Motion Forward

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Hawk Nelson
Glory Revealed
y Cash
Joanne & Johnn
Forward Motion
Rap-Up
Portable Sounds
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March 2007
38 Hip Pop
For years, both artists and fans have argued that the Christian
music world has marginalized hip-hop, even while pop culture
continues to be shaped by it. ANDREE FARIAS explores how the
landscape is changing as he talks to a wide spectrum of artists
and industry leaders who are helping expand hip-hop’s reach in
the church and beyond.
Soul P.
cover story
in review
32
49
The New Relient K
Remember the little band that could? What a difference a few
years makes. Sure Relient K added two members since its
last album, but that only begins to explain the grand sounds
captured on the new Five Score And Seven Years Ago (Capitol/
Gotee). And the soulful depth that lyrically defines the record?
JOHN J. THOMPSON investigates…
features
44
Come Together
Third Day’s Mac Powell and popular speaker/author David Nasser have
joined forces with some of your favorite artists to create a unique
worship album and corresponding tour that will enhance the way many
fans read and memorize scripture. LIZZA CONNOR BOWEN has the
scoop behind this unusual undertaking.
Music: The much-anticipated discs from tobyMac, Relient K
and Anberlin. Plus, first-time bows for The Almost, Group 1 Crew
and Jeremy Riddle.
56
Books: Michael English’s confessional autobiography and more
60
Tour: Jeremy Camp and Stellar Kart hit Chicago’s House of Blues.
departments
04
From the Editor: Relient K—a personal perspective
07
The Insider: Joanne & Johnny Cash, album previews from Nicole
C. Mullen and Natalie Grant, Stellar Award winners and more
14
Independents Day: Check out four bright, rising indies.
62
Things I Love: Hawk Nelson’s Daniel Biro
64
Loose Ends: Stupid Kong
66
HistoryMakers with John Styll: Artists unite for a
redemptive CAUSE.
CCM_03.07_Editorial.v3
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fromtheeditor
by Jay Swartzendruber
Relient K circa 2001
How Relient K Won
By Surrendering
I’ll never forget the pivotal event that put Relient K on the highway to
rock stardom.
The funny thing is none of us near—or even in—the band’s inner circle
knew the significance of that turning point when it occurred. And I would
venture to guess that most fans and industry insiders haven’t given it a
second thought in the five years since.
Flashback to the fall of 2001. I had just joined Gotee Records as its head
of publicity. I was grateful to be at a label whose artists had both street cred
and significant popularity. In addition to GRITS, Jennifer Knapp, Out of Eden
and the Katinas, I was vaguely familiar with Gotee’s young pop-punk band
Relient K. Though still fairly obscure, the foursome had been working the
road feverishly, winning over packs of fans at summer festivals just prior to
releasing its second album, The Anatomy of the Tongue in Cheek.
And then it happened. Everything changed. Relient K went from relatively
obscure to relatively notorious in a seeming instant. In a nutshell? As Adam
Woodroof reported in CCM Magazine a few months later (January, 2002),
Relient K “put its mission statement of reaching youth culture into action” by
announcing plans “to partner with clothing retailer Abercrombie & Fitch—
marking the retail chain’s first-ever exclusive partnership with a band.”
Bam! As soon as the Relient K press release announced the deal, Christian
media outlets jumped on the story. Thanks to the immediacy of the Internet,
Focus on the Family, Concerned Women for America, the American
Decency Association and other Christian heavy-hitters were lighting up
Gotee’s phones in no time. They couldn’t believe an evangelical Christian
label would partner with Abercrombie & Fitch—a clothing company whose
CCM MAGAZINE
Your Christian Music Magazine Since 1978
volume 29 issue 9
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 Rick Edwards
Editor Jay Swartzendruber
Assistant Editor Lindsay Williams
Senior Art Director Mary Sergent
Media & Web Editor Kristi Henson
quarterly catalog was notoriously risqué. Granted, Relient K’s part in the
deal had no connection with the controversial catalog. The actual
promotion would include an extreme mountain biking video featuring the
band’s music in A&F stores during the holiday season, while MP3s, music
videos, photos and Relient K interviews would appear on A&F’s website.
The deal was struck when a representative from A&F connected with
Relient K’s music and redemptive song lyrics. “That was exciting to us,”
Gotee president Joey Elwood told CCM at the time, “that somebody not
only loved the music but loved the message. We thought we could allow one
of our bands to get into the culture and possibly make a difference.”
However, after prayerfully seeking counsel from other trusted voices,
Joey decided Gotee should ask Abercrombie & Fitch to release the band
from the agreement. As he told CCM, “We decided that we wanted to hear
this voice from within the body and we said, ‘This is not something we want
to stand outside the body on.’
“We hope that by making a stand [and pulling out of the deal], that we’re
showing that Christians can sometimes do things we don’t really understand
because we want to live in harmony with the body.”
Relient K’s Matt Thiessen put it this way, “You’ve got to pick your battles.
We’re trying to be salt and light to the world… This is something we do
believe in, but sometimes you’ve got to realize that you’re outgunned. You’ve
got to humble yourself and go with the flow…”
There’s a beautiful irony to this story. Making the decision to back out of
the deal with A&F was more disheartening and indeed troubling than Joey
revealed publicly. As he told me at one point in the midst of it, “I’m not sure
we’re doing the right thing by pulling out. I’m afraid this might not be what
Jesus wants us to do.”
I confess, I had the same fear. Were we backing out of our commission to
be “in the world” in the name of not being “of it?” How many thousands of
kids were going to miss out on connecting with Relient K’s music as a result?
How many would have seriously considered Christianity for the first time?
Thankfully, that was just the beginning. In hindsight, Gotee’s staff and Relient
K’s management would later agree, it was the Abercrombie & Fitch controversy
and the band’s humble response that put Relient K on the map. And now I
wonder to myself, how many kids eventually connected with Relient K’s music
because of the A&F deal and eventual pullout? How many have considered—
and are seriously considering—Christianity for the first time?
God only knows. And that’s the beauty of it.
[email protected]
Contributing Editors Andy Argyrakis, Margaret Becker, Paul Colman,
Russ Long, Kate McDonald, Nichole Nordeman, Gregory Rumburg,
John Styll, Chris Well, Matthew West
Contributors Christa A. Banister, Beau Black, Lizza Connor Bowen,
Andree Farias, Rachel Harold, Jenna Lucado, Jody McBrayer, Brian
Quincy Newcomb, Andrew Scates, Dr. Tony Shore, John J.
Thompson, Doug Van Pelt
Production Director Ross E. Cluver
Web Projects Director Joan Dyer
Circulation Manager Jamie Kunzmann
Fulfillment Manager Leesa Smith
Customer Service Representatives Angela Banks, Amy Cassell,
Rachel Harrold, Emeka Nnadi
Executive Director of Advertising Jerry Charles 615/312-4244
Senior Director of Advertising DeDe Tarrant 805/987-5072
Account Executive Pat McAbee 770/237-5400
Account Executive Gary Miller 970/203-0417
Advertising Marketing Manager Brian Lawing
Advertising Traffic Manager Carol Jones
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,
Nashville, TN 37205, 800/527-5226 or [email protected].
Annual subscription rates: United States, $21.95/one year; Canada, (U.S.
funds) $29.95 per year; all other countries, (U.S. funds) $35.95 (surface).
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.
Cover photo: Ben Watts
Cover design: Mary Sergent
NASDAQ SYMBOL: SALM
4 ccm march 07
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feedback
receives CCM Magazine in my home. I
wanted to thank you for starting the
myCCM.org community, which gives
us a great option instead of MySpace.
Your editorial, “Whose Space,” in the
December issue was great and very
real. Thanks for your dynamic vision
and sense of humor.
Danny Albelo,
via myccm.org/dannyalbelo
READERS’ VOICE
I think the oil paintings for the Readers’
Choice Awards were awesome (“The
Art of Voting,” January). It was
something new, with a vintage, artsy
twist that I didn’t expect. I especially
love the one of Skillet. You guys might
have felt intimidated by how high you’d
set the bar in the past (per your
editor’s letter), but you definitely pulled
it off this year. Props.
Stephanie Charpentier,
Oxford, WI
I have been a faithful reader of CCM
Magazine for several years now. Every
time I receive my issue in the mail, I get
excited to see what you have to say
about the latest in Christian music. I’m
also excited to get to take part in your
annual Readers’ Choice poll, and I’ve
always agreed with your [readers’]
picks for “Best Artist,” “Best Group,”
etc. However, I do not agree with the
readers’ choice of Brian Littrell for
several categories or with your choice
to put him on the cover alongside Aaron
Shust, who, in my opinion, has every
right to be on the cover—his album,
Anything Worth Saying, is amazing!
While I know Littrell’s only been in the
spotlight in the Christian music industry
for a year or so, I have to question his
sincerity. To me, he will always be a
Backstreet Boy, and to honor him, just
because he comes out and decides to
do a Christian album, doesn’t seem
right to me. I still love and read CCM
Magazine, but another artist deserved
to be on your cover this time.
Anonymous, via email
YOUR SPACE
I am a young minister (singer, actor,
comedian) from Puerto Rico who
myCCM.org is absolutely amazing. I
have met so many friends online that
share the same music interests as
me and some that play some
instruments like me. But everyone
there is so encouraging, and they lift
you up in prayer when you need
them. And they are funny when you
need them to be. I just want to thank
you for that. I’ve made a ton of
Internet buddies because of myCCM,
and I love it! Props!
Elizabeth, via email
FOX HUNT
Thank you so much! I am a huge
Hawk Nelson fan, and to see
[guitarist] Jon Steingard’s side-band,
Fox Run, in the magazine was
amazing (“InReview Music,” January).
I have the album, and it hasn’t left
my CD player since I got it. (Yeah
people, it is that good.) You gave it a
“B+,” but come on CCM, I think we
all know the “B+” is really an “A.” So,
thanks again for spreading the word.
I hope everyone gets the CD—you
will not be disappointed!
Teri Monahan,
Cincinnati, Ohio
To hunt this album down, visit
myspace.com/foxrunonline.
GREAT SCOTT
It is always a pleasure reading CCM
Magazine. I can’t recall how many
years I have been reading it now in
one form or another—currently I
have an e-subscription to the new
digital version. It’s great that you
have a great passion about Christ
and about music. Here in Scotland I
share those same passions, and it’s
great to be part of God’s family all
over the world. I live in Glasgow (the
second city of Scotland) and run the
music department of a Christian
bookstore. We don’t get too many
Christian artists coming our way,
JON STEINGARD
though we do get Tooth & Nail
bands—recently saw Norma Jean
here. Be blessed.
Doug, via myccm.org/dougiew
Great to hear from you, Doug. We’re
pleased you’re enjoying the new
digital version of CCM Magazine. Like
you, many of our international
subscribers have found it is the best
way to get CCM immediately. And
many American students on a limited
budget are pleased they now have the
option of downloading the full
magazine online instead for only
$9.95 a year. (Psst…hey you. Go to
CCMmagazine.com and click on any
feature or review to find a link to our
digital subscriptions page.) Thank
you for your kind words, Doug. And
congrats on being on Tooth & Nail’s
tour route—some of us here in the
States aren’t so fortunate.
PREPARING FOR TAKEOFF
Hello, I am writing from the band
Runway 36, and I want to thank
you guys for including us in your
Januar y edition. It was amazing to
hear that we were in your
“Independents Day” section, and
we couldn’t be any happier. We
already have had lots of new fans
come check us out just because of
the review. Thanks for your ver y
kind words and for helping out this
little band from Minnesota.
Michael Allen, via email
The pleasure—and honor—is ours,
Michael. (For those of you who might
have missed Runway 36 the first time
around, check out their music at
myspace.com/runway36.)
WEWITHOUTREVIEW?
I read John Styll’s “HistoryMakers”
column in the January issue (“Comin’
On Strong”). Here’s my humble two
cents wor th about whether your
magazine should review music:
I don’t believe anyone—even those
very familiar with the Christian music
industry—should judge the work of
fellow Christians. I have to believe
that Christian artists who dedicate
their lives to bringing others to God
through music do so in response to
an intimate calling. Why does CCM
judge whether or not the ar tist
succeeded on his or her musical
offering to God? Should I stand up in
front of my church’s congregation and
rate my pastor’s success of
preaching a message? If God
anointed the minister to bring a
specific message in a particular way,
who am I to tell the entire church body
whether or not the servant failed?
I do enjoy your magazine. Christian
music plays such a large part in my
life of keeping me grounded and
focused on God. The strength of your
magazine lies in revealing artists’
faith to give readers an idea about
whether or not they will connect with
the artists’ expressions of faith.
David Sandman, via email
We welcome your comments.
Email: [email protected]
or address your letter to: Feedback,
CCM Magazine, 104 Woodmont
Blvd., Suite 300, Nashville, TN 37205;
fax 615/385-4112, Attn: Feedback.
Always include your full name, address
and phone number. Letters may be edited
for length and clarity.
ccmmagazine.com
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insider
Preview new albums from
Nicole C. Mullen and
Natalie Grant, The Stellar
Awards and more
Joanne Cash
Walks the Line
20
le
ve
he
ck
An influential recording artist in her
own right, Cash reminisces about
her legendary brother, becoming a
Christian and eventually seeing her
family portrayed in a blockbuster
motion picture.
Ever since she was old enough to remember, Joanne
Cash sang along with her siblings in their Dyess,
Arkansas cotton field before moving inside for a
round of spiritual standards at the family piano. But
more than having a musical upbringing or the fact
that her brother, Johnny Cash, became one of the
most successful artists in history, the true turning
point came after seeing one of his concert openers.
“Johnny becoming an overnight superstar
intensified my wanting to sing, but I’ll never forget
[seeing] one of his support acts,” reminisces the
sweet, southern voiced Joanne. “That young man
was Elvis [Presley], and seeing him on stage was like
an electric light being plugged in! I saw the glamour
as a young woman and decided I was going to sing.
