1. art and entertainment
2. shows and events
3. concert

CCM_06.06_cover.v2
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Starfield
Page 1
Downhere
Kiki Sheard
Phil Keaggy
d
A
d
SWITCHFOOT
HERE & NOW
B R I A N L I T T R E L L Comes Home
Introducing CCM’s New
Contributing Editor,
NICHOLE NORDEMAN
CCM_06.06_Contents.v4
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contents
June 2006
32
Littrelly Speaking
Backstreet Boy BRIAN LITTRELL is back, and this
time he’s serving up some pop-laden tunes…
Christian style. The hooks are sure to be stuck in
your head for days, and his story will engage your
heart. KRISTI HENSON has the complete account,
as she recently sat down with Brian to talk about his
music, his faith and how they intersect.
cover story
26
This Is Their Life
54
For the past three years, Switchfoot has been the biggest band
affiliated with Christian music. Yet this issue marks the band’s first
CCM cover. Yeah, there’s a story there. And that’s just the tip of
the iceberg...Our very own editor, JAY SWARTZENDRUBER , gives you
the inside look at Jon Foreman & Co.
Music: Kiki Sheard is back and all grown up. Plus, new music
from Mac Powell-produced Hyper Static Union, Liquid and Judd
and Maggie.
61
Books: Check out the best in Christian fiction and non-fiction
alike this month.
63
Tour: Take a look at one of the biggest tours of the season—the
“Lifesong Tour” with Casting Crowns and Nichole Nordeman.
features
36
Smiling at Life Again
Now signed to mainstream label Universal South, The Elms are poised
for a career taking them beyond the confines of Christian music. But
make no mistake, this has been a long time coming. JOHN J.
THOMPSON explores the stories behind the songs from their new
album and delves into the new viewpoint gained by the band.
38
40
42
in review
Filled with His Glory
departments
06
From the Editor:
09
The Insider: Get the scoop on Christian music’s biggest
night—the 37th Annual GMA Music Awards. Plus, Phil Keaggy
and the latest update on “American Idol”.
An all-time favorite issue.
Most people associate Starfield with worship music; and, as you’ll
soon learn, that’s exactly how these guys want it. Starfield is making
music for the church, and DAVID MCCREARY is sharing the details on
their new disc, a surprising point of growth for the band.
15
Freed Up
21
Downhere thought they were finished with music. But they were wrong.
God taught them they still had a few more things left to say, and with
a new record deal, a new album and a new perspective, these
Canadians are back and larger than life. CHRISTA A. BANISTER
investigates.
64
Loose Ends: Join our newest contributing editor, Nichole
66
HistoryMakers with John Styll: Billy Ray Hearn, the
Listening In
Get in on the conversation as novelist Anne Rice and Project 86 front
man Andrew Schwab discuss life, God and other mysteries.
Independents Day: Catch up on who’s making a splash on
the indie scene.
The Writer’s Block: Matthew West draws inspiration from
The Sacred Romance.
Nordeman, as she ponders the mysteries of the Christian faith
in her debut article.
“father” of Christian music.
CCM_06.06_Editorial.v4
5/4/06
7:01 PM
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fromtheeditor
by Jay Swartzendruber
Pictured in 1997 at Switchfoot’s first video shoot—for the song “Chem 6A”—are (left to right): Tim
Foreman, Switchfoot; Chad Butler, Switchfoot; Nick Barré, Director of Artist Development for re:think; Jon
Foreman, Switchfoot; Steven Lewis, video director; Willis Chin, the legend. “Chem 6A” was the lead single
off Switchfoot’s debut album The Legend of Chin. Willis Chin, a friend of the band, was both the inspiration
for Switchfoot’s original moniker (Chin Up) and the title of the band’s debut.
Under Their Influence
This may be my favorite issue of CCM Magazine ever. Not only did
Switchfoot give us an exclusive interview for this month’s cover story, but in
this very same issue, we’re also introducing Nichole Nordeman as CCM’s
newest contributing editor. I mean, are you kidding me?
Now, as you likely know, this month’s cover story has been a long time
coming. Personally, it’s something I’ve looked forward to since joining CCM’s
team in the fall of ’03. Yeah, the band was already huge by then. But that’s
not why I wanted them on the cover.
I first met the original trio known as Switchfoot about 10 years ago. Jon
and Tim Foreman and Chad Butler made quite an impression on me, and all
of our interactions since then have only reinforced that strongly favorable
impression.
Though I was never paid to promote any of Switchfoot’s albums back when I was
doing PR, that never prompted me to show restraint about how much I liked them
and, increasingly, their music. On the contrary, sometimes friends accused me of
doing their PR free of charge.
Within a few years, Jon and I connected deeply on our mutual appreciation
CCM MAGAZINE
Your Christian Music Magazine Since 1978
volume 28 issue 12
For those whose lives are strengthened through faith-informed
music, CCM Magazine goes behind the scenes to celebrate the
artistry of Christian music.
CCM Magazine is a publication of Salem Publishing,
a division of Salem Communications.
•••• •••••••
CCM Magazine
Publisher Jim Cumbee
Associate Publisher & Editor in Chief Roberta Croteau
Editor Jay Swartzendruber
Media & Web Editor Kristi Henson
Assistant Editor Lindsay Williams
Art Director Mary Sergent
Copy Editor J. Briley Price
6 ccm june 06
ccmmagazine.com
for God, music and the mysterious ways of womankind—not necessarily in
that order. While we were never close friends in the regularly-in-touch sense,
we always picked up where we left off when we happened upon each other.
(And I’ll always give Jon brownie points for marrying one of my all-time
favorite people, Emily, who was a close friend of mine.)
One thing that’s telling is that Jon’s interaction with me didn’t change
when his band hit it big. He’s still every bit as approachable, gracious,
engaging and other-centered as he was back in the day when people were
like “SwitchWHO?” Chad and Tim remain “class” as well. And though I’ve
never had the chance to get to know Switchfoot’s two later additions—
Jerome Fontamillas and Drew Shirley—you don’t have to be around the two
of them long to sense how well they fit and why Jon, Tim and Chad chose
them as bandmates.
It’s my hope that this month’s cover story will give you a real grasp on
who this band is. In fact, it’s very important to me that it does. (If it doesn’t,
write me a really mean letter because I wrote the story myself.) The fact that
I have a little history with the band isn’t what makes this such a priority for
me. It has to do with the significance of Switchfoot’s place in our culture and
the way this band can—and does—influence the way aspiring artists and
fans, like you and me, approach Christianity and the arts.
That brings me to the other reason why this month’s issue is such a big
deal to me. Another person who’s helping shape the way I view both
Christianity and the arts is Nichole Nordeman. Artists have spoken to me
most of my life; and Nichole’s artistry speaks to me like that of few others.
Now, here’s the thing: Nichole has a secret—one that we aim to go
public with. You know how she’s renowned as a brilliant lyricist? Well, the
poetry of great songwriting isn’t her only potent gifting with a pen. In a
word? Prose. That’s right, once you read a few of her essays—proving to
yourself they weren’t flukes—you’ll be left shaking your head, wondering
why in the world this woman has yet to write a book. And while we can’t
answer that question for you, we can take the practical approach and offer
you a page of her musings in each issue of CCM starting this month. Yes,
we know, it sounds almost too good to be true. (Check it out for
yourself—turn to page 60 for her first installment of “Loose Ends:
Confessions of an Unfinished Faith.”)
Truth is not only stranger, it’s better than fiction.
[email protected]
Contributing Editors Andy Argyrakis, Margaret Becker, Michael
Card, Paul Colman, Russ Long, Kate McDonald, Nichole Nordeman,
Gregory Rumburg, John Styll, Chris Well, Matthew West
Contributors Andrea Bailey, Christa A. Banister, Chad Butler,
Andree Farias, Jon Foreman, Dan Macintosh, David McCreary,
Brian Quincy Newcomb, Dave Palmer, Doug Van Pelt, John J.
Thompson
Production Director Ross E. Cluver
Circulation Director Joan Dyer
Circulation Manager Jamie Kunzmann
Fulfillment Manager Leesa Smith
Customer Service Representatives Amy Cassell, Emeka Nnadi
Executive Director of Advertising Jerry Charles 615/312-4244
Senior Director of Advertising DeDe Tarrant 805/987-5072
Account Executive Blake Jackson 615/312-4228
Account Executive Brian Lawing 615/312-4260
Account Executive Pat McAbee 972/335-8404
Advertising Coordinator Carol Jones
Marketing Manager Callie Johnson
Administrative Sales Assistant Melissa Smart
Main Office 104 Woodmont Blvd., Suite 300, Nashville, TN 37205
615/386-3011 (ph) • 615/386-3380 (business fax)
615/385-4112 (editorial fax) • 615/312-4266 (advertising fax)
Subscriptions/Customer Service CCM, 104 Woodmont Blvd., Ste 300,
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Cover photo: Danny Clinch
Cover design: Mary Sergent
NASDAQ SYMBOL: SALM
CCM_06.06_Feedback.v4
5/3/06
8:57 PM
Page 7
feedback
GIVE ME AN “!”
So I’m sitting here at 2 a.m. reading
the brand new April “!” issue, and I’m
thinking, “You guys have really come a
long way, baby!!!” I’ve been with you
since issue No. 1. I’ve been in the
passenger seat with you guys, driving
down this long and winding musical
road, watching my hair (what’s left of
it) go from brown to gray. And I must
say, in the past year, you have
somehow shifted into overdrive.
At first, when you made the layout
changes, I thought, “OK...let’s see
how this transpires over the next few
issues...maybe they’re just cosmetic
changes.” Nope. They weren’t
cosmetic changes. You guys have
done an exemplary job of revamping
the entire magazine over the past
year. You’ve done a wonderful job of
combining the serious, the sublime
and the humorous. This April “!”
issue is above and beyond anything
you’ve done before. And you did
good over the past year with some
great issues...but this one tops
them all. Kudos to the entire staff
and keep up the great work. Thanks
to your quality efforts, I really do look
forward to each issue.
Stel Pontikes,
The Answer Radio Show
KYKY-FM/Y98FM, CBS Radio
St. Louis, MO
few years, we’ve seen Christian
radio listeners lose interest in
longtime giants of the format and
embrace new rockers. Listener
demand for songs from Michael W.
Smith, Steven Cur tis Chapman,
4HIM and Avalon is diminishing while
they can’t get enough Jeremy Camp,
Kutless, Casting Crowns and Chris
Tomlin. Things change and new
ar tists
emerge
while
many
established icons fade. It’s a
phenomenon that’s not unique to
Christian music. It’s important to
recognize that Christian radio and
retail are merely reacting to demand
from Christian consumers. Radio
stations who want to attract listeners
play songs that most agree they
enjoy. Retail outlets who’ve had to
return
poor-selling
music
by
established icons can’t be blamed
for a lack of sales. The bottom line is
consumers of the industry control the
demand; the rest of us are just
supplying what they want.
Brian Nelson,
Music Director, JQ 99
Grand Rapids, MI
WANTED: ADIE
I was just reading your “!” issue and
loving it. I spotted Adrienne Camp
and her forthcoming album, Don’t
Wait, in the new artist section. I
have been hearing about this album
for a couple of months, and all
anyone ever says about it is “to be
released in 2006.” Well, I was a
HUGE Benjamin Gate fan, and I was
so excited to hear that Adie was
coming out with her own album. But
when is it coming out?! Can anyone
tell me a month or a season or
something? Patience is a virtue. But
man, I’m really excited for this
album, and I’d like to know when to
watch for it. Thanks CCM!
Carrie,
Paradise, PA
Carrie, you’ll be pleased to know that
Tooth & Nail recently announced their
BEC label will release Adie’s Don’t
Wait album on September 28.
Repertoire.” A record label’s A&R
team is responsible for finding new
artists, signing the artists to the label
and then helping guide the artists’
futures (maturation/development)
both musically and lyrically. Generally,
no label reps influence an artist’s
sound (each album) more than the
A&R folks.
DOWNWHERE?
MAIL FAN
I recently subscribed to your magazine
and think it’s fantastic. I just wanted
to make sure you are going to highlight
Downhere’s release of Wide-Eyed and
Mystified. They are an amazing, but
underrated, band, and I think they
deserve to be in this mag!
Laura Harris, via email
As a longtime subscriber, I’ve always
enjoyed reading letters to the editor.
Is it my imagination, or did you put
more of them in this past issue
[April]? If so, thanks, and please
keep it up. It’s one of the highlights
of the magazine.
Jeff Sawyer,
Richmond, VA
We couldn’t agree more, so we have
good news for you, Laura. Check out
page 40 for this month’s story on
Downhere, and then turn to page 55 for
our review of Wide-Eyed and Mystified.
That wasn’t your imagination, Jeff. We
featured two pages of letters instead
of one in our April issue. We just felt
like that would be the “!” thing to do.
A&R Q&A
I am a recent subscriber to CCM,
and over the past few months,
many of your ar ticles have
mentioned A&R people. What do
the letters A&R stand for? I have
really enjoyed your magazine so far;
keep up the good work.
Laverne S., via email
POP: THE HARD TRUTH?
After reading your open letter to the
industry in April’s issue [“Please
Don’t Abandon AC/Pop Artists!”], I
was compelled to offer an insider’s
reply. As the music director for a
major Christian AC radio station, I’ve
been struggling with the issues you
raised for some time. Over the past
ADIE
CHRIS TOMLIN
We welcome your comments.
Address your letter to Feedback,
CCM Magazine, 104 Woodmont
Blvd., Suite 300, Nashville, TN 37205;
fax 615/385-4112, Attn: Feedback; or
e-mail [email protected].
Always include your full name, address
and phone number. Letters may be edited
for length and clarity.
That’s a good question, Laverne.
“A&R” stands for “Artists &
ccmmagazine.com
june 06 ccm 7
CCM_06.06_Insider.v4
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insider
“American Idol” Christian
music connections, Phil Keaggy
jams and more
This year's GMA Music Awards show was a Dove night like no other.
From the unprecedented artist collaborations to a show-stopping
tribute for a legend to seeing a bona fide worship leader named
Artist of the Year, this was a night to remember.
<<<<<<DoveTALES>>>>>>
The 37th Annual GMA Music Awards (or, as we old-time industry types here at
CCM still like to call them, the Dove Awards) were held at the Grand Ole Opry
House in Nashville, Tenn., on April 5. As a packed house looked on, the TV
cameras rolled and REBECCA ST. JAMES and KIRK FRANKLIN hosted, 37
different artists took home top honors in various categories throughout the night.
Now we will name them all. OK, not really. However, we will hit the highlights!
The evening’s theme song must have been “I’ll Fly Away” as golden-bird
statuettes went winging their way to new owners! Always among the highlights
are the presentations of the awards for Female and Male Vocalists of the Year.
This year these trophies went to NATALIE GRANT and CHRIS TOMLIN. Male
Vocalist was one of five Doves bestowed upon Tomlin, who also won the coveted
Artist of the Year title as well as Song of the Year for “How Great Is Our God.”
CASTING CROWNS repeated last year’s win for Group of the Year, while THE
AFTERS picked up the Dove for New Artist of the Year. “There were so many
great new artists out this year. To receive the award is a huge honor,” gushed
The Afters front man Josh Havens backstage. “It’s funny—I told Steven [Curtis
Chapman], who’s won 50 Dove Awards, [that] when I was a kid, we were so into
Christian music. [My sister and I] would have our own little Dove Awards, and I
told [Steven] I think I’ve won almost as many as you have! I was Male Vocalist
of the Year when I was nine! But, no, the real thing is great!”
And, yes, you read correctly. STEVEN CURTIS CHAPMAN was honored with
his 50th Dove Award during the evening’s ceremonies, accepting the Special
Event Album of the Year prize on behalf of all artists involved in the album
Music Inspired by the Chronicles of Narnia: The Lion, The Witch, and The
Wardrobe (Disney/Sparrow). Chapman now has the distinction of being the
most awarded artist on any major award show, and this achievement and his
distinguished career were celebrated in a surprise tribute that left Chapman
and much of the audience visibly moved. THIRD DAY’s MAC POWELL,
CASTING CROWNS’ MARK HALL, DAVID CROWDER and JEREMY CAMP came
together for a poignant and compelling performance of several of Chapman’s
greatest hits. This tribute along with Chris Tomlin’s end-of-show rendition of
“How Great Is Our God/How Great Thou Art” is available exclusively on iTunes
in their special GMA Music Awards area. A portion of the proceeds from the
sales of these two singles will benefit the GMA Foundation.
Several “mainstream” artists earned accolades, too. CARRIE UNDERWOOD
took home her first Dove for Country Recorded Song for “Jesus, Take the Wheel.”
Likewise, Backstreet Boy BRIAN LITTRELL won his first Dove for Inspirational
Recorded Song for his version of Michael English’s classic “In Christ Alone.” And
perennial award show favorite ALISON KRAUSS, with her band UNION STATION,
netted the Dove for Bluegrass Recorded Song for “Living Prayer.”
By the way, if you were keeping up with the editors’ records for picking Dove
winners (as forecasted in our April ! issue), we hit it out of the ballpark, kids!
Well, ok…Jay hit a homerun, correctly picking the winners of six out of seven
categories. Others of us—namely me—came in slightly above par, with three
hits and four misses. But, just as the runners-up on April 5 were thinking,
there’s always next year!
KRISTI HENSON
>>>For a complete list of GMA Music Award winners and other information on
the Dove Awards, visit gmamusicawards.com.
From left: row 1-Mac Powell, David Crowder, Mark Hall and Jeremy Camp; row 2-Chris Tomlin, Kirk
Franklin and Rebecca St. James; row 3-Natalie Grant, Steven Curtis Chapman; row 4-The Afters
>>>
Numero uno: Eleventyseven snags first No. 1 rock radio hit with “More Than A Revolution” • Raise
ccmmagazine.com
june 06 ccm 9
>>>
CCM_06.06_Insider.v4
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insider
or those with a sense of history and an appreciation for the
achievements and inroads made by early veterans of
contemporary Christian music, PHIL KEAGGY’s name will strike a
chord of recognition. First as a member of the mainstream band
GLASS HARP and then as a solo artist, this monumental instrumental
talent has earned a reputation as a world-class guitarist.
A model of great talent matched by humility, Keaggy’s early solo
works—What A Day, Love Broke Thru and Master & the Musician
(Myrrh)—were groundbreaking at the time and remain relevant to this
day. Over the years, Keaggy’s reputation as a guitar hero found him
joined with 2ND CHAPTER OF ACTS, PAUL CLARKE, RANDY
STONEHILL and many others. More recently, the rap/metal band
P.O.D. turned to him for some devastating rock soloing to add power
to their 2001 release, Satellite (Atlantic).
Why no Christian label has given Keaggy the Santana/
Supernatural superstar duet treatment remains a mystery; but now,
thanks to the good folks at TAG Artist Group, we can experience the
genius and passion of Keaggy’s electric guitar playing in the
instrumental rock of Jammed.
Speaking by phone, Keaggy admits that this disc, which reissues
some songs from his previous effort Premium Jams (Kegworth
Music), was the brain-child of his label head, Dan Huisinga. “Dan
handpicked the songs. And I went in and trimmed off the fat, did
some nice edits, added a few lead guitar parts to some things and
included four unreleased things.”
For Keaggy-ophiles interested in his primitive beginnings, he says
there’s “a glimpse into back when I was 18 years old, playing the
electric in my bedroom through my sound-on-sound recorder. It’s a
neat little picture of where I started.” It was titled “Prehistrobie K-18,”
Keaggy remembers. “‘Strobie’ is what my Dad used to call my fancy
guitar playing when I was younger.”
Much of Jammed was culled from the Crimson & Blue (Myrrh) and 220
(Sparrow) album sessions. While many understand Keaggy’s
improvisational approach as spirited performance, allowing his guitar to
speak the things that it may be ultimately impossible to put into words,
Keaggy himself worries that many don’t remember that he’s also a singer.
F
Caught
in a
A
JM
To that end, he’s at work on a new vocal pop album slated for a
September release. Affectionately called “the love song project,”
Keaggy has written songs “to my wife, to my kids, to my sisters and
other members of my family. There’s one called ‘Why?’; and there’s an
Alfred Lord Tennyson poem that I put to music. I’m also cutting the
RICH MULLINS song ‘Hold Me Jesus’ because I do that in concerts,
and it gets a great response. [The music is] structurally simpler and
more accessible.”
BRIAN QUINCY NEWCOMB
>>> Your
Voice: MercyMe raises its voice in support of Redeem the Vote, encouraging young voters to register
10 ccm june 06
ccmmagazine.com
CCM_06.06_Insider.v4
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6:40 PM
Page 11
>> Pop
Christian Music
&“American Idol”
Q
Q
Q
IDLE
CHAT:
My, my, how time flies! Why, it seems like only yesterday we were all gathered ‘round the TV set watching
“American Idol”…Oh, wait! That was yesterday! Yes, at press time, America’s favorite reality contest is currently
underway with its fifth top-rated season! (Quick shout out to Mandisa from Nashville! You rocked out on your cover
of MARY MARY’s “Shackles”—the most overt props to Christian music live on air yet! We hated to see you go,
girl. But, you GO, girl!) With all the new excitement to preoccupy you, we understand if you’ve lost touch with
some former contestants. So, here’s your CCM “American Idol” roundup!
QCarrie Underwood
If you haven’t heard anything from
last year’s “American Idol” winner,
you’ve probably been hiding in a
spider hole somewhere in Iraq. At
press time, following 21 weeks on
Billboard’s Hot Christian Singles &
Tracks char t, Carrie’s debut single,
“Jesus, Take the Wheel” is at No. 5 (after peaking
at No. 4) and still going strong. And the sales? Well,
they aren’t slacking off, either! Some Hearts (Arista
Nashville) is already RIAA-certified Triple Platinum
(recognizing sales of 3,000,000 units) and also
earns the separate distinction of becoming the
fastest-certified debut country album ever released.
Her connection to Christian music (other than the
fact that she’s been embraced by Christian radio)?
She’s definitely a believer, who, by her own admission,
“started [her] musical career at a very early age
singing songs in church like ‘Jesus Loves Me.’”
QGeorge Huff
George always has a big smile on his
face, and why not?! He’s one of
the most energetic and exciting
artists to hit the Christian music
scene in a while! And he’s certainly
got his priorities straight. George
explains, “I grew up in the church, and,
even as a child growing up, my mom would tell me,
‘George, baby, when you get up there and sing, you
sing for the Lord!’ And she said, ‘I don’t care what
you’re doing…you have to know that God got you
there…You don’t sing for money, baby. You sing
because you like to do it…and you sing for the
Lord.’ Little did I know that the Lord would actually,
in return, bless me financially and all of that good
stuff and [allow me] to reach places and heights
that I never thought I would.” Reaching new
heights, indeed! George placed in the Top 5
during Season Three of “American Idol”; and with
the release of his debut album Miracles (Word),
George garnered three Dove Award nominations,
including New Artist of the Year.
QFantasia
Fantasia
Well, she dropped her last name
near the end of Season Three,
perhaps in hopes of joining the
ranks of other big one-namers
such as Cher, Madonna, Bono and
Prince. It hasn’t worked quite yet, as
she lags behind some of the other 1st place
winners—Kelly Clarkson, Ruben Studdard and
Carrie Underwood—and even a runner-up—Clay
Aiken. However, Fantasia’s debut project, Free
Yourself (J Records), has been certified Platinum by
the RIAA; and the success of her first single, “I
Believe” (penned by Season One finalist Tamyra
Gray), broke records, making Fantasia the first
artist in the history of Billboard’s Hot 100 chart to
debut at No. 1. Her connection to Christian music?
Am I the only one who remembers all the footage
shown during the competition in which Fantasia
returns to her home church in North Carolina? You
know…the videos where she was tearing up the
stage backed by the church’s choir?! We were even
treated to a visit with church members during the
potluck dinner afterward! Nevertheless, the only
thing I’ve been able to track down recently was
Fantasia’s reply to an interviewer questioning if she
had received any formal voice training. According to
Fantasia, “No. It all came from the Man—God.”
QJoanna Martino
She auditioned for Season Two
at the tender age of 16. The
Michigan native made it through
three rounds of auditions
regionally in Detroit and then
headed to Hollywood, where she
was one of 230 national finalists (out
of about 70,000 would-be Idols across the
continent). There, Joanna made it to the final 80
before the final cut to the 30 on-air contestants—
all in all, a stellar showing! Joanna’s debut release,
My World, was featured in last month’s inaugural
installment of CCM’s “Independents Day” column.
QRuben Studdard
Ruben’s debut project, Soulful (J
Records), sold well (RIAAcertified Double Platinum) but
didn’t showcase the ar tist’s
true core. The winner of Season
Two returned to his gospel roots
with the release of his sophomore
album, I Need an Angel (J Records)—already RIAAcertified Gold. “I’ve only been singing non-spiritual
material for about three or four years,” Ruben says.
“Gospel music was all I sang before that, so doing
an inspirational record was a natural thing for
me…Gospel music is what I was raised on and is
the foundation for all things musically for me.”
According to his publicist, Ruben is currently in the
studio putting the finishing touches on his third
release, slated to drop sometime this summer. No
word at present if this is another straight-ahead
gospel album.
QOther Notables
R.J. Helton: R.J. finished in the Top 5 on the
premiere season of “American Idol.” Then, he
signed a record deal with gospel label B-Rite
Music/GospoCentric Records. R.J.’s debut project,
Real Life, was released in 2004.
Clay Aiken: Clay was the runner-up to Ruben
Studdard on Season Two. However, his sales have
eclipsed those of most of the show’s first place
winners! His connection to Christian music? Well,
he’s a huge Avalon fan. OK…so we couldn’t exactly
find many other specifics about Clay’s musical
background, but surely this counts for something?
Kimberley Locke: Kimberley placed in the Top 3 on
Season Two, and she’s a native of Nashville—
CCM’s home base. Her connection to Christian
music? Kimberley is a graduate of Belmont
University (a Christian college in Nashville) and
talks frequently of her upbringing in the church and
the musical influence that had on her. Look for her
sophomore album, Based on a True Story (Curb),
this summer.
KRISTI HENSON
Still can’t get enough
of the “American Idol”
phenom
?
You’ve watched the
country spin-off “Nashville Star”
but were still left wanting more? Say,
maybe a Christian version? Well, that’s
something you don’t have to worry about
anymore! There are several Christian versions of
this hit series in the works. Of course, “Christian
Idol” doesn’t really work as a title; so the newcomers
have monikers ranging from “Exalting Him” to INSP’s
“C.A.T.S.” (Christian Artists Talent Search) to TBN’s
“Gifted” (hosted by Backstreet Boy Brian Littrell)
and everything in between. Keep your eyes
peeled and ears open for the next emerging
Christian artists on these shows as
well as on “American Idol”…we
certainly will!
and participate in the political process • Day of Fire headlines “Reborn Tour” with fellow
ccmmagazine.com
june 06 ccm 11
>>>>>>
CCM_06.06_Insider.v4
5/4/06
6:40 PM
Page 12
insider
fri.
