megalife. As that new venture was maturing and David was spending his time in other music related pursuits, a call came in from an unexpected source. That led to a chain reaction that has spiritual significance as well as a musical resurgence. But let’s let David tell the story...

21

This was a huge time of growth for me. As the worship leader and co-founder of the MEGA Life! Ministries, I held a part-time position with the church and that enabled me to participate in the weekly staff Bible studies. Those studies groomed me in huge ways. They gave me the chance to ask questions to the clergy as I read and studied the Word. I had just finished my Bachelor’s degree in marketing around this time and began to read the Bible cover to cover anyway, something I had never done before. So, fast-forward to February of

2010, when the call came to me to re-join Megadeth. Some Christians and church folk may ask “How can you go back to Megadeth after being a worship leader?” A fair question, indeed!So here is what I came to. I

had been in Megadeth as a co-founding member since I was 18 years old. I grew up there and had been given a good life as a result. I got sober in 1990, at 25 years of age, and that brought me back to a renewed Christian walk that I had as a kid growing up in the Lutheran

church. So there I was, all those years playing in Megadeth but being groomed spiritually behind the scenes.When Megadeth disbanded in

2002, I intuitively knew God was doing for me (and probably all of us!) what I couldn’t do for myself, which was to pull me out of a day-to-day life on the road in a band as I had known it, so that I could experience some new facets of life. One of those facets was my faith and how music would become part of that development with Christ. I truly believe that it was God’s time to move me, and seemingly all of us, off the Megadeth campus and into some new opportunities of growth, something that probably wouldn’t have happened if the band kept rolling. But, as on the one hand, I saw

God’s hand on the wheel, I was also scared as I hadn’t done anything other than be in a rock band for my entire adult life up to that point. As a result, there were legal disputes during the disbanding, which were very negative, and damaged relationships between certain members of the group. I quickly learned my errors as I read passages like 1 Corinthians 6, and was able to clear those matters with scriptural help a couple years later. So, I clearly see the invitation

to return back to Megadeth as God’s timing, not mine. I view it as a way to finally clear the past once and for all, to mend fences and show the world that even a messy situation like a rock and roll band’s demise could be made right through Christ. I also see that in many ways, my return to the band probably has more to do with

So instead, I put together several rock bands, played on a bunch of different records, and did Artist Relations work for Peavey Electronics Corporation, all based out of my home in Arizona. Another thing I really wanted to do in my time away from Megadeth was develop music as it tied into my Christian walk. I had co-written a few tunes that ended up on the CCLI registry. “I’m Free” was the first I wrote with a Praise leader, Jonathan Foster, from my former home church of Scottsdale Family Church back in 1999. A few years later, my family

took up membership at Shepherd of the Desert Lutheran Church in Scottsdale and my children went to school there for their Pre-K through elementary years. I was raised Lutheran, so I still had my “rite of passage” back to the congregation with my confirmation card from when I was a teenager (Ha!). During this time I was asked to become an Elder, and shortly thereafter, our new Pastor Jon Bjorgaard asked if I would help create a new Worship service with him, which he wanted to call MEGA Life!, based on John 10:10.

photos by Kaley Nelson

22

what my faith should be, which is forgiveness and glorifying Jesus in all that I do, even if that means going outside the church (and my own hometown ministry) to make things right during this particular season of my life. It’s a chance to be on a different stage and to be serving while doing it. Through this process, I came to the

realization that being a “worship leader” doesn’t just have to happen on a church stage Sunday morning while playing Christian songs for people who may already believe in Jesus. It can, and should, happen in all that we do, no matter where and with whom we do it. That is the ‘Great Commission.’ I’ve also come to realize that all things created in this world are done so by the Lord in and through us, that we are just vessels for His creativity anyway. So we don’t have to be afraid of the mainstream music setting. Even on a rock and roll stage, God can still be present if we bring Him there with us.

a spirit of rotation in our ministry, as I was able to bring in a friend of mine to be the music leader now. I think that is crucial at churches to not hog the service commitments and allow others to have those opportunities, too. I don’t want to be the ‘rock star’ in church! I am still on the Elder board, I remain

active in the ministry, and this new job transition back to Megadeth is presenting new opportunities for me to serve in other ways besides just musically. For me, that is part of my maturity in that I can now be active in other sides of ministry besides just musically. Most importantly, I have an opportunity to make the Christian walk be attractive to many outside the church, something that the anchor of MEGA Life! is looking to provide with online portals like its website, Facebook page, etc. Social media is starting to be huge for Christians to find fellowship. CM: Wow, it is really

something to see what is in play here. I know you say you don’t preach the gospel from the stage every night but in New York last week, you did tell the crowd that you are a Christian. How do you approach that announcement in that type of setting?

DE: Being open about your faith will put responsibility and accountability on you. But, in many ways that is good for us believers, to really “walk the walk,” not just “talk the talk.” Christianity wasn’t very popular

in mainstream music when I was a kid because of the witch burning approach that so many churches used against the sinners. I don’t run around and bash people over the head with a Bible, because I remember people trying to do that to me years ago and I just rebelled against them. To me, performing and emitting true joy from the stage and in all that I do is the best example of my Christian beliefs. Show them, don’t tell them!I’ve said for many years that I’ve

always been a Christian musician, even though I don’t always play Christian music. I think it’s okay to live in the world and enjoy the activities and fun things God has

Now, while we don’t stand on the Megadeth stage and preach the Gospel every night as part of our show, we do pray for the Holy Spirit to flow and reveal Himself through us and our music in a way that may reach people who may never set foot in a church or know the freedom of a Christian life. To see us set right by God can be a good example of a different way of life. To me, it’s about attraction and not promotion, because I know that’s what hooked me. Christianity looked appealing to me through my interests, that of music. So maybe, just maybe, we can be a portal to Christ in some way. As it was said, “Preach the Gospel always, sometimes you may even have to use words!” While I wouldn’t consider

Megadeth to be a “Christian band,” we are a band made up of Christians. While we don’t write and sing Christian songs, some of us do spend time in prayer, the Living Word, and find creative ways to either attend church

on the road or take advantage of media ministries like Joyce Meyer, delivered to us on our laptops while we travel. To me, that is a band of Christians!Ironically, the MEGA Life!

Ministries is also undergoing a major growth spurt right now. For me, I see a vehicle like Megadeth being closely linked in effect to the MEGA Life! Ministries. In fact, one wouldn’t exist without the other at this point. It’s all a matter of how we use our gifts to glorify God. Looking back over these past few months, I’m amazed at how the Lord has mended fences, restored natural order, and through it all brought others forward to serve for His kingdom. Now more than ever, I find it

crucial to be anchored into my home church and fellowship, to whom I am accountable. This year I’ve transitioned out of being the primary MEGA Life! worship leader, now that I’m on the road a lot. However, this has helped with

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

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

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

PRS_CCM_Ad.indd 1 7/8/10 2:40:34 PM

placed here for us to partake in, so long as our convictions aren’t compromised in the process. I view it as being ‘in the world, but not of the world,’ and not conforming to the world’s benchmarks, as expressed in Romans 12:2. CM: Right on. I do see that

when you play. Switching gears a bit, what is your current set-up equipment wise for this tour?

DE: The main thrust of my return back to Megadeth was embarking on the 20th Anniversary “Rust In Peace” tour, which celebrated one of our landmark ‘fan-favorite’ albums released in 1990. I really wanted to display the look and the sound of that era all the way down to the instruments, amps, even the

24

stage set and certain clothing. So, after trying many bass and amp options, I settled on the Jackson Concert basses (four and five string versions) and the new Hartke amps and cabs (LH1000 heads & HyDrive 810 cabinets), which were the brands I used in back in the original “Rust In Peace” era. I have a new signature set

of SIT Strings (David Ellefson POWERWOUND Nickel Bass) and still use .80 Jim Dunlop Tortex picks and Shure wireless systems. My only effect pedal is a Digitech stereo chorus for a couple solo moments in the show. We use in-ear monitoring with Sennheiser transmitters and Shure vocal microphones. Other than that, my signal is really simple and straightforward. I like to know

that if there were a problem onstage I could plug my bass straight into the amp or direct box with a cable and the show would go on. Looking back on it, it’s kind of funny

how our Thrash era of music has actually made musical instrument and amplifier manufacturers finally design products to the standards we created years ago. The genre’s influence has been huge on so many young players. Plus, Guitar Hero and Rock Band games have introduced our music to a whole new generation who will inevitably be tomorrow’s musicians. For a movement that started out so young, loud and angry, we actually made some valuable contributions to the world after all! CM: What is the next step

for Megadeth? Are you and Dave writing new songs for an album? If so, to what extent will your beliefs/world views inform this record?