She adds, “I didn’t know Jesus [personally] at the
time—just about Him.”
Fast forward through today, and Joanne has 27
recordings to her name, including the brand new
album, Gospel (ACME/Infinity), which features fan
favorites from the past three decades and several
Johnny Cash collaborations. However, that prolific
path took longer than expected due to a stained
marriage and divorce shortly after high school and
the resulting detours.
“After the split, I was living in Houston and got on
drugs and alcohol because, aside from my beautiful
children, I wasn’t feeling fulfilled,” she humbly
cont. on Pg. 8
>>>
Score more: "Special Edition" version of Relient K’s Five Score and Seven Years Ago (Captiol/Gotee)
ccmmagazine.com
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>>>
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cont. from Pg. 7
recalls. “I was so depressed one day when Johnny called me on the phone and
said, ‘Baby, I’m sending a moving van, so get the children in the car and drive to
Nashville.’ Two days later, I stopped at a Nashville gas station where snow was
hitting my face, and I cried out to God to make me clean.”
As Joanne committed her life to serving the Lord, she was “dramatically
delivered” from substance abuse, never to return to it again. Soon she settled into
a Christ-centered marriage with Dr. Harry Yates who became her touring partner.
The couple also started Nashville Cowboy Church, which grew from a mere six
members who met at a local Holiday Inn to filling Music City’s spacious Texas
Troubadour Theatre (where Joanne continues singing to this day).
Many of those sacred and creative progressions are traced on Gospel, such as
Joanne’s steady diet of being raised on “Cotton, Popcorn, Peanuts & Jesus,” plus
moments of praise with her brother throughout the historic hymns “Softly and
Tenderly” (which they recorded together shortly before his passing) and “Let the
Lower Lights Be Burning.”
“Johnny gives a recitation [on the latter] that talks about my Daddy being so sick
and just about gone,” Joanne explains. “We were all standing around in his
hospital room singing when he suddenly came out of his coma and joined in!”
Though he passed away shortly thereafter, Joanne will forever remember her
father as a hard-working and loving family figurehead (despite a less flattering take
throughout Johnny’s 2005 biopic Walk the Line). “You have to remember, my father
was born in 1897, was the baby of 12 children and struggled to find work and
food,” she offers. “Daddy didn’t understand why Johnny wanted to sing because
Daddy didn’t understand singing a song could ever make a living. It’s hurtful to
watch, but everything turned out fine, and Daddy went to every one of Johnny’s
concerts he could. I just wish they’d make a sequel to show Johnny’s salvation
story after he came back to the Lord in 1972. But, yes, the movie was beautiful,
and I cried all the way through!”
ANDY ARGYRAKIS
I WANT MYCCM
(.ORG)
Check out this month’s
featured podcasts at
myCCM.org:
March 5
We catch up with
tobyMac’s Portable Sounds.
March 12
Haven’t you heard? It’s
the Year of Third Day!
March 19
This week’s a double
whammy! Meet John
Waller; then check in with
Group 1 Crew, whose
debut has arrived.
March 26
What’s in a name?
Ask Jackson Waters.
SUPER BOWL
CHAMP SCORES
RECORD DEAL
Stellar Wins
The 22nd Annual Stellar Gospel Music
Awards were held this past January at the historic Grand Ole Opry
House in Nashville, Tenn., with popular artists Kirk Franklin, Tye Tribbett and Mary
Mary hosting the festivities. Donald Lawrence and the Tri City Singers led the pack of winners
taking home eight Stellars out of nine notable nominations, including the prestigious “Artist of the
Year” award. Tye Tribbett and CeCe Winans left with “Contemporary Vocalist of the Year” Stellars
in the “Male” and “Female” categories, respectively. Meanwhile, the “Rap/Hip-hop Gospel CD of
the Year” award went to Da’ T.R.U.T.H’s The Faith (Cross Movement), and co-host Kirk Franklin
was honored for his “CD of the Year,” Hero (Gospocentric). For a complete list of Stellar Award
winners, visit thestellarawards.com.
With the recent win of
the Super Bowl XLI
Championship,
Indianapolis Colts’
punter Hunter Smith has
much to be grateful for.
First a Super Bowl
ring…and now a record
deal with INO. Smith
and fellow musician
Chris Wilson have
combined talents to
create the acousticdriven duo Connersvine.
The pairing formed out
of a friendship while
leading worship for a
young adults ministry in
Indianapolis. Having just
completed his eighth
season with the Colts,
Smith and Wilson are
currently in the studio
with producer Pete
Kipley (MercyMe, The
Afters). Check out
myspace.com/connersvine
to hear music and to
learn more.
Clockwise from top right: Natalie Cole, co-hosts Tye Tribbett, Mary Mary and Kirk Franklin, Israel Houghton, Donald Lawrence, Patti LaBelle
>>>
to include bonus DVD with acoustic performances of several songs, interviews, B-roll footage of
8 ccm march 07
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HASTE THE
DELUXE EDITION
Haste the Day is set to
release its third studio
project, Pressure the Hinges
(Solid State), March 20.
A deluxe version of the
album will be available
featuring extensive bonus
tracks and DVD footage.
For more info on the album
and current tour dates, log
on to hastetheday.com.
WHO IS DEAS VAIL?
If you attended the
Cornerstone Festival last
year or caught the
opening act on John
Reuben’s latest tour, you
already know the thrilling
answer to that question.
Chances are you also
picked up a copy of the
band’s enticing 2006 EP,
Collapse (which included
a couple cameos by
Relient K guitarist Matt
Hoopes). And when Deas
Vail’s full-length label
debut hits stores on
March 6? All The Houses
Look the Same
(BraveNewWorld/Word) will
put Russellville, Arkansas
and its new ambassadors
on the map. Producer
Mark Lee Townsend—the
man behind Relient K’s
first several records—
discovered the band and
deftly captured its breed
of ambient indie pop/rock
on this versatile and
melodic debut.
Women At Work
Two of the spring’s most anticipated albums are coming our
way courtesy of NICOLE C. MULLEN and 2005’s breakout
artist NATALIE GRANT.
Nicole C. Mullen, having just re-upped with Word Records, recently
completed work with producer Tony McAnany (Jennifer Knapp, Out of
Eden) on Sharecropper’s Seed, set to hit stores on April 3. According
to Mullen, the album “will take you on a journey but still make you feel
right at home.” As the title suggests, Mullen’s again examining the
complexities of race relations. Expect a more diverse and subtle take
on those big, inspiring ballads of hers, played this time by a long list
of big name guest musicians, including Nick Moroch (Jessica
Simpson), Tony Levin (Peter Gabriel) and Jeremy Lubbock (Michael
Jackson). “Touch” is a softened version of “Call On Jesus” or
“Redeemer,” its title referring to the woman who touched the hem of
Jesus’ garment in a crowd and found healing. The title track is a
similar acoustic ballad, tying her faith and heritage together.
Says Mullen, “If the seed is blessed, then the harvest can grow to
be a blessing... This is the soil from which great countries, great
people and great families are made of.”
And her overall take on the album? “The best way for me to
describe it would be ‘vunerable and honest,’” she says. “It is the
reminder that struggle and sacrifice precede greatness, and the only
way up is to first go down in humility.”
The increasingly popular Natalie Grant, meanwhile, is gearing up for
a late spring release of her own new disc. “A little less polished, a
little more raw” is how the Dove Award winner describes the follow-up
to her breakthrough Awaken (Curb). The new album’s lyrics “dive
deeper into the vulnerable places in our lives,” she says. “Instead of
trying to camouflage our cracks, hopefully [these] songs will remind
us that our imperfections are only an opportunity for God to display
His greatness.” The yet-to-be titled project throws some old soul, rock
and “atmospheric, spacious production elements” together. Grant’s
written more on each consecutive record, and this one finds her
collaborating with Bernie Herms (her husband), Matthew West, Tiffany
Arbuckle-Lee (Plumb) and Christa Wells—all “genius writers,” she
says. At press time she was a bit busy: working on the record,
touring—and expecting twins.
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2006 “Nintendo” tour and more • Headliner Status: See Mat
>>>>>>
>>>
ccmmagazine.com
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insider
Passion ’07 and Beyond
This year’s four-day Passion gathering simultaneously kicked off the New Year at both the Phillips Arena
and the Georgia World Congress Center in downtown Atlanta. Attracting more than 22,000 college-age
students, with all 50 states and 33 countries represented, main sessions were led by renown speakers
such as Passion founder Louie Giglio, John Piper, Beth Moore and Francis Chan as well as worship
artists Chris Tomlin, David Crowder Band, Matt Redman and Charlie Hall, among others.
With over $700,000 pledged toward international initiatives, the Passion conference came to a
close with students encouraged to make a global impact. Passion is poised in this same vein as
Giglio and his team intend to extend the borders of the Passion movement by hosting smaller,
condensed gatherings all over the country beginning in the fall. And, look for Passion to launch
conferences in 20 cities in 15 different nations in late spring 2008. Stay tuned to
268generation.com for the latest.
Clockwise from top right: Passion outdoor candlelight service, Matt Redman, Charlie Hall, Passion goers, Louie Giglio, David Crowder
FANFARE
CENTER OF YOUR LOVE
Salvador lead singer Nic
Gonzalez and multi-platinum
artist Jaci Velasquez recently
announced their marriage. Vows
were exchanged in a small,
private ceremony in Austin,
Texas, December 17. The
newlyweds are currently residing
in Nashville. For updates on the
happenings of these two artists,
visit salvadorlive.com and
myspace.com/jacivelasquez.
>>>
>>>
BABY, BABY
Casting Crowns bassist
Chris Huffman and his
wife, Amanda, recently
welcomed a daughter.
Born December 18,
Bailey Elizabeth weighed
5 lbs. and 7 oz. The
Crowns, meanwhile, are gearing up for a year of
touring which includes international shows this
summer in both Ireland and Scotland. Visit
castingcrowns.com for a complete list of dates.
Jon Young, guitarist
for The Myriad, and
wife Hilary welcomed
a beautiful baby girl
December 1. Holland
Kari weighed 7 lbs.,
6 oz. and 21 inches.
Check out the indie rock sounds of The
Myriad at themyriad.net.
LINDSAY WILLIAMS
Kearney headline the Vh1 “You Oughta Know Tour”; Kearney performed on both “The Tonight Show with
10 ccm march 07
ccmmagazine.com
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Page 11
>> worship/rock
getreal
by Gregory Rumburg
Skillet Works For Change
With the 2008 presidential election on the
horizon, not-for-profit organizations are readying
to rock the vote. It will take powerbrokers
partnering with the everyman (that’s us) to
make a difference.
Take, for example, the popular ONE
Campaign. The grassroots movement to
eradicate extreme pover ty recently began
gearing up by tapping heavy hitters Jack Oliver
(a Republican strategist) and Dan Rosensweig
(the Yahoo! COO) to co-chair its decision-making
board. Meanwhile, in our own community,
Skillet recently pledged its support, joining
more than 30 other Christian artists—including
Relient K, Third Day, GRITS, Jars of Clay, Michael
W. Smith, Switchfoot, Steven Curtis Chapman,
Sara Groves, tobyMac and MercyMe—in
endorsing the ONE Campaign. Skillet’s lead singer
and bassist, John Cooper, says it’s no accident
that the band’s getting involved.
“The whole message behind our album,
Comatose, is that we need to wake up out of our
sleepiness and do something with our faith,” he
shares. In the context of the album, “I began to
realize that we, as Christians, have not been
doing as much as it seems many [others] in the
world are to…help the needy.
“The hardest thing about ‘making a
dif ference’ in the world is deciding that it is
wor th your time,” he concedes. “Once you
decide that, oppor tunities will come, and
you will wonder why it took you so long to
look for them! The ONE Campaign is a
worldwide ef for t, and you do not have to be
a Christian to recognize that something has
to be done to help these millions of people
that are in need.”
Getting involved with ONE starts with being
informed. Its website contains extensive
material about pover ty worldwide. The
organization’s call to action invites supporters
to raise their voice on behalf of the world’s
poorest—the 1 billion people who live on less
than $1 a day.
“The ONE Campaign is easy to get involved
in,” Cooper reminds. Simply go to ONE.org to
read information about the movement, and
then let our government hear your voice, first
by signing the ONE Declaration online. Then,
tell your friends about it.
Cooper is already noticing a difference. “I have
already found within myself that even a little of my
energy spent on social causes will make you a
different person,” he says. “You learn to not be
so selfish and to stop longing for material things.
You all of a sudden realize how much you have.
“Love someone else the way you would want to
be loved. Consider someone else’s needs before
your own. You probably will find the satisfaction in
life that you have been looking for.”
Sign the ONE Declaration today by visiting
ONE.org.
Jay Leno” and “The Late Show with Craig Ferguson” in
>>>
ccmmagazine.com
march 07 ccm 11
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Page 12
insider
THIS MONTH @ CCMMAGAZINE.COM
Sure we’ve got contests, but that’s not
the half of it…
>>Did you enjoy the custom paintings
featured in our recent Readers’ Choice
Awards issue? Would you like to own one of the
originals? Then, be sure to check the site this month
for details on the artwork auction with proceeds
going to charity.
5
Questions
with
NATALIE GRANT
NATALIE GRANT and her husband/producer Bernie Herms have
been busy with nursery preparations as they await the arrival
of their twins. In the meantime, she’s been using the last few
weeks of her pregnancy to log some studio time in an effort to
finish her next album (See “Women at Work” on Pg. 9). As if
she wasn’t already busy enough, Natalie set aside some time
to field our five favorite questions…
1.
What five words best
describe you?
Optimistic, compassionate,
opinionated, tenacious, free-spirited
“It Is Well With My Soul”
4.
2.
What’s your most
embarrassing moment?