Starfield (Anaheim, CA)
Watermark (Vienna, VA)
Shawn McDonald (Marion, IN)
Robbie Seay Band (Woodlands, TX)
Nathan Nockels (Watermark)
Phee Shorb (Fireflight)
Building 429 (Matteson, IL)
ZOEgirl, Superchic[k], Josh Bates
& Charity Von (Bessemer, AL)
Tai Anderson (Third Day)
Jason Foust (Exit East)
Chris Rice
Mat Kearney (New York, NY)
Matt Dally (Superchic[k])
Julia Ross (Everlife)
FLAG DAY
Jennifer Deibler (FFH)
Philip Enzor (Brother’s Keeper)
Atlanta Fest (Atlanta, GA, June 15-17)
Ichthus 2006 (Wilmore, KY, June 15-18)
fri.
Jason Rosewell (Red Umbrella)
sat.
Warren Barfield (Carrollton, GA)
thurs. wed. tues. mon. sun.
Chris Tomlin & Natalie Grant
(Chattanooga, TN)
thurs. wed. tues. mon. sun.
Kevin Max & The Listening
(Hillsboro, OR)
sat.
here each month.
fri.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
thurs. wed. tues. mon. sun.
sat.
fri.
thurs. wed. tues. mon. sun.
sat.
fri.
thurs.
june
Keep track of upcoming artists’ birthdays, key concert
dates, events, HOLIDAYS and other seasonal fun right
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
Third Day, Newsboys & Hawk Nelson
(Tulsa, OK, June 16-17)
Jeff Cunningham (Spoken)
Jeremy Camp (Vaughan, ON)
Muriel Anderson
FATHER’S DAY
Frank Lenz (Starflyer 59)
Michael Pritzl (The Violet Burning)
Mary Mary (Lithonia, GA)
Jerome Fontamillas (Switchfoot)
Alive Festival (Canal Fulton,
OH, June 21-24)
Cristi Johnson (Alathea)
Joseph Rojas (Seventh Day Slumber)
Mark Schultz (Union City, TN)
MercyMe & tobyMac
(Grand Rapids, MI)
Switchfoot (Arlington, TX)
Jeremy Noel (Palisade)
Kathy Troccoli
Sides of the North & Kids in the Way
(Grove City, OH)
Jody McBrayer (Avalon)
Melissa Greene (Avalon)
Jars of Clay (Nashville, TN)
Marty Magehee (4HIM)
Creation East
(Mt. Union, PA, June 28-July 1)
Spencer Dalton (Dalton)
Red (Rockford, IL)
THIS MONTH @ CCMMAGAZINE.COM
Let’s face it. There’s so much Christian
music news happening every day and so
many cool stories being shared…but only a
finite amount of space in our beloved CCM
Magazine. However, cyberspace is
unlimited! So, we’re featuring exclusive
content from your favorite ar tists
and other personalities online at
CCMmagazine.com every month! Here’s a
bit of what you can find online this month…
>>This year CCM gave RUN KID RUN free
reign to provide our readers the inside
scoop on a band’s first GMA experience.
Neil Endicott, RKR guitarist and vocalist,
gives you the exclusive bird’s eye view of
Gospel Music Association Week, complete
with fun photos and a glimpse into the
guys’ crazy schedule. After reading about
their GMA Week adventures, be sure to
pick up Run Kid Run’s debut, This Is Who
We Are (Tooth & Nail), at a store near you!
>>We had great responses from several
artists to our pressing queries featured in
this month’s “CCM’s Summer Fun Road
Trip” section. Alas! We couldn’t fit them all
in. So, check out all the answers online.
Find out what artists such as MERCYME,
KRYSTAL MEYERS and RED like to eat,
read and listen to on a road trip!
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Ronald Winans
For more tour listings, visit CCMmagazine.com.
>>>
rockers Holiday
Red and Tour
Decyfer
DownSecond
• Steven
Curtis
nabsMichael
No. 1 spot
two weeks
in ato row
Thailand’s
20-City
• The
Chance
movieChapman
(starring
w. smith)
now set
hit ontheaters
in
12 ccm june 06
ccmmagazine.com
>>>
>>> >
CCM_06.06_Insider.v4
5/4/06
6:40 PM
Page 13
>>
1.
What five words best describe you?
Fun-loving, methodical, purposeful,
communicative, random
pop/rock
3.
What’s the one question you’ve
never been asked (and the answer)?
What are you going to name your first child?
Answer: I think if it was a girl, Rachel. And a
boy? Possibly Javean, which is a biblical
name—and it just sounds handsome.
2.
What’s your most embarrassing
moment onstage?
5
Questions
with REBECCA
ST. JAMES
Since the age of 15, Rebecca St. James has climbed the charts at
Christian radio, garnering more No. 1 hits and more fans with each
passing year. Twelve years have passed; and Rebecca is still going
full-steam ahead, having released her ninth studio project, If I had
One Chance to Tell You Something (Forefront), to critical acclaim
last year. 2006 has seen Rebecca visiting Rwanda on behalf of
Compassion International, headlining a 40-city tour with BarlowGirl
and Jadon Lavik, serving as spokesperson for last month’s National
Day of Prayer and co-hosting the GMA Music Awards, where she
picked up yet another Dove for her contribution to The Chronicles of
Narnia soundtrack. And did we mention that CCM readers voted
Bec their Favorite Female Artist in this year’s Readers’ Choice
Awards for the fifth straight year in a row?
> >>>
>>
I usually don’t talk about that one because
it’s that embarrassing. I had bought a skirt
here in the U.S. that I wore with pants
underneath in my show. It was a black skirt
with a red kind of S-shaped design on it.
I went to Wales and did a show, and the
crowd was just responding really, really
strangely. At the end of the night, I was
doing my autograph session; and this girl
comes up in the line and says, “Did you
know that your skirt spells ‘sex’ over and
over and over again?” And apparently during
intermission it had been going around that
girl’s particular youth group. That my skirt
said that. I mean, literally, I’m up on stage
saying, “I’m a virgin—I’m waiting” and
talking about purity; and then my skirt is
spelling “sex” over and over again!”
4.
What’s a song you wish you
had written?
I instantly think of “I Can Only Imagine.”
5.
What’s the best spiritual advice
you’ve ever been given?
Probably what my best friend told me
years ago: “Just remember, Rebecca, it’s
all for God.” I’ve thought about that on
and off throughout the years, and it’s
definitely the only reason I got involved in
Christian music.
CCM_06.06_Insider.v4
5/4/06
6:40 PM
Page 14
insider
fanfare
Diaper Duty
JEREMY CAMP was performing on stage at the GMA
Music Awards paying tribute to Steven Curtis Chapman
literally hours after his second child was born. His wife,
ADIE, delivered Arianne Mae Wednesday, April 5, in a
local Nashville hospital, making 18-month-old Isabella
Rose a big sister for the first time. Arianne was born at
1:44 a.m. the morning of the Doves, weighing 5 lbs. and
measuring 13 inches long. New releases from Jeremy and
Adie hit stores this fall. Plus, the couple will be touring together
(with babies in tow, we’re sure) in support of their new projects.
MERCYME’s front man won’t have much time to breathe in
the upcoming months. When BART MILLARD isn’t on the
road helping to promote MercyMe’s new album, Coming
Up to Breathe (INO), Millard will be tending to his brood of
three, as he and his wife, Shannon, recently welcomed
their third child, Charlie Marshall, on March 29. Coming
in at 8 lbs. and 1 oz., this little bundle of joy follows big bro
Sam and big sis Gracie.
Weddings & Engagements
BROTHER’S KEEPER band member JOHN SANDERS
married Kari Finlay earlier this year in the bride's
hometown of Danville, Indiana. To add a
melodious element to the day, the couple
recorded a song together that was played at the
wedding ceremony. Fellow band members, GABE
DUNLAP and PHILIP ENZOR, ser ved as
groomsmen; and ushers included music industry
veterans ROY MORGAN and GARY GENTRY, with whom
Sanders co-owns Premier Christian Cruises, a division of The Premier Group.
New Inpop artist FOOLISH THINGS recently saw its last two members tie the
knot. Vocalist and guitarist ISAAC JORGENSEN married his bride, Kajsa,
earlier this year while drummer SHAUL HAGEN is saying “I do” June 9. In
addition to celebrating the nuptials, the band will be celebrating the release
of its new album, Let’s Not Forget the Story (Inpop), hitting shelves June 20.
Fellow Inpop artist newcomer JIMMY NEEDHAM also
recently proposed to his girlfriend, Kelly Adams.
The two are to be married this August with plans
to honeymoon in Maui. Both are currently
students at Texas A&M. Look for Jimmy’s national
debut to drop in late summer.
LINDSAY WILLIAMS
Thank you
for supporting your
local
Christian Retailer
To find a bookstore in your area visit www.daywind.com
(Ad Sponsored by New Day Christian Distributors and Daywind Music Group)
>>> >
>>>
14 ccm june 06
ccmmagazine.com
CCM_06.06_Insider.v4
5/4/06
6:40 PM
Page 15
independentsday
Music lovers increasingly want what is authentic and real. We love live
albums with their imperfect quality. We enjoy artists who seem endearingly
unpolished. We appreciate raw vocals and lyrics with gut-level honesty.
Welcome
to the world of independent artists.
Tyler James
An EP
Tyler James was born in Washington state,
grew up in Iowa and then made his way to
Nashville, where he says live “some of the
most inspiring people in the world.” That
inspiration is reflected in James’ sevensong EP. With standout track “Stay
Humble” and a nod from Paste Magazine as “Artist of the
Week,” Tyler James’ An EP is something you will want to
pick up. See tylerjames.com for more information.
Scratch Track
The Simple
Scratch Track describes itself as “acoustic
hip-hop soul,” but anyone who has seen
the band live knows there is more to the
story. Funky guitar parts, beat boxing and
amazing energy contribute to the
mesmerizing live experience. Look for their
spring tour with O.A.R. and their featured song on
Playstation’s “Major League Baseball 2006” videogame.
Check out scratchtrackmusic.com for details.
Greg Sczebel
Here to Stay
This Canadian has soul and some prestigious
awards to boot! Sczebel’s Here to Stay debut
album won the Juno award for “Christian/
Contemporary Album” and “Outstanding
Christian Recording” before snagging two
Covenant awards this past fall. Check out
Sczebel’s website and vote for his song “In the Pocket” for
the 2006 International Songwriting Contest! The address?
gregsczebel.com
Amanda Falk
Amanda Falk
Falk has spent the last couple years
traveling to high schools and retreats in
Canada, challenging listeners with her
words and blessing them with her
beautiful music. She has also opened for
fellow Canadians Jill Paquette and
Starfield. With smart, piano-driven pop, Christian music
fans will want to pick up her self-titled debut album. Want
to learn more about her? Visit amandafalk.com.
Profiles by KATE MCDONALD
To submit an independent album or indie news to CCM’s columnist for consideration, write to her at:
Kate McDonald, Box #8, The UPS Store #2356, 4742 42nd Ave. SW, Seattle, WA 98116;
or email: [email protected].
> >>> biggest
Beyond the Expected
By: Margaret Becker
The businessman next to me gave a little “wheew-eee”
whistle. “Did you see that?” he asked in my direction.
“You mean that guitar that just dropped four feet off the
luggage belt, head first—onto the tarmac?” I answered dryly.
“Yea! That person has a claim!” he grinned at me, dollar
signs in his eyes.
“No, she doesn’t. That’s an indestructible case. Even
baggage handlers can’t hurt it.”
Surprised, he let out a guffaw. “Seeing how calm you are,
I guess you’re pretty confident!”
Peering around him through the window to the uniformed
man who showed no remorse as he glanced up at the
airplane, I answered, “Took 20 years and about a hundred
cases...but, yeah, I am officially confident.”
And I am, not because I found the answer to the ‘baggagetoss-don’t-get-paid-enough’ dilemma but because I met
someone who saw my need and supplied an answer.
My friend Robin owns an elite guitar shop here in Nashville.
She saw my cases come back from the road, beat up and
ragged. After much scolding and chiding, last year—on my
birthday—a Guitar Gallery indestructible case showed up in
my living room. Contoured to my Epiphone Texans, this thing
held the guitars snug, closed like a space-age airlock and had
a shell that has faced every airline without incident.
The case is beautiful, but the heart behind the case is even
more wonderful. Robin saw my need and met it—without
fanfare. She is a picture of what I love about people when they
incorporate a Christ-like heart into all areas of their lives,
even to the point of their own inconvenience.
I’m sure you are already thinking “ I give, I tithe…,” but you’re not
off the hook yet. Hopefully, most of us are “givers,” but do we give
beyond the “expected”? I think of Isaiah 58:6-10, where we are
reminded of the “acceptable” fast, where we provide for others
beyond what is required of us according to the “bare minimum.”
And perhaps the most encouraging part of that chapter, verses 8
and 9, are where God promises His glory will rest on us, our lives
and our work—as a result of our selfless actions.
That’s the least we should and can do. So listen up you
“creative” types! Giving should be an act of creativity as well.
Do you have a “platform” from which to speak? Then tell
people about ways they can impact culture, global need and
the local community. Are you more “behind the scenes”?
Then ask the Lord to show you the “behind the scenes”
needs around you—and be willing to meet them,
creatively...like Robin, who, while running a guitar shop,
continues to give back with a program that provides guitars to
those who are in the mission field. (Check out
guitargal.com—the power of music program.)
Truth is, we should all be doing something. Pray for eyes to
see, ears to hear and a heart to respond to what He reveals
to you. Meet Him in the needs around you.
For Margaret’s new book, Coming Up for Air
(NavPress), go to amazon.com. or christianbook.com.
To hear a podcast of Margaret talking to Robin of
guitargal.com about the right acoustic guitar for your
type of playing, go to maggieb.com, and follow the
news links for CCMpodcasts.
radio station with single “The Blessing”; Chapman currently on 19-city international tour; New
ccmmagazine.com
june 06 ccm 15
>>>
CCM_06.06_Insider.v4
5/4/06
6:41 PM
Page 16
hitlists
[
THE TOP-SELLING
CHRISTIAN ALBUMS
ACCORDING TO
NIELSEN SOUNDSCAN
]
[Highest Debut:::::::::MAT KEARNEY]
Nothing Left to Lose
(Inpop/Columbia)
THIS
WEEK
LAST
WEEK
WEEKS
ON CHT
[TOP CHRISTIAN/GOSPEL ALBUMS OVERALL]
1
1
8
ARTIST
TITLE (Label)
ALAN JACKSON
Precious Memories (ACR/Arista Nashville)
2
5
28
FLYLEAF
Flyleaf
3
2
3
VARIOUS
WOW: Worship Aqua
4
4
29
KIRK FRANKLIN
Hero
5
6
34
CASTING CROWNS
Lifesong
6
9
19
VARIOUS
Chronicles of Narnia: Soundtrack (Disney/EMI CMG)
7
12
15
JUANITA BYNUM
Piece of My Passion
8
10
3
HAWK NELSON
Smile, It’s the End of the World
9
7
5
KUTLESS
Hearts of the Innocent
10
-----
-----
MAT KEARNEY
Nothing Left to Lose
11
8
29
VARIOUS
WOW Hits 2006
12
14
13
VARIOUS
WOW Gospel
13
13
44
CHRIS TOMLIN
Arriving
14
15
6
MARTHA MUNIZZI
No Limits
15
16
3
PASSION WORSHIP BAND
Passion: Everything Glorious
16
11
25
THIRD DAY
Wherever You Are
17
-----
1
ANTHONY BURGER
Best of Anthony Burger (Spring House)
18
21
40
MARY MARY
Mary Mary
(Integrity)
19
17
3
DONALD LAWRENCE & TRI CITY
Finale Act I
(EMI CMG)
20
19
13
P.O.D.
Testify
21
25
3
UNITED
United We Stand
22
20
44
CASTING CROWNS
Casting Crowns
23
31
3
DONALD LAWRENCE & TRI CITY
Finale Act II
24
22
5
MORMON TABERNACLE CHOIR
Then Sings My Soul
25
18
44
RELIENT K
MMHMM
26
60
26
RANDY TRAVIS
Glory Train
27
72
18
ANEBERLIN
Never Take Friendship Personal
28
38
7
AARON SHUST
Anything Worth Saving
29
34
34
YOLANDA ADAMS
Day by Day
30
26
44
JEREMY CAMP
Restored
31
29
3
SANCTUS REAL
Face of Love
32
27
3
VARIOUS
X2006
33
33
44
MERCYME
Almost There
34
40
30
VARIOUS
Gospel: Music from the Motion Picture
35
41
27
ISRAEL & NEW BREED
Alive in South Africa (Integrity)
36
48
44
VARIOUS
O Brother, Where Art Thou? (Lost Highway)
37
24
6
BUILDING 429
Rise
38
56
4
BISHOP G.E. PATTERSON
Singing the Old Time Way Volume 2 (Podium)
39
28
32
SWITCHFOOT
Nothing Is Sound
40
128 42
MAE
Everglow
(Octone/S-R-E)
(Provident)
(Gospocentric)
(Beach Street)
(Flow)
(Tooth & Nail)
(BEC)
(Inpop/Columbia)
(Sparrow)
(Verity)
(sixsteps)
(Integrity)
(sixsteps)
(Essential)
(Atlantic/Word)
(Integrity)
(Beach Street)
(EMI CMG)
(DESE)
(Gotee/Capitol)
(Word)
(Tooth & Nail)
(Brash/Word)
(Atlantic)
(BEC)
(Sparrow)
(BEC)
(INO)
(Verity)
(Word)
(Sparrow/Columbia)
(Tooth & Nail)
*Each chart reflects Christian and general market combined album sales for the week ending April 23, 2006. All
charts © 2006 by Nielsen SoundScan (a division of VNU Marketing Information) and Christian Music Trade
Association. All rights reserved. No reproduction without permission.
>>>
President’s
studio project
Council
in ontheService
works and
• Circleslide’s
Civic Participation
full-length
• Goteedebut,
RecordsUncommon
unveils Days,
two digital
hits stores
EPs withon >>>
16 ccm june 06
ccmmagazine.com
CCM_06.06_Insider.v4
5/4/06
6:41 PM
Page 17
28
2
3
HAWK NELSON
Smile, It’s the End of the World
3
5
KUTLESS
Hearts of the Innocent
4
25
THIRD DAY
Wherever You Are
5
11
P.O.D.
Testify
6
77
RELIENT K
MMHMM
7
64
ANBERLIN
Never Take Friendship Personal
8
3
SANCTUS REAL
Face of Love
9
3
VARIOUS
X2006
10
5
BUILDING 429
Rise
11
32
SWITCHFOOT
Nothing Is Sound
12
56
MAE
Everglow
13
97
UNDEROATH
14
57
JARS OF CLAY
15
30
BARLOWGIRL
Another Journal Entry
16
60
KUTLESS
Strong Tower
17
81
TOBYMAC
Welcome to Diverse City
18
40
THOUSAND FOOT KRUTCH Art of Breaking (Tooth & Nail)
19
165 SWITCHFOOT
20
56
FLYLEAF
SUPERCHIC[K]
WEEKS
ON CHT
1
ARTIST
THIS
WEEK
WEEKS
ON CHT
[TOP R&B/HIP-HOP ALBUMS]
THIS
WEEK
[TOP ROCK/ALTERNATIVE ALBUMS]
1
28
2
40
MARY MARY
Mary Mary
3
33
CECE WINANS
Purified
4
44
TOBYMAC
Welcome to Diverse City
5
4
GRITS
7
6
3
PETTIDEE
Thug Love
7
44
KJ-52
Behind the Musik
8
1
ROB HODGE
Born King
9
31
DA T.R.U.T.H.
The Faith
10
13
LISA MCCLENDON
Live at the House of Blues (Integrity)
11
9
JEFF MAJORS
Sacred
12
44
MARY MARY
Incredible (Integrity)
They’re Only Chasing Safety (Solid State)
13
29
T-BONE
Bone-A-Fide
Redemption Songs
14
28
GEORGE HUFF
Miracles
15
36
VARIOUS
Hip Hope Hits 2006
16
44
RUBEN STUDDARD
I Need an Angel
17
38
KIKI SHEARD
Just Until
18
13
FLAME
Rewind
Beautiful Letdown (Sparrow/Columbia)
19
4
JAPHIA LIFE
Fountain of Life (Beatmart)
Beauty from Pain
20
36
CANTON JONES
Love Jones
TITLE (Label)
Flyleaf
(Octone/S-R-E)
(Tooth & Nail)
(BEC)
(Essential)
(Atlantic/Word)
(Gotee/Capitol)
(Tooth & Nail)
(Sparrow)
(BEC)
(Word)
(Sparrow/Columbia)
(Tooth & Nail)
(Essential)
(Fervent)
(BEC)
(Forefront)
(Inpop)
VARIOUS
1
MAT KEARNEY
VARIOUS
(Gotee)
(Beatmart)
(BEC)
(Word)
(Cross Movement/Provident)
(Columbia)
(Flicker)
(Word)
(Gotee)
(J Records/Provident)
(EMI Gospel)
(Cross Movement)
(EMI CMG)
[TOP PRAISE & WORSHIP ALBUMS]
WEEKS
ON CHT
19
(ForeFront)
2
83
CHRIS TOMLIN
Nothing Left to Lose
3
3
PASSION WORSHIP BAND Passion: Everything Glorious
4
3
UNITED
United We Stand
5
26
RANDY TRAVIS
Glory Train (Word)
6
13
AARON SHUST
Anything Worth Saying
7
26
VARIOUS
Open the Eyes of My Heart
30
DAVID CROWDER BAND A Collision
Lifesong
3
(Integrity)
(Pure Springs Gospel/INO)
Chronicles of Narnia: Soundtrack (Disney/Sparrow)
CASTING
CROWNS
2
(Gospocentric)
3
TITLE (Label)
35
Hero
1
ARTIST
1
KIRK
FRANKLIN
TITLE (Label)
THIS
WEEK
WEEKS
ON CHT
THIS
WEEK
[TOP ADULT CONTEMPORARY/POP ALBUMS]
ARTIST
(Beach Steet)
4
29
5
134 CASTING CROWNS
Casting Crowns
6
7
JEREMY CAMP
Restored
7
61
MERCYME
Almost There
WOW Hits 2006
(Inpop)
(Sparrow)
(Beach Street)
(BEC)
(INO)
ARTIST
VARIOUS
TITLE (Label)
WOW Worship: Aqua
Arriving
(Provident)
(sixsteps)
(sixsteps)
(Integrity)
(Brash/Word)
(INO)
8
30
VARIOUS
Inspired by the Chronicles of Narnia (Disney/Sparrow)
8
9
48
NICHOLE NORDEMAN
Brave
9
17
HILLSONG
Ultimate Worship: Best of Hillsong
10
36
TODD AGNEW
Reflection of Something
10
14
CHRIS TOMLIN
Live From Austin
11
55
VARIOUS
WOW #1s
11
7
VARIOUS
Best Worship Songs Ever!
12
28
VICKI YOHE
He’s Been Faithful (EMI CMG)
13
5
VARIOUS
Worship Together Volume 2 (Worship Together)
14
6
POCKET FULL OF ROCKS Song to the King
15
3
PAUL BALOCHE
16
241 MICHAEL W. SMITH
Worship
17
51
Rock of Ages...Hymns & Faith
18
128 RANDY TRAVIS
19
54
PASSION WORSHIP BAND Passion: How Great Is Our God (sixsteps)
20
29
VARIOUS
(Sparrow)
(S-R-E/Ardent)
(Provident)
12
24
JEREMY CAMP
Live Unplugged
13
7
SHAWN MCDONALD
Ripen
14
4
CRABB FAMILY
Blur the Lines
15
57
NATALIE GRANT
Awaken
16
6
MARK HARRIS
Line Between the Two (INO)
17
7
CAEDMON’S CALL
In the Company of Angels II
18
105 MERCYME
Undone
19
8
Chaotic Resolve
20
6
PLUMB
WATERMARK
(BEC)
(Sparrow)
(Daywind)
(Curb)
(INO)
Grateful People
(Curb)
(Rocketown)
(Essential)
AMY GRANT
(sixsteps)
A Greater Song
(Integrity)
(sixsteps)
(Virgin/EMI CMG)
(Myrrh)
(Integrity)
(Reunion)
(Word)
Worship & Faith (Word)
iWorship: No Boundaries
(Integrity)
*Each chart reflects Christian and general market combined album sales for the week ending April 23, 2006. All charts © 2006 by Nielsen SoundScan (a division of VNU Marketing Information)
and Christian Music Trade Association. All rights reserved. No reproduction without permission.
>
July 11 as a follow-up to 2004’s EP, Connectology • Let’s Hear it for the Girls: 24, a collection
ccmmagazine.com
june 06 ccm 17
>>>
CCM_06.06_Sightings.v4
5/4/06
6:45 PM
Page 18
sightings
by Chris Well
ALL STARS UNITED
>>Zondervan and Inspired By Media Group are
partnering for Inspired By…The Bible Experience,
an audio Bible combining dramatic performances
with sound effects and an original score. The
ensemble cast features more than 80 AfricanAmerican celebrities and notable personalities,
including ANGELA BASSETT, BLAIR
UNDERWOOD, DENZEL WASHINGTON, CUBA
GOODING JR., NFL Hall of Fame running back
JIM BROWN and minister JUANITA BYNUM.
More info online at inspiredby.com.
MIGHTYBIG CAST
According to The
Hollywood Reporter, LAUREN GRAHAM and JOHN GOODMAN will join
STEVE CARELL and MORGAN FREEMAN in Evan Almighty, this fall’s
sequel to Jim Carrey’s 2003 comedy Bruce Almighty. The Tom
Shadyac film focuses on the anchorman character Carell played in
the first film. Now a politician, he gets an audience
with God (Freeman), who tells him to build an ark
in preparation for a forthcoming flood.
HIT THE TUBE
ALY & AJ performed their hit “Rush” on
ABC’s “Good Morning America” April 20.
“Rush” is also featured in national TV
spots for the WNBA, which run
throughout the 2006 season.
GMA Female Vocalist of the
Year NATALIE GRANT made an
appearance on FOX News
Channel’s “DaySide” May 4.
She spoke with co-hosts
Juliet Huddy and Mike Jerrick
about her music and recent
Dove Award win.
HAWK NELSON performed “The
One Thing I Have Left” April 13 on
the cable network G4’s “Attack of the
Show!” G4 programming covers every
aspect of the videogame culture.
MAC Attack>> TOBYMAC’s “The
Slam” has been getting attention all over the
place; The song was heard during the NCAA
Championship basketball game between
UCLA and The University of Florida, in the
trailer for The Fast & The Furious: Tokyo Drift,
on the Microsoft game “Crackdown,” in the
2006 Winter Olympics, on “NFL on Fox,” on
“Mountain Dew Extreme Sports,” and during
“Prison Break” promos, among other places.
STEVE HARVEY COMES CLEAN
Brand new to DVD is STEVE HARVEY’s Don’t Trip...He Ain't
Through with Me Yet!—a record of his comedy performance
onstage last summer in front of 16,000 churchgoing folks at
Bishop T.D. Jakes’ annual Mega Fest conference. Harvey,
famous for his foul-mouthed standup comedy, explained to The Detroit
Free Press that he wanted to get closer to God and become a better man.