DE: We are writing and cataloging new ideas while we tour. The process is usually just that; get the creative headspace open and let ideas flow. It isn’t usually until the band get in the studio with the producer that songs really cement themselves together into compositions. So for now, we are enjoying a creative camaraderie together while we travel, which is a fun thing for us to do in the hours before a show. As far as future lyrical messages,

I’m not sure Megadeth will ever be a band blatantly singing songs of praise to Jesus, nor should it. It’s okay to sing songs about various topics outside of just your faith. However, it is very evident to all of us that God has done some huge things in our personal and professional lives this year and that our current success is to His glory. It’s humanly and mathematically impossible to go from where we were last year to where we are now, and I think that’s the point of grace – to have gratitude for an underserved gift.

For more information about MEGA Life! Ministries, see their website at www.megalifeaz.org.

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selective hearingWaterdeep

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continuetoexpandtheirmusicalpaletteswithIn the Middle of It,agrand

experimentofpop-rockgenrehoppingmixedwithintrospectivelyricsaboutredemptionandthemoralfallibilityofhumankind.Familyisacentraltheme(theChaffersrecentlymovedtoNashvilletospendmoretimeathomerais-ingtheirchildren)andtheduoseemstodrawwisdomfromtheirowntimegrowingup,evenifthelessonsarewhattoavoidasaparent.“GimmeMyWalkman”featuresthisheartbreak-inglineamidstasprightlychorus:“GimmeMyWalkmanMom/Ineeditbad/ThatwayIdon’thavetolistentothefightsyouhavewithdad.”Themusicallyricaldichotomyechoestheupsanddownsoffamilylife,evenasthejoyfulmu-sicofthediscappearstobeametaphorforthejoysofparenthoodandwatchingone’schildrengrow.

ThejammieraspectsofearlyWaterdeepcontinuetodissipateonthenewdisc,asLoriac-cessesherinnerKarenO(TheYeahYeahYeahs)on“CoupleCheapRings,”whileDonmesheshisloveforactslikeVanMorrisonandNeilYoungwithmodernproductiontrickson“Haven’tYouAlways”and“OnlyOneTime,”whileembrac-inghismusicalpastfullyonthejauntyfolkshuffleofthetitlecut.Lorireallyshinesontheweary,resigned“DifferenceBetween,”whilethecomforting“EasyBaby”featuresthecoupleintandemgivingreassurancetotheirchildrenthatthereisalightamidstallthedarknessoftheworld.ThereisadepthandcreativitytoWaterdeep’smusicthatescapesmostmarket-drivenChristianactsthesedays.OnelistentothediversebackdropsandinsightfullyricsofIn

the Middle of Itshouldconvinceyouthatthisisarecordworthowning.

Live at the Beachland Ballroom, 11/01/08

GlassHarpRootsofAmerican

Musicwww.rootsofamericanmusic.org

www.glassharp.netSpeakingofalbumsthatwillappealtoaficio-

nadosofgreatguitarplaying,alongcomesthisspeciallivealbum,culledfromashowbenefitingtheRootsofAmericanMusicFoundation,anorganizationthathelpsfindfundingformusiceducationinschoolsacrossthecountry.GlassHarpdoesnotplayallthatoftenthesedays,butwhenitdoes,itisanoccasiontocelebrate.GuitaristPhilKeaggyis,ofcourse,oneofthefinestassailersofsixstringsthatthiscountryhaseverknown.Heisinfineformthroughoutthealbum,asthebanddoesseveraloftheiroldclas-

sics,aswellasafewKeaggysongsre-imaginedforthelivetrio.OnethingthatalivesettingdoesforGlassHarpisilluminatejusthowgoodbassist/songwriterDanPecchioanddrummer/songwriterJohnSferraare.Keaagy’sprowessiswellknown(and,frankly,ishighlightedonthetensongset),buttheinventive,musculardrum-mingofSferraandthepulsating,in-the-pocket-bassgrooveofPecchioareanessentialingredienttothealchemyoftheband’smusic.Keaggy’sfunk/rock/folk“ASignCameThroughtheWin-dow”highlightseachbandmemberathisbest,asinsistentbasslines,empatheticdrumfills,andKeaggy’sfluid-yet-fieryguitarworktranscendtheboundariesofgenrelabels.Thesixteen-minute“BeachlandJam”isanimpressivefreestyleimprovisationinwhichmanythemesfrompastKeaggynumbersarerecycledinahodgepodgethatallowseachmembertostretchoutabit,butnevervariesfromacentralmotif.Therestofthealbumhasjustasmanyhighlightsand,whilenotrevealinganythingnewtofansofthebandorofKeaggy,certainlydispelsanynotionthatGlassHarp’schopshavediminishedovertheyears.

In Feast or FallowSandraMcCracken

Independentwww.newoldhymns.

comIfnothingelse,

SandraMcCracken’snewrecord,In Feast or Fallow,isthemostChrist-

focused,GodhonoringcollectionI’veheardinages.Inanerawheremodernworshipisoftenmoreabouttheworshiperthantheworshiped,itisrefreshingtohearthesemodernhymns(somereworkedtexts,somenewcompositions).Ironically,theyseemtocomefromadeeplypersonalwelloffearandquestioning,yetpointtotheperfectbalmtocombatself-tyranny:thepromisesofChrist’sresurrection,theliberatingfreedomofTheHolySpirit,andthecomfortofknowingaGodwho,whilenotsafe,isvery,verygood.Agricultureseemstobea“fertile”meta-phorformuchofthecollection,ashumanityallbutsprangfromdust,andGodisoftenseenasthe“TreeofLife.”Thetitletrackrichlyechoesthistheme,comparinglife’sphasestoacroprotation,pointingoutthatsometimes,theseedsforourgreatestgrowtharegerminatedinbarrentimes.ProducerDerekWebbisthehusbandofMcCracken,andthatsacredtiecanbefeltinthesynergybetweenartistandproducer.Webb’ssongtreatmentsareexperimental,utilizingmanyofthetricksheemployedonhiselectronicmasterpiece,Stockholm Syndrome,butinamuchmoreorganicmanner.Combinedwiththeearthy,acoustictonesandnaturalisticmelodi-cismofMcCracken,theresultisaveritablefeastofkaleidoscopicpopandinfectioustunefulness.HighlightsincludetheJeffLynne-influenced“JusticeWillRollDown,”adaptedfaithfully

fromAmos5:24;thetenderhymnofparentalexpectation,“HiddenPlace;”thetitletrack,featuringtheastonishingvocalsofThadCockrell(thinkVinceGillwithalumpoffervencyinhisthroat)andWebb;andtheearlyBeatles-inspired“Faith’sReviewandExpectation,”whichrevivestheoriginalversesandtitleofthechurch’smostrecognizedhymn.Whilehymnshaveexperi-encedarenaissanceofsortsinthisdecade,theunfortunatestenchofprofiteeringhasrenderedmuchoftheoutputmawkishandawashinself-promotion.McCrackenrepresentsalightinthedarknessforthemodernhymnmovement,alongwithsmallbutdedicatedcollectiveslikeRedMountain,Sojourn,IndelibleGrace,Sov-ereignGraceandBiFrostArts–allofwhomarededicatedtomakinghymnsrelevanttotoday’sgeneration.In Feast or FallowandMcCracken’sfirsthymnsrecord,The Builder and the Architect,representtheverybestthismovementhastooffer:accessible,artisticallyconceivedsongsthatoffertheultimateanswertoquestionsthathaveplaguedhumanitysinceitsfall.

Burning Like the Midnight Sun

TheChoirGalaxy21Recordswww.thechoir.net

Iwillbeabitmoreimpressionisticwiththisreviewthannormal

becauseIhaveamillionthoughtsrunningthroughmyheadafterlisteningtoTheChoir’sfirstreleaseinnearlyfiveyears.Thebandhasbeenaroundforalmostthirtyyearsnow(formedin‘82,firstrecordin‘84),andiftheyhadbrokeninonamainstreamlabel,itundoubtedlywouldhavebeenthe4ADlabeloutofEngland.Somuchoftheirmusichasthatmurky,ambi-enttexturethatfilledthe4ADroster,whichincludedbandslikeTheCocteauTwinsandDuruttiColumn,aswellasthecommerciallysuccessfulModernEnglish.WhatmakesTheChoirtranscendthesebandsistheirdetermina-tiontofittheseexperimentalurgeswithinapopsongstructure,givinglistenersarealtreatwitheminentlylistenablesongsthathavesubstance.Insodoing,theyremindoneofthewonderfulAustralianband,TheChurch(“UndertheMilkyWay”),whoseguitaristsMartyWillson-PiperandPeterKoppesareanobviousinfluenceonChoirgit-slingerDerriDaugherty.With“BurningLiketheMidnightSun,”TheChoircontinuestocreatedeeplypersonalmusicwithadistinct,originalsound.Eachofthemembersisatthetopofhisgamemusically,andIespeciallylikehearingmoreofDanMichael’ssaxophone.Lyrically,TheChoircontinuestopresentissuesoffaithandrelationshipsinawaythatisnotpreachyorcandy-coated,butrootedinreallife.Infact,thisalbumisparticularlyself-referential,withnofewerthansixsongswritteneithertoabandmember,familymemberoraboutafriend.Theexquisitelybeautiful“AFriendSoKind”isa