On the “Winter Jam Tour” in
2003, we were performing in
Iowa in front of 5,000 people,
and on the last note of my first
song, I tripped over the floor
monitor speakers and fell off the
stage. Thankfully, people were
against the stage and they
caught me and pushed me back
up on the platform, where I lay
sprawled out, with the spotlight
still on me, nonetheless. I
twisted my ankle and broke the
heel on my stiletto boot, but I
think the greatest injury was to
my pride! But, as they say, the
show must go on. So I got back
up—broken boot and all—and
finished the rest of my set.
>>>
>>>
3.
What’s a song you wish
you had written?
What’s one question
you’ve never been asked (and
the answer)?
Are you related to Amy Grant? Just
kidding...I'm asked that question
every day of my life. (The answer
is “no,” by the way.) I have been
asked a lot of questions, so this
one is tough. Question: In what
way are you most misunderstood?
Answer: People think I am an
extrovert. It’s an act—I’m really a
loner in disguise. Really, I’m much
more introverted than anyone
would think.
5.
What’s the best spiritual
advice you’ve ever been given?
It’s so simple, yet it’s the most
relevant thing ever told to me: Jesus
loves me this I know, for the Bible
tells me so.
>>In honor of the recent Oscar Awards®,
we’ve got a movie theme going on at CCMmagazine.com this
month. Enter to win all contests by March 31…
Based on the beloved novel My Friend Flicka by Mary O’Hara, FLICKA
(Fox Home) features an all-star cast, including country music superstar
Tim McGraw (Friday Night Lights), Maria Bello (Thank You for Smoking)
and Alison Lohman (Big Fish). This DVD also features Tim McGraw’s
music video “My Little Girl”—we’ve got 12 copies to give away!
The Passion of the Christ—Definitive Edition (Fox Home) is a
two-disc set that includes the first ever Passion commentary
with director Mel Gibson, as well as an alternative version of the
film, Passion: Re-Cut. We’ve got 12 of these for you guys, too.
In theaters now, The Last Sin Eater (Fox Faith) explores a
community in the Appalachians that practices the belief that a human
“sin eater” can discharge the dead of their sins. Directed by Michael
Landon, Jr., and starring Academy Award® winner Louise Fletcher, The
Last Sin Eater is based on the award winning novel by Francine Rivers.
This month, we chat with Michael Landon, Jr., about the film in a special
online-only feature story and companion podcast.
Coming to theaters March 9:
The Ultimate Gift
(Fox Faith) explores the question: “What is the relationship
between wealth and happiness?” Featuring an all-star cast,
including Golden Globe® winner Brian Dennehy and
Academy Award® nominee James Garner, The Ultimate Gift
is based on Jim Stovall’s novel, which has sold more than
3 million copies. Listen in as we discuss the movie with
Stovall in an online-only feature and podcast.
>>Congratulations to the winners of our recent
contests featuring the band Red, One Night With the King and
Superman Returns. You can always find a list of winners online—
there’s a link to the winners’ list from our “Contests Central” page.
If you enjoy CCM Magazine, sign up to receive our weekly
CCMmagazine.com newsletters, and get the scoop on news updates,
interviews and podcasts posted to the site. Go to CCMmagazine.com
and register today (at “Music News” on the top right-hand corner of
the homepage).
February • Monsters on the Move: Jars of Clay continues “Good Monsters Tour” this spring with guests
>>>
12 ccm march 07
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Page 13
>> rock
MARCH
Disciple—Orlando, Fla.
In support of its latest release,
Scars Remain (S/R/E), Disciple
is currently on the road with
Family Force 5, Fireflight and
Decyfer Down—a fun line-up if
you’re headed to a sunnier
destination for Spring Break.
3
Relient K—New York, N.Y.
2
Catch this month’s CCM cover boys live at the Nokia Theater in
Times Square performing songs from their new album, Five
Score and Seven Years Ago (Capitol/Gotee). Special guests
include Mae and Sherwood.
9
12
BarlowGirl—Vero Beach, Fla.
In between recording sessions for a new studio record set to
release this summer, BarlowGirl can currently be seen rocking
out to the tunes of Another Journal Entry (Fervent) at a concert
venue near you.
The Afters—Pawley’s Island, S.C.
30
Jeremy Camp—
23
Las Vegas, Nev.
Currently out on the road
visiting House of Blues venues
across the country, Jeremy
Camp will stop in Las Vegas at
the end of this month with
special guests The Myriad.
(Check out our review of
Jeremy’s Chicago tour stop in
“Standing Room Only” on Pg. 60.)
Birthdays
1—Tobin Bawinkel (Flatfoot 56)
3—Duncan Phillips (newsboys)
4—Mark Labriola, II (Foolish Things), Jonathan
Stephens (eleventyseven)
>
If you’re in Carolina country, be sure to catch The
Afters in this live performance. If you’re lucky, you
might get to hear a song or two from their sophomore
release, hitting stores and iPods this summer.
5—Mike Weaver (Big Daddy Weave)
7—Soul P.
8—Garrett Buell (Caedmon’s Call)
9—Joanne Cash
10—Amy Grant
11—Justin Bawinkel (Flatfoot 56)
12—Jared Lee (Echoing Angels)
31
Switchfoot—San Diego, Calif.
Touring in support of Oh! Gravity., Switchfoot will play to its
hometown crowd at the end of this month with friends Copeland.
13—Chad Martin (Spur58)
15—Todd Agnew
19—Michael Barnes (Red), Mike Smith (Leeland)
20—Israel (Staple)
21—Kevin Swartwood (Red Umbrella)
22—Denise Jones (Point of Grace)
23—Phil Keaggy
24—Chad Butler (Switchfoot), Sarah Ross
(Everlife), Joe Shirk (Big Daddy Weave)
25—Jeremy Edwardson (The Myriad),
Thomas Pellerin (Overflow)
27—Garrett Goodwin (By the Tree)
30—Aaron Blanton (By the Tree)
31—Jonathan Salas
NEEDTOBREATHE and Burlap to Cashmere • Such an Honor: Jonny Lang recently performed in a
ccmmagazine.com
>>>
march 07 ccm 13
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Page 14
independentsday
Welcome to the world of independent artists.
PURPLE HAIR AND
WHITE ELEPHANTS
By: Margaret Becker
David Olson
Beloved
This Minneapolis singer/songwriter
released his first full-length album,
Beloved, in November. Also a worship
leader, Olson demonstrates his giftedness in bringing listeners to a place of
worship with his simple, singable songs. Creative
production and layers of great tones make this a debut
album worth taking note of. Visit davidolsonmusic.com
for more info.
Christine Evans
Push
A student at Michigan’s Interlochen
Academy—the same music school Norah
Jones attended—Christine Evans will
astound you with her raw songwriting talent
and gutsy vocals. Evans’ sophomore
release, Push, showcases the best of her pop rock style,
with standout opening track “A Nation Redeemed.” Love
Avril Lavigne? Kelly Clarkson? You should pick up your own
copy of the critically acclaimed Push. Check out
myccm.org/christineevans to learn more.
Jonny Diaz Band
Everyday God
With catchy hooks, toe-tapping melodies and
undeniable artistry, The Jonny Diaz Band grabs
you at first listen. A former college baseball
player, Diaz does smar t, guitar-driven pop
flawlessly. Currently, Jonny is recording with
Mitch Dane (Jars of Clay, Bebo Norman). Check out Everyday
God while you are waiting for their next release, and log on to
jonnydiaz.com for the latest.
Tara Leigh Cobble
Here's to Hindsight
With the release of her fourth album, Here’s
to Hindsight, Tara Leigh Cobble has also
released an acclaimed book by the same
title (Relevant). Thanks to gutsy, sincere
writing in both realms, Cobble has gained
the attention of listeners all over—from
Focus on the Family to German publications. Be sure to
check out her passionate musical offering. For more
information, visit taraleighcobble.com.
This past December, my groovy youth group met over at my
house. From purple hair to science lab types, the “joint was
jumpin’.” Everyone was instructed to bring a “white elephant”
gift. They were a well-balanced group, and the gifts were
creative—from “Butt Paste, the cream with the funny name”
to used athletic socks. And then there were the legit gifts like
the promo CD sampler of Third Day’s music from the ’90s.
(The surfer kid who got it looked confused and asked whether
“the Third Day” was a “movie.”)
I was in the kitchen getting some more punch when I heard an
uproar from the living room—hysterical laughter, collective derision.
What gift could cause the highest “geek-gift” reaction? Yes, coming
in higher than Butt Paste was—a VHS tape. The “content” wasn’t
the source of hilarity, the “format” was. I recognized the “can you
believe people actually watched those big fat grainy things,”
insolence. I had it for 8-tracks when I was their age.
Technology. Vinyl, 8-track, cassette, CD, DAT, MiniDisc, Mp3,
XM Radio—all markers of our musical evolution. And it’s all so
much more than a format. It’s an ever-changing business model,
which according to the signs, is trying to adapt. Seems like we’ve
hit a wall with the traditional model of how the music business
flourishes and maintains a profit. The rules have changed. Our
world is practically bleeding music. It’s everywhere, and the
normal fees associated with its distribution are quickly receding.
Are you worried? I’m not. Change like this is painful and
exciting. The end result is always a new form of ingénue. And
best of all, the Internet has leveled the playing field
somewhat. We are back to the old-time one-on-one marketing,
the kind that is reminiscent of knowing the owner of the paint
store on a first-name basis, a relationship that leads to
greater individual attention and proper, helpful suggestions.
We meet one at a time now on the Internet, and we exchange
meaningful data about ourselves in most environments, data
that makes it easier for purple hair to find purple hair.
When I look out over my church, I see a kid with a lippiercing sitting next to an executive from Lifeway, and I think
between the two sits the new answer for our music
business—the unconventional dialoging with the experienced,
the native-born on the web with the immigrant. What could be
better when all ideas are coagulating toward change, and no
one is more “in-the-know” proportionately?
I am hoping that you, reader, will use all your brilliance to
help my surfer kid know who Third Day is, along with Mute
Math—in equal measure, and in so doing, let him show us
how he is motivated to support his favorite.
Now, talk amongst yourselves.
Check out Margaret’s monthly podcasts online at
maggieb.com. Also, be sure to pick up a copy of her book,
Coming Up for Air (Navpress), available at amazon.com and
christianbook.com.
Profiles by KATE McDONALD
>>>
tribute to Smokie Robinson during the 29th Annual Kennedy Center Honors • Beautiful News:
14 ccm march 07
ccmmagazine.com
>>>
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Page 16
hitlists
WOW Gospel 2007
(Verity)
[This
two-disc set features 31 top songs from R&B and
gospel standouts such as Mary Mary, Donald Lawrence &
the Tri-City Singers, Nicole C. Mullen, Tye Tribbett, Kierra
“Kiki” Sheard, Israel & New Breed, J. Moss and others.
Urban pop trio V3 (pictured above) and their song “Love Makes the Word
]
Beautiful” is showcased as the album’s “New Artist Spotlight.”
WEEKS
ON CHT
[Highest Debut:::::::::VARIOUS]
LAST
WEEK
]
[
THE TOP-SELLING
CHRISTIAN ALBUMS
ACCORDING TO
NIELSEN SOUNDSCAN
THIS
WEEK
[TOP CHRISTIAN/GOSPEL ALBUMS OVERALL]
ARTIST
1
---
1
VARIOUS
2
135
6
SELAH
Hiding Place
3
2
18
VARIOUS
WOW Hits 2007
4
3
6
SWITCHFOOT
Oh! Gravity.
5
4
49
ALAN JACKSON
Precious Memories
6
5
5
TOBYMAC
Momentum
7
1
2
ERNIE HAASE & SIGNATURE SOUND Get Away Jordan (Springhouse)
8
7
23
VARIOUS
Three Wooden Crosses
9
9
69
FLYLEAF
Flyleaf
10
16
70
KIRK FRANKLIN
Hero
11
10
19
CHRIS TOMLIN
See the Morning
(sixsteps)
12
22
15
KELLY PRICE
This Is Who I Am
(Gospocentric)
13
14
13
KIRK FRANKLIN
Songs for the Storm, Vol. 1
14
8
42
MAT KEARNEY
Nothing Left to Lose
15
20
37
TYE TRIBBETT
Victory (Integrity)
16
11
11
PATTI LABELLE
The Gospel According to Patti LaBelle
17
15
18
FRED HAMMOND
Free to Worship
18
17
14
JEREMY CAMP
Beyond Measure
19
13
75
CASTING CROWNS
Lifesong
20
12
18
SKILLET
Comatose
21
110
85
VARIOUS
I Can Only Imagine
22
31
44
VARIOUS
WOW Worship: Aqua
23
19
81
MARY MARY
Mary Mary
24
6
65
VARIOUS
Open the Eyes of My Heart
25
34
41
MERCYME
Coming Up to Breathe
26
30
18
SMOKIE NORFUL
Life Changing
27
27
19
JUANITA BYNUM & JONATHAN BUTLER Gospel Goes Classical (MARA)
27
21
14
NEWSBOYS
Go
29
18
11
P.O.D.
Greatest Hits (The Atlantic Years)
30
28
6
MATT REDMAN
Beautiful News
31
29
85
CHRIS TOMLIN
Arriving
32
24
20
JONNY LANG
Turn Around
33
103 5
NEW LIFE WORSHIP
My Savior Lives
34
23
6
PASSION WORSHIP BAND
The Best of Passion (So Far)
35
------
1
ECHOING ANGELS
You Alone
36
42
56
JUANITA BYNUM
Piece of My Passion
37
25
66
THIRD DAY
Wherever You Are
TIE
26
13
MICHAEL W. SMITH
Stand
39
32
85
CASTING CROWNS
Casting Crowns
40
41
13
VARIOUS
iWorship Platinum
TITLE (Label)
WOW Gospel 2007 (Verity)
(Curb)
(Sparrow/EMI)
(Columbia/Sparrow)
(ACR/Arista Nashville)
(Forefront)
(Word)
(Octone/S-R-E)
(Gospocentric)
(Gospocentric)
(Columbia/Inpop)
(Bungalo)
(Verity)
(BEC)
(Beach Street)
(Ardent/S-R-E/Lava/Atlantic)
(INO)
(Provident)
(Columbia/Integrity)
(INO)
(INO)
(EMI Gospel)
(Inpop)
(Atlantic)
(sixsteps)
(sixsteps)
(A&M)
(Integrity)
(sixsteps)
(INO)
(FLOW)
(Essential)
38
(Reunion)
(Beach Street)
(Integrity)
*Each chart reflects Christian and general market combined album sales for the week ending February 4, 2007.