>>>
ccm
jeopardy
Answer: The greatest game in magazine history! Question: What
is CCM Jeopardy? That’s right! In our neverending quest to
deliver gripping and insightful content to you, the discerning
Christian music connoisseur, we’ve hit upon one of our best
ideas yet! In this debut segment, we’ve given the answers to
CASTING CROWNS drummer ANDY WILLIAMS. Andy and his
Casting Crowns cohorts were just named Group of the Year for
the second consecutive year at the recent GMA Music Awards;
and they took home the Dove Award for Pop/Contemporary
Album of the Year for their Grammy-winning project Lifesong
(Beach Street). Thus, Andy may have all the answers…but does
this funnyman know all the questions?
CCM’s A: Andy Williams (the classic crooner who recorded the definitive
version of “Moon River”)
Andy’s Q: Who am I most commonly mistaken for at a Casting Crowns concert?
CCM’s A: The only reality TV show that I would have a chance to win
Andy’s Q: What is “My Big Fat Obnoxious Fiancé”?
CCM’s A: A classic album everyone should own
Andy’s Q: What is Freedom by Whiteheart?
CCM’s A: Abraham Lincoln, Queen Latifah & Beth Moore
Andy’s Q: What on earth are you even talking about???
CCM’s A: What the government really covered up at Area 51
Andy’s Q: What is the missing link between Abraham Lincoln, Queen
Latifah & Beth Moore?
CCM’s A: Keanu Reeves
Andy’s Q: What actor played the prestigious role of Ted Theodore Logan in
the classic film Bill and Ted’s Excellent Adventure?
CCM’s A: The first event to which I would take a time machine
Andy’s Q: What is November 5, 1955? [Referring to the film Back to the Future]
CCM’s A: “There are some things up with which I will not put”
Andy’s Q: What did Andy have to say about his picture accidentally being
cut out in the February 2006 issue of CCM Magazine? Sorry, Mr. Churchill.
CCM’s A: The only other band I’d like to be in
Andy’s Q: What is Stryper?
CCM’s A: 42
Andy’s Q: How many pounds can Andy gain by simply looking at a Reese's
peanut butter cup? OR, alternatively: What is one of Mark Hall's favorite
TV shows?
CCM’s A: Why I love CCM Magazine
Andy’s Q: What is the fact that they let idiots like me do crazy things like this?
CCM’s A: The most puzzling verse/story in the Bible
Andy’s Q: What is Luke 2:16? How did all three of them fit in that
manger anyway?
CCM’s A: Who I wanted to be when I grew up
Andy’s Q: Who is Jamie Rowe from Guardian?
CCM’s A: If I weren’t an artist, this would be my occupation
Andy’s Q: What is an interior decorator?
Keep up with the latest “SIGHTINGS” every weekday at
CCMmagazine.com.
of their No. 1 hits, becomes Point Of Grace’s 7th RIAA-certified Gold Album • Rebecca St. James,
18 ccm june 06
ccmmagazine.com
CCM_06.06_List.v4
5/3/06
9:06 PM
Page 19
4
12 9 8
17
7 101814 13
19 11 16
15
1 235
20
*
arched” musings
A compendium of arguably useless and “rese
6
-O-Rama
st
Li
M
C
C
E
M
T-A
K
O
LO
l’s
el
W
Chris
(SUMMER READING)
5 (ADDITIONAL) PROOFS OF THE SECRET CONNECTION
BETWEEN CHRISTIAN MUSIC AND CHRISTIAN FICTION
There is a long and storied connection between Christian fiction and Christian music, from
albums inspired by books to novels based on songs. There are also the multi-taskers, such as
record producer MATT BRONLEEWE (who signed a five-book deal with WestBow) and best-selling
novelist FRANK PERETTI (who plays banjo in a bluegrass band). And there are the spouses, such as SIGMUND
BROUWER (Cindy Morgan’s husband) and DENISE HILDRETH (Jonathan Pierce’s wife). That out of the way, we
present the following list…
1) Stephen Lawhead, HOOD (WestBow)
Fans of big, thoughtful, heroic, Celtic, historical and fantastical literature
know Stephen Lawhead well. The one-time manager of pioneering
Christian rock band DeGarmo & Key has a new novel on the way this fall:
Hood: Book One in the King Raven Trilogy offers a fresh look at the legend
of Robin Hood.
2) Christine Schaub, THE LONGING SEASON (Bethany House)
If you want to know the dramas behind the greatest hymns of all time,
then Christine Schaub’s “Music of the Hear t” series is just for you!
(And, for the sake of the author and the publisher, we hope it’s also
for thousands of other people, too.) The second in the series of
historical novels, The Longing Season details the gripping stor y behind
“Amazing Grace.”
3) Ted Dekker, THE MARTYR’S SONG (WestBow)
Best-selling novelist Ted Dekker teamed up with artist Todd Agnew for
The Martyr’s Song. Described by the author as “a retelling of part of
When Heaven Weeps,” one of his earliest novels, the book comes with a
CD single featuring a new song by Agnew based on the book.
4) Creston Mapes, FULL TILT (Multnomah)
What good can become of psychotics, meth users or the mob? In
Creston Mape’s Full Tilt (Multnomah), rock star Everett Lester is eager
to share the redeeming power of Christ's love with the world through
his music. But reaching his family in their twisted lives is another
issue altogether.
(
(
REJECTED NAMES FOR
SUPERCHIC[K]
1) BATCHIC[K]
2) SPIDER-CHIC[K]
3) V FOR VENDETTACHIC[K]
NOMINATIONS FOR THE
CCM MAGAZINE HALL
OF FAME
1) The proud men and women of the
U.S. POSTAL SERVICE, who deliver each
and every issue straight to our mailboxes
2) NEEDTOBREATHE (Why wait?)
3) The guy who invented STAPLES
5) Chris Well, DELIVER US FROM EVELYN (Harvest House)
CCM Magazine contributing editor Chris Well has a brand-new thriller in
stores, Deliver Us From Evelyn, which finds everyone from the Feds to
the mob scrambling to find the husband of a heartless media mogul.
Chris says it's "zany." He's always talking about himself in the third
person like that.
In case you missed it, Chris Well has a
brand new, zany, redemptive crime thriller
IN STORES RIGHT NOW. Seriously, if you
don’t run out and buy your copy of Deliver
Us from Evelyn right away, Chris may
devote another list page to it.
BarlowGirl and Warren Barfield headlined “National Day of Prayer” television special, which aired
ccmmagazine.com
june 06 ccm 19
>>>
CCM_06.06_IndBeat.v4
5/3/06
9:12 PM
Page 20
K
industrybeat
A conversation with
Jeff Lava
by Jay Swartzendruber
What do you enjoy about your work?
I really enjoy touring. I heard a good quote once, but I can’t remember where! It
went something like: “I am a painter with light, and the stage is my canvas. I can
control the mood and the audience’s feelings. I enhance what the band is saying.”
This pretty much sums up what I love most about being a lighting designer.
What would be a “nightmare” scenario for a lighting director?
Any time water and electrical cables and equipment come together is a
nightmare. I have worked outside when it’s 20 below and nearly stopped a
show because of a tornado warning! Recently a venue was evacuated
because of a fire alarm malfunction—that was pretty bad.
How did you get involved in music?
I loved Stryper, so I formed a band. I thought I was a great singer. I [was horrible]!
Then I thought I was a pretty cool guitar player. I [was horrible] at that, too. Finally,
I was a hot drummer—until my church band told me I was terrible. Now I am a
pretty good lighting designer, but you never know...
How would someone go about pursuing lighting design and production
as a career?
They should be prepared to volunteer a lot—churches, theaters, concerts,
tours—because you learn so much; and, more importantly, you make
contacts, which in this business is essential to get ahead.
How did you get into photography?
LAVA’S LIGHTS,
CAMERA, ACTION!
When he was in high school, Jeff Lava worked part-time for a local lighting
production company in Canada before going on his first tour with a band at the
age of 19. And thanks to a career in lighting production and design, Jeff has
been touring with bands for more than 18 years now. Along the way, he has
designed dozens of concerts, directed tours and staged events for a diverse
range of musicians, performers, artists and other celebrities, including Kutless,
Audio Adrenaline, Tim McGraw, Third Day, Newsboys, Lorrie Morgan, Hawk
Nelson, All Star United and even President Bush. Most recently, Jeff has been
on the road as the lighting director for former Creed front man Scott Stapp.
Several years ago Jeff began to incorporate photography into his work in
response to artists’ requests for images of their performances. He then
founded Lava Design in 2002, formally merging his skills as a designer,
photographer and visual artist. Today, when Jeff isn’t on tour, he’s based in
Nashville, Tennessee.
How did you get into lighting design and production?
A Christian band called King’s Ransom was in town, and a buddy and I had
the opportunity to run lights and sound for them. We were supposed to swap
duties so I could do sound, but the second show was cancelled. So I am still
running lights.
What does lighting design and production entail?
It requires creativity, artistry and accurate design skills, as well as the ability to
take an idea and collaborate with a bunch of other people to make it come to
life. When I design a show, it all starts with the music. Understanding a
performer or a band’s style comes next. Then I need to know budgets and what
size venues they will be playing. I work very closely with the band and also with
their managers and other crew—mainly because it is always a group effort.
>>> in
Five years ago I was at Barnes & Noble, and I noticed a poster. I thought, “I can
do that.” Soon after, I bought my first camera. Lighting design and photography
are creatively complimentary. On my web site—jefflava.com—there are examples
of both my lighting and photography work. You can see similarities.
I understand you've photographed President Bush…
Actually, I lit President Bush in 2003 at Fort Campbell, Ky. He was presenting
to the troops for Thanksgiving. The Secret Service presence was intense, but
I still managed to rattle off a few rolls of film.
A Day Behind the
Scenes with Jeff
And the Beat
Goes On…
5:00 Start to fall asleep
9:00 Wake up on the tour bus
and eat cereal for breakfast
10:00 Load the rig into the venue
11:00 Set up lighting rig
12:00 Focus lights
1:00 Lunch with the crew
2:00 Programming for the show
3:00 Review yesterday’s notes
and fine-tune the show
Tooth & Nail Records
continues to rack up the rock
hits. Several of its onceobscure artists have seen
their latest offerings surpass
100,000 copies sold, including Anberlin (Never Take
Friendship Personal), Emery
(The Question), Mae (The
Everglow) and Norma Jean (O
God, The Aftermath).
4:00 Go to the bus to relax
6:00 Dinner with catering—
Lasagna again
7:00 Doors open, so I fine-tune
the house lights
8:00 Show starts
10:00 Show over, time to tear
down the rig
11:00 Load out
Leigh Nash (of Sixpence None
the Richer fame) is gearing up
for her full-length solo debut.
Nettwerk Records reports that
Nash's album, Blue on Blue,
will be released on August 15.
Provident has been tapped to
distribute the album to the
Christian market.
1:00 Get back on the bus and
get ready to do it all again
in another city
May • Chris Tomlin and band currently in the studio; new album slated to release September 26 •
20 ccm june 06
ccmmagazine.com
CCM_06.06_WritersBlock.v4
5/3/06
8:59 PM
Page 21
thewriter’sblock
by Matthew West
Do your days ever feel like my broken-down song?
You know the routine. You go through the motions.
You’ve found a formula that fits. You cross the T’s
and dot the I’s in your life, but there’s still
something not quite right? If so, the song of your life
may be in critical condition. Maybe it’s time to check
your pulse. Time to revive your heart. Don Henley
sang, “I’ve been trying to get back to the heart of the
matter.” So, how do we get back to the heart of the
matter? How do we trade in our broken-down song
for a life lived from the heart and a song filled with
passion? John Eldridge and Brent Curtis wrote
about the still, small voice that calls all of God’s
creation to find the heart of the matter in a book
called The Sacred Romance (Nelson):
CRITICAL CONDITION
’ve got a broken song. It’s in pretty bad shape. Don’t ask me how it happened. I’m in my writing room
doing what I always do when I’m not chasing my dog, Earl (see last month’s column). Taking my usual
stroll around an idea, I begin going through the motions, writing another song. The lyrics and the melody
are joined together like a match made in heaven. The tempo is totally settled. All the right chords are in
all the right places. I dot my T’s and cross my I’s. (In the words of Willy Wonka, “Strike that, reverse it…”)
Sure, I may have been going about today’s song sort of methodically, but I do this every day. I know the
routine. I make sure all the songwriting bases are covered, and, on paper, everything looks fine.
I
Current status of the song: STABLE CONDITION
After putting the finishing touches on the tune, I decide to record what we industry types call a “worktape” version of the song. As I sing into my little recorder, all of a sudden the song takes a turn for the
worse. Trying not to panic, I keep singing through the first verse, hoping my perfectly structured “big”
chorus will lift it to another level. Still nothing.
Updated status of the song: CRITICAL CONDITION
I start playing harder and singing louder, hoping that turning the intensity level up a notch will wake the
song from its apparent slumber. No response.
Updated status: SONG BEING TRANSFERRED TO INTENSIVE CARE UNIT
Struggling to finish singing, my mind travels back through my so-called “foolproof” formula. Everything
checks out OK. So, what’s wrong? I don’t see any holes in my equation. Finally, as I comb through the
second verse, I check the song for a pulse. Nothing. Houston, we have a problem.
Updated status: CARDIAC ARREST
The song has no heartbeat.
Updated status: SONG QUARANTINED—COULD BE CONTAGIOUS TO FUTURE SONGS
“The voice often comes in the middle of the night or
the early hours of the morning when our hearts are
most unedited and vulnerable. At first, we mistake
the source of this voice and assume it is just our
imagination. We fluff up our pillow, roll over and go
back to sleep. Days, weeks, even months go by and
the voice speaks to us again: Aren’t you thirsty?
Listen to your heart.”
That still, small voice is from the One who put
these beating hearts inside all of us. There is
nothing ordinary, nothing routine about God; and
since we are created in His image, there’s nothing
ordinary or routine about us! He calls us every
single day to listen to our heart and write our song
from that unedited and vulnerable place.
And guess what else? Your heart is where God
promises to make His home if you let Him. So,
when we listen to our hearts, we will hear the
heart of God. And that is where the true song of
our lives can be written. A.W. Tozer writes, “Thirsty
hearts are those whose longings have been
wakened by the touch of God within them.
SONGWRITING TIP #432:
“GOING THROUGH
THE MOTIONS
DOESN'T GUARANTEE
ANY MOVEMENT.”
If your song is in critical condition today, forget
the formula. Ditch the ordinary. Go straight to the
source of every heartbeat and find healing for your
broken song. If you do, cardiac arrest will be a
thing of the past.
New dad and Universal South singer/songwriter Matthew West has written songs recorded by Natalie Grant, Joy Williams, Point Of Grace and Rascal Flatts,
among others. His latest album, History, released in 2005 and features his current hit single, “Only Grace.” For more information, visit matthewwest.com.
ccmmagazine.com
june 06 ccm 21
CCM_06.06_O2W.v4
5/3/06
9:13 PM
Page 22
paulcolman’s onestowatch
THE LONGING
is an authentic worship band led by well-known singer/songwriter Jason Ingram, whose songs have been recorded by artists including
Rebecca St. James, Building 429, Joy Williams and Point Of Grace. Joining
Ingram are band members David May (guitar), Jono Brymer (bass) and Matt King
(drums). I can honestly say that this record has touched my soul deeply. Ingram
is a master songwriter and a fabulous singer; but even more than that, The
Longing is a wonderfully genuine expression of sincere worship. The self-titled
record has had a thrashing on my iPod, and it has drawn me closer to God. The
Longing’s debut was released in May by Indelible Creative Group and was
produced, alongside Jason Ingram, by Dove Award-winner and Grammy Awardnominee Tom Laune. Check out thelongingmusic.com.
PAUL: What’s behind the band’s name?
JASON: Whether we know it or not, we all worship something. We were
designed to be worshippers and will only be fulfilled when the object of our
worship is God. The deep longing of our hearts is to live in a relationship with
our Father in heaven. “The Longing,” for me, describes the desperate I have
to worship my King.
Fair
AARON SPRINKLE’S NEXT STEP
FAIR’s web site describes its style as “indie/rock” from Seattle. Featuring
prominent musician/producer Aaron Sprinkle’s heartfelt and lively vocals, Erick
Newbill on guitars, Joey Sanchez on drums and Nick Barber on bass, Fair is
sure to connect with any listener who appreciates well-crafted melodies and
dynamic rock. Its debut album on Tooth & Nail Records is called The Best
Worst-Case Scenario and hits stores on June 6. Check out
fairforever.com for more info.
PAUL: Do you feel Fair is an evolution from your past projects like Poor Old
Lu and your solo music, or does Fair stand out as an entity all its own?
AARON: In some ways I see it as both. Fair is more what I’ve been wanting
to do since breaking away from Poor Old Lu but is the first really collaborative thing I’ve done since.
PAUL: Now that you’re a full-time producer for such big-name artists (Jeremy
Camp, Hawk Nelson), how did you have time to record with Fair; and how will
you have time to tour?
AARON: It took us almost a year off and on to record this record. Touring is another question…We are doing a really short tour with Eisley this month. After that, it’ll
be mainly spot dates. We hope to do another run before the end of the year.
PAUL: Have the artists you’ve worked with in the studio affected or inspired
you in any way with the writing of the new Fair album?
AARON: Definitely. This is the first full-length album I’ve put out in five years.
I don’t think it would have turned out the same if I hadn’t been working with
so many great bands over that period of time.
PAUL: What do you hope listeners will take away from Fair, lyrically and
musically? Was there a theme with the album you’d like them to take?
AARON: The whole record has a tension between extreme fear and glimmers
of hope...We went into the studio with barely any material written—just lots of
small ideas. The great thing was that the first new song (“Monday”) came
quickly, and we fell in love with it. We put it first on the album for that reason.
But even after that initial success, there was a feeling of, “Can we do that
again?”... Lyrically, that fragility comes through in every song. We definitely felt
something bigger than ourselves holding the process together. We hope listeners will be able to feel the chill of October and November when we were recording and hear us being scared, hopeful, torn, in love and joyful.
22 ccm june 06 ccmmagazine.com
PAUL: What is a Longing live show like? Is it like a worship time or a pop
performance?
JASON: Well, we are definitely a worship band, but we really put a lot of
emphasis on beauty. Our art and our hearts ought to, in some very small way,
be a reflection of the One we worship. The band members all came to The
Longing from well-known artists and bands and have spent many years playing professionally, so I kind of feel like I’ve been blessed with the dream team.
PAUL: Do the songs on the record form a particular theme?
JASON: The songs have different themes, but there is certainly an undercurrent of brokenness that weaves through the album. Every time I write a worship song, I become so aware of the greatness of the One to whom I am
singing; and I become equally aware of my unworthiness. Who are we that the
King of Kings and Lord of Lords lends an ear to our song? If I have anything
at all to offer as a worship leader, it is only that I realize I can’t do it. Somehow
in our weakness and brokenness God is most glorified. He is the object of our
worship, and He is the means by which we worship. That is why our praise is
so rich, our love so fulfilled, our eternal life so now.
The Longing
AUTHENTIC WORSHIP
CCM_06.06_O2W.v4
5/3/06
9:13 PM
Page 23
Band Wagon
BY KRISTI HENSON
So you wanna be a star? The popularity of reality TV shows like
“American Idol” and “Making the Band” suggests that many people
possess an interest in the process of becoming a professional
artist—or, at least, in the making of an artist. In this column, we follow the evolving careers of several new artists. This month, meet
LEELAND.
Ana Laura
AC POP HOPEFUL
ANA LAURA is a 19-year-old Texas native with a driving passion to communicate a message of hope through her music. She invites listeners to take
a glimpse into what the world can look like through the prism of faith in an
eclectic album of musical styles. Her self-titled debut on Reunion Records is
in stores now. Log on to analauramusic.com to learn more.
PAUL: What’s the biggest lesson you’ve learned from your parents?
ANA: They really taught me to stick through everything—to not give up on a
goal because it is difficult or getting there seems annoying. My dad says,
“True maturity comes from doing what you have to do, when you have to do
it, whether you want to or not.”
PAUL: Who are some artists that inspire you?
ANA: I LOVE Josh Groban. He is just phenomenal. I grew up listening to
Andrea Bocelli and Placido Domingo. Classical music definitely plays into the
type of music I want to sing. You’ll see bits and pieces of that on this album.
PAUL: Tell us about your debut album. What does it sound like?
ANA: Like I said, I love classical music. I grew up listening to a lot of Latin
music. But my true love is pop. I come from the pop era of music. My producer is hard rock to the core, so you’ll see all of those combined in the
album—a mixture of Kelly Clarkson and Josh Groban.
PAUL: What is the most important message you want people to get from
your music?
ANA: I was blessed with an awesome A&R guy who let me pick what I wanted to talk about. I actually got to sit in the room with songwriters to come
up with songs about that message. I went through a lot of self-image issues
when I was growing up. I definitely want to tell those struggling, whether it
is with self-image or just falling in general, that Christ’s beauty and per fection covers them. We are made beautiful because He is beautiful; we are
made per fect because He is per fect. Without Him we are nothing. But
through Him we are made grand creatures, able to worship Him with whatever gifts He has given us.
It’s no secret that Nashville is a songwriter’s town. A rather ubiquitous bumper
sticker here in our fair city boasts, “It All Begins With A Song.” And so it does.
Leeland Mooring, whose first name is also used as his five-piece group’s collective name, was always a musical child, learning to play anything he could get his
hands on. According to older brother (and co-writer) Jack, “Leeland can pick up
anything and just play it!...It’s kind of sickening; it’s no fair!” he jokes. But, being
the well-rounded artiste that he is, Leeland also excels at songwriting.
At the age of 14, Leeland entered a regional talent search competition,
Embassy Music. Although he didn’t win, per se—he was a finalist in both the
performance and songwriting divisions—Leeland came away with valuable winning contacts. In fact, he met his future manager, who quickly secured Leeland
a songwriting deal with EMI Music. Leeland’s songwriting talents, in turn,
brought him to the attention of major Christian labels. After hearing Leeland’s
debut disc, Sound of Melodies (Essential) which releases August 15, and reading and feeling the lyrics, you’ll understand what the hype is all about…and you
may wonder how most of these songs were written by someone so young.
How do Leeland and his brother, Jack, do it? Typically, their best songs are
written in prayer. “Our favorite songs and our best songs have always come out
of prayer,” Leeland explains. “A lot of the time, it’ll happen where I’m just in
prayer…and sometimes God’ll just drop a melody in your heart or drop a song
in your heart. [Our song] ‘Tears of the Saints’ was completely finished in prayer.”
“Leeland’s kind of a melody guy,” Jack laughs. “We call him ‘Sting,’” in deference to another master melody and hook maker. That’s grand praise, indeed;
and his bandmates and the label aren’t the only ones spreading the word.
During a recent meeting with MICHAEL W. SMITH, this Christian music legend couldn’t say enough good things about Leeland. Smitty spoke of how
Leeland acts just his age (17 years old) around Smith’s teenage son but effortlessly morphs into a seasoned songwriter and melody-laden “old soul” when
working with Smith on songs for an upcoming album.
From musician and songwriter to artist and bandleader, it all began with a
song. As we’ll discover in this column, there’s more than one way to make it into
the music business.
Singer/songwriter/author Paul Colman, the former front man of Grammy-nominated and Dove Award-winning act Paul Colman Trio, recently
became the Newsboys’ new guitarist. The latest single from his current solo album, Let It Go (Inpop), is “Holding on to You.” Colman currently
tours, speaks and performs internationally. For more information, visit paulcolman.com.
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livingthemessage
by Michael Card
“You have taken away my
companions and loved ones;
only darkness remains.”
—Psalm 88:18 (NEW LIVING TRANSLATION)
The Missing Door
It was a glorious July morning, the kind of morning when people are likely to
quote the proverb to each other, “God is in heaven, and all is right with the
world.”
A young, poorly dressed man stepped out into the street, a backpack on
his shoulder, a folded easel in his right hand, a blank canvas tucked
comfortably under his left arm. He was on his way to attempt to paint the
yellow ripening expanse of a field just north of town.
Ten years earlier, on a three-month mission trip to the coal mines, he had
come to the realization that his calling was not to the pulpit but to painting—
“to bring consolation to humanity through art.”
In the decade that followed, no one ever worked harder in obedience to
such a call. In the volumes of his letters to his brother, he obsessed again
and again referring to the guilt that hounded him for not getting his “work”
done, of not finishing more paintings. Together they had grown up in a church
tradition where faith always looked like doing more, not loving more.
During the proceeding weeks, his renewed determination seemed to be
finally working for him. His themes had returned to more “spiritual” subjects.
He had even painted a picture of a church.
Having at last reached the field that was to be his subject for the morning,
he unfolded his easel and carefully placed the canvas upon it. Taking off his
backpack, he reached in and withdrew a small caliber revolver, pointed the
barrel at his head and pulled the trigger. His name was Vincent.
It could reasonably be claimed that no one in his time had a more gifted
“eye.” His remarkable, often disturbing, sense of line and color produced
paintings the likes of which had never been seen. He portrayed flowers in
sizzling colors that, though perhaps not botanically correct, provide the viewer
the true impression—almost the fragrance of the thing itself. His swirling
stars are not really pictures as much as they are an invitation to see and
24 ccm june 06 ccmmagazine.com
experience the stars through the remarkable gift of his eye. Of all that
Vincent’s imaginative eye could see and translate to charcoal and paint, the
one thing he needed most to see he was never fully able to perceive.
A result of the earlier mission trip to the coal mines was that he became
estranged from the church. Seeking to follow his deep desire for faith, he had
given all his possessions to the poor of the community. One after another, his
paychecks disappeared. It was a reflection of his preoccupation with “doing
the work” and “getting the job done.” His passion for the people earned him
the nickname “Christ of the Coal Mines.” But such extravagance did not seem
appropriate to those who were in authority over Vincent. He was pronounced
“unfit” and asked to leave.
Like so many others, his estrangement by a church became an
estrangement from Christ, as well. Though he refers to suicide more than once
in his vast correspondence with his brother, Theo, especially during the last
few months, he rarely mentions Christ. He keeps up the constant din of
“working harder,” “doing more” and “finishing my work.” Blinded by the
demands of all the present tasks that were never “done,” he left neglected
and unfinished the one thing that matters most.
The subject from one of his last paintings from the final short revival period
is the church at Ober (The Church at Auvers-Sur-Oise). Like all his work, it is
immediately recognizable as a “Van Gogh.” The mass of the grey building is
framed on the bottom by a swirling yellow foot path and above by a deeply
blue, almost angry sky. A solitary peasant woman has taken the left fork of
the path around the church. She is little more than a few brush strokes.
What most art critics comment on is not the composition or the colors but
the ominous lack of any doorway. Vincent painted a church that no one can
get into. Having tried all his life to work hard enough to “get in,” he could not
imagine, in this last image of the church, a door big enough to allow him, with
his enormous load of pain, to enter in. Along with the absence of references
to Christ in the letters, the absence of the door in the painting points to his
two most basic existential fears: There is no way in, and (even more painful)
no one is waiting on the other side of the missing door.