by Shawn McLaughlin

26

tributetothelifeofrecentlydepartedmusician,TomHoward,avaluablementorandsoundingboardforawholecommunityofmusicians,in-cludingTheChoir.ThewarmthtowardHowardisespeciallypoignantinthehumorouslyric,“You’llbesmokingfinecigarsatthetableofTheLord.”“Mr.Chandler”isthere-tellingofanincidentthathappenedattheexpenseofbassist,TimChandler,whilethebandwastouringinitsearlierdays.Oddly,themelodiclineinthechoruswhereDaughertysings“Mr.Chandler,Mr.Chandler,”soundslikeitisgoingtoevolveintothechorusoftheLostDogsclassic,“Elea-nor,It’sRainingNow.”Thesong“LegendofOldManByrd”istheironicallytitledtributetotheyoungestmemberoftheband,MarcByrd,writtenforhis40thbirthday.Thelyric,“Foreverstrumminghismapleblackguitar”referencesaguitarthatdrummer/lyricistSteveHindalonggavehimbeforehe(Byrd)becameamemberoftheChoir.Anotherstoryfromtheband’spastisthepsychedelicballad,“I’mSorryILaughed,”inwhichthedancingdervish,(Buckeye)DanMichaels,playinghissaxophonewithhisusualenthusiasm,somehowfellhardonstage,terminallybruisinghisprecious‘63SelmerSaxophoneonwhichhe’dlearnedtoplay.Tohiscredit,lyricistHindalonggivesthispersonaltaleuniversalmeaning,asitservesasadmonitionforthehumantendencytodelightatothers’mis-fortune.Givingthetrackyetmoreofafeelingofdeja vuisMichaels’saxophonesolothatwasac-tuallyliftedfromtheChase the Kangarooalbum(anin-betweensongsblip).Thegentle,moody“BetweenBareTrees”wasamusicalideathatstartedasastockpopsong(quitereminiscentofCrowdedHouse’s“BetterBeHomeSoon”);then,whenHindalong’slyricrequiredaslightlymore

sombermood,itwastransformedintothepen-sive,tonepoemitbecame,albeitwithalovelyverseandchorus.“TheWordInsidetheWord,”“Invisible,”and“ItShouldHaveBeenObvious”arealltextbookexamplesofthetypeoffetchinghooksDaughertywriteswithstartlingregularity,andincludesomeofHindy’smostcleverandpointedprose.DaughertyandByrdaddbrilliant,yetdenseshardsofambientcolortogivethesongsauraldepth.WithBurning Like the Midnight Sun,Hindalong,Daugherty,Michaels,Chan-dlerandByrdcontinuetocreatealbumsthat,whilehighlyartistic,provecommerciallyviable,providingasonicallysatisfyingexperiencethatcarrieswonderfullayersofsoundwithoutlosingitscenter.Themusiciscomplexwhileremainingundeniablyhumanandorganic.Let’shopemoreoftherecordbuyingpublicwillbegintorecog-nizethisgreatbandforitscommercialpotential,whilewetruebelieverscontinuetohailtheirartisticgeniusandstartlingtransparency.

AliveEdKowalczyk

SoulWhisperRecordswww.edkowalczyk.

comForthosenotfamil-

iarwiththenameEdKowalczyk,justimagine

rockradiointhemid90’swithoutthesongs“IAlone”or“LightningCrashes,”theanthemicuber-hitsfromKowalczyk’sband,Live.Alwaysanactthatplayedfastandloosewithspiritualimagery–alittleChristianthoughthere.....somebuddhistleaningsthere.....theirleadsinger/song-writerismuchmoreexplicitabouthisChristianfaithon“Alive”(seewhathedidthere?ALive?).

However,thethematiccontentishardlyexplicit,andalternatesbetweenFaith-basedmusings-thealbum’sbesttrack,therousing,stadiumblareof“Grace,”“Drink(EverlastingLove),”andthebluesy“Zion”-andthesticky-sweetromanticsentimentsof“InYourLight,”“JustInTime,”and“Drive.”Kowalczykhasawaywithimpos-siblybigchorusesandarenarockarrangements,butfewofthesongshereaddanythingnewtohismodusoperandi,insteadoftenregressingintoclichedmusicalstrokesandclumsylyricalmetaphorslikethoseinthealbumopening“Drive”and“Drink(EverlastingLove)”.AllthistosaythatAlivewillbenectartotheearsofDaughtryandKutlessfans,butwillprobablybedismissedbythosethatvalueamorecreativearc.

WonderMichaelW.Smith

Reunion/Provident/Sony

Forthoselamentingtheextendedvacationof“Smitty,”thepop-rockalter-egoofcurrentadult-

worshipartistMichaelW.Smith,Wonderwillfeellikewatertoadehydratedbody.Thefirstfourcutsofthediscareallfullofinventivekeyboardpatchesandmuscularguitarwork,reminiscentofearlySmittyfavoriteslikeBig PictureandI 2 Eye.Prettygoodforaguywellintohis50’s!“SaveMeFromMyself”and“TakeMyBreathAway”arerousingpoppleasers,while“RuntoYou”and“I’llWaitForYou”aremoretextured,matureslicesofunderstatedrock,influencedbySmith’sworkingrelationshipwithacertainiconicIrishband.Thelatter,inparticular,is

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awonderfullyrestrainedpieceofguitar-rockfeaturinglyrics,spitoutinalmostDylan-ishfashion,whilethetune’sspareleaningsmethodi-callybuildfromversetochorustothepointofacoldstop(nicefake-out,Michael!),followedbythesuddenre-entryofafullgospelchoirandsquealingHammondorgan.Thisisquicklyfollowedbytherecitative-likewaltzof“ForeverYours,”alovelymusicalpiecethatrelatesthemomentwhenSmithknewthathewouldspendtherestofhislifewithhiswifeDebbie.Thetitlecutisanotherfull-tiltrockerthatcombinesthepopinstinctsof“Lamu”withtheexperimentalsonicsof“WiredforSound”fromtheBig Picturealbum.ThesubjectmatterofWonder ismoreintrospectivethanSmithhasbeeninyears,withpersonalreflectionsonfallibilityapartfromGod:

IfmyscarscouldspeakTheywouldsaythatgraceismyonlyhopeGraceisshowingmethewaytowhereAllmyshadowsdisappearandhealingwaitsforme(“RuntoYou”)

Hislyricsalsospeaktohisbeliefintheultimatehealingpoweroflove,reflectedintheproject’stitleandtheselyrics:

You’reeverythingIcan’texplain.Yousetmyheartonfire.AndhereIstandamazed.Youtakemybreathaway(“TakeMyBreathAway”).

Smith’svocalstakeapronouncedleapforwardonthealbumaswell.Asasinger,I’vealwaysconsideredSmithtobeaverygoodkeyboardplayer,butheshowsincreasedstrengthasaninterpreterthroughoutWonder.Nowhereisthisclearerthanthestark,stunningballadofdesperation,“Leave,”adissectionofthecircum-stancesthatleadonetothoughtsofendingtheir

ownlife,butwitharedemptivetwistattheend.Smithsingswithlump-in-the-throatvulner-abilityashebringstolifetheprocessofcryingouttoGodinalastditchattempttomakesomesenseofaconfusingexistence.Despiteapreponderanceoflumberingballadsinthedisc’slastthird,theprojectispackedwithmoresure-fireradiohitsthanSmithhasproducedineonsand,inthiscase,thatisnotabadthing.Thosecutsaregenuinelysolidsongsandseemtocomehonestly,withlittlecalculationtowardmar-ketconcerns.Thisisahugereliefafterseveralreleasesthatseemedmoreaboutshiftingunitsthanfurtheringhisartisticreach.WithWonder,Smithprovesthat“Smitty”stillhasPLENTYofgasleftinthetank,whileexpandinghismusi-calvocabularyinwaysthatarebothmusicallypleasingandartful.