All charts © 2007 by Nielsen SoundScan (a division of VNU Marketing Information) and Christian Music Trade
Association. All rights reserved. No reproduction without permission.
>>HitLists cont. on Page 18
>>>
Matt
President’s
Redman’s
Council
Beautiful
on Service
News and
(sixsteps)
Civic Participation
debuted high• Gotee
at No.Records
19 andunveils
No. 7 two
on the
digital
Billboard
EPs with >>>
>>>
16 ccm march 07
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CCM_03.07_Insider.v6
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4:51 PM
Page 18
hitlists
>>cont. from Page 16
9
2
69
FLYLEAF
Flyleaf
3
18
SKILLET
Comatose (Ardent/S-R-E/Lava/Atlantic)
4
11
P.O.D.
Greatest Hits (The Atlantic Years)
5
20
JONNY LANG
Turn Around
6
66
THIRD DAY
Wherever You Are
7
35
RED
End of Silence
8
33
UNDEROATH
9
71
BARLOWGIRL
10
19
PILLAR
The Reckoning
11
25
LEELAND
Sound of Melodies
12
44
HAWK NELSON
Smile, It’s the End of the World
13
13
DISCIPLE
Scars Remain
14
9
KUTLESS
Live in Portland
15
101 KUTLESS
Strong Tower
16
44
SANCTUS REAL
The Face of Love
17
2
FUTURE OF FORESTRY
Twilight (Credential)
18
6
DC TALK
Jesus Freak 10th Anniversary Edition
19
18
VARIOUS
X 2007
20
204 CHEVELLE
WEEKS
ON CHT
1
1
11
2
26
LECRAE
After the Music Stops
3
18
VARIOUS
Body + Soul Gospel
4
85
TOBYMAC
Welcome to Diverse City
5
17
LATTIMORE/MOORE
Uncovered
6
23
NIYOKI
My Everything
7
11
GRITS
Redemption
Define the Great Line (Tooth & Nail)
8
74
CECE WINANS
Purified
Another Journal Entry
9
6
SOUL P.
The Premiere
10
25
VARIOUS
Hip Hope Hits 2007
11
85
RUBEN STUDDARD
I Need an Angel
12
29
21:03
Twenty One O Three
13
14
MICHELLE WILLIAMS
Music World Masters Series (Music World)
14
85
DEITRICK HADDON
Lost and Found
15
77
LECRAE
Real Talk
TIE
85
KJ-52
Behind the Musik
17
40
KJ-52
KJ-52 Remixed
TIE
16
VARIOUS
Holy Hip Hop, Vol. 4
19
45
GRITS
7
20
25
THE CROSS MOVEMENT
Chronicles Greatest Hits, Vol. 1
TITLE (Label)
(Forefront)
(Octone/S-R-E)
(Atlantic)
(A&M)
(Essential)
(Essential)
(Fervent)
(Flicker)
(Essential)
(Tooth & Nail)
(S/R/E)
(BEC)
(BEC)
(Sparrow)
(Forefront)
(BEC)
Wonder What’s Next
(Integrity)
THIS
WEEK
WEEKS
ON CHT
VARIOUS
TITLE (Label)
1
18
2
42
MAT KEARNEY
Nothing Left to Lose
3
14
JEREMY CAMP
Beyond Measure
4
76
CASTING CROWNS
Lifesong
5
41
MERCYME
Coming Up to Breathe
6
14
NEWSBOYS
Go
7
1
ECHOING ANGELS
You Alone
8
13
MICHAEL W. SMITH
Stand
9
175 CASTING CROWNS
Casting Crowns
10
102 MERCYME
Almost There
11
19
MARK SCHULTZ
Broken & Beautiful
12
26
JONAS BROTHERS
It’s About Time
PATTI
LABELLE
The Gospel According to
Patti LaBelle (Bungalo)
(Cross Movement)
(TimeLife)
(Forefront)
(La Face)
(Direct 2 God)
(Gotee)
(Pure Springs Gospel/INO)
(Beatmart)
(Gotee)
(J Records)
(Verity)
(Verity)
(Cross Movement)
(BEC)
(BEC)
(EMI CMG)
(Gotee)
(Cross Movement)
[TOP PRAISE & WORSHIP ALBUMS]
[TOP ADULT CONTEMPORARY/POP ALBUMS]
ARTIST
TITLE (Label)
WOW Hits 2007 (Sparrow/EMI)
(Columbia/Inpop)
(BEC)
(Beach Street)
(INO)
WEEKS
ON CHT
TOBYMAC Momentum
ARTIST
THIS
WEEK
ARTIST
THIS
WEEK
WEEKS
ON CHT
[TOP R&B/HIP-HOP ALBUMS]
THIS
WEEK
[TOP ROCK/ALTERNATIVE ALBUMS]
1
17
2
44
VARIOUS
WOW Worship: Aqua
3
67
VARIOUS
Open the Eyes of My Heart
4
4
MATT REDMAN
Beautiful News
5
124 CHRIS TOMLIN
Arriving
My Savior Lives
ARTIST
CHRIS
TOMLIN
TITLE (Label)
See the Morning
(sixsteps)
(Provident)
(INO)
(sixsteps)
(sixsteps)
6
6
NEW LIFE WORSHIP
(INO)
7
6
PASSION WORSHIP BAND The Best of Passion (So Far)
(Reunion)
8
13
VARIOUS
iWorship Platinum
9
22
HILLSONG
Mighty to Save
10
54
AARON SHUST
Anything Worth Saying
11
44
UNITED
United We Stand
12
71
DAVID CROWDER BAND
A Collision
34
VARIOUS
Very Best of Praise & Worship (Verity)
(Inpop)
(Beach Street)
(INO)
(Word)
(INO)
(Integrity)
(sixsteps)
(Integrity)
(Integrity)
(Brash/Word)
(Integrity)
(sixsteps)
13
2
VARIOUS
Amazing Grace: Music Inspired by the Motion Picture (Sparrow)
13
14
26
SELAH
Bless the Broken Road: The Duets
14
13
LINCOLN BREWSTER
Let the Praises Ring
15
18
CASTING CROWNS
Lifesong Live
15
67
RANDY TRAVIS
Glory Train: Songs of Worship (Word)
16
22
JARS OF CLAY
Good Monsters
16
2
VARIOUS
Worship Together Favorites (Sparrow)
17
48
VARIOUS
Best Worship Songs Ever! (WTG)
VARIOUS
Top 25 Praise Songs, 2007 Edition (MARA)
(Curb)
(Beach Street)
(Essential)
(Integrity)
17
96
VARIOUS
18
19
BEBO NORMAN
Between the Dreaming and the Coming True (Essential)
18
35
19
7
NICOLE C. MULLEN
Redeemer: The Best of Nicole C. Mullen
19
282 MICHAEL W. SMITH
Worship
20
44
MARK HARRIS
The Line Between the Two
20
227 VARIOUS
iWorship: A Total Worship Experience (Integrity)
WOW #1’s
(Provident)
(INO)
(Word)
(Reunion)
*Each chart reflects Christian and general market combined album sales for the week ending February 4, 2007. All charts © 2007 by Nielsen SoundScan (a division of VNU Marketing Information)
and Christian Music Trade Association. All rights reserved. No reproduction without permission.
>>>
President’s
Heatseekers Council
Chart and
on Service
the Christian
and Civic
Retail
Participation
Chart respectively;
• Gotee Records
Redman unveils
joins Chris
two digital
Tomlin EPs
and with
Louie >>>
>>>
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5:18 PM
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sightings
by Chris Well
CATCH THESE SONGS
If you saw the TV commercials for the
latest Jennifer Garner flick Catch and
Release, you might have heard some
familiar tuneage: One version of the
commercial featured the Nichole
Nordeman song “Brave” while
another version featured the Mat
Kearney song “Nothing Left to
Lose.” In the film, Garner stars as a
woman who must deal with the
untimely death of her fiancé and the
revelation of secrets he kept from her.
Faith and sports collide in a bold new event
for men: “In The Zone,” a groundbreaking
live event coming to arenas, auditoriums and
churches across the country, engages men in
a spiritual discussion of life and faith. Each
“In The Zone” event will welcome top
professionals from the fields of business,
plus well-known personalities from sports,
arts and entertainment, including the likes of
CBS Sports’ Spencer Tillman, recording
artist Mark Harris, ESPN analyst Lou Holtz,
NFL standout Jason Sehorn, The New York
Jets’ Patrick Ramsey, SEC Coach of the Year
Houston Nutt and current FCA president
(and former NFL head coach) Les Steckel,
among others. For more information,
visit inthezone.org.
REALITY-TV
MAN
KICKING OFF
Markosia Publishing has named Brian Augustyn the new
Editor in Chief for its line of comics, which includes Starship
Troopers, Smoke & Mirror, Of Bitter Souls and
Shadowmancer, adapted from GP Taylor’s Christian fantasy
novels. Augustyn’s storied comics career includes writing such
DC Comics titles as The Flash and Justice League. He also invented
DC’s entire “Elsewords” concept with his award-winning Batman: Gotham By
Gaslight, which re-imagined Batman as a Victorian-era vigilante chasing Jack the
Ripper. Augustyn, a Sunday School teacher, once shared with the International
Arts Association how Christianity influences his writing: “My faith informs
everything I do in subtle ways and in not so subtle ways,” he said in 2004. “I
take it for granted that there is a God and that prayer works and that we all have
a moral center—and I write characters who feel the same way. I also seem to
put a lot of clergy characters into my books.”
>>>
The theatrical film The Nativity
Story, New Line Cinema’s
inspirational depiction of the
birth of Jesus, comes to DVD
March 20—just in time for
Easter. Distributed by Word, The
Nativity Story DVD features a
widescreen and full-screen
version of the movie.
LISTEN
TO THIS
Former Bibleman Willie Aames recently
appeared on two episodes of the hot new
NBC gameshow “1 Vs. 100.” The quiz show
pits one contestant against “the mob,”
comprised of 100 people drawn from all
walks of life. On the Jan. 19 episode, the
“mob” included (among others) TV judges,
Dallas Cowboys cheerleaders and two
former child stars: Todd Bridges (“Different
Strokes”) and Aames (“Eight is Enough,”
“Charles in Charge”). For the record, Aames
got through to the Jan. 21 episode, but was
knocked out over the price of one regular
U.S. postage stamp. (It’s 39 cents.)
HE’S THE CHIEF
FROM CHRISTMAS
TO EASTER
Jim Caviezel (The Passion of The Christ) reprises the role of
Jesus for the all-star dramatic production The Word of
Promise: New Testament Audio Bible. Produced by Thomas
Nelson with Falcon Picture Group, the 25-hour, 20-CD set is
scheduled to release in October. Also in the production are
Richard Dreyfuss, Marisa Tomei and Michael York, among
others. (Plans are already in the works for the follow-up, a
60-hour audio drama production of the Old Testament.)
ON THE RECORD
U2 lead singer Bono’s
keynote address to the National Prayer Breakfast
is being published as a book in April. On the Move
(Thomas Nelson), a call to action against AIDS
and extreme poverty in Sub-Saharan Africa, will
include striking photographs from Africa, many
taken by Bono in Ethiopia on his first trip to the
continent with World Vision in 1985. As
bestselling Christian author Max Lucado (It’s Not
About Me, Facing Your Giants) puts it, “Bono just won’t give up, will he? He
won’t give up until every hungry body is fed, lonely child is loved and broken
government is repaired. He just won’t quit. And he makes me not want to
either.” All royalties earned from the sale of On the Move are being donated
to ONE: The Campaign to Make Poverty History [ONE.org].
Keep up with the latest “SIGHTINGS” weekdays at
CCMmagazine.com.
Giglio on the “How Great is Our God Tour” on select dates • Casting Crowns’ Lifesong Live (Beach
20 ccm march 07
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4
6
1 235
12 9 8
17
13
7 10181
19 11 16
15
*
arched” musings
A compendium of arguably useless and “rese
20
ama
-R
-O
st
Li
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C
C
A
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RA
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HE
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SO
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Chris W
4
SO THEATRICAL:
5 Christian Tracks That Get a Little Dramatic
There has always been a power in the art of “story.” In fact, Jesus never
spoke to the crowds without a parable or two. In Christian music,
several noted artists have used their songs to paint dramatic stories—
including the likes of Randy Stonehill, Steve Taylor, Carman and the
band Daniel Amos, among others. Here are five more examples…
1. SKILLET, “The Last Night”
This harrowing track, from the band’s latest album,
Comatose (Ardent/S-R-E/Lava/Atlantic), dramatizes a
conversation as one friend hopes to talk the other out of
suicide. The two roles are por trayed by husband and wife
John and Korey Cooper, who trade off vocals.
2. SERVANT, “Jungle Music”
On the 1982 classic World of Sand, the band Ser vant created
a sor t of Christian rock apologetic with “Jungle Music,”
turning the rant of anti-rock preachers on its head. The
song’s closing minutes find two explorers crossing paths in
the, well, jungle; the entire conversation works in the names
of nearly ever y Christian rock ar tist at that time. World of
Sand was recently reissued by Retroactive Records
(retroactiverecords.net).