There is one last missing piece of this puzzle. Though Vincent speaks
repeatedly in the letters of his
depression,
his
struggle
with
melancholy and his remorse—what he
“There have never been
refers to as “an undercurrent of vague
more men and women who
sadness,”—in the final two or three
find themselves standing
years, there is not a single mention of
tears, his own or anyone else’s.
outside a church that seems
It has been said time and time again,
to have no door. ”
“There will never be another Van Gogh”;
and in one sense this is perfectly true.
But in another sense it could be said
that there have never been so many Vincents. There have never been more men
and women who find themselves standing outside a church that seems to have
no door. There have never been more people tormented by the thought that we
just might be alone after all, that our fragmented vision of the world is the only
one that exists, that all we need to do is work harder and get busy.
}
Missing doors, absent tears.
I am becoming convinced that tears of lament may be the door—the way
into an experience with a God whose compassion we have never imagined.
Study:
Read Psalm 88. It is the only lament psalm that does not resolve
in praise. Make a list of the psalmist’s reasons for complaining to God. Make your
own list and compare the two.
CCM_06.06_BibleGetReal_v4
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Ohio’s Alive Festival
Partners with
Food for the Hungry
Have you ever felt as if you were somehow shut
out of the church, that the door was missing?
Could it be that knocking on that door can take
a form you and I have never dreamed of? (See
Luke 11:5-10.)
getreal
by Gregory Rumburg
{Lending a Hand}
Commit:
Today is the day for making the
decision to continue searching for the door and
never to give up knocking. Ask for the grace and
the patience to persevere. Trust that Jesus knows
your every struggle, especially the struggle to find
and be found by Him.
“I love the sheer honesty found in the
Psalms; they are gut level, un-edited
expressions of a human heart. Psalm 88
doesn’t resolve in praise. For many
people that's a relief; permission to pour
out pain and questions, without the
pressure to end with a smile on your
face. Many of us walk through dark
seasons, but may not feel the freedom to
be honest or real about it within the
walls of the church. “The Missing Door”
reminds us that many feel ‘outside’ the
Body of Christ, longing to find a
doorway into a deeper level of
fellowship. Let’s do all we can to allow
‘Psalm-88-style honesty’ in our churches,
and open the doors to welcome the
brokenhearted as well as the joyful.”
—Vicky Beeching
}
Michael Card is an awardwinning scholar, musician and
radio broadcaster who resides in
Franklin, Tennessee. His new
album, The Hidden Face of God,
released last month. This
enhanced CD with a devotional
booklet features songs of
lament. Visit michaelcard.com
for more information.
Billy Buchanan (Fusebox) in Peru with children impacted by the work of Food for the Hungry.
Adelaida Rodriguez Loza is an 8-year-old girl who
fancies hide-and-seek games. And though she lives
in Bolivia with her mother, a housewife, and her
father, a farmer, Adelaida needs help if she is to
continue to enjoy painting, her favorite school
subject. Fortunately, Food for the Hungry stands at
the ready. It’s stories like Adelaida’s that moved
Bill and Kathy Graening, co-directors of northeast
Ohio’s Alive Festival, to partner with the Phoenixbased relief organization. This year, as Alive
celebrates its 19th annual Christian music event,
fans have a chance to make a difference.
“The idea is to not just expose our crowd to
Food for the Hungry,” Bill Graening says, and, in
turn, give attendees a chance to sponsor a needy
child, “but also to see if we can raise money at
Alive to build a building or to provide a children’s
home or to drill some wells. I’d like to show our
crowd in 2007, ‘Here’s something we did. We
helped with this project.’”
“Food for the Hungry provides emergency relief
and implements development programs in 47
countries, helping the world's most disadvantaged
people,” explains Jeff Miller, director of the artist
program with Food for the Hungry. FH works in
developing countries—through churches, families
and civic leaders—to help communities become
self-sustaining. Agricultural training, food and
clean water programs, child development, nutrition
education, HIV/AIDS prevention and spirituality
foster that growth. FH also works as a first
responder when disaster strikes, providing food,
shelter and care with emergency relief.
“I think what makes us unique from some of the
other child sponsorship organizations is we offer
opportunities beyond sponsorship itself. We do
short-term mission trips, and we do long-term
mission opportunities,” Miller says. FH can also
tailor its outreach efforts to specific event goals,
as it is doing with Alive. And if festival organizers
are right and forecasted attendance figures add up
to more than 100,000 people passing through
Alive’s turnstiles, that’s a big boast for a boutique
organization like FH.
“Even if we reach just a small percentage of that
group, that’s several hundred people who impact
the life of each child,” Miller explains. “And when
you sponsor a child, it not only impacts that child,
it impacts their family and their community.”
Billy Buchanan of the band Fusebox agrees. At
press time, he plans to present the organization to
the Alive audience. “I have had the opportunity to
see the work of Food for the Hungry firsthand,”
Buchanan says. “They truly are the real deal. I
visited several communities in Peru where Food for
the Hungry works and have met the children
impacted by their ministry.”
Graening discloses the arrangement is a paid
sponsorship. Money is exchanged for Alive’s
promotional consideration of FH—a common
Christian music business practice that helps cover
expenses involved with many festivals and artist
tours. But Graening adds he’s proud that such
opportunities go beyond the business handshake.
“Youth groups will [sponsor a child] as a group a
lot of times, and that becomes a way to develop a
sensitivity toward giving at a young age. I think
we’re trying to build that—getting these kids to
understand that before you buy the new iPod or
something else, maybe think about doing
something that can change a life. It helps get them
thinking in a charitable way when they are young.
That’s how I got started.”
To explore ways to get involved with Food for the
Hungry, go to fh.org.
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Learning to
B
R
E
A
T
H
E
If you were surprised to discover S W I T C H F O O T on CCM’s cover this month,
you weren’t alone. And chances are that won’t be the only surprising Switchfoot
discovery you’ll make in this issue either. . .
B Y: J AY S WA RT Z E N D R U B E R
“‘WHY NOW? WHY DO AN INTERVIEW WITH CCM
NOW?’ That question kept me up last night,” wrote
lead singer Jon Foreman in an email to me four
days after my interview with his band Switchfoot.
Indeed, brief pleasantries aside, that had been the
very first topic I raised with my old friend and his
four bandmates after firing up my recorder.
It was the kind of direct questioning that “Interview
101” courses will tell you to save for the second half
of your on-the-record conversations. Something about
helping interviewees feel relaxed, and, thus, more
open and whatnot. Me? Then and there? I was
banking on history—intangibles such as familiarity,
friendship, integrity and, indeed, our common faith.
I first met Switchfoot’s founding members—
brothers Jon and Tim Foreman and Chad Butler—in
late 1996. I liked them immediately. A lot.
Sadly, I can’t say the same thing about their
music. As the PR guy for Charlie Peacock’s re:think
label, I had been eager to see who we would sign
as the follow-up to our beloved and wildly talented
Sarah Masen. My introduction to this next new
artist came when Peacock played our staff a VHS
tape featuring live performance footage of a young
Switchfoot, known then as “Chin Up.” I was baffled.
This was what our tiny familial label would bank
much of its future on? Three words said it all:
neighborhood garage band. Emphasis on
neighborhood. While it won’t bode well for my
reputation as a music critic, I confess here that I
didn’t begin to see Switchfoot’s potential until I
heard final mixes from the band’s Jimmie Lee
Sloas-produced debut, The Legend of Chin.
“I think it’s really important to [remember] the
early days,” says Jon Foreman as I huddle with his
band in the midst of their 33-city “Nothing Is Sound
Spring Tour.” On this cool, overcast April day in
Hartford, Conn., the six of us had retreated to a
large backstage room in The Webster Theater,
P H O T O S B Y: D A N N Y C L I N C H
where Switchfoot would be performing for a soldout crowd of 1,250 people in a few hours. “When
we signed with re:think,” Jon continues, “Tim was
in high school, and Chad and I were in college…We
had a band in high school; that had generated
some local interest, but we were never thinking we
were going to get signed.
“We were like, ‘Wow, this is legit; this indie
startup is going to be great’…Charlie [Peacock]
flew out, and we recorded some stuff. He flew back
to Nashville, and the tapes got lost with his
luggage. So, it’s probably because of that that we
got signed, ‘cause we were pretty green!”
As Peacock prepared to sign Switchfoot to
re:think, he became increasingly aware of his
label’s financial need for “deeper pockets.” Thus,
he sold the company to Sparrow Records, who, in
turn, moved re:think’s operations in-house. Since
“operations” did not equate to “staff,” I set out to
pursue other record label adventures and never
had the chance to represent Switchfoot.
At the time of Switchfoot’s signing, the Christian
music world wasn’t even on the group’s radar.
Sure, Chad’s father had been a member of the
’70s “Jesus Music” band Parable, and Jon and Tim
were the sons of a pastor; but they had no
awareness of the industry or most of its artists.
“Our heroes were bands in San Diego like Heavy
Vegetable and Three Mile Pilot—bands we thought
were huge because they sold 30,000 records and
toured outside of California,” explains Jon. “We had
no idea that Nashville existed as far as gospel music
is concerned. There was no Christian radio in San
Diego, so we were never exposed to it. So when
re:think approached us, we were thinking, ‘Oh man,
there are people out there that are like us—people
who are playing clubs and bars and churches.’”
And while that might describe the inclusiveness of
most Christian labels today, back in the mid-’90s,
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independents such as re:think and Tooth & Nail
were practically lone rangers in their efforts to
establish artists of faith outside the Christian
music circuit.
“Our understanding of [re:think’s vision] was
limited,” says bassist Tim Foreman, “but in that
limited understanding, I feel like that vision really
resonated a great deal with us.”
That’s an important point to keep in mind.
Switchfoot wasn’t signing with re:think because its
members had long dreamed of hearing themselves
on Christian radio and seeing their faces on the
cover of CCM, they simply wanted their music made
available to anyone who might be interested.
While some may be surprised to find that the young
Switchfoot never had aspirations of being known as a
“Christian rock band,” it was the trio’s lack of
aspirations in general that is even more surprising.
“When re:think first approached us, we were
already saving up money to record a record, but it
was never like, ‘OK, I have to figure out whether I’m
going to stay in school or not,’” recalls Jon. “Tim
hadn’t even graduated from high school yet! The
second record [New Way to Be Human] was the
same thing—we were like, ‘Well, we’re playing
NICK BARRE
Vice President of
Artist Development
at Rethink
While Switchfoot’s reputation as musicians was
on the rise in those days, it was the members’
reputation with people that often preceded them.
“Before we had ever met the guys in Switchfoot, we
had heard a lot about them,” Relient K’s front man
Matt Thiessen tells CCM. “If you would ever bring
them up in a conversation with anyone that knew
them, they would all immediately say the exact same
thing: ‘That band is made up of the nicest guys on the
planet.’ The proof soon followed. We were a local
opener that was lucky enough to get added to a
Toledo date for a Five Iron Frenzy/Switchfoot tour. As
we walked into the venue for the first time, all the
Switchfoot guys went out of their way to introduce
themselves and break any social barriers with the
toothiest of California smiles. Honestly, we were
awful little punk wannabes back then, but they still
found encouraging words for us after we played our
set. No band had ever made that kind of impression
on us, and for good reason. We know nice people,
but nobody is that nice.”
That wasn’t the only way Switchfoot was unusual
in those days. “I always felt like Switchfoot was
completely indifferent to what was ‘cool’ or
‘marketable’ at the time,” recalls Nick Barré who was
VH1 staples. The Beautiful Letdown also won
Switchfoot multiple Dove Awards, including the
biggest, Artist of the Year. Christian pop radio
started spinning the band’s singles, and, yes, CCM
Magazine wanted to put Switchfoot on the cover.
But that didn’t happen—not then. When CCM
requested a cover story interview in early 2004,
the band decided to wait…for two years.
Remember that question that was keeping Jon
Foreman awake? [Check out the “Switchfoot—Why
Now?” sidebar on page 30 for his follow-up
thoughts.] When that question was first posed
during the band’s interview, Jon said, “There has
been enough miscommunication and enough
rumors and different things floating around…I want
to communicate who we are. I’ve had so many
amazing conversations with people that started out
as confrontations, and I think the reason being is, a
lot of times, people don’t understand who we are.”
So, who is Switchfoot? Well, for one thing, the
trio eventually evolved into a five-piece band—which
they’ve been for three years now. Jerome
Fontamillas (of Mortal and Fold Zandura fame)
came on board as the keyboardist when Learning to
Breathe released, and then guitarist Drew Shirley
“THE BAND WAS ALWAYS RELENTLESSLY OPTIMISTIC. THEY’VE CONTINUED TO MAINTAIN A GENUINE SPIRIT OF
INNOCENCE, OTHER-CENTEREDNESS AND JOY WITHOUT ANY TRACE OF NAIVETE. THEY’VE ALWAYS BEEN
EXTREMELY STREETWISE WITHOUT BEING SARCASTIC, JADED, WORLD-WEARY OR DISCONTENTED.”
these shows; I’m living in my folks’ house when
we’re home, which isn’t very often; I love these
guys, and I love doing this; I love these songs; let’s
just keep writing songs and playing music.’
“At some point with [2000’s] Learning to
Breathe,” continues Jon, “we began to think, ‘This is
our third record—we should start taking the music a
lot more seriously. Let’s get better. We’ve done this
for awhile; let’s really step it up and practice.’”
Drummer Chad Butler reveals, “For years, I
never believed that this is what we would do as a
career. You know, you’re just waiting for it to end,
until you move on to something legitimate with your
life. And then, years go by, and you’re like, ‘Wow!
I’m really missing out on what this is—this is the
life. This ride is where you’re supposed to be.’”
All that isn’t to say Switchfoot didn’t work hard
early on. On the contrary, the band spent a lot of
time on the road with acts such as Five Iron Frenzy
who taught Switchfoot the “do it yourself” punk
rock work ethic. As a result, Switchfoot embraced
a “drive your own van/make your own T-shirts”
approach to touring.
At the same time, the band was learning
important life lessons. “Charlie Peacock has been
a big hero of ours,” says Jon. “One of the things he
said when we were working on New Way to Be
Human was that, at the end of your life, you won’t
look back and say, ‘I wish we’d done more shows
or put out more albums,’ or anything like that. But
you probably will say, ‘I wish I had spent more time
loving the people around me.’ I think that’s
something that we’re still learning.”
Peacock’s right hand man at re:think. (Barré was
recently tapped by EMI to be Vice President of Artist
Development for the newly relaunched label branded
“Rethink.”) He continues, “The members of
Switchfoot were never obsessed with becoming rock
stars. I think it’s incredibly ironic that they have such
substantial commercial success. They never adapted
their music to the marketplace—the marketplace
adapted to their music. It’s hard to believe now, but
those first few Switchfoot records were a very tough
sell. Everyone at EMI worked extremely hard on those
records. At the time, there wasn’t an overwhelming
consumer demand for searching, introspective lyrics.
The music flavor of the day was primarily spiritual
‘pep rally’ type music. But Switchfoot never was
discouraged or cynical during this time—they simply
stayed the course, refused to compromise; and their
artistic integrity was rewarded.”
Barré’s observations are striking on a number of
levels. After releasing three albums with re:think,
Switchfoot landed a major label deal with Columbia
Records in 2002 and went on to become one of the
biggest rock acts in the country. It was at this point
that the Christian music industry and its fans
embraced Switchfoot. Prior to signing with
Columbia, Switchfoot had never won a Dove Award.
The band hadn’t been Christian radio or CCM
Magazine darlings either—not by a long shot.
With the release of 2003’s The Beautiful
Letdown, all that began to change. Thanks to two
multi-format smash hits—“Meant to Live” and
“Dare You to Move”—the album sold more than
2.5 million copies as Switchfoot became MTV and
(formerly with All Together Separate) joined the mix
just after the band recorded The Beautiful Letdown.
“At their core, Switchfoot is the exact same
band now as they were back in ‘98,” says Barré.
“The band was always relentlessly optimistic.
They’ve continued to maintain a genuine spirit of
innocence, other-centeredness and joy without any
trace of naiveté. They’ve always been extremely
streetwise without being sarcastic, jaded, worldweary or discontented.”
And their one-on-one influence on others? “In
2001, we had the privilege of doing a full tour with
Switchfoot and The Supertones,” says Relient K’s
Thiessen, “and the influence that Switchfoot’s
personalities had on me still shapes a lot of who I
try to be today. Jon Foreman is definitely a mentor
of sorts. He has a heart that I strive to imitate and
a gift for writing that I put in a category with the
greatest of all time.”
Switchfoot’s longtime mentor makes no bones
about his respect for the band either. “I couldn’t be
more pleased with the Switchfoot trajectory—high
cultural impact while becoming more like Jesus, not
less,” says Peacock. “Like U2, the band exemplifies
artistic credibility, humility and a love of justice and
mercy. All the artists I’m working with now know that
Switchfoot is the standard. They aim for nothing less.”
If you ask the members of Switchfoot how to
best get a handle on who they are, you might be
surprised by the response. “I think lowercase
people is the best example that we have of
expressing who we are,” says Jon.
lowercase people—the online magazine the band
(Continued on Pg. 30)
28 ccm june 06
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“At the end of your life,
you won’t look back and
say, ‘I wish we’d done
more shows, or put out
more albums,’ or anything
like that. But you
probably will say,
From left: Tim Foreman, Drew Shirley, Jon Foreman, Jerome Fontamillas, Chad Butler
‘I W I S H I H A D
Chem 6A:
THE MAKINGS OF A BAND
SPENT MORE
Gentlemen, I’d like each of you to take a moment to consider the band member sitting to your right. Then
I want you to tell me what that member brings to Switchfoot on a personal level and an artistic level.
TIME LOVING
THE PEOPLE
A R O U N D M E .’”
—CHARLIE PEACOCK
JON FOREMAN ponders CHAD BUTLER:
Chad is a rock—not only with his timing but with his
personality. He’s as steady as they come. Back in the
early days, and many times in between, he’s acted as
manager for Switchfoot. He’s a real people person,
always puts others first; and he’s just the type of guy that
you can depend on for anything, just always there. He is
definitely the artist of the group. For instance, just two
days ago, Chad was busy making T-shirts like we used to
back in the old days. He’s the guy you go to for the
details because he’s definitely the best with the stencils.
CHAD BUTLER contemplates JEROME FONTAMILLAS:
Jerome is the elder statesman of the group. He brings
a wealth of experience, a broad vocabulary, a broad
musical vocabulary…an up-to-the-minute finger on the
pulse of technology…just that element of electronic
mayhem. He’s a “fountain of sound”—that’s how we
refer to him in the band. He’s always working on how
to make these songs come alive, both in the studio
and live. Personally, Jerome is the most encouraging
and uplifting seasoned veteran in a band that I’ve ever
met. For someone who’s been on tour since he was
18, for as long as he has, he’s absolutely un-jaded,
motivated, encouraging and absolutely a joy to be
around.
JEROME FONTAMILLAS regards TIM FOREMAN:
Tim—the other side of the stage. I think Tim, in reference
to the band, is a rock to it, as well. He holds down the
music aspect of the band. Being a bass player, I’m
always amazed at Tim’s bass playing skills, as well—
he’s awesome. He’s also the conscience of the band, a
good conscience. He’s the heart. As a friend, he’s a
gracious guy, an encouraging guy. He’s like a brother.
TIM FOREMAN highlights DREW SHIRLEY:
Of the five of us, Drew is the most skilled on his
instrument, and we all have a lot of respect for that.
Adding a fifth guy to the band is, I think, a really tricky
thing to do. How you get along with each other and live
together is more important than how you make music
together, ultimately—because you spend a lot more
time living together than you do making music. I can’t
think of a better fit. I’m amazed at how, without
sounding too “Tom Cruise,” Drew completes us. Drew
is one of the funnier guys in the band, always cracking
jokes. He has an extravagant supply of shoes. Every
day, you really await what pair of shoes he’ll don that
day. He’s a classy fellow. You want him as your
wingman if you’re going to be rubbing shoulders with
some classy folks. We played a show early on with
Sheryl Crow, for example. We were ready to leave,
couldn’t find Drew—“Where’s Drew?”—which is a
common question in the band. We thought about
making a shirt that says, “Where’s Drew?” Turns out,
he’s in Sheryl Crow’s dressing room, talking about
guitars, eating her food. He’s that type of guy, he can
rub shoulders with anyone.
DREW SHIRLEY honors JON FOREMAN:
I see Jon as half visionary, half revolutionary. Here’s a
guy who envisions an idea. His brain is always
spinning, always like, “How can we make things
better? How can we do this differently?”—ranging
from music to the band to travel to interpersonal
relationships. And then the revolutionary side is,
“Let’s put it into plans and make it happen. Let’s get
it done.” Jon is a phenomenal leader—someone who
you want to follow. Someone who you say, “There’s a
guy I respect, there’s a guy who does the right thing.”
Jon is also quick to say “I’m sorry” and to humble
himself. And that influences all of us. As a friend, Jon
lets you be yourself and just appreciates you. He’ll
pick out the qualities in someone that are kind of
quirky and that other people might say, “Look at that
dude, he’s quiet.” And Jon will say, “Look at that dude,
he’s quiet. Isn’t that awesome? Isn’t that the greatest
thing? I love that quietness in that guy.” He
appreciates the individuality of people. Musically,
Jon’s a prolific songwriter—the rare kind who just
always has like 30 songs going. We’ll go through
something as a band, and then there’ll be a song
[about it] in the next couple of days or week. And it’s
like, “Wow, you’ve put it into music and into words.”
And it just keeps happening; it’s amazing.
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Photo By: Andy Barron—andybarron.com
recently launched? You bet. Explained the singer,
“lowercase people is enacting a lot of the songs and
lyrics, you know, with our own hands and feet.”
Lest you think this is a band’s ploy to get you to
visit some sort of self-promotion site, think again.
“This is, perhaps, a much bigger concept than five
guys in a band,” said Jon.
Come again? You read right. Jon Foreman just
said lowercase people is perhaps “a much bigger
concept” than Switchfoot. (And did I mention at
one point he said Switchfoot is “probably the only
band I’ll ever be in for the rest of my life”?) So,
what’s the story with lowercasepeople.com? We
discovered this enlightening statement in a call for
interns which was posted on the site: “The
lowercase people community is made up of free
thinking individuals who share the common goals
of pursuing beauty, seeking truth and enacting
change in the world at large.”
Says Jon, “I see this as being the online place for
the arts and justice and that intersection of beauty
and truth.” [For a deeper look into the vision of
lowercase people, check out the “Automatic for the
People” sidebar on page 31.]
Suffice it to say lowercase people will be a
significant part of Switchfoot’s future. With regard to
the future of the band’s music, for perspective one
first needs look to the recent past—Nothing Is
Sound, the Gold-certified album which Switchfoot
released late last year. According to Jon, the album’s
songs are “definitely on the darker side of truth.”
“To have made that record, and to feel like we’re
on the other side of that and making new music
feels very hopeful,” he says. Yes, the band has been
working up some new songs, but don’t go looking to
mark those calendars anytime soon. As of yet, there
are no set plans for the next album’s release. And
for those of you that like to read into things, Tim
offers one tidbit that may—or may not—prove
significant toward the next album’s musical
direction: “We’re excited about weird sounds again.”
Later that night—an hour or so after our
inter view—I enjoy the band’s sold-out club
performance for 1,250 of Hartford, Connecticut’s
biggest Switchfans. The chemistry between band
and audience is magnetic. And there is something
about the way Switchfoot nurtures relationship and
equality with the audience that reflects who they
are as people. “I write songs about a lot of things
I don’t understand—God, girls and math,” says Jon
as he introduces “Twenty-Four.” “This is a song
that involves all three. I wrote this song with a
broken wrist tr ying to impress a girl on a
skateboard. I wrote it…kind of the 3:00-onemorning-what-am-I-doing-on-the-planet type of song.
It’s the day before your birthday, and you’re
wondering why you’re alive. So this song, for me, is
a song about redemption.”
Later, as the show ends and the lights come up,
Switchfoot’s sound man has the enamored crowd exit
to the modern worship refrains of U2’s “Yahweh”:
“Take this city/A city should be shining on a hill/Take
this city/If it be your will/What no man can own, no
man can take/Take this heart/And make it break.”
I smile to myself thinking, Switchfoot’s sending
Hartford off with a prayer. ccm
Switchfoot—W H Y N O W ?
To say one particular question from our interview
with Switchfoot stayed on front man JON
FOREMAN’s mind? Well, that would be an
understatement. With his permission, we’re
pleased to share these insightful follow-up
thoughts…
“Why now? Why do an interview with CCM now?”
That question kept me up last night. After giving it
some thought, I feel that a much more important
question for us to answer might be: Why us? Or
maybe just: Why? Period. As a student in this life,
I have so much to learn, yet, with all due respect
and humility, I’m going to try to give an answer.
CCM is a magazine that represents a culture and
an industry built on the term “Christian music.”
And yet, if being Christian means to be Christ-like,
it can feel fairly presumptuous to attach that label
on myself or my own doings. Perhaps I feel this way
because I know better than anyone the darkness
that lurks in my own heart. I know how far from
Christ-like I am sometimes.
And yet Christ gave his life for sinners like me—
failures and fools like myself. The church is full of
wretched, sick people. I know firsthand! Let me
forever be among those in line for the doctor: the
man who lived to give himself away to the hungry,
the poor and the homeless. Yes, the church is full
of broken hearts like mine. The very nature of who
Christ came to touch necessitates it!
So, as an imperfect follower of Christ who hopes
to be worthy of the term, I struggle with the
“Christian” label. This struggle comes out of a
reverence for the revolutionary who gave himself
for the hungry, the poor and the broken. Certainly
this struggle is not mine alone. Within this lifetime,
every believer has a responsibility to wrestle with
what it means to follow Christ in their particular
position, to speak beauty and truth both inside and
outside the walls of the church. As long as I am in
the business of making music, I want to be
pondering these issues, searching for a better
vocabulary, a better way. Moreover, as long as I am
alive, I want to be wrestling with what it means to
follow Christ.
You see, as a band we never set out to make
music for the church specifically. The audience for
these songs has always been the world and its
inhabitants (including the church should they be
interested). “Christian” will forever be our faith, not
our genre. I would feel horrible if my friends from
other cultures, religions or disciplines felt excluded
by the genre “Christian music.” Certainly, there are
many incredible people within the genre that are
amazing examples of Christ. And yet, for our
purposes as a band, the label itself can feel
counterproductive in describing an inclusive God
who is reaching out to redeem culture. We all have
different roles, different purposes. To think through
these issues of spirituality, commerce and art, we
all need each other.
For me, this is about surrender. Surrender
personally and corporately. For all of us. Yes, even
death to CCM Magazine! Death to Switchfoot! But
maybe not the type of death you might think. Ah
yes, and life. Life! Abundant life to the very same
community. A resurrection; a new type of CCM. A
life that is not possible without surrender. But
wasn’t that the story all along? Losing our lives to
find that the kingdom of the heavens is quite near
indeed. Yes, surrender. I have no stones to throw.