The ShelterJarsofClay

GreyMatters/Provident/SonyDespitealonglist

ofguestcollaborators,JarsofClaysoundsparticularlyfocusedon

theirnewlong-player,TheShelter,aprojectthatblendsthesonicexplorationoftheirLongFallFromEarthandGoodMonsteralbumswiththefeelingofcommunitythatpervadestheirhymncollection,RedemptionSongs.Owingadebtto“event”albumslikeCityOnaHillorGloryRevealed,therecordcombinesthegiftsoftheartistsassembledintoawonderfullyunifiedandcohesivecollectionofsonicallyadventurousworshipsongsthathintatthemessagesofcom-munityandhumanfrailtythatwerethecrux

ofJars’lastfewreleases.Predictablecollabora-torslikeMacPowell,SaraGroves,andBrandonHeatharejoinedbylessrecognizabletalentslikeMikeGungorandThadCockrell,aswellasnewartist,AudreyAssad.However,thebandmustbecreditedwithneverpanderingtothetalentsoftheguests,insteadintegratingthemseamlesslyintothefabricofthemusic.Powellisusedtogreatadvantageonthesparklingacousticnum-ber“EyesWideOpen,”whichalsofeaturestheinimitableDerekWebbonthetypeoffolk-popnumberthatrepresentshisearlyworktonearperfection.Assad’sstirringharmonyvocalhelpspropelthe“world”accentedtitlecut,while“OutofMyHands”representsaperfectmeldingofaccessiblearrangementwithagenuinelycatchymelody.LeighNashandMikeDonehey(TenthAvenueNorth)areprominentlyfeaturedinthealmostfugue-likevocalarrangement,theirre-spectivevocaltonescomplimentingDanHasel-tineandSteveMasonperfectlyastheyweaveinandoutoftheintricatecountermelodiesandharmoniccouplets.Thisexampleofsharinggiftsandworkingintandemtocreateawholegreaterthanthesumofitspartsisaperfectmetaphorfortheunificationofthechurchbody(orfamily)thattheboyssopainstakinglyseektoconvey.Totheircredit,JarsofClayhavethecompositionaltalentsandmusicalbreadthto

createoneofthemostconsis-tentlycreativeandinterestingworshipprojectsyou’relikelytohearonamajormarketrelease.

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

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MoveThirdDay

Essential/Provident/SonyContinuingthethemeofconsolidating

thestrengthsofpastwork,ThirdDayreleasesitslatestopus,Move,anassimilationoftheband’ssouthernroots(bestrepresentedbytheirdebutandTime),themorerockingdynamicsofWire,Revolution,andConspiracy#5,andthepop-worshipmovesoftheOfferingsprojectsorWhereverYouAre.Lyrically,ThirdDayalter-natesbetweenstraightupworshipdeclarationsandsongsthatexhortandinstruct.Highlightsintheformercampinclude:“ChildrenofGod,”asurefiresingleifevertherewasone;“TrustInJesus,”whichmarriesathoughtfulandinventivearrangementwithtriteworshipsentiment;and“SoundofYourVoice,”anothercongregationalpleaserthatfeaturesalovelyguitarfigureandvocalharmoniesfromChristyNockels.Itistheforaysintorockandgospelterritorythattrulyprovidethemusicalmovementreflectedinthealbum’stitle,however.Thealbumopener“LiftUpYourFace”isarockerthatmarriestheheavierproductiontricksofRevelationwithaninsistent,minorkeyhookandthekillervocalchopsofTheBlindBoysofAlabama,whilethenexttrack,“MakeYourMove,”featuresheavybassandthetypeofpunk-meets-southernbluesriffsthatyou’dhearonaBlackKeysrecord.“Sur-render”and“Gone”mixexcellentchoruseswithsomeserioussouthernrockswagger,resultinginthemostconsistentlypropulsivemomentsontherecord.WithapologiestoformerguitaristBradAvery,hisdeparturemightbethebestthingthathashappenedtoThirdDayasithasal-lowedMarkLeeandhisheavilyrootsandbluesinfluencedaxeworktobecomecentraltotheband’ssound,givingthegroup’slasttworecordsarawnessthatbenefitsamoreruralsound.Alwaysabandthathasrodethefencebetweencommercialhitmachineandsolidbluesbasedrockband,MoverepresentsThirdDay’smostfullyrealizedamalgamationoftheirmusicalinfluencesinapackagethatdoesn’tcompromisetheircommercialaspirationsmuchatall.

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Traditionally,drop“D”tuningreferstoboth“E”stringstuned,or“dropped”awholestepflat.(trythisoneandpickouttherifftotheDoobieBros.classic:“BlackWater”).Ihavecustomersusingeverythingfromdrop“D”todrop“A”,andbeyond.Theletternameisreferringtotheactualpitchofthelow,or“dropped”string.Ex:drop“C”wouldlooklikethis(lowtohigh):C-G-C-F-A-D.

Thebestwaytokeepthetensionproperistouseaspecificguitar,tobeset-upandusedexclusivelyforaparticulartuning.Mygeneralruleofthumbistoadjustthestringgauge,onesetawayfromyourusualpreferredgauge,foreachhalfstepyouaretuningdownto.DidIloseyou?Sorry,I’llagainclarify.Let’ssaythatyou’reusingastandardsetof10’satregularpitch.Ifyouaretuningdown,onehalf-step(fordrop“C#”),Isuggestthatyouuseasetof11’s,toachievethesametensionandfeelthatyou’reusedto.Remembertomakeanevenlargerjumpup,instringgauge,forthelowstring,whichisbeingtuneddownanextrastep.Ifyoucan’tfindasettosuityourliking,somestringmanufacturerswillmakecustomsets,throughtheirdealers,withnocostmark-up.Feelfreetocontactmeaboutthis.

It’sveryimportanttohavetheguitarset-upproperly,whenusingheavystringsandlowtuningstoachieveacceptableplayingactionandgoodintonation.Takingtheextratimeandefforttodothisrightwillpayoffwithaninstrumentthatisfuntoplayandonethatplaysintune.

Thepickguardonmy1967GuildD40acousticguitarisstartingtoliftfromthetop.ShouldIremoveit

andreplaceitwithanewone?Inthisparticularcase,thepickguardis

onlyliftingslightlyfromtheguitarandwouldbebetterleftonandhavingtheliftingareasre-glued.Theissuewitholdergui-

tarslikethis,andvintageMartinsinparticu-lar,isthattheoriginalmethodofmanufac-turewastogluethepickguardtobarewood,thenapplytheguitarsfinishovertheentireguitar.Yearslater,whenthepickguardbeginstoshrinkandwarp,itisverycommontoseecornersandedgesliftfromthebody.Ifyouchoosetoremoveit,youarebothtakingtheriskofdamagingthesoftwoodbelowand

disruptingtheoriginalityofavintageguitar’sfinish.Thelatterbreakingcardinalrule#1,intheworldofvintageguitars.

Therearemoreextremecaseswherethepickguardissoseverelywarpedthattheonlysolutionistoremoveitandreplaceitwithanewone.Thisshouldbeperformedbyaprofessionalrepairman,tominimizetheriskofdamage.

WhatstringsshouldIusetoplayin“drop”tunings?

Thisisbecomingamoreandmorecommonquestionfromcustomersofmyshop.Stringmanufacturesareofferingallsorts

ofstringsets,designedtousewiththiskindoftuninganditcanbeaconfus-ingtasktodeciphertheset,bestsuitedforyourneeds.

Letmestartbydefiningthatthemoderndroptuningusuallyreferstoastandardtuningrelationship,butwiththelowstringtuneddownawholestepflat.

QQAA

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 Joeby Joe Riggio

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30

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REDisabandthathonesinoneveryminutedetailwhenitcomestotheirbrandofincrediblyheavyrock,andtheiruniqueimagery.

BassistRandyArmstrongexplains,“Ithinkthathastodowithusbrandingwhatthatword‘RED’meanstous.Inourmusicpeoplegetdifferentmeaningsfromdifferentsongs,asweintended.Oursong“NeverBeTheSame”talksaboutthefirsttimewefellinlovewithChrist.Othersmayrelatethattothefirsttimetheyfellinlove,orsomethinglikethat.

“Withourliveshow,wewantpeopletocomeandhaveanexperience.WhentheyleavetheshowwewantthemtohavethatREDlogoburnedintotheirminds,andonethingwewantthemtorememberisthatthebandlookedandsoundedamazingandthatwillhelpusstayattheforefrontofpeople’smindsandhelpusmovetothenextlevelthroughtheyears.”

Twinbrotherandguitarist,AnthonyArmstrongadds,“Everylittlethinghastobeinplace.”

Yes,theArmstrongbrothersareidenti-caltwins.Theyhavetakentoannouncingasmuchduringtheirliveshowsjusttostemthenever-endingquestionsaboutthetopicduringmeetandgreetsessions.Beingtwinsactuallyenhancesthestageimagery.