3. FRESH DIGRESS, Fresh Digress
On the duo’s self-titled 2006 debut, Beatmar t Recordings
ar tist Fresh Digress offers catchy hooks, snappy beats
and message-focused lyrics. But along the way, the
album also offers several moments of geeky fun that are
of the audiodrama variety. Of special note is the “quiz,”
intended to help us get to know the guys better—until it
goes off track…
4. CINDY MORGAN, The Loving Kind
5. FIVE IRON FRENZY,
For an ambitious 1998 Easter-themed event, Cindy
Morgan and husband Sigmund Brouwer (an
accomplished author) coordinated their talents for a
three-tiered approach to the Easter stor y. Cindy’s
album The Loving Kind (Word) was a veritable
musical, the songs written from the points-of-view of
those who witnessed the events firsthand. Sigmund
complemented the experience with his historical
novel The Weeping Chamber (recently reprinted by
Tyndale House) and giftbook The Carpenter’s Cloth: Christ’s Journey to the
Cross and Beyond (J. Countr yman).
“These Are Not My Pants
(The Rock Opera)”
Tucked at the end of the 1998 EP
Quantity Is Job 1 (Five Minute Walk)
was this eight-par t opus. The stor y
(such as it is) plays out through no
fewer than eight genres of music,
including salsa, over wrought album
rock, countr y, heavy metal, R&B,
reggae, cha cha and hip-hop.
Coming
Chris Well’s latest novel, Tribulation
House (Harvest House), hits stores in
May. A man thinks he knows the day
and hour of Jesus’ return and feels
safe borrowing money from the mob.
But when Jesus fails to show up
on schedule…
>>>
PROJECTS
WE’RE STILL WAITING FOR
[1] WOW Salsa!
[2] WOW Swing!
[3] WOW Polka!
Going
Gone
Christian films
at the theater
Christian films
straight-to-video
Christian
flannelgraphs
Music downloads
CDs
MTV actually
playing music
myCCM
MySpace
Talking to people
in person
Street) certified Gold; Live marks Casting’s fourth consecutive Gold record • INO recording artist
22 ccm march 07
ccmmagazine.com
>>>
CCM_03.07_IndBeat.v4
2/12/07
12:31 PM
Page 24
K
industrybeat
A conversation with
Chris York
by Jay Swartzendruber
amazing relationship with my father, personally and professionally. And it’s honestly
been good training because so many of my close friends are co-workers, artists and
producers that I work with every day. It’s become necessary to learn how to both
be friends and work well with friends and family, which oftentimes is difficult.
What are your responsibilities with Credential?
I find the bands and develop relationships with them. This process will include
reviewing songs, refining vision, developing a creative direction, determining if
we are a good fit for each other. I work through the signing process with the few
bands I actually end up signing. I help match the artist with the right producer
and oversee the plans to record an album. Then, I become like a bridge between
the artist and the company, properly introducing the artist to the label team
(artist development, art department, radio promotions, publicity and sales
teams). It’s cool because I love the people at this label. I love the artists I work
with, and I’m constantly involved with them all.
While EMI Christian Music Group owns Credential, do you and your
artists consider your company a “Christian” record label?
I wouldn’t define it that way. We are a creative company that signs artists that
love Jesus. We sign artists because we are passionate about their music and
believe in what they have to say.
Chris York’s Credentials
Though he’s younger than many of today’s most popular artists, you can
thank CHRIS YORK for discovering Sanctus Real, Shawn McDonald,
Earthsuit (which spawned Mute Math) and most of Credential Recordings
artist roster. The ability to sense untapped talent must run in his genes—
his father, Peter York (president of EMI CMG Label Group) has been
discovering breakout artists since the ’80s.
Chris, the director of A&R for EMI CMG Label Group, serves not only
Credential, but also the Sparrow and Forefront imprints. The Los Angelesnative originally started working at EMI (archiving Sparrow’s tape vault) as
a high school student through a cooperative program. Eventually, in 1999,
Chris became a part-time Junior A&R rep while attending Nashville’s
Belmont University before being promoted to a management position.
As the person who signs most of Credential’s bands, Chris explains he
has “a particular passion for them and their style of music.” The indie rock
label’s artists include Dizmas, Edison Glass, Turn Off The Stars, and new
critics’ faves Lost Ocean and Future of Forestry.
When did you know you wanted to pursue a music-oriented career?
When I was in middle school, I really started to discover music I was passionate about.
I went to as many rock shows as I could, stumbled onto the local college radio station,
taped MTV’s “120 Minutes” every Sunday night. I got obsessed with bands like The
Cure, Smashing Pumpkins, Starflyer 59 and Sunny Day Real Estate. I realized this was
the only thing I wanted to do for a job.
What have been the pros and cons of having to establish yourself
professionally in your father’s impressive shadow?
I was hired by my father, and he still runs this label. He’s been in the music
business ever since I was born, so I’ve always been connected to it. I spent years
constantly worrying about what people thought about me and my entry into the
music business. But, I guess I realized a couple years ago that I simply could not
keep living for my peers’ approval or disapproval. I made a decision to work hard
and do my best, hoping that if I did good work, it would be recognized. I have an
>>>
Your two newest artists, Lost Ocean and Future of Forestry, seem
to be impressing even jaded music critics. How are you feeling
about the responses they’re getting?
We love our bands and these records so much that sometimes it’s hard to stay
objective. A jaded music critic is jaded for a reason: they listen to loads of
music. So when something cuts through, it’s very satisfying. I sometimes feel
guilty that I get paid to work with artists and music that I love so much.
What will be Credential’s other key releases during the first six
months of the year?
Aside from Future of Forestry and Lost Ocean, we’re putting out the second album
from Dizmas, which honestly is an amazing record. I think it will surprise a lot of
people. We’re finishing up Edison Glass’ second album. It is turning out so good.
We also have a new band called Seabird that will be coming out this year.
For more information, visit myspace.com/credentialrecordings.
A Day Behind the Scenes with Chris
8:00 Miraculously crawl out of bed
8:30 Arrive at work—
immediately start drinking
coffee and catching up
on emails
9:00 Return phone calls and
answer more emails—keep
drinking coffee
2:00 Present the Oceans
Above record to
marketing and
creative teams
3:00 Listen to mixes for
Dizmas record; make mix
notes for the producer
10:00 Listen to demos from
indie artists
4:00 More phone calls—with
artist managers and
producers I’m
working with
11:00 Meet with Credential staff
on Future of Forestry
marketing plan
5:00 Go to the studio—Edison
Glass is recording
vocals today!
12:00 Lunch with Dirt,
Credential’s PR guy
7:00 Drive home and make
phone calls for an hour
until my cell phone
battery dies
1:00 Phone calls to band
members on my roster and
indie artists
Derek webb puts finishing touches on new album, Ringing Bell, due out May 1 • stop
24 ccm march 07
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Page 26
paulcolman’s onestowatch
core/goth-type venue, and most of the bands were pretty intense. So, when it
was our turn to play, we just did our normal set, and the crowd ended up loving it. At least we weren’t a hardcore band showing up at an acoustic venue.
PAUL: So what’s the Jackson Waters’ plan? World domination? World peace?
DAVID: Our plan is to make good music for a living for as long as we can.
This band’s main goal is to go out into the world and just meet people. If you
can build a relationship with someone in a matter of minutes after a show,
just by talking to them, imagine how that could grow over the years. The
music world is a business just like any other group of workers in the world
trying to make a profit. The only difference is that music is the only universal language and can be used as a tool for engaging people and meeting
them where they are.
Jackson Waters
LIFE ROCK
JACKSON WATERS is a band out of John Brown University in Siloam Springs,
Arkansas. Comprised of singer David Leonard, guitarists Jesse LaFave and
Toby Friesen, bassist Brian Meek and drummer Ryan Hawk, the group has a
definite uniqueness and originality which, in itself, is an achievement. But
Jackson Waters also has great songs that slide comfortably across well-established genre demarcation lines. The band’s debut recording, Come Undone
(Word), was produced by Rob Hawkins (David Crowder Band, Out of Eden) and
hits stores March 6. For more info, visit jacksonwaters.com.
PAUL: Your music is kind of hard to define and pigeonhole. It's wonderfully
diverse. Does that make you happy to hear people say that?
DAVID: I think we take that as a huge compliment. In an industry where it
is difficult to come up with something that is considered original and fresh,
anytime people have to pause and think when they are trying to describe your
sound is a good thing. On the other hand, we feel like our music is accessible to any age group and appeals to a wide group of audiences. Even within
the album, we believe that people will hear all the different sounds of our influences coming together to create a sound that is unique to Jackson Waters.
PAUL: Do you have a genre for yourselves?
DAVID: Actually, we do. One of the guys in the band likes to say that he
coined the term “life rock.” The term basically translates to say that we sing
and write songs about the everyday struggles that we encounter and work
through, just like everyone else in the world does. The song “Let It Fly” was
written to illustrate the fact that until you really let go of all the things in your
life that are holding you back, you will never really experience the freedom
and hope that faith provides. A song like “Come Undone” is written about the
fact that we all have skeletons in our closets and things that we like to keep
hidden from others. “Send Her An Angel” was written after an experience
where someone in the band witnessed a group of orphans sitting alone in the
Ukraine. As musicians and critics, we all like to tear songs apart and try to
find hidden meanings in them, but with our music, we try to put the message
right out front where the listener can grab hold of it and take it to heart.
PAUL: : I heard there’s a bit of a story surrounding your first ever gig.
DAVID: Yeah. We were still an acoustic-driven, southern rock band when we
played our first show in Tulsa, Oklahoma. The venue ended up being a hard26 ccm march 07 ccmmagazine.com
Adam Cunningham
DIVINE
INTERVENTION
ADAM CUNNINGHAM is a worship leader/singer/songwriter from Iowa. His
self-titled album—which releases March 6 on Beatmart Records—is a soulful
and heart-felt expression of God’s love and intervention in a human life. He
may be a “newcomer,” but Adam has already led worship on both the 2006
Dove Award-winning album, His Renown, and the Dove-nominated disc, The
Word Alive. Adam and his young family live in Nashville, Tenn., where he is the
worship leader for a citywide, non-denominational young adults ministry. For
more info, visit adamcunningham.com.
PAUL: What experiences led to the writing of the songs on your debut
record?
ADAM: There were many ordinary and extraordinary events in my life which
inspired me to write these songs. All of them are just a small reflection of me
and what I am learning in my life. I am a simple straight-forward guy, and that
is the way that I write my music. At the end of the day, I want everyone who
has heard my music to know what I am about. I am about a God who loves in
spite of what we deserve. I am about a God who not only likes people who
have messed up, but He loves them!
PAUL: So what do you do with your time? Are you always on the road?
ADAM: I am the worship leader for a young adults ministry called The Loop
in Nashville. When I am not playing a concert or leading worship, I love to
play with my kids, play Xbox 360 with my wife and ride my motorcycle. Oh,
and movies—I love movies!
CCM_03.07_O2W.v4
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PAUL: Who are some of the artists that have influenced your music?
ADAM: I grew up listening to Ricky Skaggs, Willie Nelson, dcTalk and Petra.
An odd group together, but I love it. My dad also wrote and played music, and
I know that he had to have had some influence on me. As I’ve gotten older,
I think Bon Jovi and Bob Schneider have been big influences, among others.
I like to take a little bit of something from everyone. If I can make my music
as good as I can, then perhaps I can reach more people for God. It’s not
about what great music can do for me. It’s about what I can do for God with
great music.
PAUL: Tell us about the song “Ways Unseen.” It’s a really beautiful song, and
I love the understated production.
ADAM: “Ways Unseen” is a very special song to me because I wrote it about
my wife, Amanda. We were married young and parents at a young age. At the
time, I was in no way a nice guy. In fact, you could have called me a jerk.
Amanda did, and she was right. However, she knew that God had something
in store for us. There were times that He would give her patience with me,
and times when He had to give her even more patience with me. Now, God
didn’t talk to her through the refrigerator or anything like that, but she knew
without a doubt that He was there and that He truly works in ways unseen.
PAUL: You are on the same label as Casting Crowns and Josh Bates, right?
How did that come about?
JOHN: It’s really a remarkable story, but I’ll give you the short version. After
giving up on my dreams for my band, According to John, I moved to Colorado
to help my friend plant a church. I became the worship pastor and, being a
songwriter, I couldn’t just do everyone else’s songs. I felt God prompting me
to write songs for this body of believers. After about a year-and-a-half, the
church insisted on having the songs recorded. We raised more than $50,000
in four weeks, and I headed to Atlanta to record the songs with my friend and
producer Jason Hoard. I had become a true fan of the authentic ministry of
Mark Hall and Casting Crowns. My friend and current drummer in my band,
Brian Scoggin, had Mark’s cell number, and he called him and asked if he’d
consider lending his voice for a duet. Amazingly, he agreed. When the project
was finished, Mark Hall sent it on to Beach Street Records president Mark
Miller, and after six months of the disc being stuck in Miller’s CD player, he
finally heard it. About a month later, Mark Miller unexpectedly signed me.
PAUL: Do you tour full time? If not, what do you do as well as perform your
music?
JOHN: I am a worship pastor full time. If God gives me a platform in the world,
which demands full-time touring, then my family and I will hit the road hard.
Until then, I will schedule touring around my responsibilities as the worship
pastor at my church.
PAUL: Tell us about your new record. Describe your sound and what you
really want listeners to get from it.
JOHN: Because of my band background, my sound is all about guitars. In a
live setting, I will have drums, bass, two electrics and a keyboard. I use a lot
of orchestral strings in my music as well. I want my listeners to have revelation imparted to them that will actually change them. If I could be prosecuted
for plagiarizing the Word of God, I’d be in jail. The Holy Spirit, through the
Word of God, is what changes people’s hearts, not any cool lyrical ideas I
might come up with.
PAUL: Are you married? Do you have kids?