I’m a drop-out from San Diego who writes fourminute pop songs. I want to be about the business
of peace, of tearing down walls. I am wanting to
serve people. I care about the people who are
trying to follow Christ with their lives. I care about
the people who read your magazine. That’s the why
now. That’s the why. I’m just trying to imitate a
hero of mine.
Let us be vigilant that the gospel of good news
is never used as a marketing tool.
—Jon
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Photo By: Andy Barron—andybarron.com
A u to m a t i c fo r t h e P E O P L E
Imagine a place where beauty meets truth, a place where music, art, words and justice intersect. Thanks to
Switchfoot, this dream is a reality. The band’s new online magazine, lowercasepeople.com, offers a unique
platform for artists in action. And whether you’re an artist yourself or, like us, you’re often inspired by artists, you’ll
discover lowercasepeople.com is like nothing you’ve ever seen before. How did this dream take shape? We
asked Switchfoot to enlighten us further. In response, drummer Chad Butler offers the following editorial on his
band’s behalf. . .
Some time ago, we were talking about all of the incredible people who have inspired us through the years: people
we encountered in late-nite diners, people who let us crash on their couches and others on the other side of the
world we never had the pleasure of meeting face-to-face.
How indebted we are to so many unique people.
And so it was with a general sentiment of gratitude that we began to dream. What if there was a way to pass on what
we have received? What if we started a conversation that allowed the unique people we meet to be heard by others and
learn from each other? What if there was a place to reach outside our lives and change each others’ worlds?
Lowercasepeople.com is our attempt to answer these questions.
We are an interactive online magazine that meets beneath an overarching banner of beauty and truth to feature
and discuss rising artists and social justice issues not mentioned in mainstream media. We also showcase
provocative conversations between unique and diverse thinkers and give you the opportunity to join in. As a growing
alliance of artists, thinkers and advocates of justice, we, the lowercase people, strive to compel change where we
find it is needed—in our state of being, in our culture and in our world. We are humanity: beautiful and broken. We
want to collide. We’re curious. We’re thinking out loud. We are the lowercase people.
Join us as we dream,
Chad Butler, Switchfoot
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H O M E C O M I N G
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B a c k s t r e e t ’s b a c k , a l r i g h t !
But with his solo debut release,
{ }
We l c o m e H o m e ( R e u n i o n ) ,
BRIAN LITTRELL
is not taking any back streets
or side streets.
I n s t e a d , h e ’s i n t h e f o r e f r o n t
on main street
for everyone to see…
a n d h e a r.
By: Kristi Henson
Photos By: Marina Chavez
I
have a confession to make. I’m an AC/pop
junkie. There, I said it. What does it mean? I
have always harbored a secret fondness for boy
bands, girl bands and pretty much everything in
between. That being said, I’ll proudly admit that
I own several Backstreet Boys CDs. (And I’ll also
go on record as saying that I always thought
Backstreet was much cuter than ‘N Sync.)
And, apparently, I’m not the only 30-something
fan of Brian Littrell and his Backstreet Boys cohorts.
Following on the heels of his No. 1 Christian radio hit
“In Christ Alone,” the remake of the classic song
which was included on last year’s WoW #1s
collection, Brian Littrell once again found himself
surrounded by fans of all ages—many looking to be
my age or older, even—in what some may regard as
an unlikely arena…the annual GMA (Gospel Music
Association) Week festivities in Nashville, Tenn.
When Littrell’s publicist later points out the vast
array of people he attracted to an autograph signing
session and, in particular, the number of guys who
weren’t afraid to be seen in line, too, Littrell laughs,
“There were a lot of guys, and it’s funny—I was
joking with several of them — they were joking with
me like, ‘Well, I’m probably the only guy in the
[line].’ And I was [saying], ‘No, there was one just a
few minutes ago, and if you look behind you there’s
a…’ So you know he was like, ‘Oh, OK. Cool.’”
All joking aside, Brian Littrell is thankful for his
success. “It’s been 13 years in the making, and I
do have loyal, gracious, trustworthy fans,” he says.
And the fans, alongside an established 13-year
career with the Backstreet Boys, who have now
sold more than 74 million records worldwide and
garnered a veritable mountain of awards and
accolades, have provided Littrell a platform.
Littrell has met many people who tell him, “‘I don’t
really listen to Christian music, but I’m intrigued by
your project; and I’m intrigued by your testimony; and
I want to know more,’” he shares. “I’m hosting this
show that’s called “Gifted”. It’s a talent show around
the United States that’s looking for Christian artists.
And I had this young lady come up to me, a mother of
two, and she said, ‘You know, my 14-year-old doesn’t
know Jesus Christ, but I think you sparked something
tonight’ (because I do a small little performance, like
four songs). And I was [thinking], ‘You know, that’s
what it’s about.’… Whether or not you’re a Backstreet
Boys fan or a Brian Littrell fan, if you’re a music fan in
general, any genre of music, my project is for music
lovers. You know, it’s for all walks of life, just people
that enjoy a good, positive message. That’s hopefully
what we’ve been doing with the Backstreet Boys for
13 years, and that’s what we’ll continue to do.”
It’s this sense of the universal nature of music and
its ability to communicate—to cut through borders
and cross over boundaries—that Littrell embraces.
When asked about the seeming disparities between
mainstream versus Christian music, he responds, “I
stand beside ‘the music business, is the music
business’…I guess I’m an old veteran when it comes
to the music business. God has used me in many
different countries and many different venues, you
know, giving me the platform He’s given me. But still,
it’s always been the same music business. And
‘crossing over’ into the contemporary Christian music
business, it’s the same.”
To make his point, he cites examples such as
“the Third Day’s and the MercyMe’s and the people
that are really breaking down walls” between genres
and radio formats, both Christian and mainstream.
After all, as the songwriters’ unions often point out,
it all begins with a song—and with a message. “You
know, God is moving mountains in people’s views,”
he remarks. “I think of how these genres of music
are coming a little closer together because it’s still
about a message, whatever that message may be.
And standing on the Christian side, my message is
plain and clear. It’s simple to hear what my message
is about and what my testimony is. But also, even on
the secular side, it’s plain to see what I’m about as
a person—the things that I contribute to, the things
that I stand for are the same things that I’m into for
the Christian side. So, a lot of people look at my
situation [like it’s] backwards. You know, ‘Why go to
Christian music when you sold this many records?’
To me, it’s about the message. It’s not about the
sales…To me, God has truly multiplied my
audiences all over the world, and I think I can maybe
change a few views on how people look at the
secular world [as well as how] the secular
world…views Christian music. And I hope it changes;
and I hope it continues to change and grow.”
With such an outlook, it’s not hard to understand
why Brian Littrell is attracting attention in the
Christian music marketplace. Although he is still
very much a Backstreet Boy and has no plans to
leave the group, with the recent high-profile release
of his first solo project Welcome Home, Littrell has
made a statement. He has chosen to put out a
Christian record as his first solo album. Even if the
music hadn’t turned out to be so exceptional, that
move alone would have spoken volumes.
But the music is exceptional, as well it should be
considering the lineup of pros tapped to collaborate
on it. Littrell worked with producers Billy Mann (Jessica
Simpson, Ricky Martin), Dan Muckala (Backstreet
Boys, Mandy Moore) and the team of Mark Kibble and
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{
Dave Thomas (Take 6) to craft a great AC/pop record.
(And as a side note to those readers who, along with
our editor, may be concerned about the lack of artist
signings and releases forecasted for AC/pop this year,
Littrell’s record may be your saving grace!)
In addition to the title track, Littrell wrote or cowrote six songs on Welcome Home. Perhaps one of
the most personal, though, is “We Lift You Up.” In
this cut, Littrell writes, “He opened up His precious
hands and gave me a wife/And then He touched her
deep down in her soul and gave me a son.” Littrell,
whose son, Baylee, is now 3 years old, actually
wrote the song “years ago” before his son was
ever born. According to Littrell, the song was
written, “with the anticipation of maybe some day,
you know, [my wife, Leighanne, and I] would have a
son; [or] we would have a little girl. And obviously,
lyrically the content wasn’t really for a Backstreet
Boys record. But I knew that it would be for my
Christian record.”
Also an obvious choice for the Christian record
is “Jesus Loves You.” Not only does it incorporate
an all-time favorite children’s song, “Jesus Loves
Me,” but it is also arranged a capella with Take 6’s
Kibble and Thomas spicing up the BGVs. Moreover,
Baylee Littrell makes his big-time debut on this cut,
front and back announcing the action.
Of course, we realize there may still be some
skeptics who insist upon questioning Littrell’s
sincerity. Obviously, these individuals are not
familiar with his background or his track record.
And, here is my second confession. I’m also an
album liner notes junkie. Yes, I read all the fine
print from start to finish in the packaging of every
album I get my hands on. So, since I’ve already
noted that I own several Backstreet Boys records,
it should come as no surprise when I tell you that—
long before I knew anything of Brian Littrell’s
history (i.e., he grew up singing in Port Memorial
Baptist Church in Lexington, Ky.) or of his desire to
record a Christian album—I knew he was a
Christian. See, he always made it abundantly clear
in his “Thank You’s.” While many artists seem to
offer the almost obligatory thanks to God in the
liner notes and sometimes throw in a passing
reference to a Bible verse, Littrell’s credits were
always straight-ahead and in-your-face…practically
screaming that he’s a Christian. He often devoted
his allotted space to quoting scripture and offering
sincere, heartfelt praise to the Father. For those
who made note of that long ago, Littrell’s entrée
into the world of Christian music was not shocking.
In fact, in the first cut on the album (co-penned by
Littrell), “My Answer Is You,” Brian, himself,
addresses any would-be detractors questioning his
faith in light of his mega-success as a Backstreet
Boy, professing, “And when those around me ask me
why I dare to dream/Or why I love or why I sing/My
answer is You…You’re the hope that my heart is
holding on to/Skeptics won’t understand/It’s strange
from the world’s point of view/My answer is You.”
With such candid and transparent lyrical
content, Welcome Home is sure to touch the
hear ts and lives of many listeners. But that’s not
news to those who know him well. Speaking of his
Backstreet bandmates’ reaction to the record,
Littrell repor ts, “They know my hear t. They know
my stor y. They knew that if I ever stepped out,
this would be the way that I would go. And it’s
been a long time in the making.” Well, welcome
home, Brian. ccm
34 ccm may 06
ccmmagazine.com
THE SHAPE OF YOUR HEART
For Brian Littrell and his Healthy Heart Club
for Kids, it’s a personal thing.
“
I
was born with a heart murmur, which is a hole in
your hear t,” Brian divulges as he sips his
cappuccino. It’s a comment that actually sounds
rather poetic, considering the fact that he’s alright
now. But that wasn’t always the case.
When he was 5 years old, Littrell skinned his knee
while playing outside one day. No big deal, right?
Usually not…but Brian developed a staph infection that
went straight to his heart and did a number on him.
“They told my mom and dad that I had a zero
percent chance of living,” he muses. “There was a
conversation that my mother was having with my
grandmother, my dad’s mom. My mom just really
couldn’t let go of me in that situation because I’m
her baby. My grandmother turned to my mom and
said, ‘You know what, honey? He’s not yours
anyway.’ And when that conversation took place in
the hospital, that’s when I started to get better—
when my mom kind of realized that I was on loan
to her anyway. That’s when the tests started to
come back, and the infection star ted to go
away…And it’s truly a miracle that I’m here today.
“But then later on in life, we found that my heart
was enlarging. And I knew I had a big heart,” Brian
laughs and does his own rim toss. But seriously,
the hole in Littrell’s heart had never closed up, and
his condition was extremely serious.
“At age 23, I underwent open heart surgery,” he
recalls. “It was probably the toughest time in my
life because, physically and mentally, I felt like I
was in the best shape of my life. I was 23 years
old! I was traveling around the world with the
Backstreet Boys. And I think that God has used
that as one of the biggest examples in my life,
saying, ‘You’re not right inside. Let Me fix you and
get you fixed. Then I’ll let you go again.’ It’s always
kept my feet on the ground, I think—understanding
what’s most important.”
And thus was born the Healthy Heart Club for Kids.
One of the main objectives of the organization is “to
create a heart healthy awareness of a heart healthy
lifestyle,” enthuses Littrell. “Eating right. Holding each
other accountable. Sons and daughters, the mothers
and the fathers. Exercising. Getting out from under the
TV. Getting outside and playing!” The program is
geared toward children ages 8-12 who suffer from
heart conditions or show signs of being at-risk for
heart disease and seeks to educate them on the
benefits of exercise and good nutrition. Counseling for
these youngsters is also provided. While the eightweek program is free to all participants, membership
requires a physician’s referral.
Additionally, the Healthy Heart Club for Kids has
a surgical assistance fund set up to aid families
with seriously ill children. “Families have to travel
across country sometimes to get the proper care
for their children, but they can’t get there because
the insurance company hasn’t paid for them to get
there. [Insurance will] pay for the [medical] service
and this and that, but they aren’t going to pay for
the flights and the hotels and the food and the
gas,” Littrell explains. The surgical assistance
fund, however, is able to help with these costs.
For more information on Brian Littrell’s Healthy
Heart Club for Kids, visit healthyheartclub.org.
}
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ccmmagazine.com
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condemned and useless. The people who never had the ambitions of their hearts nurtured
become just like those artifacts. They get old fast and become death traps. They become
extremely cynical, worn-out, broken-down, burned-out people. It’s heartbreaking.”
Thomas continues, “I feel like it was really important for us to make a record that says to people
who are living in small-town wastelands, ‘Keep your chin up. Find something you can have that is
your own, something that lives in your heart, and run after that.’” Granting that some sentiments
may be specific to life in the Midwest, Thomas hardly feels that the ideas presented are exclusive
to his part of the country. “For the bulk of Americans, it’s really hard. It’s a grind for most people.”
When news
Having just weathered two years of similar soul searching, gut checking and reinvention, Thomas
leaked out that
feels he can relate to the need for a dream more than ever before. “This was really something we
Sparrow Records
had to push through ourselves in order to fully realize the potential of what we wanted to do.
rock band The Elms
Ultimately, people’s destinies lie in Christ, but even past that, I want people to be inspired.”
had been dropped by
The street level lyrics are matched by the most stripped-down sound this band has ever
the label two years ago,
mustered. Though true to The Elms’ hook and melody driven DNA, The Chess Hotel is all about
no one was surprised.
a band playing riffs loudly and singing catchy lines at the top of its lungs. “Our band has
Though the band released two
always been an American rock band,” Thomas admits with a laugh. “I just think we were too
critically acclaimed albums and
easily influenced by Britain early on. But the sound of the new record is certainly more raw
an EP, logged more than 500 live
and unpolished than the first two. We felt that there was no way we could house these
dates around the country, scored a
sentiments in a stereoed-out, hi-fi studio creation. For these songs to make sense at all, they
couple Dove Award nominations, landed
had to sound like the lyrics feel.” Bluesy overtones, crunchy guitars and a straight-in-your-face
several “hit singles” at Christian radio and
approach to the mix at times recalls BRMC’s Howl or The Rolling Stones’ Exile on Main Street.
managed to grace the cover of CCM, it was
Guitars, bass, drums and Thomas’ velvet and leather voice present The Elms as they really
obvious that The Elms was an old-school rock &
are—a great rock band.
roll band without a single worship song in its
Don’t expect coy word games about the band members’ faith or their background in
repertoire. Despite the critics’ favor and the support
Christian
music either. “Our band is a band with a part B. We don’t solely exist to just rock, and
of several key industry gatekeepers, The Elms “best
that’s
it.
We have things that we need to say.” On a verbal roll, Thomas continues unabashedly,
selling” album, Truth, Soul, Rock & Roll, barely managed
“I’m
not
at all afraid for people to know that I am a Christian, that there is a spiritual element
to move 30,000 copies.
in
my
life;
and I know that the other three guys in the band feel the same way. I feel like this is
The reaction in The Elms’ camp to being dropped was far
a
fertile
time to be an artist with a spiritual element. So many things have happened in recent
from sullen. “In one sense,” lead vocalist and guitarist Owen
years that have made the public at large more aware that there is something greater out
Thomas admits, “it was really an enviable experience to be in that
there.” He cautiously adds a bit of a commentary on the legacy of safety the Christian
position. We felt a real freshness about the whole thing and the
music scene is unfortunately famous for. “I don’t feel like there are fresh sounds and
opportunity to look for a new place to make music.” Though several other
ideas,” he says before laughingly continuing. “If there are bands that try to do that,
Christian labels immediately offered to sign the band, Thomas, his brother
they tend to end up where we ended up—walking out and going to the dark side.”
and drummer Chris, lead guitarist Thom Daugherty and bassist Nathan Bennett
Says Thomas, “Here’s the truth: Would I have loved for our band to be
agreed that it was time to try something new—something risky. The band kept
really
huge in Christian music? Sure, I would’ve. But I feel like the kids who
touring and immediately began writing and recording new songs without the safety
really
get our band probably saw all along that us getting out of Christian
net of a label, waiting for a chance to ply its trade outside the confines of the Christian
music
was inevitable. I just don’t think that the general attitude of risk
music circuit. Thomas continues, “We decided that there was a cause that we had and
and
some of the dangerous elements that we love about music—
a voice that we needed to have that we probably weren’t going to find in formal
that
unbridled nature of rock & roll—was ever really nurtured in
‘contemporary Christian music.’” It was time to re-plant The Elms.
Christian
music.” Thomas believes, however, that the
It turned out that several mainstream labels had been eye-balling the band from afar,
community
of people who really embraced The Elms in the
waiting for The Elms’ inevitable release from its Christian market deal with Sparrow. Leaving its
Christian
music scene are likely to join them in this new
previous accolades behind, the band rebuilt from the ground up. After talking to several labels,
era.
“It
wasn’t the place we were ultimately meant to
and demo-ing nearly 40 new songs, the band finally signed with Universal South, which released
land,
but the great thing is that we did get to be on
The Elms’ general market debut, The Chess Hotel, in early May. Free to use whatever producer,
stage in front of thousands and thousands of
studio and songs it chose and to make exactly the record it wanted to make, the band took a
people. There is still a large group of people who
deep breath and dug into the depths of its heartland roots.
predominantly listen to Christian music, who
Named after a less-than-reputable hotel with hourly rates in The Elms’ hometown of Seymour,
have really taken this band into their
Ind., the new collection finds numerous parallels between the burned-out grain silos, dilapidated
hearts; and we know that will carry over.”
train cars and abandoned warehouses that scar the landscape of Middle America and the lost,
The connection will be made even
desperate and hopeless souls who inhabit the infamous flophouse. “The songs talk about the
easier
thanks to a Christian market
realities of being a teenager in these dust-bowl small towns,” Thomas explains. “So many
distribution
deal through EMI
dreams go bad there. People are told that their passions are not practical. Any sense of following
Christian
Music
Group, the
your heart is almost considered delusional.”
same
company
responsible
The slow-burn track “The Towers and the Trains” epitomizes the lyrical vibe of the record
for
distributing
the
first two
perfectly. Pointing out the direct parallels between the people of the town and the
ccm
Elms
albums.
aforementioned artifacts of ignominy, Thomas describes both sides as death traps. “They are
ccmmagazine.com
june 06 ccm 37
CCM_06.06_Starfield_v4
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all the hubbub of Nashville’s GMA Week, Tim and John Neufeld of CanadianAmid
bred rock/worship quartet Starfield both smile as they enter the Renaissance Hotel
press room. Suddenly, the atmosphere becomes considerably more relaxed.
Perhaps it’s the fresh-faced siblings’ laid-back demeanor that creates the
comfortable vibe. Or maybe it’s because the guys don’t appear the least bit
bothered that this is their umpteenth interview of the day. Whatever the case,
the young men are refreshingly upbeat during a time when they seem poised
for a potential career breakout.
Starfield—whose name comes from the 1976 Bruce Cockburn worship song
“Lord of the Starfields”—began some seven years ago as an independent outfit
in Winnepeg, Manitoba. After ultimately signing with a major label (Sparrow) and
releasing a critically acclaimed self-titled debut in 2004, the band relocated to
Music City and completed road stints with Building 429, Todd Agnew and
BarlowGirl as well as mini-tours with Casting Crowns and Chris Tomlin.
“Night after night we watched Starfield capture the audience’s heart and
lead them into worship,” says BarlowGirl’s guitarist/vocalist Rebecca Barlow.
“We loved listening to their music—it is so uplifting, empowering, very personal
and from the heart. They are a great band with a heart for God.”
Starfield’s latest endeavor, created along with bassist Shaun Huberts and
drummer John Andrews, is worship-driven sophomore project Beauty in the
Broken. The enduringly tuneful Brit-inflected set released last month, and it
represents a tremendous artistic leap forward for Starfield.
“We strove to make a worship-oriented album that’s genuine and
innovative,” 30-year-old Tim says, pushing his sandy blonde hair away from his
eyes. “Our goal is to make relevant art that impacts the church.”
for the
Lord
of the
Starfields
by:
David McCreary
Jeremy Cowart
photo by:
38 ccm september 05
ccmmagazine.com
Indeed, the new disc reveals a biblically authentic message devoid of tired
spiritual clichés, and the tracks should resonate well with those who enjoy
everything from Keane to Delirious. The songs speak to what Tim describes as
“the brokenness of realizing that we are all called to do something for God.” He
goes on to add, “It’s not always going to mean mountaintop experiences; there
are also valleys and trials involved.”
The album’s first single, “My Generation,” shares a simple, yet powerful, rally
cry about every individual’s undeniable yearning for God. “Many people don’t
know what their hearts ache for,” Tim explains, “so they try to cover it with
things like alcohol or acceptance or intellectualism. But the heart can only be
filled by a relationship with God.”
Tim’s brother John, 24, says songs like standout cut “The Hand That Holds
the World” help listeners gain a greater understanding of God’s sovereignty
juxtaposed with His deeply personal nature. “God has made Himself accessible
to us, and that’s an amazing concept,” he insists. “The same hand that created
the universe reaches out to hold ours, and the same voice that spoke the world
into existence speaks directly into our hearts.”
When it comes to what the future holds for Starfield, this year the group plans to
play Youth Specialties conferences, Dare 2 Share events and various summer
festivals. But both brothers seem remarkably realistic about the road ahead. “In this
industry, so much is dependent on album sales,” Tim says bluntly. “It’s tough to
project where you are going to be at a certain time; but there are ‘big picture’ things
we can hold onto, like serving the church and being people who are honest and real.”
John agrees, adding,“We’re a worship band first and a rock band second. At the end
of the day, we’d rather hear our songs sung in the church than aired on the radio.” ccm
Amid all the hubbub of Nashville’s GMA Week, Tim
and John Neufeld of Canadian-bred rock/worship
quartet Starfield both smile as they enter the
Renaissance Hotel pressroom. Suddenly, the
atmosphere becomes considerably more relaxed.
Perhaps it’s the fresh-faced siblings’ laid-back
demeanor that creates the comfortable vibe. Or
maybe it’s because the guys don’t appear the
least bit bothered that this is their umpteenth
interview of
thetheday.
While
members of STARFIELD are
refreshingly upbeat during a time when they honored
Whatever
by the support their music
seem poised for a potential career breakout. receives
the from
case, both the Christian press
Starfield—whose name comes from the and radio,
the young
nothing affirms their artistry
1976 Bruce Cockburn worship song “Lord of as deeply
men as
are hearing their songs sung in
the Starfields”—began some seven years ago
as an independent outfit in Winnepeg, churches. And thanks to the release of
their surprising new album,
Manitoba. After ultimately signing with a
BEAUTY IN THE BROKEN
major label (Sparrow) and releasing a
(Sparrow), their compositions
critically-acclaimed self-titled debut in
2004, the band relocated to Music
may be leading congregations
City and completed road stints with
in worship now more
Building 429, Todd Agnew and
than ever.
BarlowGirl as well as mini-tours
with Casting Crowns and Chris
Tomlin.
The band’s latest endeavor, created along
with bassist Shaun Huberts and drummer John
Andrews, is worship-driven sophomore project
CCM_06.06_Downhere_v3
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NO MORE
*
*
Pointing Fingers
By: Christa A. Banister
40 ccm june 06
ccmmagazine.com
Photos By: Dave Hill
On its aptly titled third album, Wide-Eyed and
Mystified, Downhere bounces back with a new
lease on life, music and faith.
It was the decision that every band hates to make—especially after losing its record
deal. But it’s one that Canadian rockers Downhere were recently forced to make: Is it
time to hang up the music thing or press on?
“Losing your record deal could be taken as a door closing and time to move on,” says
the band’s bassist, Glenn Lavender. “We are always prepared to do that if that is where
we feel God is leading us. But after much prayer and time together talking through things,
we realized that now isn’t the time to stop. We still have a lot to say and much more room
to grow musically and as a band. We decided we needed to get serious about what we do
as a band, as a business and as representatives of Christ.”
And getting serious didn’t immediately mean heading to the studio to work on new
songs. Instead, in Jerry Maguire fashion, Downhere crafted its mission statement, or as
the band calls it, a document titled “The Way We Do Downhere.”
“This really helped us focus on what we wanted to do as a band and what things are
important to us,” Lavender explains. “It helps us with our everyday decision-making because
we can always come back to it and say, ‘Does this fit in with our plan?’ It was also something
we could present to our new label and say, ‘Here, this is who we are! These are our priorities,
and this is how we want to run our business. Will you come alongside and join us?’”
And after several meetings with different labels, it turned out that the team behind
Centricity Records was up for the challenge.
With a new record deal in place, Downhere was ready to begin work on its third
album, Wide-Eyed and Mystified, a title that vocalist Marc Martell says “actually
describes our state of the band even more than it describes the album itself.
“The title hints at a more childlike and non-jaded approach to the way we do things,”
Martell clarifies. “Our last album really pointed some fingers, and there are a couple of
songs on there in particular that almost make me cringe—not because of the musicality
but the way some things were said. We had kind of the Keith Green prophetic approach
of saying, ‘Hey everybody! This is not right! Wake up! Let’s do better!’ Don’t get me
wrong; I love Keith Green, and there’s a place for that. But sometimes those methods
are abrasive in the wrong sort of way. I’m rarely inspired when someone’s standing there
pointing out all my faults instead of going out and leading by joyful example.”
And with Wide-Eyed and Mystified, which released May 23, there’s plenty of joy to be
found, not only in the catchy pop/rock soundtrack that’ll have listeners singing along in
no time but also in a new excitement about the saving message of the Gospel. “Every
believer remembers what it was like to first encounter the Gospel and surrender to
Christ’s call,” Martell adds. “And the fact that we’re still mystified by Him is what keeps
us going. It’s what keeps artists creating. As a perfectionist, it’s easy for me to be
critical about every note of music I hear on the radio. But I still want to believe that, for
the most part, people are writing from a place of true sincerity—a response to what
they see in life—even if it doesn’t appeal to my music snobbery because it’s not terribly
original sounding. Instead, let’s be the artists we were made to be, drawing from the
source of eternal creativity. Let’s keep on romancing the church, and let’s keep on
romancing the world—just like God is. That says a lot about our role as musicians. This
is the direction we’re going, and we hope lots of people will come along.” ccm
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listening in...