Anthonycomments,“Ourmanagercallsusthe‘pillars’.ButwhatiscoolaboutitisourlatestrecordThe Innocence and the Instinct,hasathemeofblackandwhite,andourstagelit-erallygoesfromwhitetoblack.Onmyside,IamwearingallwhiteandRandyiswearingallblackandpeoplestillarejustsoconfused.Theyseeusandthink…’theylook

alike,butaretheybrothersorwhat?’”Grammynominated,multi-timeDove

Awardwinners,includingmostrecentlyforRockAlbumoftheYearatthe2010Doveawards,breakingsalesrecordsonChristianmusiccharts,andclimbinghighonmain-streamcharts,REDhasachievedquiteabitwiththeirfirsttworecordings.AlongwithsingerMichaelBarnesanddrummerJoeRick-ard,theArmstrongbrothersseemoregrowthahead.

“We’vegotawaystogo,”saysRandy.“We’reonlyonoursecondrecordandwelearnalotfromthebandswetourwith.Wepayalotofattentiontothewaytheyruntheirshow,thewaytheyruntheirbackstage,whattheirtourmanagerisdoing.Weareafinelytunedmachine…ourstagecrewcanstrikethestageintwominutescangetusonstagedoingasoundcheckinfifteenminutes.Thatwholewaythatweimplantourselveshasbeenimportantfromthestart.”

Thatcaringabouteventhesmallestdetailscarriesoverintoanotherfacetoftheircareer,andthatisdealingwithfans,includingthosewhoreachoutinneed.“Wehavealotofkidscomeupandaskquestionslike,howdidyouguysgetarecorddeal?”Randynotes.

“Igetalotofgearques-

tions,andalotofthe‘howdoyougetsigned’questions,”addsAnthony.“Mostofthetimetheycomeupandthankusandtellusthatourmusichelpedthemgetthroughatoughtimeintheirlife.”

“Themajorityofemailswegetarejusttosaythankyou,”saidRandy.“WegotasuicidenoteonourMySpaceaboutayearagoandthatwastoughtoread.Itwasakidwhosaid‘ifsomeonedoesn’ttalktomeIamgoingtokillmyself’.Wealljuststartedemailingthiskidandheendedupcomingtoashowandwehungoutwithhimandtalkedtohimandtoldhim,‘wearenodifferentthanyouare’.

“Wetellpeopleeverynight,don’tputusuponapedestal.Youguyslovewhatwedoandthatisawesome,buttouswhensome-bodycheersforuswefeellikeweareencour-agingthemthroughourmusicandtheyaregettingsomethingoutofitandthatiswhytheyarecheering.Tohavethathappenonanightlybasisisreasonenoughtodowhatwedo,”Randycontinued.“Sometimeswhenyouareouthere,youstartaskingyourselfifyouarereallymakingadifference…butwhenthatonekidcomesupandsays‘youguyssavedmylife’youknowitisworthit!”

“Itisabigresponsibility,”notesAntho-ny.“Wekindofgetnumbontheroadafterawhileandweaskourselvesifwhatwearedoingontheroadishavingtheeffectweset

outfor?”“Idon’tknowwhyitisthat

peoplewhoareinstressfulsitua-tionsgotoguysinbands,orto

moviestarsforhelp.”saidRandy.“Idon’tknow

Even the Quiet isby Bob WallerRED

33

REDwhatitis,butthatisthewayitis.”ButAnthonyremembersthebrothers

actuallydoingthesamething.“Wedidit.Growingup,wewantedtodothisbecausewewereinspiredbyotherbands,butwhatinspireduswasthattheycouldspeaktousandwecouldunderstandthem.

Weunderstoodtheirmusic,”Anthonycontinued,“understoodwhattheyweresay-ing,morethanweevercouldunderstandatchurch,orcouldunderstandfromourpastortalkingtous,orouryouthgroupleader.Whenyougettheretoashowyoukindofloseyourselfinthemusicandit’sallfunandgameswiththeliveshowandeverything,butwhenthatpartofitgetsinsideofyouthatiswhenyoustartdissectingthebandandtryingtounderstandwhattheirlyricsareaboutandthatisthebiggestthingalotofkidsgetinto.

“Theyseeyourliveshowandtheylovethatweareenergeticandafterthat,thatseedisplantedandthatiswhentheministrykicksinforusbecausewegettoanswerallthesereallycoolquestions.Andtheyarequestionsthatwewelcome.”

Touringcanoftentakeatollonmostbands.REDisnoexception.“Oftenhaven’tseenourfamilies,”commentsAnthony.“Imissedmythreeyearanniversary.Imissedafewprettyimportantthingsonthistour.It’shard,man,itreallyis.We’dbelyingtosaywe’vegotitallfiguredoutandthatit’seasy.Wealwayslookatitlikeamarathon.”

Whileitmaybeamarathon,thatmara-

thondoeshaveapurpose.Randyindicates,“themarathontomeiscommitment,heavycommitment.”

Anthonypointsout,“Ithinkwe’retryingtoprovesomethingtoourselvesasartistsandwe’retryingtoprovesomethinginhigherplacesasmenoffaithtoo.We’retryingtoliveuptoourobligationsandjustbeobedientforthemostpart.Everydayisadifferentday.Somedayscanbegreatandsomedayscanbetroublesbutallofusonthebustrytopulltogetherandgetthroughit.”

FewbandshaveseenthetroubleontheroadthatREDhas.InNovemberof2007,theirvanandattachedequipmenttrailercrashedonanInterstatehighwayintoun-markedconstruction,destroyingthevan,trailerandnearlyallofthecontents.

“Theparamedicsweretellingusthattheyhadseenwrecksthatwerenowherenearasbadasours,andtherewerenosurvivors,”saidRandy.“Minussomeinjuriesandbumpsandbruises,therewasnoreasonweshouldhavewalkedawayfromthataccident.”

Hebelievesitwasawakeupcall.“GodwantedustoknowthathecouldtakeitawayfromusanytimeHewantsto,sowe’vegottoliveeverydaytothebestthatwecananddowhatwecaneverydaytothebestofourabil-itybecausetomorrowitcouldbegone.”

Anthonyhassomethoughtsonthis.“Weneverreallylookedatitasapunishmentwhatsoever.Itwasaneyeopeningexperience.Somethinglikethat,anear-deatheyeopen-

ingexperienceisfarandbeyondanythingelse.Theparamedicsshowedupandsaid‘wherearethedeadbodies?’Butweallmadeitout.”

Randy’seyesbegintogetslightlytearywhenhespeaksoftheaccident.“Everytimewegetasked(abouttheaccident)Igetchokedup.Iwastheguythatwasdriving.Idon’tknowthatIwouldbethesamepersontodayifsomeonewasdeadbecauseIwouldblamemyselfandIdon’tknowifIcouldlivewiththat.LuckilyIdon’thavetolivewithit.MybrotherwasinthefrontseatandifIhadlostmybrother…..”hetailsoff.

Theaccidentcertainlytestedthem.“Westillhavecasesoutwithusontheroadthataredailyreminders,”saidRandy.

“Wedon’twanttoreplacethem,”com-mentsAnthony,“becauseweseethosecasesandtheyaresochewedupandbarelystand-ing,buteverytimeweseethemwegetthoseflashesinourhead…theimageryofwhatwesawthatday.”

“It’slikeus,asindividualsintheband,”notesRandy,“andthatishowwefeelsomedays.We’rebeatupandwe’restrugglingandwemisshome,orwe’resick,andwe’relikearoadcase,replacingtherivetshereandtheretogetthroughit.”

RED’sultra-heavysoundhasshapedtheirfirsttworecordings.Whatisthedifferencebetweenthefirsttwoalbums?

“Ithinkthedifferenceisthatwe’veContinued on page 44.

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WelcomeBack,Wehavebeenlook-ingatexpandingourvocabularywithstringbending.Lasttimewecoveredsinglestringbendsbyhalfandwholesteps(tones),occasionallyyoumayplaypushingthestringoveroneandahalfstepshoweveryourstringscouldbreakunderthepressureofthebend.

Let’stakealookatsomeclassicrockstylebends,wewillbeplayingthemoutoftheApentatonicminorscalestartingatthe5thfret(exp.1).Thefirstbend(exp.2)isasinglestringbendandwillbedonewithyour3rdfinger;youcanaddyour1stand2ndfingertothesamestringbehinditforsupport,pushthestringwithall3fingers;yourthumbshouldbeonthetopedgeofthenecktohelpwithyourgrip.BendthenoteawholestepupDtoEandholdthebenduplettingthenotesustain.Nextmakeyourbendupthenbackdownthisiscalled“bendandrelease”whilethenoteissounding.Thenextset(exp.3)willconsistof2notes.Pickbothnotesatthesametimeusingadownstrokewhilethenotesaresoundingbendupawholestepwithyour3rdand2ndfingerforsupportwhilekeepingyour1stfingerinplaceonthenextstring.Bendthenoteuptillthepitchisthesameasthehigherstring.Ournextset(exp.4)isagroupofascendingunisonbendsmovinguptheneck,thendescendingbackdown.Thegrandfatherofclassicrockbends(exp.5)your1stfingerwillcovertheEandBstrings,the3rdfingerwillbendtheGstringawholestep.Startusingadownstroke,bendthenotethenplaythenext2stringstogether.