JOHN: I’ve been married to my wife, Josee, for 11 years. We have three children, Baylee (nine), Hadlee (five) and Sophee (two).
John Waller
ACCORDING TO JOHN
JOHN WALLER is a singer/songwriter/worship leader who originally gained
national attention fronting According to John. After the band ended, John and
his family moved to Denver, Colorado, and focused on writing songs for his
church congregation. The people at SouthLink Church loved John’s music so
much, they raised the money to finance his record. He eventually signed to
Beach Street Records after Mark Miller—label owner and Sawyer Brown front
man—was captured by John’s powerful songs. The resulting album, The
blessing, releases March 6. Earlier this year, Billboard Magazine selected
John as one of the “Faces to Watch” in their inaugural “Best Bets 2007” issue.
(He was the only Christian artist so honored.) Check out johnwallerproject.com
for more details.
PAUL: What artists have influenced your music?
JOHN: No one has influenced me as an artist and a songwriter more than
Steven Curtis Chapman. Steven is the bar for what authentic ministry
through artistry looks like. It’s still my dream to write and sing a song with
him. Nobody does it better!
PAUL: I love your song “The Blessing.” Tell us about how it was written.
JOHN: I lived 20 years of my life with depression and medication until God
delivered and healed me three years ago. This illness has run through my
family for generations. “As a man thinketh in his heart, so he is [Proverbs
23:7].” I was told that I had it. I believed it, and it became real in my life.
Jesus bore this curse along with every other at the cross. When I began to
believe His reality, my reality changed. It’s so important that we speak truth
and blessing over our spouses and children and everyone around us. The
power to bless and curse is in the tongue. I figured it was time for that to
be said in a song.
Singer/songwriter/author Paul Colman, the former front man of GRAMMY® nominated and Dove Award-winning act Paul Colman Trio, is also the
newsboys’ guitarist. Paul’s latest album is Let it Go (Inpop) and the newsboys’ latest is, Go (Inpop). Paul currently tours, speaks and performs
internationally. For more information, visit paulcolman.com.
CCM_03.07_BibleStudy_v4
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livingthemessage
by Jody McBrayer
I’m not sure I would respond that way. As a matter of fact, I haven’t. I
haven’t even begun to experience the kind of loss that Mr. Spafford did, and,
yet, my response to loss has been very different. My father passed away in
2000, and, to this day, I still shake my head at the heavens and ask, “why.”
That’s where Mr. Spafford’s life and story have helped alter my perspective.
Philippians 4:6-7 from The Message says; “Don’t fret or worry. Instead of
worrying, pray. Let petitions and praises shape your worries into prayers, letting
God know your concerns. Before you know it, a sense of God’s wholeness,
everything coming together for good, will come and settle you down. It’s
wonderful what happens when Christ displaces worry at the center of your life.”
“
It Is Well
These days millions of people are learning the true story
behind the beloved hymn “Amazing Grace,” thanks to the
inspiring new film by the same name. While many Christian
music fans were already in the loop on that one, did you know
there’s also a compelling story behind the classic hymn, “It
Is Well With My Soul”? Avalon’s JODY MCBRAYER didn’t
either, until recently. The multi-talented singer gives us a
striking history lesson as he offers this month’s devotional.
In the 1870s, Horatio Spafford was a successful Chicago lawyer. He had a
wife named Anna and five children. Early in 1871, one of Mr. Spafford’s
children, his only son, died suddenly and left the entire family devastated.
Spafford had invested heavily in real estate and, as if to add insult to injury,
he lost most of his properties as well as his life savings during the Great
Chicago Fire of 1871. Spafford desperately needed a rest, so in 1873 he
planned a trip to Europe with his wife and four daughters. Last minute
business caused Spafford to delay his departure, but he sent his wife and
daughters on the S.S. Ville Du Havre as scheduled, promising to follow in a
few days. On November 22, the ship was struck by the English ship Lochearn,
and it sank in 12 minutes. 244 souls perished that day, including all four of
Spafford’s daughters. Several days later, what little survivors there were,
landed at Cardiff, Wales. Spafford’s wife Anna was among them. She cabled
her husband the brief message, “Saved alone, what shall I do?”
When Horatio Spafford made the trip to meet his grieving wife, he sailed near
the place where his four daughters had sunk to the ocean depths. There, in the
midst of his sorrow, he wrote the unforgettable words to a song that has brought
healing and hope to countless people, “It is Well With My Soul.”
I have been singing that song my whole life but never knew the story behind
it until recently. To say that it has inspired me would be an understatement.
Every one of us experiences pain and loss in this life. We come face to face
with difficulties that overwhelm us, often leaving us paralyzed and unable to
move forward. What does it say about a man like Horatio Spafford—to have his
entire family and fortune taken from him, yet he still had enough faith in God to
say, “It Is Well...”?
28 ccm march 07 ccmmagazine.com
The true test is not the trial
itself but how we respond to
that trial.
”
I love the line, “...when God displaces worry at the center of your life.” There
really is a peace beyond our own understanding. God promises us peace and
a clearer understanding of life’s difficulties if we’ll only just pray and seek Him.
The true test is not the trial itself but how we respond to that trial. Mr.
Spafford knew this.
What I didn’t explain above was that he was a mighty man of God. One who
shared company with some of the greatest spiritual men of his time. They
would often call on him for advice and prayer because of his godly character.
That is the kind of man I want to be. That’s what God wants for all of us—to
be people who are sold out for Christ and so firmly rooted in our faith that we
can withstand any storm.
The second verse of “It is Well” says:
“Though Satan should buffet
Though trials should come
Let this blessed assurance control
That Christ has regarded my helpless estate
and hath shed His own blood for my soul.”
It is my prayer that when you and I are faced with struggles, we respond as Mr.
Spafford did. With the “blessed assurance” of knowing that God is bigger than
our circumstances. He is greater than our speeding tickets. He is more powerful
than divorce. He is mightier than cancer or disease. Our God took into
consideration all of these situations, both joyful and difficult, long before time
began. Then, He sent Jesus to take those burdens from us and to renew our lives.
In Isaiah 53 it says, “…He was pierced for our transgressions; He was
crushed for our iniquities, the punishment that brought us peace was upon Him,
and by His wounds we are healed.”
I wish you all peace, the kind of peace that Horatio Spafford had. The peace
that only comes when we trust God with every fiber of our being. Knowing deep
within us that, no matter where we are in this life, no matter what answers we
don’t have, no matter how difficult the path ahead may be, we can sing and
truly believe, “It is well, it is well with my soul.”
Jody McBrayer is one-fouth of pop vocal group Avalon. Avalon released Faith: A
Hymns Collection (Sparrow) in October. For more info, log on to avalonlive.com.
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From left: Jonathan Schneck, John Warne, Matt Thiessen, Dave Douglas and Matt Hoopes
Hoopes
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Is Relient K ready for this next step?
The band’s three Gold albums, (The Anatomy of the Tongue In Cheek, Two Lefts Don’t
Make A Right...But Three Do, MMHMM), two Gold singles (“Who I Am Hates Who I’ve
Been,” “Be My Escape”), hit videos and rave reviews in the mainstream press have
assured it a place in the stratospheric heights of the underground (which translates
into “almost famous” in mainstream culture). Despite Relient K’s home-grown
aesthetics and self-deprecating wit, the band is just about as big as any faith-fueled
artist out there today.
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With great success, however, comes great expectations,
and on March 6 all eyes will be on Relient K as it releases the fifth fulllength album in its busy seven year history. A super-star producer, one of
the biggest record companies in the world and a lot more experience has
caused anticipation to rise considerably. But when CCM hung out with
vocalist/pianist/guitarist Matt Thiessen, lead guitarist Matt Hoopes and
new bassist John Warne on their bus just before New Year’s Eve, one
thing was perfectly clear: these guys aren’t worried at all.
“You can kinda smell it,” Thiessen says about when Relient K knew it
was time to start working on a new record. Though certainly typical for
most bands, the two years between the release of MMHMM and the new
record is a veritable eternity for a group that has released five albums
and three EPs during its fairly short career. Hoopes attributes the vast
24 month LP silence (They did release an EP during that time.) to the fact
that the band joined the Capitol roster after the last record was
completed. “We got signed to Capitol right as MMHMM was coming out,”
he explains, “so it took awhile for them to do videos and to push us to
radio.” In addition to Relient K’s standard headlining club and theater
tours, the band joined the “Warped Tour” and hit the road with
mainstream bands such as Good Charlotte and Simple Plan.
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The Complex Infrastructure Known as Relient K
When all the activity subsided, Relient K started writing for the next
project. But personnel and geographical changes tweaked the process
right out of the gate. During the recording of MMHMM, long-time bassist
Brian Pittman decided it was time to do other things. He joined the
eclectic post hardcore/metal band Inhale Exhale. “We still hang out,”
Thiessen assures. “We’re still good buddies—it was just that he wanted
to do something else.” The band replaced Pittman with John Warne, the
charismatic front man for indie faves Ace Troubleshooter. “He’d never
played bass in a band before, so that was kind of adventurous,”
Thiessen admits. But the changes didn’t stop there. Shortly thereafter,
Relient K decided to add an extra guitarist/multi-instrumentalist to the
line-up. Jonathan Schneck, former touring guitarist for Audio Adrenaline,
brought a wide variety of talents including guitar, banjo, bells and vocals
to the mix in time to record the late 2005 Apathetic EP.
Now as a five-piece band for the first time, everything from songwriting
to live shows has changed. “I wanted to be free to play more piano during
the show,” Thiessen explains of the reason they added Schneck. “It also
changes the way you write when you know you can have two guitar parts
going and play piano and sing.” The result was apparent on the band’s
last several tours as Thiessen brought a piano on stage and showed off
his chops on the ivories. But once they hit the studio, the added nuance
and ambience became all the more apparent. Though still true to their
roots, the instrumental depth has been compounded with the addition of
Schneck and the re-purposing of Thiessen, as well as the involvement of
legendary modern rock producer Howard Benson (Hoobastank,
Motorhead, My Chemical Romance).
The producer change came after a career-long exclusive relationship
with fellow Ohio-native Mark Townsend. “It wasn’t like we were saying
Mark wasn’t good enough anymore or anything like that,” Thiessen
explains. “We just wanted to use someone else so we weren’t using the
same person for our whole career.” The band members were fans of
Benson’s work on several projects, including The All American Rejects’
Move Along record and the noticeable growth he spurred out of Less
Than Jake on its Hello Rockview LP. “I was really excited to work with
him,” Thiessen says. “Everybody that has heard the record so far has
said that, sonically, it’s a step in the right direction. The guitars sound
better; the drums sound better; the vocals sound better. The fact that
we spent a lot less time making it, and it sounds better, is cool. And I
think that Howard brought all that to the table.”
Hoopes appreciated Howard’s precise approach to production. “He’s
always thinking about the mathematics of the song,” he says, “the
melodies and the arrangements and just how everything fits together.”
They were all fans of Benson’s regular engineer Mike Plotnikoff as well.
“He’s worked on a lot of big records,” adds Hoopes, “from Metallica to
Bon Jovi’s Slippery When Wet.” It was more than just nostalgia and
brushes with greatness that wowed the band though. Benson’s team of
engineers and techs, along with his staggering collection of vintage
amps and guitars was mind blowing. “They had a full-on guitar tech there
the whole time,” Hoopes raves, “who was there twisting all the amp
knobs and setting up all the guitars right before you played them. Every
time we’ve done a record on our own, the entire time, we’re sitting there
tuning, tuning, tuning. It drives you crazy, and it takes forever.” But with
Benson’s team, it was different. “There was no way the record could have
gotten done that fast without that team there.” Warne, a veteran of doit-yourself indie rock, enjoyed the pro treatment as well. “It was really
cool to be around people who were so proficient at their jobs,” he
admits. “It made you want to be a better musician and made you
interested in all the different aspects of the recording process.”
Come Right Out and Say It
Long before the band flew to Los Angeles to record, however, Matt
Thiessen was writing songs at his home in Ohio and emailing demos to the
others who, by then, lived all across the country. Stories abound of major
labels destroying good bands by hen-pecking them over song selection in
an effort to get as many sound-alike radio hits on the disc as possible. But
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for Relient K, the experience was totally smooth.
“When it came time to start writing, I was just sitting
at home in Ohio, and nobody really said anything,
which I think is cool,” Thiessen recalls. “It’s our fifth
record, so I feel like we’ve figured out what Relient
K is and how to make it happen.” As far as pressure
to write certain kinds of songs, or to avoid certain
subjects, Thiessen says it was never an issue at all.
“When we were making our third record we had
major label interest,” he adds. “So if we were going
to start writing differently for major labels, we would
have started doing it back then, and it’s never been
a factor. We’ve never written for an audience. I don’t
know if this sounds selfish or stupid, but we’ve
always written for ourselves; just writing songs that
we’re stoked on and that we can get behind.
Obviously, you want it to appeal to people but, at the
same time, you don’t want to cater to people for the
sake of catering to people.”
Hoopes agrees. “I think overall it was a pretty
good experience.” And the transition from Gotee to
Capitol? “It’s really been smooth,” says Thiessen.
“And we do really like the fact that we get to work
with Gotee still. They gave us our start. They’re
responsible for us having careers, and it has always
been a very family-oriented situation.” Gotee
continues to distribute Relient K’s music into the
Christian market via EMI Christian Music Group.
Once the songs had been circulated and whittled
down, the band joined up in Nashville for their first
round of pre-production, recording slightly less rough
demos than the ones Thiessen had made on his
computer. “The songwriting process on this one was
a little bit different for us,” Thiessen explains,
“because we have the new line-up.” The band, living in
various parts of Ohio, Tennessee and Colorado then
went to Los Angeles to further tweak the songs and
prepare to record them. Once underway, the entire
L.A. session lasted only three and a half weeks.