Andrew Schwab &
Anne Rice
Many people associate author ANNE RICE with mega-hit
novels about vampires. That association is rapidly
changing, however, since the release of her most recent
best seller, Christ the Lord: Out of Egypt (Knopf). In this
tome, slated to be the first in a series, Rice chronicles
the story of a seven-year-old Jesus as he discovers a selfawareness of his origin and his purpose. Christ the Lord,
which was named Beliefnet.com’s “Best Spiritual Book
of the Year,” has met with critical acclaim and curiosity
since hitting shelves last November. And who better to
delve into all things spiritual and literary with such a
noted author than another writer? So, when PROJECT 86
front man, ANDREW SCHWAB—an author in his own
right—called us with an inside connection to Anne Rice,
we thought he was the perfect fit for the job. We’re just
happy we were allowed to listen in…
Andrew: The subject matter of the most recent book has obviously sparked a lot
of conversation on both sides of the spiritual fence. In reading some of your
previous interviews, you cite a gradual shift back to a Catholic faith as a source of
new subject matter in your writing. Talk about some of the events leading up to
the shift or the evolution back to a life of faith.
Anne: Well, you know, it’s difficult to describe. I find people are very curious about
it, and they ask me about it. I think that it was really a very deep love of God and
a realization that I loved Him as much as I did and that I believed in Him—and that
faith was possible. I think when you lived as an atheist, like I did, and when you
think it’s a matter of reason and intelligence to be an atheist, you can admit to
yourself that faith isn’t possible—that you’d have to check your brain at the door
to go back to church. You have to get over that. You have to realize that’s not true—
that if your reason keeps telling you that God’s true, [and if] your reason keeps
telling you that God made the universe—that He made everything—then you need
to listen to that. You don’t need to have the answer to every social question and
every theological question to return to the Lord. The Lord will work that stuff out,
and that’s what I had to realize. It was a gradual thing because it happened in
stages. For me to come back to church, I thought I have too many social questions,
I have too many issues. And, after wrestling with all that stuff, after longing to go
back, it’s overwhelming. Finally, I just stood up at the desk and thought, “I’m going
to confession.” What I was actually doing was trusting the Lord to help me go
back—that He would help me with whatever I thought was the vital theological
question—that He had all the answers. The bottom line was, if He could make
42 ccm june 06
ccmmagazine.com
From left: Andrew Schwab (Project 86), Anne Rice
DNA, He could make anything. He’s the Lord! And it had to come on me like that.
Then it was very sudden, from that moment, where I got up from the desk and
went out of the house. It was total.
Even then, I didn’t really commit my work to the Lord. I still believed I had to get
up and do my job every day because people were depending on me and that meant
writing novels—the kind I had always written. They had to have exciting plots; they
had to have colorful characters; they had to have spiritual and intellectual meat.
They were meant to be spiritual thrillers. Finally, in 2002, I came to the point where
I couldn’t write them anymore. I thought, “I don’t want to just go to church and then
go off and do these things that are not the finest I can do. I want to write something
new, Lord. That’s it! I don’t want to write anything else that’s not for You. I want to
dedicate it to You—actively, totally for You. I’m going to trust that You will help me
with whatever my career problems are; You’ll help me get things taken care of when
people are depending upon me; You’ll help me to be secure.”
And so there came that second conversion, you know, three years after the first
one. I call it a consecration, really, because what I really said was, “My work is
consecrated for You.” And even that took stages because I still had that last
[vampire] book in the works. But I began at that very moment to think of myself as
working for Him, and it really was a transforming moment, incredibly transforming.
I had no idea that it was the most important day of my life. I walked out of that
church; and I went home; and I felt really good; and I thought, “Well, that will last
awhile.” But I didn’t know that it would last forever; and that’s what’s happened.
It was great! I’m overwhelmed with gratitude!
Andrew: There’s a scripture in the Bible that says, “He who has been forgiven little,
loves little; and he who has been forgiven much, loves much.” And I’m of the opinion
that, until we are really broken and truly realize a need for God—really realize a need
for a Savior—that a relationship with God is going to be partial at best. Have you come
to grips, in the context of your faith, with that need for a Savior?
Anne: I certainly know what you’re talking about. I perceived this beauty—the truth,
the power of this—and I couldn’t turn away from it. I had to give myself totally to
the Lord. When I glimpsed His mercy, when I glimpsed His power—the reality of
Him, what He was, what He was telling us (I am the way, the truth and the light)—
when I saw that, when I really saw it, it was [transforming]. I mean, the Lord loves
us all; and we are all individuals. He loves us, and His saving power and grace
come to us in different ways—in as many different ways as, perhaps, there are
individuals. And that is part of the infinite power of God, that He can encompass
every single individual alive right now, knows every hair on your head! And when
we think of the differences, it’s incredible! So I think we’re going to phrase and
CCM_06.06_Listening_v1
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scribe our way to Him differently; I think that’s inevitable. I think the fact that He
didn’t give the law from Sinai, the fact that He roamed through the villages and
countryside—Judea and Galilee—obviously, He knew there would be arguments
about what was said. He knew there’d be four Gospels instead of one. He let these
things happen. And I think when He said, “I’ve come to provide,” He was not saying
what He wanted to do—He was saying what He knew was going to happen. It’s
difficult to describe to the satisfaction of everyone, you know. There are people
who just wouldn’t put it that way, [but] that’s how it always felt to me.
Andrew: A new project for you… Is there a way this process has worked with you?
Or is it just a matter of brainstorming? Or does something hit you in the shower?
Where do your initial ideas come from? Is this something that has to be sussed
out or do they just hit you?
Andrew: Well, that’s really encouraging to hear you say that, both in the context of the
interview and just on a personal level for me—just hearing that from you as if no one
were listening. It kind of just gives me chills—as someone who’s familiar with your
work—hearing you say that. It’s really interesting and really wonderful. And it points
back to the higher power behind the words you’re speaking; and so that’s great!
A recent Newsweek interview closed, after reporting on your new series of books,
with this phrase, “...Still, you can bet the devil’s going to get the best lines.”
Anne: They hit me and, then what happens is they keep hitting me until they
become obsessions—and I have to let them take over. I’ll get a variety of ideas. On
any one given day, I’ll think, “Well, what about this, or what about that?” Or
something’ll pop into my mind—“I’ve probably never done that or how would that
work”—and what happens is the ideas that eventually [happen] are the ideas that
keep coming back. The next day I’ll get it again. And then the next day again and
the next day. And then, finally, a commitment comes out of it—“Well, I’m going to
do this.” Now, when it comes to writing the Lord, as in Christ the Lord, that
commitment absolutely took over and still is the overriding commitment. Writing
is my vocation, and that would be, first and foremost, what I would do above and
beyond and totally.
Anne:
Andrew: Have you read any Christian authors—outside of your research for the new
Absolutely not true! That couldn’t be farther from the truth. I know the guy who
wrote that; I’ve known him for years. And he couldn’t be more wrong. If you read the
book, you know very well that the devil does not have the best line. That’s just an easy
connection for a journalist to make from “Anne Rice the vampire writer” to “Anne Rice
writing about Jesus.” That’s not true. The best lines in the book belong to our Lord, as
far as I’m concerned.
Andrew: I have to tell you, I’m a recording artist. And we’re a more Christian-leaning
rock band; but we’ve been called a really dark band at the same time, by both sides
of the fence. Do darker motivations inside of us produce good art?
Anne: Of course! I think good art can come from darker motivations and from
light motivations. Artists are the most complex things in the creation. And it
comes with the territory that those of us who make [art] on all levels don’t
always understand what goes into it or why something feels authentic or it
feels fake. You don’t always understand. And I think that pain and darkness
are one of the mysteries of the universe and that they can definitely lead to
good and beautiful things. This is a complex question when it comes to the
history of art—we’ve been debating it for thousands of years. But it’s obviously
true. You can have a great painting of a shipwreck where people are drowning.
You know, probably, the famous French painting by Theodore Ge'ricault?
When he hung it on the wall in Paris—“Scene of Shipwreck” was the name of
it—they said it was an abomination. “Get it off the wall! You can’t have a
beautiful painting with people dying like that!” But he insisted on it, and he
went against the formality of the French court. And he was right. There was
the start of the Romantic movement, and we’re still in the Romantic
movement today, I think. The principle of the Romantic movement is just [that]
the emotionality of the artist makes a big deal of difference. Art is worthwhile
that witnesses to that artist’s emotion and suffering and pain and questioning
and so forth. And a lot of Romantic art appears to be dark, but it’s actually
beautifully astounding because you have a record of being lost and then
found. So, yeah, I think the dark experience, even questioning our dark
impulses—trying to examine them—can also lead to great art.
Andrew: On the subject of creation in terms of different forms of art, [here’s] a specific
one: Who are your favorite recording artists, and do you listen to any “Christian”
music? And how do you feel about Christian music as a genre?
Anne: Actually, I think it’s fabulous, and I’m very interested in it! I don’t know a
whole lot about the whole field as a “field.” One of my favorite records that I’ve
been listening to night and day is the record by the Irish Tenors. I don’t know if
you’ve ever listened to them, but they’re three guys out of Ireland. They have a
record called Sacred, and it has beautiful, beautiful hymns on it. I love this music,
and I listen to it all the time! And I listen to the Oak Ridge Boys. I love the Oak Ridge
Boys and their songs! I love that kind of music!
book, obviously—whom you enjoy? Any names that pop in your head?
Anne: Of course, I love C.S. Lewis. I love him; everybody loves him! And I love Lloyd
C. Douglas. I love reading those old novels—The Robe. And every now and then, I
pick out some of those books, and I read in them. And I tell you the truth, I find
Christian authors everywhere! I find Christian TV shows, but they’re not known as
“Christian” TV shows. You know, I see the value. I see a movie like Benny & Joon,
and that, to me, is a profoundly Christian movie. Nobody ever says the name of
Jesus Christ in that movie—that I’m aware of—but it’s about love and caring for
other people. And it’s about the most profound things Jesus taught us; and so, I
embrace that movie as a Christian movie. So, I find Christian material all the time
though it’s not labeled that. I look for the entertainment that gives me “moral
meat,” and I find it in a variety of different places.
Andrew:
Well, let me ask you this: Do you ever struggle with looking back at your
previous work through the lens of what you’re doing in life now?
Anne: Oh, certainly.
Andrew: Do you ever struggle with it? Do you ever have any sort of like, “Man, [it’s]
crazy that I wrote that” or “I don’t see how I could write that now” or anything like that?
Anne: I don’t have that about the Vampire
Chronicles and the Mayfair Witches
because I think those books honestly reflect a search for God. And they reflect the
maximum that I was capable of doing at that time in terms of talking about good
and evil. I really believe in the idea of writing a bang-up, exciting novel in which you
say something serious about how to live; and I think that was the best I could do.
The Witching Hour I’m very proud of, and Interview with the Vampire. To me, those
novels work well because they’re exciting; they’re well-plotted; and they get people
to read them—and yet they’re about good and evil. So, the entertainment factor is
very big in those novels; but I think those novels have that overall moral purpose
in that they’re good. It’s just that I’m somewhere much better now—more refined,
more dedicated—but II don’t really have doubts about those books at all. And I get
a lot of letters from people who feel that those books drew them back to religion
when they weren’t open to any other kind of book.
Be sure to check out Project 86’s current album, …And the Rest Will Follow
(Tooth & Nail), as well as Andrew Schwab’s latest book, It's All Downhill from
Here: On the Road with Project 86 (Relevant). For more information on Project
86 and Anne Rice, visit project86.com and annerice.com.
ccmmagazine.com
june 06 ccm 43
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SPECIAL ADVERTISING SECTION
ROAD TRIP
CCM’SSUMMERFUN
Each month CCM brings you the best in Christian music, keeping you upto-date on your favorite artists. With summer slowly making its way to a
pool near year, we want to make sure you’re prepared with the right
tunes to keep you rockin’ during your awesome summer break! This
month, CCM is trekking cross-country to take a look at some of your
favorite bands. Join us as we scout out the brightest talent on the scene
today, listen to some great music and enjoy the scenery of summer along
the way. So, pack your favorite snacks, load your iPod and get ready for
the ride of your life. Here we go…
Written by Lindsay Williams
44 ccm june 06
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SPECIAL ADVERTISING SECTION
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magine you traveled and sang with your entire
family night after night—a group of siblings
singing songs written by your dad, managed
by your mom, following in the footsteps of
parents who left their own legacy in the music
biz. Meet the Crabb Family.
The siblings—Jason, Aaron, Adam, Kelly and
Terah—began their career performing as part of the
Crabb Family with parents Kathy and Gerald.
When the elder Crabbs decided to come off the
road in 2003 (Gerald to concentrate on his
songwriting, Kathy to manage the group and
handle their business affairs), the younger Crabbs
continued the family’s legacy. They’ve added a
successful new chapter, winning Dove awards and
earning Grammy nominations. In fact, at this year’s
GMA Music Awards, they scored two Doves for
Southern Gospel Album of the Year and Southern
Gospel Recorded Song of the Year (“Through the
Fire”). Oldest brother Jason has also been singled
out for his powerful vocals, having been twice
KY
KENTUCKY
Our first stop takes us to the great state of Kentucky, home of the Crabb Family. If you have yet to check out
the Crabb Family’s latest disc, Blur the Lines (Daywind), rush to your nearest music store and buy a copy!
The Crabbs have maintained a long-lasting relationship with Christian music fans, and they aren’t slowing
down anytime soon. So, grab a drink from the cooler and open that bag of chips…sit and listen as we give
you the lowdown on gospel music’s favorite family.
nominated for Male Vocalist of the Year.
While a favorite with gospel music fans for years,
the Crabb Family is intent on breaking down barriers
that seem to exist between Christian AC/Inspo,
country and gospel music—three genres that the
Crabbs have no trouble tackling. Kathy Crabb
appropriately refers to this approach as
“cross-pollination.”
And cross-pollination is exactly what the Crabbs
are striving for with their new disc, Blur the Lines.
Taking covers from various genres of Christian
music, the Crabb siblings have managed to craft a
unique offering that stylistically appeals to the
masses. But take one look at the Crabbs, and you
know this isn’t going to be your grandmother’s
southern gospel! Kathy surmises, “There seems to
be a lack of communication in a lot of the southern
gospel world directed toward people under 30,
maybe people under 40. [Traditional southern
gospel culture is] very stiff with [its] expectations
for dress code and presentation. And that is not
who we are, and it’s not who we’ve ever been.”
Although their sound obviously fits like a glove in the
southern gospel realm, the “look” of the group is
modern and hip with a flair of color that extends right
into their music. Covering songs on their new album
from AC cornerstones, such as Avalon (“Can’t Live a
Day”), Michael English (“Holding Out Hope to You”)
and Nicole C. Mullen (“Redeemer,” “Call on Jesus”),
and then jumping into gospel and country flavors
with songs recorded by Israel & New Breed (“Friend
of God”) and Dottie Rambo (“I Go to the Rock”), the
Crabbs are positioning themselves for crossover
success in multiple formats. And that is just what they
were going for on Blur.
Oldest twin-brother Adam and his siblings feel this
collection of songs truly represents what the Crabb
family ministry is all about. “If you come to a Crabb
Family concert, that’s really what we’re about. We
love to have church and worship God,” he says. “We
love to see people’s lives changed and souls saved.
We’ve seen a lot of souls saved the past few months.”
THE
CrabbFamily
By Lindsay Williams and Deborah Evans Price
The Crabb Family co-produced the album with
veteran Christian producer Bubba Smith, and they
stepped out and tried a few different things this
time around. Adam played harmonica, and they
even recorded one song in Spanish, “Amigo de
Dios (Friend of God),” with Adam taking lead.
Since he doesn’t speak Spanish, an instructor came
in to teach him the song phonetically. They plan to
perform the song at this year’s Expolit Latin festival.
Such genre-crossing activities are nothing new
for the Crabb Family, which recorded a Dove
Award-winning rendition of its hit “Through the
Fire” with gospel great Donnie McClurkin and has
also recorded a critically acclaimed project with
the Brooklyn Tabernacle Choir. Such is the life of
the Crabb quintet. In fact, Kathy shares a snippet
of the family’s busy schedule explaining, “I can give
you an example of a week that we spent not all that
long ago. They did a contemporary Christian show
with Steven Curtis [Chapman]; they worked the
Brooklyn Tabernacle on Sunday; they worked the
Grand Ole Opry the same week and, then, a
traditional southern gospel [show].” Talk about
cross-pollination!
The concept behind blurring the lines has
crossed over into the Crabb’s method of touring as
well. For example, this summer the Crabb Family
embarks on a tour that will be made up of two-day
events, combining the music and ministries of
artists as diverse as Crossway, the McRaes, the
Mike Bowling Group, the Katinas, Julian Drive and
Newsong. These events are designed to introduce
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different types of music to fans of the Crabb Family.
By going into markets where both radio formats
exist, Kathy explains, “We believe that we’ve
blurred the lines; and we’ve brought both worlds
together. And hopefully, at the end of the [event],
nobody’s going to know who’s playing on what
station—that the concerts flow so smoothly that
you can’t even define where one genre ends and the
other begin.”
“This tour has been a five-year dream for us,” Kathy
adds, “to literally take the other genres and put them
together on one stage and do it correctly. I believe
that we all would win if we could cross-pollinate our
audiences. And this is the only way I really know how
to do that. We’re gonna give it a whirl!”
Another event that the Crabbs have initiated is
Crabb Fest, a 10-year-long tradition held in
Kentucky each year attracting about 5,000 people
per night over a span of four days. Kathy says, “It’s
kind of a buffet of music…something for everyone.
It’s the event of events for us. It’s almost like our
family reunion kind of thing.”
Whether blurring the lines on their albums, at
their original two-day events or at Crabb Fest 2006,
this family is as busy as ever. The ability to span
across multiple genres is what sets them apart. With
plans to continue the two-day events well into the
future, it seems the Crabbs are headed in the right
direction. The concept behind cross-pollination
could be the wave of the future.
For tour dates and more info about Blur the Lines,
head on over to thecrabbfamily.com.
AZ
AR IZONA
LEELAND
READING MATERIAL: Bible, “Calvin & Hobbes,”
music magazines (CCM, Q, Relevant, Paste, etc.)
GAMES: PSP, Gameboy Advanced, made-up
road games
MUSIC: Always have the iPod. It has about
4,000+ songs—a lot of Brit bands & worship
SNACKS: jerky, Gardettos, IBC Root Beer,
Spicy V8 Juice and gummy candy
WARRENBARFIELD
READING MATERIAL: The Biography of James
Taylor and To Own a Dragon by Donald Miller
MUSIC: Jonny Lang CD, Long Time Coming
(And my wife, Megan, would probably make
me listen to Josh Groban or Keane)
SNACKS: Pepsi Cola and Peanut M&Ms
How many telephone poles have we passed at this point?
Keep counting, and pop in Matt Maher’s latest disc,
Overflow, as we journey to his home state of Arizona.
MattMaher
In 2002, the Christian community welcomed the
music of Matt Maher with his debut disc, The End and
the Beginning. Two albums later, Matt is now one of the
most popular and critically acclaimed Catholic artists
in the country. His list of accomplishments and
accolades points to the fact that this categorization
fits like a glove. Matt’s “Litany of the Saints” was sung
at World Youth Day 2002, where an average of
700,000 pilgrims from around the world (including
the Holy Father) sang the lyrics in unison. His songs
have also been recorded by CCM legend Kathy
Troccoli.
Furthermore, in 2003, Matt earned the Unity
Award for Best New Artist of the Year from the
United Catholic Music and Video Association. The
following year, Matt was the recipient of yet
another Unity Award, this time for Praise &
Worship Song of the Year for “I Love You, Lord.”
46 ccm june 06
ROAD TRIP FAVES
ccmmagazine.com
>
His latest project, Overflow, released earlier this
year and sets the tone for more accomplishments
through ministry. With 12 new tracks plus two
bonus songs, Overflow could be Matt’s most
celebrated release to date.
With all of his success, Matt has no trouble staying
grounded. You can still find him leading worship each
Sunday night at his home parish, St. Timothy
Catholic Community, in Tempe, Arizona. For tour
dates and more information about Matt, log on to
myspace.com/mattmahermusic.
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CO
COLORADO
The mountains are beautiful this time of year, and what
better addition to breathtaking scenery than five days of
music from your favorite Christian artists! Take a deep breath
and bask in the beauty of the Rockies July 30 – August 5
at this year’s GMA Music in the Rockies.
GMAMusic
in the Rockies
>
Formerly known as “Seminar in the Rockies,” GMA
Music in the Rockies has an impressive history as one
of the premier competitions, gatherings and
educational events in Christian music. Obviously,
since it’s presented by the Gospel Music Association,
aspiring artists, songwriters and indies have the
opportunity to learn from the best in the industry.
Each event is an opportunity to learn more about
your craft whether you are an aspiring artist,
songwriter, producer or simply a music lover. With
seminars, workshops, nightly showcases hosting the
hottest acts in Christian music and a talent
competition, this event sets the stage for a week of
learning, enlightenment and entertainment.
And speaking of entertainment, this year’s lineup
of artists is bigger and better than ever featuring big
names such as Steven Curtis Chapman, Chris
Tomlin, David Crowder, Rebecca St. James,
Kutless, Avalon and Mary Mary taking the stage
each night.
And, for the independent artists out there, GMA
Music in the Rockies will provide you the
opportunity to have your songwriting and demos
critiqued. Q&A sessions are taught by artists-inresidence throughout the week. After all, don’t
forget that GMA Music in the Rockies helped
launch the careers of some of your favorite artists
including Chris Tomlin, BarlowGirl, Nichole
Nordeman, Jars of Clay, Stacie Orrico, Rachael
Lampa, Matthew West and Point of Grace.
For more information about GMA Music in the
Rockies, visit musicintherockies.com.
ROAD TRIP FAVES
CINDYMORGAN
READING MATERIAL: Secret Life of Bees,
Woman’s World and the Bible
Thousands of artists, songwriters and worship leaders are impacting
the world through their local communities and beyond. You can
too. Consider yourself invited to attend this one-of-a-kind event,
July 30 – August 5, 2006 in Estes Park, Colorado. You’ll experience
unparalleled training and encouragement, professional feedback
and advice, and the best in nightly Christian concerts. It’s the only
event like it in the world . . . for those who want to impact the world.
Visit www.musicintherockies.com or call 615-242-0303.
GAMES: “I Spy” and just staring out at the
houses that go by, guessing what they’re all
doing inside
MUSIC: books on tape, classical. My husband
wants country, and I like pop; but we both love
U2’s Joshua Tree. It’s all about compromise.
SNACKS: apples, sunflower seeds and, my
guilty pleasure, chocolate puffed wheat
squares, which are only available at truck
stops (that cannot be a good sign)
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ROAD TRIP FAVES
JESSIEDANIELS
READING MATERIAL: Well, I technically
can’t read in a car, bus, etc. I get motion
sickness, and it’s not pretty. But I guess if I
had to choose, I would pick a novel or book
instead of a magazine. Magazines are over
too fast, and books—you could get wrapped
up in the story and time would pass more
quickly.
GAMES: I tend to like “UNO” or mini
“Connect 4.”
>
Lights, camera, action! Get ready to take a bite out of the Big
Apple—we just turned down Madison Avenue. Now, put on your
walking shoes because, after enjoying a New York-style pizza, we’re
going out on the town to enjoy the sights and sounds of NYC! And NEW YORK
we’re bringing new artist Jessie Daniels along to be our tour guide…
NY
MUSIC: Music is key to me on a trip. I
obviously can sit and sing for hours. If I was in
charge of the CD player, there would be Mat
Kearney, Joy Williams, Family Force 5, Ashlee
Simpson and Carrie Underwood.
SNACKS: I’m a honey wheat pretzel kinda
girl. That and vitamin water (preferably
the focus flavor) are what a girl needs in
the car!!
BEBONORMAN
JessieDaniels
18-year-old Jessie Daniels doesn’t need pressure
from her peers to make her a cool teenager. This
gal’s already got it goin’ on with acting credits and
a record deal to boot. In fact, her first single, “The
Noise,” spent a mere six weeks at CHR radio before
reaching No. 9. At press time, her single is charting
in the Top 5, poised for a shot at becoming her first
No. 1. Daniels’ pop/rock flavor is taking Christian
radio by storm indeed!
Far from being a new kid on the block as far as
the entertainment industry is concerned, Jessie has
been working as an actress since the age of eight. In
fact, Daniels has appeared in multiple independent
films and commercials for both The Lifetime
Network and MTV. Moreover, she was also
involved in several print ad campaigns and held
roles in musical theater and off-Broadway plays.
Growing up in New York gave Daniels prime
opportunities to hone her skills as an actress, but as
she grew, she realized that her real love was found
in the form of music. Then, Jessie began to
recognize that music was much more than a passion
for her as she grew in her relationship with Christ.
Daniels grew up in a self-described “very loud,
Italian Catholic family,” and although she had
50 ccm june 06
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grown up in a Christian home and had attended
church her entire life, it was not until a friend invited
Daniels to church with her that Jessie discovered
what a true relationship with God meant. After this
encounter, Daniels realized that music was more than
a love for her—it was a calling.
So, after taking the standard musician’s journey to
Nashville, Daniels recorded a six-song EP that she
independently released exclusively through her
website. Eventually, her hard work paid off, and
Daniels was offered spots at several Radio Disney
events which ultimately landed her a deal with Midas
Records as the label’s premier faith-based artist.
Today, Daniels eagerly awaits the release of her
highly-anticipated self-titled debut slated to hit
shelves June 6. Teaming with producer Scott Davis,
Daniels shares writing credits on all 12 of the album’s
cuts, making this a personal album for Jessie. And this
is exactly the way she intended it. She says, “It’s my
goal for these songs to be ‘me’ in every way possible.
It’s so important to me to find my own identity, and
I’m getting to do that on this album.”
To buy Jessie’s new album and to learn more about
her, head on over to jessiedaniels.com.
READING MATERIAL: A little Freddy B and
Annie D (Frederick Buechner and Annie
Dillard), and any good book on tape.
GAMES: A deck of cards will do for any
game I’m into.
MUSIC: Depends on the destination; but I
usually get nostalgic on road trips, so I tend
to go for my favorite classics. If I’m heading
to the mountains, I have to have the
standards: High Country Snows by Dan
Fogelberg (his one and only bluegrass
record) and James Taylor’s Greatest Hits
record...and you season those up with a
little Alison Krauss, Eastmountainsouth, and
Nickel Creek. I might even start whistling
some old John Denver tunes! If I’m heading
to the beach, I need August and Everything
After by the Counting Crows, maybe a little
Jack Johnson, or even some old Sheryl
Crow. Mix all of the above in with any
combination of David Gray, Patty Griffin,
Damien Rice, Marc Cohn, Coldplay, and The
Wallflowers’ Bringing Down the Horse from
back in ’96, and I’m good to go. Oh yeah,
and please never leave out talk radio.
SNACKS: Just a bunch of bottled water and
the occasional RC Cola with a Moonpie.
For more artists’ road trip favorites, surf on
over to CCMmagazine.com.