Someguitarplayersthathaveinflu-encedmeinthistechniqueareDavidGilmour,StevieRayVaughnandPhil

String Bending Part 2 Roger is a member of the Audio and Praise teams at Freedom Life Church in Kissimmee Fl. Endorses Greg Bennett Design Guitars by Samick , G&L Guitars, BBE

Sound and PedalTrain Pedal Boards. Is an award winning guitarist from the “Songwriter Showcase of America”. For music, videos and more surf to www.rogerzimish.com, email: rogerzimish@yahoo.com

Keaggy.Allthreeoftheseplayershavegreatcontrolwhenbendingnotes,givethemalistenandhearitforyourself.

NexttimewewillcoverBluesandCountrystylebends.PlaywellandGODBless,Rogerout.

37

Rich has a 6 CD audio program for learning, hearing and memorizing music theory called “Theory For The Road” which can be found at www.GuitarCollege.com. It explains everything in detail and includes audio music illustrations on keyboard and guitar, and ear training.

HaveyoueverseenthechordD/F#,I’msureyouhave.Basicallyit’saDmajorchordwithanF#inthebass,inotherwords,theF#,the3rdofthechord,isvoicedasthelowestnote.Asaguitarplayerorakeyboardproviding100%oftheaccompanimentyouwouldplaytheDchordwithF#asthelowestvoice.However,ifthereisabassplayerinthegroup,it’shisjobtoplaytheF#andtheothersmightnothaveto,it’samatteroftaste.

Theslashchordalsoletsusknowthatthebassplayerissupposedtobeplayingsomethingdifferentfromtherestofus.SoifheplaystheF#whileweareallplayingaDwe’renotallfreakingout.Whileweareonthesubjectofplayingwithinagroup,sometimesit’sbestforkeyboardandguitarplayerstovoicetheirchordssothey’renotsound-ingthelowerendoftheirinstrument.Thisleavesagreaterharmonicdistancefromthebassplayersandwecanbeassuredwearenotmask-ingtheirsoundandthebassnotecanreallybeheard.

Slashchordscanaddnewlifetotriedchordprogressions.Playthisprogression

G|CD|CD|G|Nowlet’suseslashchords,givingusanewbassline

////////////////

GG/B|CD|C/ED/F#|G|Hearhowthebassleadsuptothetonicnote

ofG?////////////////

Thisismuchmoredramaticandinteresting.

Slashchordsdon’talwayshavethe3rdinthebass.Here’saprogressionusingapedaltoneof“D.”Pedaltonemeaning,oneconsistenttoneringingthroughoutthechordprogression.G/D|C/DD|C/DD|G|

Hearhowthisprogressioncreatestension,anticipating////////////////

thenote“G”thenfinallyresolvingtoG

Here’sanotherprogressiongivingusadescend-ingbassline.Noticehowthebassbecomesmorepresentandcolorsthechordsinanewway

Slash Chords GG7/F|C/ED|CD/AD/F#|G|////////////////

Nowlet’smodifytheprogressiongivingusachromaticdescendingbassline.

GD/F#G7/F|C/ECmin/Eb|G/DA7/C#|Amin/CD/F#G|////////////////

Someofthechordswerechanged,inspiredbythebassline,butwearestillwithinthe4bars.

Thepointofallthisistoalwaysconsiderthebassline.Thenexttimethatyouwriteoutachartorwriteasongaskyourself“Howcanthebassaddnewcolorstotheprogression?”Itwillusuallysparkyourcreativity,inspirenewchordsandprogressions.Thiscanstepyourwritingupanotch,you’llbepleasewiththeresult.

Untilnexttime,mayGodblessyourwork.Rich

38

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.

IwaslookingleftwhileturningrightonebalmysummerMondaynightaboutamonthago.Onmymotorcycle,IhitthecurbonasharperrightturnthanIhadex-pected.Andatfortymilesperhour,Igotafreeflyinglessonofftheonrampofthefreeway.Thrownfortyfeetintoaravine,Ididatriplebackflipwithatwist,stick-ingthelandingonmyhead.Myfriendsgavemea“7”onthedismount!UntilthenIwasridingcarefully,andIhadmylittledogShuggsontheback;shewasinaharnessandunharmed.Wewerefilmingsomeroadclipsforamusic/videopromoformybikerhumorbookHogwash.Thishighlightwasmissedoncamera,probablyagodsend,inthatthesewerecircum-stancesIwouldneverlivedown.

ThebottomlineisthatlittlemomentofdistractioncostmemorethananyvideoprojectIeverdid,withthepossibleexceptionofone.Justtheshortbusridewasmorethanthebudget!Medicalex-pensesasaprecautionarycheckupcameto6K.AllIhadwassomeroadrashonmyleftarmandanincrediblydisfiguredsenseofprofessionalpride;therewasnochargeforthatrepair.But,beingunconsciousfor,Idon’tknow,ananosecond,gavecauseforfurtherreviewofmycondition.That,andparamedicsfoundmeweepingover“Jezebel,”myHeritageSoftailHarleyDavidson,inmybloodiedcondition.Shetooksome5Kindamagesherself.

IspentthenextfivehoursinanER,strappedtoabackboardandaneckbrace(againstmywill,ofcourse).“TheonlypainIfeeliscomingfromthejokesI’mhearinginthewaitingroom,”Icom-plained,speakingofmyfriendsinBlackSheepHarleyDavidsonsForChristwhoarrivedwithinminutesofhearing.It’samazingthatasingleTwitterpostcanfireashotheardroundtheworldthesedays.

Buttheaftermathofamistakeisslowintakingshape,andsotooisfindingawaytoprayaboutit.We’veallheardabout“learningfromourmistakes,”buthereI’mtalkingabout“turningamis-take.”Godcausesallthethingstoworkforgoodwhenwearecalledtohisgoodpurpose,toparaphraseScripture.Learningcanbeseenassimplenotesonpaperap-pliedtomemory.ButmaybeGodissay-ingsomethingmoreaboutmistakes.Heis

Turning a MistakeBy Bryan Duncan

notsurprisedbyfutureevents.Hecanstilldrawastraightlinewithacrookedstickasatheologianfriendofmine,AnthonyCampolo,likestosay.

ThislittlestoryisprobablytheleastofmymistakesIcouldshare.Iknowyouhaveyourown,beyondembarrass-ing“falls.”Ifyouhaveanytimeinfaithatall,youknowyourselfinGod’seyes.YouknowwhyyouneedJesusinthefirstplace.IfollowJesusbecausehebringsbeautyfromashes.Ifollowhimnotjustfortheeducationbutforthetransforma-tion!Takingourbricksandturningthemintothreepointshots!

Ireadsomewherethatsomeofthebestinventionsknowntomanwerediscoveredaccidentlyinmishaps.Idon’tknowwhy“CornFlakes”comestomindfirst,butsomeoneforgottocleanoutamixingbowlandtheresiduecreatedanewproductallbyitself.That’stheshortversion.Googleitifyou’rereallythatinterested.SomeofthecoolestchordsI’vediscoveredinmusichavebeenmyineptnessatplayingathreechordditty,mythumbfallingonthewrongkey.Youknowthatsurprise,right?Wow,thathasacoolsoundtoit.Andsud-denlyyou’vestartedawholenewsongfromanaccidentaldiscov-ery!

That’snotonlylearningfromamistake,butturningamistakeintoatri-umph(orinmycaseanewHarleyDavid-son)!Intheinsurancecoverage,Jezebelwillbebornagain.ButmymistakecamewithadeductibleIhadtopayaswell.Andbythat,Iwasgiventheopportunitytomakeataxdeductibleinvestmentinpromo-tion.TorepaintthebikeinacustomcolorlayoutoftheHog-

washbookcoverwithits“whenpigsfly”artwork,makingita“guerillamarketing”billboardtobeseeneverydaywhereeverIgo,withthememoryoftheredemp-tionstorythatcomeswithit.ThiswassomethingIhadprayedaboutbefore,butgivenuponayearagoastooexpensive.Now,becauseofanaccidentithadtobedoneanyway.Itshallalwaysbetomeareminderoftransformationasadirectresultofamistake.

Ifchangemustcome,letusbefor-wardthinkinginourcircumstances,see-ing“Whatwasmeantforourdestruction,Godhasnowpurposedforourgood”(an-otherroughapplicationofGenesis50:19-20).Ican’ttellyouhowthatworksinyourdisasters,butIamsurethatredemp-tionandrestorationarepossible,notjustinthesurfacepaintofourproclamations,butbornofavictoriousheartinstilledinusbytheSaviorofourattitudesaswell.