The One You’re Waiting For
Production, technology and geography aside, the
heart of any great record is the music itself—the
songs. And some noticeable changes emerged in
the writing and performing of this latest batch of
tunes. While every bit as catchy, melodic and
punchy as anything in their catalog, a new level of
maturity and artistic sophistication is obvious
throughout the disc. From the densely packed
Beach Boys’ style vocal harmonies, to a musical
palette that is far more diverse than they have ever
attempted, Five Score and Seven Years Ago marks
major improvements in just about every way a band
can improve. Switchfoot front man Jon Foreman, a
mentor of sorts to Thiessen, sees the new
collection as a great example of Thiessen’s deft
touch as a writer. “I am always struck by how clever
Matt is,” Foreman tells CCM. “This record has
hidden gems throughout.”
The opening track, “Plead The Fifth,” offers an
odd conspiracy theory regarding the assassination
of Abraham Lincoln and a body double, set to a
strange Lion King meets Barber Shop Quartet mini
song before launching headfirst into the first “real”
song. But it’s the lead single, “Must Have Done
Something Right,” that is so upbeat, sunny and
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happy, that the band is a little nervous about it being
the first thing people hear from the album. Tracks on
the disc range from high-energy power-pop to
textured alternative rock and even some
convincing and thoughtful ballads. And as the
stylistic boundaries broaden, the lyrical resonance
plunges far deeper than anything Thiessen has
penned in the past.
Then Jesus Showed Up
Consider the album’s closer, “Death Bed.” It’s
certainly one of the most fully realized explorations of
the Gospel ever set to alternative music. In it,
Thiessen creates an unnamed fictional everyman
who is in his final moments on earth, lying in his
literal deathbed and reflecting on his sad life and
beautiful salvation. In the tradition of classic
theatrical rock epics such as “A Day in the Life,” “Pet
Sounds” and “Bohemian Rhapsody,” it takes the
listener on a musical and lyrical journey without a
trace of irony or self-consciousness. The use of
piano, strings, banjo and other atypical components
add a neo-classical element that would be more at
makes no apologies for the Christian influence
on its songs. “I still think that it’s really hard to
say ‘Jesus’ in a song and have people respect
you for it, especially in pop rock music. ‘Jesus’ is
a name to be revered and, if you treat it lightly,
it’s borderline blasphemy! I’ve put ‘Jesus’ in the
wrong spots sometimes.”
Foreman appreciates Thiessen’s approach and
sees a unique ability in him as a songwriter.
“Matt’s a fighter,” Foreman says. “The inner fight
is something that he sings about with honesty
and conviction.”
Repercussions from the mainstream side of
things are not expected, and if they come,
well...“If you know us all personally you’d hear us
say that we don’t really care if this record sells.
We don’t care if we’re on MTV. We don’t care if we
have Platinum success or anything like that, and
you’d know that it’s not us trying to be humble—
it’s just legitimately what we think. We don’t
really care! If this record tanks because I put
‘Jesus’ in a song, so be it. That’s a sad thing for
society.” Capitol Records’ senior director of
marketing Tom Osborn believes the band’s strong
reputation as good guys and hard workers,
combined with the internal sense they have of
their audience will protect them from the
remaining “sects” of industry folks who still shun
believers; or as Osborn puts it, “people who overthink it and are, in general, usually too ‘hip’ for
the room.” Osborn adds that Capitol is overjoyed
to have the chance to launch Relient K into the
mainstream. “They are a great band as a whole,”
he offers. “They’ve done an incredible job [on
this record.] This is why you do this deal. We are
kicking ourselves with happiness!”
2007 A.D.D.
home on a record by Sufjan Stevens than any
previous Relient K sets. A beautiful instrumental
climax represents the character’s ascent to Heaven,
and a stunning coda sung achingly by guest vocalist
Jon Foreman wraps the whole thing up with a bang.
“When Matt asked me if I wanted to sing on a
tune,” Foreman explains, “I told him that I would be
honored to be involved. I enjoy singing notes I
wouldn’t write that approach subjects that I don’t
write about—it’s like a vacation, or a trip overseas.
If I were to hire a voice to play the part of God, I
would shoot for a voice like Johnny Cash or maybe
Lou Reed. So I tried to dive into it and make even
the high notes feel authentic and strong.” That he
did. Foreman’s falsetto evokes feelings of a
gracious and gentle God ushering the weary and
broken protagonist into His rest.
How such a boldly and obviously “Christian”
song will go over on a record intended for
mainstream appeal is not really a concern for the
band. The key for them is integrity. Thiessen
explains, “I’ve always said that putting Jesus’
name in a song is a really difficult thing to do
because it’s really easy for it to come across as
cheesy.” Some fans on the band’s message
boards have misunderstood this statement,
mistaking it for shame or fear of being bold
spiritually. Not so, says Thiessen. The band
The new level of maturity in Relient K’s music is no
accident, but neither is it a total buzz-kill. Humor still
abounds; it’s just a bit more sophisticated and
tasteful. Big ideas, interesting musical experiments
and grand visions occupy some of the space
previously given over to frivolity and Jr. High jokes. “I
think what we’re going to do is make albums that as
26-year-olds we can play even for our ‘cool’ friends.
But we’re still having a lot of immature tongue-incheek sort of fun through other avenues. We still
have a sense of humor, and we know we have a lot
of fans that enjoy that aspect of our band. We want
to provide that, but I think, at the same time, I don’t
want to have a record that I’m really proud of and
then, all of a sudden, throw some cheeky something
in there that isn’t appropriate.”
And as for the verbose album title, it supposedly
has nothing to do with the year 1900; nothing to do
with the fact that in that year Lincoln’s son, Robert
Todd Lincoln, decided to exhume his father’s body
and re-bury it in a massive concrete vault to protect
it from thieves. No, according to Thiessen, it’s a
simple summary of their career. “Five members of
the band; the fifth record, and it’s been seven years
since we put out our first album. So ‘Five Score’
means basically if you’re scoring how many records
we have, you’ve scored five.”
Whatever. ccm
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May the Horse Pill Be With You
If you’re one of the few in doubt about whether or not
Relient K has truly arrived, you need look no further
than the notorious label VITAMIN RECORDS. Known for
its quirky bluegrass, dance, string quartet, electronic,
lounge and swing tribute albums, Vitamin has
“honored” pop music giants such as Beyoncé,
Coldplay, Evanescence, Good Charlotte, U2 and Gwen
Stefani, among others. And when a band is the crème
de la crème, Vitamin puts out multiple tributes in its
honor. So imagine Relient K’s surprise when, in 2005,
the niche but far-reaching label released its String Quartet Tribute to
Relient K album. And now? Pickin’ On Relient K: The Bluegrass Tribute
just hit stores February 20. But that’s not all. CCM’s more adventurous
readers will also be interested to know that Vitamin has recorded
tribute albums for Underoath, Switchfoot, Casting Crowns, P.O.D.,
Amy Grant, Dashboard Confessional and Chevelle. Believe it—visit
vitaminrecords.com for more info. J.S.
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S
e
m
h
Ry
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e
n
e
c
S
e In ves tig ation
At first glance, one might
assume today CHRISTIAN
HIP-HOP is on the rise:
tobyMac’s hip-hop flavored music is more
popular than ever, KJ-52’s latest disc is on
pace to be his best-selling, Soul P. recently
unveiled The Premiere—the best faithbased hip-hop debut in recent memory—
and Word Label Group is putting major
label muscle behind new hip-hop act Group
1 Crew. Too good to be true?
BY: ANDREE FARIAS
For mainstream rap pioneer Nas, “hip-hop just died this
mornin’‚ and she’s dead, she’s dead.”
But the truth is, hip-hop is alive and well. At the mainstream
level, the genre continues to yield sizable dividends—in 2006,
it accounted for 10 percent of all album sales.
By comparison, Christian hip-hop is a mere drop in the
bucket. And here’s proof: Of the almost 40 million albums
sold in Christian and gospel music in 2006, a little less than
500,000, or roughly 1.2 percent, were hip-hop discs. That’s
barely enough for an album to be certified Gold.
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But hip-hop’s difficulties are not limited to the
retail side; radio airplay of faith-based hip-hop
music has also been scant. Of the Top 20 songs of
2006 in the CHR—or pop—format according to
Radio & Records, only one song, perched all the
way down at No. 19, had a bit of a hip-hop flair to
it: tobyMac’s “Welcome to Diverse City.”
Incidentally, that’s not tobyMac’s only
accomplishment in 2006; his 2004 release,
Welcome to Diverse City (Forefront), was also the
bestselling “hip-hop” album of 2006, a title he’s
held for three years in a row.
“[The numbers] break my heart, because I think
there’s great hip-hop in our market,” says tobyMac,
an artist who, by his own admission, doesn’t think
of himself as a hip-hop artist, at least in the
strictest sense of the term. “My music is pop music
that leans hip-hop. I don’t think the same people
that buy my records are buying straight hip-hop.”
But even if that’s the case, straight hip-hop
buyers don’t seem to be making a lot of noise of
their own, at least in terms of driving sales. This
less-than-golden performance furthers speculation
about the state of Christian hip-hop today. And for
those seeking clarity, the answers seem to be as
varied as the genre itself.
“The business is getting a little more open, but
there’s still a lot that needs to be done,” says Teron
“Bonafide” Carter, one-half of GRITS, the most
popular rap group in Christian music. “It’s almost
kinda too late for [that to happen]. We ourselves
don’t even look at it as Christian hip-hop, because,
honestly, on paper, it doesn’t even exist. On radio,
it doesn’t exist. In the media, it doesn’t exist. So to
us, it’s just hip-hop. We don’t need a label to sell
the music. As a true artist, you don’t have to have
a title to get people to buy what you do. That’s the
way we look at it. There’ve been some changes, but
there still have to be a lot more changes.”
West Coast rapper T-Bone thinks things are
getting better in terms of acceptance of the genre,
but he believes the hotness level is not up there.
“I still feel there is a lack of quality in the music
put out in the industry,” he says. “Christian rap is
still years behind as far as talent goes. Yes, there
are some good rappers out there, but, for the
most part, most of what I hear is not innovative or
lyrically creative.”
“There are a lot of good artists putting out quality
music, something that speaks directly to the soul of
a person,” says rap newcomer Soul P., whose
The Cross Movement
KJ-52
rs]
e
b
m
u
The n
“[
t
r
a
e
h
y
m
ak s
e
r
b
because I think there’
great hip-hop
in our market.”—tobyMac
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Beatmart Records debut, The Premiere, released in
December. “[But] then there are artists who I feel put
out music just to tr y and sound like a good Christian
and it ain’t honest and it falls on dead ears.”
KJ-52—second after tobyMac in terms of solo
popularity—believes up-and-comers have a hard
time making it because they treat hip-hop as a
game to be played, rather than a job to be done.
“There is a huge lack of maturity, responsibility,
work ethic and industry smarts amongst the
average artists coming up,” he says. “The majority
have unrealistic expectations, goals and
mindsets toward what it’s really like to do ‘this.’
The consumer wants the product; the promoters
have come around, and even the industry is
starting to take notice. However, there really isn’t
the artist to meet those needs.”
“It’s quite confusing, to be honest,” says Josh
Niemyjski, general manager of Illect Recordings, an
upstart hip-hop label out of Minnesota. “The bigger
labels seem to be fading, each to differing degrees.
Then there are a few promising newcomers that
seem to be catching on. And the indie scene seems
to be thriving more now than ever.”
If by “thriving” Niemyjski means that independent
labels have a bigger market share than before, he’s
right. Consider the indie label started by veteran
standouts The Cross Movement. The self-titled
company (Cross Movement Records) has
introduced fresh faces such as Lecrae, Da'
T.R.U.T.H. and FLAME, and all have posted healthy
numbers for their most recent albums. Indie-based
stalwarts such as T-Bone and Pettidee, meanwhile,
are experiencing comparable sales.
Niemyjski surely knows a thing or two about the
ebb and flow of Christian hip-hop. As a former
executive at now-defunct Uprok Records—the same
hip-hop imprint that made KJ-52 a household name in
Christian rap—he witnessed the rise and fall of the
little house he built, a loss that only exacerbated the
positioning of hip-hop within Christian music.
“I think that Uprok closing its doors soured a few
folks that may have seen opportunity in hip-hop,”
he says. “It surely discouraged a lot of people.
Anytime a label comes along, does well, and then
folds, it can’t be good—especially for a scene like
ours that needs everything of benefit it can get.”
Historically, Christian major labels have been
reticent to actively sign hip-hop artists. There have
been exceptions, but they’re few and far between.
And they’ve been one-album affairs.
Word Records once tried its luck with Souljahz,
a sibling trio from San Diego; they showed
promise with their 2002 debut, but their second
album remained stuck in limbo until the trio was
finally released from their contract. ForeFront
Records hedged its bets with teenaged hiphopper Lil’ IROCC, but he, too, got dropped not
long after going public. Essential Records is
actually credited with discovering KJ-52, but he
also received the pink slip once his debut, 7th
Avenue, underper formed. (The label later rereleased 7th Avenue after Uprok successfully
broke KJ-52 into the Christian mainstream.) For
the most par t, though, the big players have
remained on the fence.
“It used to be that any urban music was fringe in
Christian music,” says Otto Price, vice president of
A&R for Word Records and hip-hop forerunner in
his own right. “Ar tists like tobyMac, GRITS,
Superchick and Mat Kearney have opened the
doors for other hip-hop artists to be considered a
part of mainstream Christian music. Things are
looking up, but we have a long way to go to be
considered relevant.”
While Price and Word Records are in the hunt for
new hip-hop talent, Fer vent Records—another
imprint in the Word Label Group, and home to
Hip-Hop’s “Wow!” Factor
Want to know more
about the scene?