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>
Make sure your laptop and your iPod are charged for the rest of our
trip because you’ll want to download the latest podcasts from your
favorite Christian artists along the way. And where else can you find
exclusive videos, interviews and interactive media for all kinds of
Christian entertainment? That’s right! Surf on over to none other than
MonsterPod.org.
PA WA
PENNSYLVANIA
MonsterPod
NEW! From the Creation Festival creators
Podcasting—noun. a web-based broadcast of music which
works with software that automatically detects new files and is
accessed by subscription.
From the creators of CCM readers’ favorite annual
festival, Creation East, comes an innovative,
interactive website hitting the World Wide Web this
month called MonsterPod. Nick Kulb, who is
helping launch the site along with Harry Thomas,
Creation founder, describes MonsterPod as “a site
developed to feature many different types of
categories of positive, enriching, entertaining and, in
many cases, Christian-based podcasting content.”
The content on the site will be offered in various
formats including audio, picture, text and video.
Kulb adds, “The beauty behind MonsterPod is
that all content is designed to be downloaded.” In
fact, downloads are available in three different
forms: podcasts, videocasts and RSS feeds.
Content will be available through one of two
ways—either through a podcast subscription,
52 ccm june 06
ccmmagazine.com
which allows consumers to watch the podcast at
their convenience, or through live content viewed
exclusively with the MonsterPod player.
At press time, Walden Media, both Creation
Festivals and major labels such as EMI, Tooth &
Nail and Gotee are behind the MonsterPod project.
Once the website is fully up and running, each label
will be able to access its own sections of the site to
ensure that MonsterPod is constantly and
consistently updated.
This month, MonsterPod will disclose its new
website featuring artists’ music videos. However,
this is only the beginning stage of what
MonsterPod hopes to accomplish. The full-on site
will continue to grow into the fall when the entire
site will be unveiled featuring all-exclusive content.
The information available on the site will be threefold with podcasting, industry news and missions
updates (a section focusing on the organizations
that Creation partners with such as Compassion
WASHINGTON
The Newsboys (pictured above)
performs at Creation Festival.
Log on to creation fest.com for
tickets to this year’s event.
International and its ministries in Morroco as well
as last year’s premiere of Friendship Fest), with the
intent of expanding into other ministries in the
future.
In addition, Kulb hopes that MonsterPod will be
a place where music videos can be launched and
mission-oriented projects can be promoted. In the
months ahead, look for content to include a private
interview with the owner of Walden Media, an
exclusive behind-the-scenes look at The Chronicles of
Narnia and an insider’s glimpse into the new
Charlotte’s Web movie as well as exclusive content
from bands like Hawk Nelson and Thousand Foot
Krutch. Plus, be sure to log on for live podcasting
from the Creation Festivals this summer.
Check out monsterpod.org for the latest in
podcasting innovation.
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inreview
music
NOW THIS IS R&B!
FANS OF MARY MARY, KIRK FRANKLIN AND OUT OF EDEN TAKE NOTE: THANKS TO THIS STRIKING SOPHOMORE EFFORT, URBAN BREAKOUT KIERRA “KIKI” SHEARD MAY BECOME YOUR NEW R&B FAVE
KIERRA “KIKI” SHEARD
This Is Me
EMI Gospel
IF THIS IS HER, YOU’LL WANT TO KNOW HER WELL
There’s a skit in gospel legend Karen Clark
Sheard’s 2003 album, The Heavens Are
Telling, where she and her daughter, the then
youthful Kierra “KiKi” Sheard, have a conversation about life—school, boundaries, peer
pressure…teenager stuff. The sappy exchange
File under:
Grade: A
R&B
was nothing revelatory, but it bore witness to
KiKi’s age and still-maturing identity, one that was yet to find a voice of its own.
Today, the younger Sheard is 18, has a driver’s license, attends college and boasts
a hit album to her name, the 2004 smash, I Owe You. Add to that résumé a GMA Music
Award, multiple Stellar nominations, Soul Train and NAACP Image nods and radio success both stateside and abroad—all unparalleled feats for somebody still in her teens.
But despite her debut’s runaway status, its occasional erraticism still reminded
one of that lecture her mother gave her years earlier. Somehow it seemed like
she was being told what to do, forced into a mold that wasn’t her.
That is bound to change with This Is Me, KiKi’s long-awaited sophomore disc.
It’s not without reason that the album’s title exudes an air of sassiness and independence. Whereas I Owe You was intent on being all things to all people—all
people being church folk, urban music aficionados, gospel classicists and the
singer’s own pedigree—This Is Me uncovers a side of KiKi that was not immediately palpable the first time around.
54 ccm june 06 ccmmagazine.com
Yes, KiKi grew up around gospel music, but This Is Me ain’t her mom’s
gospel music. In a bold move, she trades her family’s musical legacy in favor
of straight-up R&B, the genre where her heart truly lies. One need not look further than the title track to realize that this diva-in-the-making is older, wiser
and more serious; it’s evident in the joint’s strong convictions, plodding groove
and soulful delivery.
In more ways than one, KiKi’s all grown up now; and she’s not afraid to show
it. Vulnerable and transparent, she honestly channels her insecurities in the oldschool-flavored “Why Me,” all the while pondering her own need for salvation.
Unconcerned about meeting expectations or equaling successes past, these
tracks emanate a sense of cool only seen in veteran performers. In “Have What
You Want,” KiKi seamlessly transitions from cooing a playful hook to flowing—
that’s right, she raps on this one—like an experienced neo-soul songstress. And
in “It Is What It Is,” she defends her faith in Jesus like a seasoned apologist, even
if He isn’t mentioned by name in her treatise.
Not only are slow jams like these the perfect setting for the vocalist to favor the lower
parts of her vocal register, but they also allow her to unveil the subtle nuances of her
gift—more restrained and ladylike than when she was waxing churchy in years past.
That’s not to say KiKi no longer enjoys bugging out and getting down to a good
beat. If anything, the bangers here are thicker and harder-hitting than ever, such
as the floor-blazing “You’re the Only One” and the playful summer anthem “You.”
And then there’s the horns galore of “Yes,” an atypical, classic-soul party stunner
that seems borrowed from the James Brown catalogue.
This propensity to take risks is the beauty of This Is Me, an album that isn’t
just a triumph from an urban gospel perspective but that’s simply a triumph,
period. The R&B album of the summer.
ANDREE FARIAS
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DOWNHERE
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Rock
Page 55
Wide-Eyed and
Mystified
Centricity
Grade: A
DOWNHERE BELONGS UP THERE
DOWNHERE
13 tracks are owed to songs such as
the impressive “Dying to Know You”
that are capped with co-lead Marc
Mar tel’s vocal prowess. He boasts a
stunning range, a la Kevin Max down to
the finality of a deeply masculine vibrato. Though not as obvious, lead singer
Jason Germain’s voice is gritty, versatile and anchors fine tunes such as “A
Better Way.” “Stir” jams out in the intro
and progresses into more fantastic guitar work than we’re privy to elsewhere.
Later on the album, “Remember Me”
offers a soulful and poignant translation of the last supper: “So we drink the
wine and break the bread/Our senses
will remind our heads/From now until
Kingdom come...the promise that will
not be overturned.”
In the words of your mother: Get
Downhere…now.
ANDREA BAILEY
EDISON GLASS
If you haven’t discovered Canadian
quintet Downhere by now, you have a
couple records to catch up on; but
Wide-Eyed and Mystified is a good place
to jump in. It’s drive-with-the-windowsdown fare that rocks more smar tly and
cleanly than ever. Production assistance from Grammy Award winners Greg
Collins (U2, Gwen Stefani) and Mark
Heimermann (ZOEgirl, Hyper Static
Union) accentuates the smoothness of
the band’s third effor t.
Don’t be concerned if you find yourself singing, humming or contemplating
the first track, “The More,” for days.
When penning songs, Christian rock
bands usually lean toward the melancholic or trite; but Downhere does
neither. You won’t discover Coldplayesque rip-your-hear t-out odes; but an “I
love Jesus,” skip-to-my-Lou verse is
also nowhere to be found. Through the
tight, cohesive guitar frameworks and
level-headed chords, you glimpse
something star tling—maturity.
Although relatively young, Downhere
has played together long enough to
exemplify striking maturity both spiritually
and ar tistically. Since its self-titled
debut in 2001, the band has achieved
a seamless union of harmonies,
melodies and lyrics that doesn’t strain
toward notoriety but fills its own shoes
fully and gracefully. Many bands would
do well to mark the way Downhere has
claimed its alt-rock sonic individuality
and polished it to a dazzling sheen.
And the lyrics on Mystified indicate a
deep, seasoned relationship with the
Lord, subtly inter weaving paraphrased
scripture with themes of love and surrender as on the power ful “Little Is
Much”: “What is the measure of a life
well lived?/If all I can offer seems too
small to give/This is a song for the weaker,
the poorer and so-called failures/Little is
much when God’s in it/And no one can
fathom the plans He holds.”
Some of the finer moments on the
File under:
Indie Rock
A Burn or
a Shiver
Credential
Grade: A
A FASCINATING NEW SOUND
Long Island natives Edison Glass blend
elements of ’70s progressive rock, ’80s
new-wave and alternative pop and ’90s
experimental jams and “emo” (emotional)
to great effect on their Credential
Records debut, A Burn or a Shiver.
Musically intricate, melodically evocative
and lyrically challenging, Edison Glass
may be the most artistically exciting project to emerge yet this year.
Having honed its skills in the clubs
and sanctuaries of the New York City
area, the band manages the rare feat
of crafting songs that are musically
complicated and rhythmically varied yet
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BURNING
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File under:
Rock
Drop-Dead
Northern
Grade: A
A PLEASANT JOURNEY AGAIN AND AGAIN
EDISON GLASS
completely accessible. Where traditional
emo bands plied repetitively simple or
self-indulgently complex patterns,
Edison Glass seems always in ser vice
to the song at hand. At times reminiscent
of The Police and at others in the fully
modern alternative realm of Jimmy Eat
World or The Promise Ring, Edison
Glass manages to contribute something
of significance to the seemingly doomed
emo train a few years after the genre’s
peak. Fortunately for the band, and the
listeners, A Burn or a Shiver stretches
well beyond the emo rut into an interesting new musical environment.
With production by scene-hero Brad
Wood (Sunny Day Real Estate, Smashing
Pumpkins) and a major label debut that
follows seven years on the indie circuit,
Edison Glass never comes off as a new
band. The sound of countless gigs and
rehearsals echoes through each song,
and the confidence and sense of self that
can only come from experience are evident in everything from the bold lyrical
approach to the diverse musical palette.
Where classic emo bands were often
known for lyrical obscurity or painfully selffocused navel gazing, Edison Glass
manages to ask some of the most difficult questions of life within the context of
a firmly ar ticulated faith in Christ.
Sensitive, inquisitive and, at times, plain
worshipful, this is a band that sounds like
it would be as comfortable on a bar stage
as in a church sanctuary.
Brothers Mountain and Joe Morin provide
more than just the typical bass/drum
backbone. Mountain adds full-voice vocal
harmonies and countermelodies to his
lowend duties while Joe experiments with
piano, bells and various percussion elements. Vocalist and guitarist Joshua
Silverberg applies his one obsession with
songwriting and his dual college degrees
in musical composition and music technology as he cranks through his blistering guitar parts and barely on the tracks’ vocals.
Guitarist James Usher is similarly unafraid
to push limits and, occasionally, even
shred a bit. The overall chemical balance
of Edison Glass’ sound is tight, well-conceived and engaging.
While emo has certainly left the building,
Edison Glass manages to capture the
appealing elements of the genre and
cross-pollinate them with classic rock elements to create a fascinating new sound.
JOHN J. THOMPSON
THE VIOLET BURNING
56 ccm june 06 ccmmagazine.com
The Violet Burning’s Michael Pritzl has
been bringing his rockin’ vocal pout atop
heavy, droning, fuzzy guitars for a couple
decades now; but he hasn’t been hammering
that hook-tinged nail like this since the
self-titled, mainstream-distributed third
album on Domo Records back in 1996. All
the instruments are really hitting in perfect
synchronization with each other, which
elevates songs such as “Already Gone”
and “Humm” beyond a catchy chorus or
cool riff. Yes, the guitar tones and oftignored instruments like synth bass, mellotron, Rhodes piano and moog bass cast
a full, breathing and dark sound from
speaker to speaker; but the songs don’t
get lost in too much airy atmosphere or
self-indulgent wandering. They drive purposefully forward for each song’s own
good. Old-school fans of Peter Murphy,
David Bowie and The Cult can find common
ground here with fans of Interpol, H.I.M.,
U2 and even the Strokes, but not in any
contrived, copycat kind of way—on
Michael Pritzl’s own terms, with his wellversed sonic signature. Without ever making
too sharp of a turn, he’s come a long way
from that self-titled disc and Demonstrates
Plastic and Elastic.
Emotionally and lyrically, Drop-Dead is
very melancholy, cascading from the sad
“Swan Sea,” the yearning “All I Want,”
the somber yet upbeat “Rewind” and the
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ecstatic “Eleanor” to the building, pulsating new worship song that closes the
album, ”One Thousand Years.” Anyone
who’s plumbed the rich passionate
depths of the “classic VB sound” (those
first two albums, Chosen and Strength)
will be only too eager to wrap his or her
heaven-bent heart around this one: “I’m
coming back for more/I’m gonna run/I
wanna run/I wanna fall into your arms.”
Like only those albums that you call
“great,” this one will take you on a pleasant
journey with each listen.
File under:
Rock
Fighting
Instinct
Gotee
Grade: A-
ACHTUNG ROCK FANS: GO WITH YOUR
INSTINCTS AND LISTEN IN
While these North Carolina rockers were
probably far too young to experience the
likes of Led Zeppelin, Lynyrd Skynyrd and
Jimi Hendrix in their respective heydays,
the epic sensibility of these legends’
music lives on with Fighting Instinct’s selftitled debut.
But before one can dismiss this band as
simply a guitar-heavy throwback, Fighting
Instinct blends the vibe of these vintage
influences with sounds from today’s modern rock scene and plenty of soul for a truly
enjoyable listening experience.
Adeptly produced by Skidd Mills
(Skillet, Saliva, 3 Doors Down), the
album’s 10 songs seem tailor-made for
radio airplay but don’t lose their substance in the process. Lead single “You
Don’t Know?” is easily the disc’s most
instantly memorable selection with an
insanely clever hook and lyrics that
address the band’s motivation for why it’s
doing what it’s doing. Hint: Becoming rock
stars isn’t what’s really important to
these guys.
And rather than embracing generalities
like many of its peers, the band opts for
more introspective fare that allows listeners
to have a more personal connection to it
on stand-out offerings such as the it’stime-to-grow-up themed “Back to You,”
the relationship-based “Crush” and “I
FIGHTING INSTINCT
Found Forever,” which best demonstrates the band’s ability to rock it
Southern-style.
While the formula that Fighting
Instinct has come up with isn’t exactly
new, the songs are so well-conceived
that you don’t care. And with a debut
this good, it really can only get better
with a little more life experience and
time well spent on the road.
CHRISTA A. BANISTER
DECYFER
DOWN
FIGHTING
INSTINCT
DOUG VAN PELT
File under:
Hard Rock
End of Grey
Columbia/S.R.E.
Grade: C-
WILL THEY REMIND YOU OF STAIND, LIMP
BIZKIT OR DAY OF FIRE?
Hardrock newcomer Decyfer Down
emerges from North Carolina with End Of
Grey, a 10-song mix of nu-metal riff rock
and power ballads that covers the musical
path of bands like Staind, Limp Bizkit,
Day of Fire and others. On End of Grey,
fully six of the album’s 10 songs employ
an almost identical riff, with the lyrics failing
to help the listener decipher one from
another. The production on these songs
tends to work in variations of “loud”—so
much so that dynamics become an irrelevant component.
The album kicks off with three fullthrottle riff-rockers (“Fight Like This,”
“Break Free” and “Life Again”) with similar arrangements. Only “Life Again” is
distinguished with an ’80s-inspired
metal guitar solo to interrupt the drop-D
assault. From there, the first of the
album’s three power ballads, “Burn
Back the Sun,” enters with one of the
more relatable lyrics and strongest musical
hooks on the disc. Then it’s back to riff
city with a couple slower jams thrown in
the mix.
Decyfer Down’s lyrical topics stay
close to generic themes of searching,
facing fears and battling with self and
pride. All of these are common experiences and struggles, and yet nowhere on
End Of Grey do they lend greater insight
or transparency to these themes than
have been offered by dozens of forebears. In the case of “Walking Dead,”
there is the harrowing suggestion that
Christ “pull the trigger” and “stab it deeper” in order to do away with self and live
full in Christ. The metaphor, surely
intended to lend a different and graphic
view, ends up sounding like little more
than a bold line written for shock value.
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LIQUID
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File under:
Eclectic Urban Rock
Tales from
the
Badlands
Gotee
Grade: A
GOOD TO THE LAST DROP
LIQUID
There is a monotony in Decyfer Down’s
debut that makes the listening experience predictable and unfulfilling.
Hopefully, the band’s increased tour
schedule and the influence of their more
experienced tour mates, such as Pillar,
Skillet and Day of Fire, will sharpen
Decyfer Down into their own band and not
a catalog of others’ components.
HYPER STATIC
UNION
DAVE PALMER
File under:
Funky Pop/Rock
Lifegiver
RKT
Grade: A-
PLAY THAT FUNKY MUSIC
This debut from Camas, Wash., pop/rock
band Hyper Static Union comes with the onetwo endorsement punch of industry heavyhitters. Discovered and produced by Third
Day’s Mac Powell (for his band’s Consuming
Fire Production company) and distributed as
the first release for RKT (the modern rock
imprint from Michael W. Smith’s Rocketown
Records), it’s clear some pretty smart and
successful folk expect these soulful rockers
to go the distance.
That prediction appears well founded,
58 ccm june 06 ccmmagazine.com
based on the potent, catchy pop/rock confections at the core of this disc. Yet, from the
theologically aware choice of moniker (hypostatic union is a term used to express the coexistence of the divine and human in the
incarnate person of Jesus), it’s clear that
even the light-hearted funky pop songs—
say, “Overhead” or “Child of His Grace,” two
produced by Mark Heimermann—are intended to carry a direct spiritual message of
some significance and depth.
Creedally-focused lyrics, to the point of
using theological terms such as “transgressions,” rub up against expressive,
soulful singing by Shawn Lewis, who
immediately calls to mind Bryan Duncan
fronting Sweet Comfort Band in a by-gone
era. This, of course, goes against some
of the buzz claims that Hyper Static Union
is this edgy, adventurous effort.
While Lewis’ bandmates rock with a
fresh, funky energy, it’s still rather tame
placed beside other funky rockers such as
INXS and Red Hot Chili Peppers, even on
their albums recorded more than 10 years
earlier. Still, faith-affirming songs as catchy
and fun as the title track, “Praying for Sunny
Days” and “Can’t Leave It Alone” are memorable, potent and nothing to trifle with.
These spiritual tracts set to relevant, fun
pop/rock music may feel a tad compressed
and starched on disc, but they have the
potential to tear it up live and suggest new
territory for future efforts. Until then, go on,
play that funky music, white boys.
BRIAN QUINCY NEWCOMB
The word “liquid” is defined (in part) as
“smooth and unconstrained in movement,” and this definition certainly applies
to Liquid’s music. Liquid is a singer/songwriter/producer from Philadelphia, Penn.,
who comes off like a stylistic handyman
throughout Tales from the Badlands. He
simply sounds comfortable and skilled
with everything he touches.
This eclectic disc opens with a jubilantly nostalgic slice of cultural life
called “Back in the Day.” Over a funky,
soul-rock groove, Liquid fondly recalls
such memorable signposts as RunD.M.C. music, “The Jeffersons” TV
program and even 8-track tapes. Not
ever ything here is quite so lighthearted,
however. Both “Gangsta” and “Ghetto,”
for instance, speak bluntly about the
depressed conditions in Liquid’s
“Badlands” stomping grounds. Liquid’s
hometown received national attention in
1990 when Ted Koppel and “20/20” visited and explored the region’s drugs,
crime and overall urban decay. Although
Liquid never sugarcoats the obvious
blights in his community, tracks such
as “Crazy” exemplify how joy can be
experienced and celebrated in even the
harshest environments.
The genre-spanning variety of Tales
from the Badlands is astounding at times.
For instance, “One Time” combines
Spanish guitar lines with a reggae beat
whereas “Mi Gente” mixes together
Spanish lyrics, choppy electric guitar and
organ accents. With “Crazy,” Liquid sings
in an enjoyably Cur tis Mayfield-style
falsetto over a blasting horn part straight
out of Stevie Wonder’s Songs in the Key of
Life period.
With all its tasty ingredients, Tales from
the Badlands by Liquid amounts to one
refreshing musical Big Gulp.
DAN MACINTOSH
5/4/06
6:55 PM
JUDD AND
MAGGIE
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Eclectic Acoustic Folk Pop
Page 59
Subjects
RCA Victor/
Provident
Grade: A
HEAVY SUBJECTS, ENGAGING MUSIC
KATE MCDONALD
JUDD AND MAGGIE
ALAN JACKSON
As a major label debut, Judd and
Maggie’s follow-up to their indie record,
Concentrate, delivers both musically
and lyrically. Now on RCA’s roster, the
sibling duo has received mainstream
nods and recently released their new
album, Subjects, in both the Christian
and general markets.
The album opens with a piano-driven
ballad and, by the time Maggie’s rich
voice is singing “Oh can it be/Resting
in you, resting in me/Finally it’s so
sweet,” you want to enter that rest on
the coattails of the music...and you
should! Sit down and listen; you will
not be disappointed.
Judd and Maggie have skillfully crafted
each of the 12 songs which deal with relationships, loneliness, self-image and
other uniquely human experiences. With
honest, raw lyrics, they tackle heavy subject matter with ease, allowing the listener to join them in their questions and
uncertainties. In “Story” they share the
desire to direct their own lives: “I like the
rest to write my own story/But somehow
your pen gets in the way.” Standout track
“One Year Past Twenty” deals with the
brokenheartedness of life. Describing the
heart like a sponge, in the song of the
same title, they reveal their personal cry:
“There is a flame I am scared to
know/Need you to put it where it goes/I
would let it burn me for you/I want you
inside/Always be inside.”
These powerful lyrics have a musical
backdrop that is both freshly creative and
profoundly simple. Piano-driven ballads
and more upbeat guitar-based pieces flow
seamlessly from one to the other, creating the perfect foundation for Judd and
Maggie to build their interesting melodies
and showcase their captivating vocals on.
Effortlessly, their voices weave in and
out, matching each nuance with perfection and blending the way only family
members can.
Subjects is an album you won’t want
to miss!
File under:
Country
Precious
Memories
ACR/Arista Nashville
Grade: A
PRECIOUS MEMORIES OFFER BLESSED
ASSURANCE
If ever you could judge an album by its
cover, this would be the time. Let me
paint you the picture (or just look above
this review). An old, one-room, whitewashed country church photographed in
sienna-tinged hues of brown, black and
white standing in a clearing. Simple.
Graceful. Elegant…and poignant. Such is
Alan Jackson’s Precious Memories.
At press time, Precious Memories tops
SoundScan’s Overall Christian Albums
chart. Jackson is one of only a handful of
major country crooners to record an allgospel album during the past 20
years…and the marketplace is thirsty for
such a long, cool drink of water. But
Jackson never really intended to release
this album to the public. No, it was a collection recorded as a Christmas gift for
his mama. Lucky for us, his label head
got a copy, too.
In true family-tradition fashion,
Jackson picked out 15 of his mother’s
(and his) favorite hymns and signed up
his wife and three daughters for BGV
duties. Then he recorded the album in
a natural, unpretentious manner,
using, at most, guitar, piano and
organ. And, in this case, minimalism
works. With such an uncluttered background working to his advantage, the
hear tfelt sincerity in Jackson’s voice
shines through like a ray of light cutting the darkness—which is what this
album accomplishes on the whole, too.
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newreleases
JUNE 6
Riley Armstrong
Jessie Daniels
Day of Fire
Decyfer Down
Desperation Band
Fair
La Loop (7 Spin)
Jessie Daniels (Midas)
Cut and Move (Essential)
End of Grey (Columbia/S-R-E)
Who You Are (Vertical)
The Best Worst-Case Scenario
(Tooth & Nail)
Gold City
Hillsong
Martha Munizzi
Playdough
Red
The Turning
Various
Ayiesha Woods
Their Best (Daywind)
Jesus Is (Integrity)
No Limits DVD (Integrity)
Don’t Drink the Water (7 Spin)
End of Silence (Essential)
Learning to Lose (RKT)
Velocity (Indelible)
Introducing Ayiesha Woods (Gotee)
JUNE 13
Waking Ashland
Telescopes EP (Tooth & Nail)
JUNE 20
ALAN JACKSON
Highlights include a rousing rendition
of “Are You Washed in the Blood?” which
segues seamlessly into “I’ll Fly Away” as
well as earnest, ardent performances of
“Softly and Tenderly” and “The Old
Rugged Cross.”
Listening to Precious Memories delivers on the promise of the album’s title.
You’ll feel as if you’ve happened into
an old countr y church on a warm, lazy
Saturday afternoon to witness an intimate rehearsal for the Sunday ser vice.
And you can just tell there’s gonna be
a revival!
KRISTI HENSON
Michael Card
Foolish Things
Phil Keaggy
Twila Paris
Underoath
Various
Virtue
Matthew West
The Ultimate Collection (Sparrow)
Let’s Not Forget the Story (Inpop)
Jammed! (TAG)
The Ultimate Collection (Sparrow)
Define the Great Line (Solid State)
Freaked! A Gotee Tribute to
DC Talk’s Jesus Freak (Gotee)
Testimony (Integrity)
Sellout (Universal South)
JUNE 27
David Crowder Band
DecembeRadio
Michael English
Fighting Instinct
Flatfoot 56
B Collision (sixsteps/Sparrow)
DecembeRadio (Slanted)
In Christ Alone: Greatest Hits (Curb)
Fighting Instinct (Gotee)
Knuckles Up (Flicker)
CLASSIFIEDS
INTERNET
MARK WEBER’S CHRISTIAN MUSIC
MONTHLY: Artist? Promote your CD. Music
fan? Read news and interviews. Where?
www.christianmusicmonthly.com
MUSICIANS
STUDIO-READY and tour-ready drummer
available. Serious inquiries only. Contact
information is found on my Web site.
www.thebeatproducer.com
My Friends Were Shocked
when they heard me PLAY PIANO!
“Pop Piano For Worship:
The 30-Day Crash Course”
FREE Video!
www.deepwatermusic.net
218-393-9864
PRODUCTION
SEEKING MINISTRY-minded individuals
interested in traveling the country. Technical
experience a plus, but not necessary.
Call 1-800-359-6922. www.camfel.com
SATELLITE RADIO
PROMOTE YOUR MUSIC! National satellite
radio network produces music showcase
programs. Details online at www.cmri.tv or
call 541-899-8888.