39

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Inmylastcolumn,IsharedwaysIusesocialnetworkingtoinfluencepeopleandgetthemtoengageme.Duringtheday,IpostwhatIcall“IndieTips,”whichareshortthoughts,wordsofencour-agement,orchallengesforChristianmusicians,artistsandsongwriters.ThetipsaretopicsandissuesIthinkaboutasIworkonmymission,andIfigureifIamgoingthroughthem,othersareprob-ablygoingthroughthemaswell.HereareafewofmyIndieTips,withsomescripturesthataresuretochallengeyou,astheyhavechallengedme.HEART

INDIETIP:Godwantsyourheart,notyourart.Howisyourheart?Artissubjectivetopeople,butGodseesourheartjustasitis.

Psalm51:10Createinmeapureheart,OGod,andrenewasteadfastspiritwithinme.

Matthew5:8Blessedarethepureinheart,fortheywillseeGod.

Hebrews10:22LetusdrawneartoGodwithasincereheartinfullassuranceoffaith,havingourheartssprinkledtocleanseusfromaguiltyconscienceandhavingourbodieswashedwithpurewaterART

INDIETIP:Begreatatwhatyoudo!Practice,practice,practice!Seekconstantandneverendingimprovement.

2Chronicles34:12Themendidtheworkfaithfully.OverthemtodirectthemwereJahathandObadiah,LevitesdescendedfromMerari,andZechariahandMeshullam,descendedfromKo-hath.TheLevites—allwhowereskilledinplayingmusicalinstruments

2Chronicles34&Psalm33:3Singtohimanewsong;playskillfully,andshoutforjoy.ADVANCEMENT

INDIETIP:Yourbigbreakcomeswhenyouarebrokenofyourself.Asyoudecrease,Hewillin-creaseandthroughdoingthis,Hewillopendoorsofopportunitythatyouhavehumblyknockedon.

Psalm51:16-17(NIV)Youdonotdelightinsacrifice,orIwouldbringit;youdonottakepleasureinburntofferings.

ThesacrificesofGodareabrokenspirit;abro-kenandcontriteheart,OGod,youwillnotdespise.

Psalm51:16-17(MB)Goingthroughthemotionsdoesn’tpleaseyou,aflawlessperformanceisnothingtoyou.

IlearnedGod-worshipwhenmypridewasshattered.

Heart-shatteredlivesreadyforlovedon’tforamomentescapeGod’snotice.HUMILITY

INDIETIP:Themostimportanttalentonecanpossessishumility.Humilityunlockscreativity!

Philippians2:3Donothingoutofselfishambitionorvainconceit,butinhumilityconsiderothersbetterthanyourselves.CALLING

INDIETIP:WearecalledtoonethingandthatistobeadiscipleofChrist.Everythingelseisadesire.Inmyopinion,weslingaroundtheword“calling”tovalidateourdesire.Acallingsoundsmore“serious”andofficial.Desiresarewonderful!Godwantstogiveusthedesiresofourheart.

Ephesians4:1AsaprisonerfortheLord,then,Iurgeyoutolivealifeworthyofthecallingyouhavereceived.WORKS AND FAITH

INDIETIP:Worksandfaithareagreattagteam!Onewithouttheotherisdead.Isay100%workplus100%faithequals200%successorin-crease.Anythinglessis100%mediocrity.Wemustcreatethemomentumthroughobedience.Werollthestone,Heraisesthedead!WegatherthejugsandHemakeswine.WegetoutoftheboatandkeepoureyesonHim.

James2:14Whatgoodisit,mybrothers,ifamanclaimstohavefaithbuthasnodeeds?Cansuchfaithsavehim?

James2:17Inthesameway,faithbyitself,ifitisnotaccompaniedbyaction,isdead.

James2:22Youseethathisfaithandhisactionswereworkingtogether,andhisfaithwasmadecompletebywhathedid.FOOLISHNESS

INDIETIP:Thefoolishtrytofigureoutthepathofleastresistance.Thepathofleastresistanceisoftenthemost.Impatience,unbridleddesire,unrealisticexpectationsandpridecauseustodofoolishthings.FOCUS!!!Definewhatitisyouwanttodoandthenfocusonthatmission.

Proverbs8:5Youwhoaresimple,gainpru-dence;youwhoarefoolish,gainunderstanding.ASK, SEEK, KNOCK

INDIETIP:Doorsdonotopenunlesswefirstknockonthem.

Don’texpectthedoortoflyopenifyoujustwalkuptothedoorandstareattheknob.Youmustask,seekandknock,andprobablymorethanonce.Godmaynotopenthedoorrightaway.Hemaynotopenthedooratall.Donotmakeanidoloutofyourdreamsanddesires.KeepChristinthecenterofyourlife.WhenyouputyourdesiresaheadofyourrelationshipwithGod,expecthard-shipandfrustrationbecauseofthemisappropria-tionofpriorities.

Matthew7:7-8,Luke11:9-10Askanditwillbegiventoyou;seekandyouwillfind;knockandthedoorwillbeopenedtoyou.Foreveryonewhoasksreceives;hewhoseeksfinds;andtohimwhoknocks,thedoorwillbeopened.

Jeremiah16:19OLORD,mystrengthandmyfortress,myrefugeintimeofdistress,toyouthenationswillcomefromtheendsoftheearthandsay,“Ourfatherspossessednothingbutfalsegods,worthlessidolsthatdidthemnogood.”RUN THE RACE

INDIETIP:Thosewhoruntheracehavetheopportunitytogettheprize,butthosewhositand

waitarewaiters.Wemustcontinueonandpushthrough.

Repetitionthatisgreaterthanresistanceequalsdefinition.

1Corinthians9:24-25Doyounotknowthatinaracealltherunnersrun,butonlyonegetstheprize?Runinsuchawayastogettheprize.Ev-eryonewhocompetesinthegamesgoesintostricttraining.Theydoittogetacrownthatwillnotlast;butwedoittogetacrownthatwilllastforever.

Romans5:3-4Notonlyso,butwealsorejoiceinoursufferings,becauseweknowthatsufferingproducesperseverance;perseverance,character;andcharacter,hope.TRUST

INDIETIP:Therearesituationsandcircum-stancesthatwewillnotbeabletofigureout,thatwon’tmakesense,thatwillcauseusgreatconcern.Leanonthesescriptures,andbyallmeans,con-tinuetocreatemomentumsoHewillmakeyourpathsstraight.Fearistemporaryatheism.GodalwayscomesthroughifwetrustinHim.

Psalm28:7TheLORDismystrengthandmyshield;myhearttrustsinhim,andIamhelped.MyheartleapsforjoyandIwillgivethankstohiminsong.

Proverbs3:5-6TrustintheLORDwithallyourheartandleannotonyourownunderstand-ing;inallyourwaysacknowledgehim,andhewillmakeyourpathsstraightBELIEVE

INDIETIP:Ifyoubelieveinyourmission,regardlessofwhatitmaybe,Godwillrewardyou!

Matthew14:31ImmediatelyJesusreachedouthishandandcaughthim.“Youoflittlefaith,”hesaid,“whydidyoudoubt?”

Hebrews11:6Andwithoutfaithitisimpos-sibletopleaseGod,becauseanyonewhocomestohimmustbelievethatheexistsandthatherewardsthosewhoearnestlyseekhim.

Keepuptheexcellentfaith-work!KeithMohr

Indie No Spin Zone

More Indie Tipsby Keith Mohr

Keithisfounder/presi-dentofIndieheaven,anorganizationforindepen-dentChristianmusicians,songwritersandartists.Formoreinfo,visit:www.indieheaven.com.KeithisthefounderofIndieUniversity,aneducation

resource.Visit:www.indieuniversity.com.FollowKeithonTwitter:www.twitter.com/keithmohr,Facebook:www.facebook.com/keithmohr,andwww.facebook.com/indie-heaven

40

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suchasRandyStonehillandMarkHeard.Itwasn’tlongbeforeshewasnoticedandsignedtoasolocontractwithMyrrhRecordsatage18;shestayedwithMyrrhfortheentiretyofherChristianmusiccareer.Bythetimeshebeganworkingonherfourthalbum,The Turning,shehadmetandteamedupwithproducer/musician(andfuturehusband)T-BoneBurnett.Lesliewassellingover200,000recordsperrelease.ShegracedthecoveroftheContemporaryChristianFestivalProgram(issuedbyCCM)in1983andinMay1987,shegracedthecoverofCCMmagazine.Shetouredthecountryplayingfestivals,church-es,coffeehouses,andwasonfire.