CCM [ISSN 1524–7848] is published monthly by Salem Publishing.
Copyright: CCM © 2006 by Salem Publishing, 104 Woodmont Blvd.,
Suite 300, Nashville, TN 37205. Contents may not be reproduced in any
manner, either whole or in part, without prior written permission of the
publisher. Editorial: The editor cannot assume responsibility for unsolicited manuscripts and will return only those accompanied by a
stamped, self–addressed envelope. Writers’ guidelines available upon
request. Advertising: Neither the advertisers nor the contents
of advertisements appearing in this publication are necessarily
endorsed by Salem Publishing. We cannot accept liability for any products, services, etc., offered in advertisements, but please contact us if
you experience any difficulties with advertisers. Periodicals postage
paid at Nashville, TN, and additional offices. POSTMASTER: Send
address changes to: CCM Magazine, 104 Woodmont Blvd.,
Suite 300, Nashville, TN 37205.
Occasionally, CCM Magazine allows other Christian organizations to mail offers of their products or services to people on
our subscriber list. If you do not want to receive mail from these
organizations, please contact our customer service department
at 800/527-5226.
HOW TO PLACE CLASSIFIEDS
To place a classified ad, send a check (payable to
CCM COMMUNICATIONS) or a credit card number and
expiration date, along with your ad copy, by the 15th
of the month, two months in advance of the issue in
which you want the ad to appear. (For example, by
June 15 for the August issue.) Cost: $3.00 a word with
a minimum of $50 per month. Display ads run as follows: $175 (B/W), $225 (2-color) and $295 (4-color).
Marketplace ads run as follows: $275 (B/W), $325 (2color) and $395 (4-color). CMYK colors only. Send ad
copy for classified listings, and/or an electronic digital
file on CD for display/marketplace ads, and your
check or credit card number with expiration date to:
Classified Ads, CCM MAGAZINE, 104 Woodmont
Blvd., Suite 300, Nashville, TN 37205. Make sure to
include a daytime phone number. Please contact
[email protected] for further information or call 615/312-4265.
Subscription/Customer Service Information: Write CCM, 104
Woodmont Blvd., Ste. 300, Nashville, TN 37205, or call
800/527-5226. In the U.S., $19.95/one year, $35.95/two
years, $53.95/three years; Canada, (U.S. funds) $27.95 per
year; all other countries, (U.S. funds) $33.95 (surface) or $67
(airmail). For address changes or other inquiries, please
include both old and new addresses and mailing label. Allow
four to six weeks for new subscriptions to begin.
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thefineprint
books
by Kristi Henson
COMFORT FOOD
I admit it. I cannot cook to save my life. So, it’s a good
thing I’m not participating in some reality show where
you either produce the culinary goods or suffer the consequences! BARBARA SMITH, on the other hand,
would have little or no competition, winning by a mile.
You see, Barbara knows food; and she imparts her wisdom to those of us who are challenged by comestibles
(Yep, it’s your word for the day. Look it up!) in her new
cookbook Food That Says Welcome: Simple
Recipes to Spark the Spirit of Hospitality
(WaterBrook Press). Having been fortunate enough to
feast at Mrs. Smith’s table on several occasions now,
I highly recommend her recipes, with a special nod to
the baked salmon! Yum! And, yes, for those still wondering, Barbara is the Mrs. Smith…as in Michael W.’s
mama. It’s actually quite amazing that Michael’s been
able to keep his girlish figure after all these years of
dining on his mother’s sumptuous fare—especially
when she frequently makes his favorite yeast rolls! I’m
telling you, she’s quite the chef!
STILL HAVEN’T FOUND WHAT
YOU’RE LOOKING FOR?
Maybe there really is something to this Bono guy after
all! CHRISTIAN SCHAREN has a Ph.D. from Emory
University and is currently the associate director of the
Yale Center for Faith and Culture—impressive credentials. Of course, he’s also a devout U2 follower who
believes the band “fits within the longer Christian tradition of voices that point us to the cross, to Jesus and
to the power of God’s ways in the world.” In fact, he
devotes an entire book to examining, in his opinion, the
driving force behind U2—their Christian faith. This book
is a must-have for rabid U2 fans, admirers and curious
audiophiles alike! Check out One Step Closer: Why
U2 Matters to Those Seeking God (Brazos Press)
to get your U2 theology fix today.
THE BIBLE TELLS ME SO
It’s been covered by the likes of Whitney Houston and,
most recently, the Backstreet Boys’ Brian Littrell.
Actually, it’s probably been covered, at one point or
another, by most of the biggest stars in all genres of
music in America today. It’s as pervasive and universal
as “Happy Birthday” or “Jingle Bells.” That’s right…it’s
“Jesus Loves Me.”! According to ROBERT MORGAN,
“Jesus Loves Me” is “a little song with a big story.” He
loves to tell the story and does so in the new gift book
Jesus Loves Me: This I Know (The Remarkable
Story Behind the World’s Most Beloved
Children’s Song) (J. Countryman). If you’re a music
lover and a history buff, or just a kid at heart, this little
book is right down your alley!
SMALL BISON IN ILLINOIS
Stop! Hey, what’s that sound? Everybody look what’s
going down. Ok…yes, you’ve heard them before.
They’re lyrics from one of Buffalo Springfield’s biggest
hits, 1967’s “For What It’s Worth.” How about: It happens all the time, this crazy love of mine? Ah, that was
an easy one—1979’s “Crazy Love,” which was a
7-week chart topper for Poco. What do these songs
and groups have in common? RICHIE FURAY. In his
new book Pickin’ Up the Pieces: The Heart and
Soul of Country Rock Pioneer Richie Furay, this
Rock and Roll Hall of Famer recalls the paths that led
from stardom as a member of Buffalo Springfield, Poco
and other bands to the minister’s pulpit of a Colorado
church—from “rock royalty to the Rock of Ages.” Keep
on rockin’ in the free world—check out this book!
percent of the generation currently in its 20s will
attend church upon hitting the 40-year mark. Having
spent the past five years editing a magazine designed
to reach the 20-something hip-hop, or “lost,” generation, KYMO DOCKETT is favorably positioned to help
church leaders and other interested parties understand and reach these young people. In his new book
The Lost Generation: Why They Don’t Serve God
(Aventine Press), Dockett delves into this phenomenon
and offers possible solutions to the problem.
B(u)y the Book
Other Titles of Interest
You’ve no doubt heard of
EUGENE PETERSON’s contemporary translation of the Bible,
The Message. But do you know
the “inside story” behind it? In
Eat This Book: A Conversation in
the Art of Spiritual Reading (Wm.
B. Eerdmans), Peterson challenges readers to
do just that…read. Peterson subscribes to the
philosophy that people should read the Bible on
their own terms, as God’s revelation, and to live
the scripture as they read it. In other words,
they should devour the scriptures and internalize them. Bon appétit!
DAVID RITZ is the only fourtime winner of the Ralph J.
Gleason/Music Book Award
for Best Music Book of the
Year. He has written or coauthored biographies of
Marvin Gaye, Ray Charles,
BB King and Aretha Franklin,
among others. Teaming up with photographer
NICOLA GOODE, Ritz has released Messengers:
Portraits of African American Ministers,
Evangelists, Gospel Singers, and Other
Messengers of the Word (Doubleday).
Messengers tells stories from the workers of
God who touched his life and galvanized him
to embrace Christianity—stories from the likes
of Donnie McClurkin and Kirk Franklin.
He’s been a contributor to CCM
Magazine in the past as well as an
associate professor of music and a
solo traveling artist for Campus
Crusade for Christ. At present, PAUL
THORSON and his wife are churchplanting in Kiev, Ukraine, where they
serve World Harvest Mission in the community of
artists and musicians. In Painting in the Dark: The
Longing to Be Seen, to Be Heard, to Be Known
LOST AND FOUND
Did you know that only three of 10 Americans in their
20s attend church in any given week (about 31 percent)? Compare that to nearly half of all adults in their
40s. Scary statistic, isn’t it? At this rate, only about 20
(Integrity), Thorson examines the “performance trap”
and offers ways in which we can live with a new
sense of self and of God after we’ve failed and our
performance has fallen short of the mark. After all,
even on our best days, “we are weaker than we ever
knew and more loved than we ever hoped.”
ccmmagazine.com
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russlong’s guidetogear>>
ROCK FROM THE GREAT WHITE NORTH
HAWK NELSON’S DEBUT ALBUM, LETTERS TO THE PRESIDENT (TOOTH &
NAIL), WAS LOVED BY PRETTY MUCH EVERYONE WHO HEARD IT; AND,
THANKFULLY, A LOT OF PEOPLE DID. THE FOUR-PIECE ONTARIO-BASED
POP/PUNK BAND INCLUDES JASON DUNN ON VOCALS, DANIEL BIRO
ON BASS, JONATHON STEINGARD ON GUITAR AND AARON “SQWID”
TOSTI ON DRUMS. HAWK NELSON’S FOLLOW-UP PROJECT, SMILE, IT’S
THE END OF THE WORLD, RELEASED IN APRIL AND SOLD AN IMPRESSIVE
14,000 COPIES ITS FIRST WEEK OUT. THE NEW ALBUM IS BASED ON
VARIOUS LETTERS THE BAND MEMBERS RECEIVED AND
CONVERSATIONS THEY HAD WITH FANS WHILE TOURING IN SUPPORT OF
THEIR DEBUT RELEASE. I CAUGHT UP WITH THE BAND MEMBERS
AMIDST THEIR BUSY TOURING SCHEDULE AND WAS ABLE TO GET SOME
INSIGHT INTO BOTH THE GEAR THAT HELPS THEM PULL OFF THEIR
STAGE SHOW AND HOW JASON DUNN & CO. WRITE THEIR MATERIAL.
THE ALBUM::
Jason, who compliments his lead vocals with some keyboard playing from time to time, talks about writing for the
album (which was recorded to ProTools HD at The Compound in Seattle, Washington): “I find the best setup for me
to write is with my acoustic guitar and voice recorder.” At that point, he solicits the assistance of the rest of the
band. “Usually, after I have the general concept for a song, I show the rest of the band the idea; and we’ll each
make our own parts.” With Hawk Nelson this is typically done before the band enters the studio. Jason explains,
“Mostly we do this in rehearsal, but there have been a few songs that have been written in the studio. But I always
get nervous about doing it that way.”
Hawk collaborated with producer/engineer AARON SPRINKLE (MXPX, Jeremy Camp, Kutless) for both the new record and the
freshman release. One big surprise was that Jason, who loves playing a real grand piano, used a software-based sampled version on
the new album. He describes the outcome: “For the first record, I used a real grand piano. But on the new album, I used the program
Ivory, which our producer promised would be better than a real piano—but he was wrong.”
Fender Strat
The band’s gear is top-notch, so it’s no surprise that they sound great.
Jason sings through a Sennheiser E-800 series microphone and plays
a Roland RD-300 keyboard. Daniel plays a Fender Jazz bass through
an Ampeg bass rig, and Jonathon plays a Fender Strat and a Fender
Roland RD-300
Tele through a Vox AC-30. Aaron plays an Orange County drum kit with
Zildjian cymbals. “I’ve actually been playing Orange County drums for six years, and I love them,” he says. Orange County isn’t
as well known as DW or Yamaha; but they have a vast following, which includes everyone from BLINK 182’s TRAVIS BARKER
to NO DOUBT’s ADRIAN YOUNG.
As a huge fan of THE WHO, I was excited to hear that Hawk portrayed the legendary group on the former NBC television
series American Dreams. I asked Jason if they cover any of the classic British rockers’ tunes during their set. He jokes, “We
used to play ‘My Generation’; but, you see, we lost our guitar player. We had to get a new guitar player, and our new guitar
player doesn’t know how to play it properly.” A few laughs later he goes on to say, “John’s been with us over a year, and we
just haven’t had time to rehearse ‘My Generation’ with him. He literally came right on board, and we were in the middle of a
tour and just rehearsed our tour set. We didn’t have time to go over any additional songs like ‘My Generation.’”
>>
[
A BAD GEAR DAY WITH JASON DUNN
“There was a time, pre-Hawk Nelson days, I had a keyboard setup; and someone walked by and tripped over
the wire and knocked the entire thing off the stand. And the whole thing just shattered into a billion pieces.
It was really bad. It was a borrowed piano and was, like, brand new; and we just blew it to smithereens.”
GEAR :
LINKS
For more information on the gear on this page, visit:
roland.com, fender.com, digidesign.com, sennheiser.com,
ocdrum.com, zildjian.com, hawknelson.com
62 ccm june 06
ccmmagazine.com
]
Russ Long is an award-winning recording engineer who has helmed gold and platinum albums by Sixpence
None the Richer and Newsboys as well as recordings by Relient K, Wilco, Phil Keaggy, Over the Rhine and
others. Russ recently created an educational DVD on studio engineering tailored for singers, songwriters
and home studio enthusiasts. For more information, visit audioinstruction.com.
Fender Jazz
LIVE::
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standingroomonly
your guide to concerts
All concert photos by Andy Argyrakis
by Andy Argyrakis
From left: Mark Hall, Melodee DeVevo, Nichole Nordeman, Tony Nolan, Josh Bates
[CASTING CROWNS/NICHOLE NORDEMAN/JOSH BATES/
TONY NOLAN: “LIFESONG TOUR”]
CONTINENTAL AIRLINES ARENA | EAST RUTHERFORD, NJ
The rise of CASTING CROWNS in the past couple of
years has been nothing short of meteoric; so it’s only
fitting the group’s latest tour takes on epic
proportions as well. Rather than hitting the church or
college circuit, the spring leg of the “Lifesong Tour”
shot straight to arenas, accompanied by NICHOLE
NORDEMAN, speaker TONY NOLAN and opener
JOSH BATES. Such tag teams resulted in more than
three hours of worshipful family entertainment
backed by three jumbo screens, multiple musical
styles and a few special surprises this evening.
One notable extra came from the get-go of
Casting Crowns’ set, which began with “Lifesong”
(also the title track to the band’s latest CD).
Beyond just the robust pop offering and singer
Mark Hall’s hearty pipes, more than 100 robed
choir members flowed into the aisles from the
concourses adding soulful spices. That uplifting
introduction set the stage for additional glimpses
of Sunday morning church, including the rousing
“Praise You with the Dance” (sung by piano
player/supporting vocalist Megan Garrett) along
with examples of how believers should reach out to
their hurting brothers and sisters during “If We Are
the Body.” Shortly thereafter, fans found yet
another extra treat with a premiere video clip of
“Does Anybody Hear Her,” which was a thematic
sequel of sorts to the prior tune.
Hall’s comfort level in front of the enormous 8,000person crowd became increasingly noticeable as the
night wore on, especially during his introduction to
“Stained Glass Masquerade” (about stripping away
masks of falsehood), while the group’s stage
presence also kicked up a notch on “Voice of Truth.”
During a break for the band, speaker Tony Nolan
came out to offer a salvation message and altar
call, which, despite running a bit lengthy, attracted
many responses. The transition back to music
worked well thanks to an acoustic rendition of “Who
Am I,” which, considering its place in countless
praise services, resulted in a sea of raised hands
and singing of the lyrics broadcasted on the center
screen. A grand finale of “What If His People Prayed,”
with corresponding visuals, signaled a call to action
for attendees to continue their fervency long after the
tour buses rolled out of town.
The peaceful piano pop of Nichole Nordeman
and her band preceded, featuring many selections
from her latest lauded CD, Brave. “Lay It Down”
and the title cut were textbook examples of the
tunesmith’s easygoing, yet sophisticated, stylings,
making her just as marketable in the worlds of
Norah Jones or Sarah McLachlan as she is in
Christian circles. Widely recognized hits such as
“Legacy” and “Holy” carefully stitched together
vertical longings and meditative considerations,
along with soothing arrangements.
Beyond performance moments, Nordeman also
made the mammoth venue feel intimate during her
multiple conversations, peppered with comedy and
candor. One of the most practical dialogues related to
witnessing to non-believers, as the singer/songwriter
addressed the importance of balancing tactfulness
with truth. On a poignant note, she shared the story
of a troubled girl on one of her previous tours who
wound up committing suicide due to despair. The tale
was told as a lesson for all to reach out to those with
emotional needs rather than discount their troubles
as mere melodrama.
Fresh-faced Josh Bates popped out from behind
the curtain five minutes before ticketed time to
deliver a short warm-up highlighting his Beach
Street Records debut, Perfect Day. Besides his
wide-eyed smile and trademark curly hair, he
brought to the stage excellent mandolin playing
abilities, which added an Appalachian appeal to his
otherwise coffeehouse-ready acoustic pop.
CLUB CONNECTION
[
Giving concertgoers a look at one of
the country’s coolest Christian venues
]
It’s high enough north so that a chill still rings through
the air at night (even in the summer), but there’s plenty
of java at the CUP O’ JOY COFFEE HOUSE to warm the
soul. Aside from pouring countless cups, the Green
Bay, Wis., staple attracts nationally known acts and
regional favorites nearly every weekend. Although it
seems like an acoustic atmosphere, in title and at
initial glance, the intimate environment opens its doors
to all genres, boasting a diverse résume from the
piano pop of GINNY OWENS to the aggressive
alternative sounds of TAYLOR SORENSEN to traditional
troubadours SARA GROVES and ELI.
Beyond these entertaining aspects, the venue is
entirely run by a team of volunteers—from the sound
technicians to the lighting crew to the barristas to the
maintenance staff. Another unique twist is the fact
that admission to each concert is entirely free,
allowing patrons who can’t afford steep prices the
chance to check out cool tunes and donate a love
offering within their means. For additional
information, log on to cupojoy.com.
HERE AND THERE
ARE YOU WITHIN A DAY’S DRIVE?
Here is a concert date you won’t want to miss!
06/16 Natalie Grant, Vicky Beeching and
Jadon Lavik—Columbia, SC
For the latest concert listings, check out CCMmagazine.com’s
searchable tour database to find out when your favorite artists
will play in a city near you.
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LOOSE ENDS
CONFESSIONS OF AN UNFINISHED FAITH
W
WE ARE HONORED—BLOWN AWAY, ACTUALLY—TO
WELCOME RECORDING ARTIST NICHOLE NORDEMAN AS
OUR MAGAZINE’S NEWEST CONTRIBUTING EDITOR. THAT’S
RIGHT. EACH MONTH YOU CAN TURN TO THIS PAGE IN
CCM—NICHOLE’S PAGE—AND EXPLORE HER LATEST
THOUGHTS ON THE GOOD, THE TRUE AND THE BEAUTIFUL.
(WELCOME TO THE TEAM, NICHOLE!)
I’ll start my first ever column at CCM with a
blatant confession: I dig Oprah.
I know in some Christian circles people can get
a bit anxious about her rather vague spiritual
status…but honestly, she just seems like a pretty
super person to me. And, since Oprah has never
claimed to be a spiritual guide or theologian, she
is not the place I go to for biblical teaching any
more than I would go to Condoleezza Rice or Mr.
Rogers. So, I feel OK about admiring her
contributions to the culture of stay-at-home
moms... Besides, she has great taste in candles and
shoes, and she gives away more money to people
in desperate need than most mega churches I’ve
ever been to…so yeah, I unapologetically dig her.
When CCM approached me and asked if I
would be interested in contributing to a monthly
column (this is the first one, if you’re still reading),
my initial reaction was a mix of shock, flattery and
“Who me?” followed quickly by pure panic about
any relevance and content I could offer the readers
of a magazine I have deeply respected for a long
time. Then came the tricky business of what I
would actually call the column. Naturally, I picked
up my latest copy of Oprah’s magazine for ideas.
(Quit rolling your eyes; it hurts.)
I remembered that, on the last page of each issue,
Oprah writes a brief column entitled “What I Know
for Sure.” It’s a place for her to say something
inspirational about whatever theme the magazine
has embraced that month…a parting thought. I’ve
always thought this was a rather overly confident
title for a column. What I know for sure? Please. For
me, it would be a very, very short piece.
What I know for sure…
Jesus really does love me.
Quick-drying nail polish never ever does.
64 ccm june 06
ccmmagazine.com
BY NICHOLE NORDEMAN
The word “moist” should never be spoken
aloud…or even typed.
And you should never drink Diet Coke right
before you sing.
That’s about it, really. That’s what I know for sure.
But in thinking about all the things Oprah
knows for sure and all the things I don’t, I did
begin to ruminate a bit on the topic of
confidence. Confidence in general, at first, and
then confidence as it relates to my faith and
artistry. Tricky topic.
The culture of Christianity isn’t sure what to do
with a confident Christian. We are far more
comfortable with what I like to call the “Aw Shucks
Christian.” Hesitant to receive encouragement, lest
it be construed as misguided praise.
Routinely suppressing God-given
leadership abilities because, after
all, no one associates leaders with
humility. Scooting and shifting
around on the fence when any
number of gray and messy faith
topics arise at Wednesday night
small group because it will
always be far easier to tow the
party line than to raise a differing
point of view that might actually
foster healthy discussion. The “Aw
Shucks Christian” nods and smiles and
spends a great deal of time shuffling feet and
staring at the ground during important moments
that are begging for conviction and courageous
assertion. The perception of humility is
paramount for this person.
How do I know this particular breed of
Christian so well? Takes one to know one. I have
been awkwardly tripping through the false
humility dance one left foot at a time since I
signed my first autograph eight years ago.
So this is what I sorta kinda maybe think I
know for sure: Humility in Christ is inseparably
linked to confidence in Christ.
Thomas Merton, a beloved Franciscan monk,
once wrote that “a humble man is not disturbed
by praise. Since he is no longer concerned with
himself, and since he knows where the good that
is in him comes from, he does not refuse praise
because it belongs to the God he loves; and, in
receiving it, he keeps nothing for himself but
gives it all, with great joy, to his God.”
I love that. Permission from a monk to receive
praise with confidence, fully understanding its
origin and ultimate address.
He goes on to say, “The humble man receives
praise the way a clean window takes the light of
the sun. The truer and more intense the light is,
the less you see of the glass.”
A friend of mine, who happens to be an
insanely talented drummer, said once that the
way you can identify a great drummer is by his
ability to keep a very steady and
strictly simple rhythm. In many
African tribes, he said, the most
respected and revered members
are the elders who sit around
the fire and keep a simple,
confident and extremely
sparse beat. The younger,
less experienced tribesmen
are the ones showing off their
fancy chops.
Confidence.
This is what I desire my life in
Christ to reflect. The steady beat. The
underlying current of consistent and grounded
faith…a secure knowledge of who I am in Him
without the chronic apologies for the gifts He
entrusted me with. I want to be the elder
tribesman…a still river whose depths are known
by few but felt by many.
That is, in fact, one thing I know for sure.
(shuffle, shuffle)
“Humility in
Christ is
inseparably linked
to confidence
in Christ.”
Nichole Nordeman’s current album, Brave (Sparrow),
features the hit singles “Brave” and “What If.” For more
information on the CD and to find out if Nichole will be
performing in a city near you this month, visit
nicholenordeman.com.
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HISTORYMAKERS
WITH J O H N S T Y L L
MOMENTS THAT SHAPED CCM
HOW THE VISION OF ONE MAN HELPED SHAPE THE FACE OF AN ENTIRE MUSICAL GENRE
[THE SPIRIT OF ’76]
I probably can’t remember what I had for breakfast this
morning, but I can still remember the dinner 30 years ago. It
was at the Velvet Turtle restaurant in Southern California.
My wife, Linda, and I enjoyed a delicious meal with Billy Ray
Hearn, who, at the time, was running the pioneering Myrrh
label, which he founded while working for Word, Inc., in
Waco, Texas. He told us he was going out on his own and
starting up a new label—Sparrow Records. Furthermore, he
was moving to the L.A. area so that the company could be
closer to its artists, most of whom lived in the region.
Billy Ray was a minister of music in Georgia who got
involved in producing the “youth musicals” of the ’60s and
early ’70s. In fact, he directed the premiere of “Good News,”
widely-credited as the first contemporary Christian musical,
in 1965. Word hired him to promote newer productions such
as “Natural High” and “Tell It Like It Is.” (Do those sound like
‘60s titles, or what?) Believing that contemporary music had
a place in church life, he launched Myrrh on the heels of the
Jesus Movement.
His first signings included Petra and Randy Matthews. He
later signed the groundbreaking sibling trio 2nd Chapter of
Acts as well as Barry McGuire and a number of others. But in
1975, Word was acquired by ABC (No, the phenomenon of
Christian labels being owned by mainstream conglomerates is
not new.), and he began to think of having his own company.
He dreamed of a small “boutique” label driven by
highly committed artists. His initial roster included
Annie Herring of 2nd Chapter of Acts (and, later, the
group itself), Barry McGuire, Keith Green and John and
Terry Talbot. Naming the label from the old gospel
From left: Billy Ray Hearn, Steve Taylor, Petra
song “His Eye Is on the Sparrow,” Sparrow Records became a reality in mid-1976—
exactly 30 years ago.
At that time, which was two years before CCM Magazine was launched, I hosted a daily radio
show in L.A. and produced radio specials and commercials. One of Billy Ray’s reasons for having
dinner with us that night was to ask me to be the “voice” of Sparrow, which was my privilege for
the first five years of the label’s existence. (It also meant that I got copies of everything they
released way before anyone else, which I thought was cool.)
Billy Ray’s keen eye for artistry served him well, and Sparrow continued to grow and grow.
Later signings included Steve Taylor, Margaret Becker, Steve Green, BeBe & CeCe Winans,
Steven Curtis Chapman and, of course, many others. I don’t think Billy Ray considers himself to
be some sort of a business genius, but he has surrounded himself with talented people and has
been guided by a clear set of bedrock principles. As he says, “I’ve always been led by the
importance of doing what God says to do, the importance of family, and the importance of
always doing the right thing, whether it’s ‘good business’ or not.”
These values were put to the test when one of his most successful artists, Keith Green, felt that
God was calling him away from the “industry” part of Christian music and asked to be released
from his contract. Even though he was under no obligation to do so, and it would, in fact, be
detrimental from a business standpoint, Billy Ray did not want to stand in God’s way and went
ahead and let Keith out of his agreement.
The love Billy Ray had for his artists was demonstrated over and over in acts such as this.
Consequently, to this day, he continues to have a good relationship with his artists, even though
most of them have long since moved on or retired. (Billy Ray himself retired about 10 years ago.)
Billy Ray sold his company to EMI in 1992, and it evolved into what is now known as EMI CMG
(Christian Music Group). The president and CEO is Billy Ray’s brilliant son, Bill Hearn. Billy Ray
was inducted into the GMA Gospel Music Hall of Fame in 1997 and earlier this year received
the President’s Merit Award from the Recording Academy (the Grammy folks).
Many people consider Billy Ray Hearn to be the “father” of contemporary Christian music,
which is well deserved. Anyone reading this magazine owes him a debt of gratitude.
Send your thoughts to me at [email protected].
[
66 ccm june 06
ccmmagazine.com
JOHN STYLL is the president of the Gospel Music Association. Before taking its helm, he launched CCM
Magazine in 1978 and captained our ship for more than 20 years. For more information on the Gospel
Music Association or the GMA Music Awards, which it oversees, go to gospelmusic.org.
]