MyrrhRecordstriedtopromoteLeslieastheChristianCyndiLauper.Lesliewasuncomfortablewiththisstereotype,andit

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LesliePhillipsburstontotheChristianmusicscenein1983–onlytoleavejustasabruptlyin1987.Duringthosefouryearssheleftanindeliblemarkonthemusicindus-trythatshecametodisdain.Hermusicwaspunchy,bright,withpoignantlyricstacklingtoughissues,manybasedonherownteenyears.BorninEastHollywoodin1962andraisedwithtwoothersiblingsinGlendale,CA,shewashome-grownfortheearly‘80sChristianmusicmarket,whichwasatthattimebasedoutofSouthernCaliforniabeforeitsexodustoNashville.Lesliewasandisverytalented,an“allAmerican”kindofsinger/songwriter/musician.Ohyeah,andIforgottomention–shewasnothardontheeyes!

Leslie’smusicalcareerbeganintheearly1980ssingingbackgroundvocalsforartists

Leslie Phillips (aka Sam Phillips)

Rewindby Jim Oas

42

causeddivisionbetweenherandthelabel.That,couplewiththeunrealisticexpecta-tionsplacedonmanyartistsbythemusicindustry,broughthertotheprecipice,wheresheleaped–leavingChristianmusicandstretchingouthersecularwings,learningtofly.Leslie’snicknamewas‘Sam,’andshebeganusingthatnameprofessionallyin1988whensheleftMyrrh.Thechangewasmadepartiallytodistanceherselffromthismarketingpersonathathadbeencreated,butalso,itwaswhoshewas.Lesliewasnottheonlyonetestingthesewaters;KathyTroccoli,Dion,andRussTaff,tonameafewothers,didthesame,andevery-onehadtheirownreasons.IstillrememberDion’squote:“It’sOKtocrossover,aslongasyoutakethecrossover.”

HerfirstreleaseasSamPhillipswasThe Indescribable Wow,followedbythe1991releaseofCruel Inven-tions,whichincludedaguestappear-ancefromafriend,ElvisCostello.Her1994release,Martinis and Bikinis,wasnominatedforaGrammyAwardandlaudedbycritics.SamalsomadeherscreendebutinBruceWillis’hugehit,Die Hard With a Vengeance,wheresheplayedater-rorist.Morealbumswereissued,butVirginRecordsdroppedSamfromtheirlineupin1999.In2001,SamsignedwithNonesuchrecordsandissuedFan Dance,whichhadsomegreatsongwriting.ShealsobeganwritingforthetelevisionseriesGilmore Girlsandappearedonscreenduringthe

• Zero Zero Zero(1999,VirginRecords)A“bestof”album.

• Fan Dance(2001,NonesuchRecords)• A Boot and a Shoe(2004,NonesuchRe-

cords)• Don’t Do Anything(2008,Nonesuch

Record)• Hypnotists in Paris(2009,EdenBridge

Music)DownloadonlyEP.The1stLongPlayrelease.

•Cold Dark Night(2009)ProducedbySamPhillips.Download-onlyEP.ThesecondLongPlayrelease.

•Magic for Everybody(2010)Download-onlyEP.ThethirdLongPlayrelease.

•Old Tin Pan(2010)Download-onlyEP.ThefourthLongPlayrelease.

AlthoughSamPhillipshasworkedhardtofindawideraudience,thatgoalstilleludesher.SheandT-Bonearenolongertogether,butherenergylevelishighandsheisbusywithnewrecordingprojects.Herfanbaseisloyal,thecriticsstillloveher,andshehasplentyofmusicinsideofher.Irecommendyougoonlineandcheckoutwhatshehastooffer;youmaybecomeapartofthatfanbaseyourself.

Untilnexttime,“Secondstartotherightandstraighton‘tilmorning.”

PeterPan,Capt.JamesT.Kirkandme–JamesOas<><

Email:oasj@embarqmail.comPhotosusedcourtesyofJames Oas Photography

finalepisodeofseasonsix,performingthesong“TakingPictures.”

DiscographyforLesliePhillipsLesliePhillips• Beyond Saturday Night (1983Myrrh)• Dancing with Danger(1984Myrrh)• Black and White in a Grey World(1985

Myrrh)• The Turning(1987Myrrh).Producedby

T-BoneBurnettandreissuedatalaterdateonCD,butcreditedtoSamPhillips.

• Recollection(1987Myrrh)A“bestof”album.

SamPhillips• The Indescribable Wow(1989,Virgin

Records)• Cruel Inventions(1991,VirginRecords)• Martinis and Bikinis(1994,VirginRe-

cords)• Omnipop (It’s Only A Flesh Wound Lamb-

chop)(1996,VirginRecords)

43

REDmaturedaswriters,”Randyexplains,“andIthinkwearelearningalotfromthebandswe’retouringwithandyoucanseethatinourwriting.We’refirmbelieversinwhateveristhebestforusiswhatisgoingtomaketherecord,andwewrotewithsomeamaz-ingartistsandwritersforthesecondrecordandIthinkitreallytranslatedintowhatwegot.Thesound,Ithinkisalittledifferentbutit’sstillREDwiththeheavyproductionandstringsandstufflikethat,butforthemostpartyoujustseeandhearthematurity.”

“Wehadachancefromthefirstrecordtoseehowoursongsareaffectingourfans,”saidAnthony,“andthathelpedusgointhedirectionwearegoingandtoseethatitisimpactingthemthewaywewanteditto.See-ingthosereactionsisinspiringusindifferentwaystoo.”

TheArmstrongbrotherswouldnotletusknowtoomuchabouttheupandcomingthirdalbum,howeverwedidgetsomecom-ments.“Ithinkwe’regoingtostayinthatveinofmoreorless‘epic/symphonicsound’,notedAnthony.“Verydefinitelyactiverock.Ithinkthefirstrecordshavebeenrollercoast-ersasfarassound,whereyouhaveareallyheavyriffsong,andthenadrivingsong,andthenaballad,andthenareallystrippeddownversionofasongthat’salreadyontherecord.Thenewstuffwe’recomingupwith

rightnowisactuallyprettyheavy.”

“Oneofthethingswe’rereallytrying

toworkonisdiffer-entbeats,”saidRandy.Death of Meisoneofthefirstthingsweeverused

aswingbeaton,sowe’dliketo

maybetrytouseadancebeatonarocksongandputaREDsignatureonthat.”

Youcan’tgetanultra-heavysoundwith-outthepropergear.Anthonyextolledonhiselaboratesetup.“Iactuallyjustrecentlybuiltabrandnewrig.IstartedusingtheRocktronAllAccessMIDIcontroller.Igottiredofdoingthe‘riverdance’outfrontsoIwentallMIDIandI’musingalotoftheRocktronstuff.It’scomplicatedbutit’skindofanorga-nizedchaoswhenitcomestomyrig.Ithasseventy-fivecablesinit.

“I’vegottheRocktronPatchmate,Xpres-sionrackmounteffects,twoMIDIcontrollers,twoHUSHunits.I’vealsogotmanyofthenewRocktronstompboxes,thenewBoutiqueseries.I’vebeensohappywitheverythingandlovethewayitsounds.

“Ilovetherawnessyougetfromanamp,butwhenyouputagreatpedaloragreatprocessedsoundthrough,thereissomethingthatjustmakesitthatmuchcooler.IruntwoampsandsinceweareaheavybandIsticktothehighgainstuff.I’vegottwoMesadualRectifiersthatrunandtheyarebothreallyhighgain.IalsorunaMarshallJCM800butit’stheBlackLabelSocietymodel,soithasdifferentsoundsthananormalJCM.Iactu-allyputaRocktronoverdriveinfrontofit.”

Anthonyhasahabitofactuallygivingeachifhisguitarsaname.“MyfavoriteoneiscalledVegas,whichisnamedaftermydig.IhavethirteenguitarsandItravelwithten.Vegas,isacustomandoneofthefirstguitarsthePRSeverdidforme.ForstringsIuseGHSBoomers,70’sand56’s.”

RandyisheavyintothePeaveygear.“IplayPeaveyeverything.Peaveywireless,Peaveyguitars,Peaveyamps,theyhavetakenreallygoodcareofme.IhaveGHSCoatedBoomerBassstringsonmyPeaveybass.Iliketheredstringsagainsttheblackbass.

“Asfaraseffects,Iamprettymuchastraightforwardbassplayer.Iuseanamp,avolumepedal,andI’vegottheRocktronAustinGoldoverdrivepedalandIactuallygotthatideafromJoellefromThousandFootKrutch.IalsohaveaHUSHSuperCinmyrackthatkeepsthingsquiet,especiallyinbetweentunes.”

EventhequietisimportantinRED’squesttopay

attentiontodetail!

RED (cont. page 34)

4444

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