Reading about today’s
faith-based hip-hop is
one thing—engaging
the music itself is
another. If only there
was a WOW Hip-Hop 2007 compilation you
could check out. But wait, there is—in a
manner of speaking. Thanks to the folks
at Gotee Records, you can experience an
eclectic musical overview first hand. Hip
Hope Hits 2007 features numerous
artists from multiple labels, offering 15
popular tracks from GRITS, Pettidee,
M.O.C., L.A. Symphony, Japhai Life, KJ52, Shonlock, Manafest and several
others. Wow indeed. J.S.
KJ-52
Le
cra
e
ccmmagazine.com
GRITS
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BarlowGirl and Big Daddy Weave, among others—
is introducing Group 1 Crew. The trio, similar in
style to the Black Eyed Peas, released its selftitled debut on February 20.
“Today…many of the most popular groups
have a hip-hop element or are straight up hiphop,” says Susan Riley, senior vice president of
A&R and publishing for Word and head of
Fer vent. “To us, it doesn’t matter what the style
is—we just want to stay relevant, and this is one
way to do that and reach people through music
today for Christ.”
But not all the labels show the same level of
enthusiasm in embracing hip-hop acts. This
hesitance has motivated aspiring rap artists to
remain on the fringes—either signing to fledgling
hip-hop labels or staying autonomous altogether.
“Not many larger labels seem to be picking up new
hip-hop right now,” says veteran artist Verbs, himself
a free agent of sorts. “But I guess, at the same time,
new groups are seeking to take more of an
independent route. I don’t see this as a bad thing at
all, since hip-hop music and the culture it stems from
cultivates well at the grassroots level.”
Joey Elwood would agree with Verbs. As president
and co-founder of Gotee Records alongside tobyMac,
he understands that hip-hop, before it became a
business, was a culture, one predicated upon hard
work, word-of-mouth and backpacks full of CDs.
“Hip-hop, as I grew up knowing it, happened at the
grassroots,” says Elwood. “Kids coming up in the hiphop game right now are not seeing good examples of
how to run a business. There are exceptions, of
course, but in general, the ‘build-it-and-they-will-come’
model is the predominant business philosophy.”
This ideology is the one perpetrated at the
macro level by the 50 Cents, the Eminems and the
P. Diddys of the world. To them, hip-hop is about
walking into a recording booth, making a hit single
and reaping the multi-million dollar benefits. The
budgets are gargantuan; the touring, nonexistent;
the accountability, minimal.
But as a subculture that exists within another
subculture, Christian hip-hop—with its tiny balance
sheets, uncooperative radio stations and limited
media exposure—can’t and won’t subsist if it
follows that same pie-in-the-sky blueprint; it needs
a blue-collar mentality.
“I’m a firm believer that the business ethos of hiphop has to change in order for it to stay in the hands
of the people who made it great…the people,” says
Elwood, who admits to having a hard time finding
new, fresh talent with this type of mindset.
“When artists begin to provide the right kind of
product along with going out there and working hard
and doing what they should be doing, the profile [of
hip-hop] will raise on its own,” says KJ-52.
Get more emcees who think that way, and
Christian hip-hop, tobyMac believes, would spread
like wildfire. After all, that’s how hip-hop culture
exploded at the mainstream level: with a few cats
who grew in strength and influence and then began
to cross over.
Still, tobyMac says the extra push from the
powers-that-be wouldn’t hurt.
“Retail and radio are going to carry what we
sign,” he says. “The day that everybody is signing
it—the day Sparrow is signing it, the day Provident
is signing it, the day Word is signing it—that’s the
day when urban culture will be properly
represented. It’s nice to have other people blowing
the whistle at the same time.” ccm
r tists
a
d
o
o
t of g
o
l
putting out quality music,
a
re
a
e
r
“The
something that speaks directly to the soul of a person.”—Soul P.
Soul P.
42 ccm march 07
ccmmagazine.com
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Page 44
BY: LIZZA CONNOR BOWEN
When Third Day’s Mac Powell
and author David Nasser put out
the call, many of the Christian
community’s most prominent artists
stepped up to the plate.
UTHOR DAVID NASSER’S OWN LIFE STORY UNFOLDS LIKE A MODERN MICHAEL
CRICHTON BESTSELLER. It boasts a hefty dose of drama—as Nasser’s family fled their native Iran
A
during a period of civil unrest in the late ’70s—and a poignant, memorable turning point where the main
character experiences a life-altering encounter that dictates his personal and professional paths.
Embracing a personal relationship with Christ at 18, Nasser felt a call upon his life that would springboard
him into a position in which he now ministers to more than 700,000 people each year via festivals, camps,
revivals, retreats and citywide events. In the past seven years, Nasser has added “author” to his resumé with
the devotional books A Call To Die and A Call To Grace. This March, he makes his debut in the musical arena.
But it’s not what you think. This man of the cloth doesn’t sing or rip a smoking guitar riff. But he loves
music, especially the acoustic kind, and he is passionate about the benefits of scripture memory. The
Reunion Records release of Glory Revealed finds Nasser executive producing on a new CD that plays like a
"Who’s Who" of Christian music.
The multi-artist worship album features 10 intentional scripture passages, most selected by Nasser, draped
over original, serene melodies and rendered by artist-songwriters such as Casting Crowns’ Mark Hall, David
Crowder, Brian Littrell, Steven Curtis Chapman, Michael W. Smith and Shane & Shane. Nasser employed his
44 ccm march 07
ccmmagazine.com
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5:27 PM
Page 45
afraid that people aren’t going to buy their records
They are the best-selling Christian hip-hop group of
anymore when somebody actually finds out that
all time, with career sales in America alone
they’re human.
approaching 500,000 albums. And since 2002’s
“We don’t allow artists to be real people. We
breakthrough The Art of Translation (Gotee), each of
want Superman everyday, but we don’t want to see
their CDs has shipped more than 100,000 copies.
him I as
Clark
Kent. Nasser
We don’t
want
to were
see filled
Clark
That’sand
an musician
exorbitantextraordinaire
figure for anyMac
Christian
kids
hang
out with,”
says,
“they
friend
Powellartist,
from
‘cause
Clark
is
clumsy;
he
makes
mistakes;
he
hip-hop
or
otherwise.
Yet
the
duo
known
as
GRITS,
with this roots-driven music.
Third Day to serve as the proverbial casting agent
stumbles
he wears
glasses.”
comprised
of Teron “Bonafide” Carter and Stacy
“When Iover
washis
19,words;
I couldn’t
get enough
James
and
record producer.
Rarely
do because
we get toI was
see looking
GRITS’ anti-hero
“Coffee”
Jones,months
takes the
success
in stride.
Taylor.
It was
for the
Over dinner
back,
Nasser
told Powell
moments.and
Andrest
when
theyin have
clumsy,
“Weahave
base,”
says in
Coffee
from
cell simplicity
thatasked
I couldiffind
that style
of
about
booka fan
he was
writing
which
he his
would
offstage
personas,
Bonafide
and
Coffee
are
quick
to
phone
on
the
way
to
a
show
in
Cincinnati,
Ohio.
illustrate God’s characteristics through Biblical music despite the business of my day. I want
let
down
their
guards.
Both
married,
in
their
mid“We
tour
year-round.
We
reach
people
one
person
people to find rest in this record,” he says.
examples, such as that of Job’s suffering and
30s,
kidsagreed
and mortgages
to the
takesongs
care of,
at a time.successes.
That’s why [we
sell]. It’s
not because
of
Theand
twowith
quickly
on cloaking
in
Moses’
Nasser
admits
he grew
they
are,
after
all,
everyday
family
men.
the
[Christian
music]
industr
y
or
this
soothing instruments that wouldn’t fight the lyrics
frustrated after watching person after person walk
“Sometimes we’re gone from
home
long,”
marketplace…
way we stay
is through
for attention—instruments
such
astoofiddle,
away
from churchThe
conferences
and afloat
youth rallies
with
Bonafide and
says.Dobro.
“We argue with our wives. We whip
ourinflamed
promoters
and our
management
us out mandolin
an
desire
to serve
God butgetting
no practical
our
kids. and
Sometimes
bills
gettopaid
late. Or
there. That’s the
only to
visibility
we have.
Even when
Powell
Nasser our
called
onmight
friends
contribute
understanding
of how
daily walk
in faith.
our cars
break
down.
guys.and
WeChris
have
people
to the looking
stores, for
halfGod
the in
time,
when they their
voices
to the
CD. We’re
Some,regular
like Littrell
“I sawgopeople
an emotional
Clark
Kent
moments
all
the
time.
And
that’s
go
to
buy
a
CD,
once
the
stores
sell
two
or
three
of
Tomlin, served up song ideas as well. Powell sayswhy
he
moment of bliss more than they were looking for
we’re free
to talk
aboutonanything.”
them,
they’re
all
gone,
‘cause
they
don’t
really
initially
hadn’t
planned
penning anything for Glory
Him in the Word of God. They were looking for God’s
Do they
soundinspiration
secure in inwho
they are?
stock
up onthe
raplatest
or hip-hop
CDs.”
Revealed,
but found
passages
suchThey
as
will
through
Casting
Crowns song or CCM
should
be.
Bonafide
and
Coffee
have
paid
their
“Urban
music,
as
a
whole
genre,
when
it
comes
Psalm 51, and one of his personal favorites,
Magazine article or David Nasser book. God is
dues. The two met while doing choreography for a
to the [Christian
market]
side of things,
needs
speaking
to us, but
not necessarily
through
thea Zephaniah 3:17, that Nasser passed along to him.
number
of Christian
pop
in the
early hours,”
’90s, a
wholesong
overhaul,”
addsThose
Bonafide,
without
a doubt
“I wrote
five songs
in artists
a matter
of four
latest
or sermon.
are good
things,
and
job
that
eventually
landed
them
a
gig
dancing
the
most
talkative
member
of
GRITS.
“We
don’t
Powell says. “The lyrics were already there, so for
it
God reveals Himself through those, but He’s mainly
supergroup
dcTalk. of
Then,
a few
later,
and
really have
outlets, the
any Bible,”
type of Nasser
real focus.
So it was
just a matter
finding
the years
version
of the
speaking
to any
us through
says.
thanks to their itconnection
member
doesn’t
really
get to
theequip
same
type with
of respect
or Bible—whether
was the with
NewdcTalk
International
His goal
became
readers
scriptural
Toby
McKeehan,
the
tandem
signed
with
thenattention
as
other
styles.”
Version or New Living Translation or others—that
truth and relevant passages they could apply to their
fledglingThe
boutique
labeldon’t
Goteerhyme
Records.
But enthusiast,
a closer look
at GRITS’
sales
flowed.
scriptures
like the songs
ownTrue
lives.enough.
As a music
Nasser
saw how
his
the label’s
tutelage,
GRITS’ was
ar tistr
numbers
unveils
a surprising
bit of information.
we Under
are familiar
with, so
the challenge
toy
friends,
staff
and family
easily committed
song lyrics
evolved,lyrics
goinginfrom
an that
old-school,
underground
hipAccording
to
Nielsen
SoundScan,
more
than
75
phrase
a
way
made
sense
and
[held
to memory when wrapped in a catchy melody. Creating
hop act
(their
albumstext
Mental
Releases
Factors
of the
albumbe
sales
have come
true]
to the
scriptural
while
making and
sense
in a
apercent
companion
CDduo’s
to hiscareer
book would
the perfect
tool
of
the
Seven)
to
a
pop-rap
juggernaut
(their
bestvia
Christian
retailers.
Think
about
it.
Despite
buzzWesternized song.” Of the album’s 10 tunes, each
to reflect the principles he was writing about.
selling
The Artofofdirect
Translation)
to a from
soulful
hip-hop
generating
exposure
in the me,”
mainstream
in recent
is
comprised
passages
scripture,
“When David
approached
says Powell,
who
hybrid
(Dichotomy
A/B)—yet
always
maintaining
a
years,
less
than
100,000
copies
of
the
468,000
whether in the verse or chorus, Powell says.
birthed the album out of his Atlanta-based home
deft
pulse
for
tight,
articulate
penmanship.
albums
GRITS
has
sold
have
been
in
the
Listeners will have the opportunity to experience the
studio, "he wanted to make a project that would be
Through
years, as
they
settledmessage,
on past
mainstream
(Even GRITS’
successful
music
of Glorythe
Revealed,
wellnever
as Nasser’s
organic
and market.
almost bluegrass
so most
it would
make
victories
or
with
the
familiar.
Instead,
they
mainstream
album,
The
Art
of
Translation,
sold
more
this spring on a unique tour in March and April.
sense for worship songs.”
continued artists
pushing
the envelope,
elevating
their
art
than
three
times
as
many
copies
in
Christian
Confirmed
include
Powell,
Littrell,
Hyper
Static
Nasser recalls Powell’s brief apprehension about
form and
message
each
subsequent
release,
bookstoresa as
it did in the general
Union’s
Shawn
Lewis, with
Shane
& Shane,
Trevor Morgan,
recording
stripped-down
album market.)
for the largely
and translating
it into
somethingTimuniversal,
So what
about hip-hop
andmusic
Christian
media? Candi
Pearson-Shelton
and Starfield’s
Neufeld.
radio-fed,
pop-leaning
Christian
listeners.
something
everyone—not
chosen
few—
Considering
the and
genre
gets The
tour will that
feature
an intimate, just
livingaroom
style
set
“In looking how
at thelittle
iPodsattention
of the teens
college
among faith-based press outlets, what does could embrace.
This progression is bound to continue with
Bonafide make of CCM doing another feature story
Redemption, their seventh album proper, which
on them?
releases November 21. The title sure has a
“We’ve all been doing this for a long time,” he
spiritual flair, but don’t pigeonhole its meaning.
says. “But this is music. This is entertainment. You
Like most everything GRITS does, it can be taken
know whoever’s hot right now is going to get a
several ways.
cover story or a feature, and if you ain’t hot right
“If you’ve noticed, there is not only one
now, then you ain’t gonna get no stories. And that’s
definition to describe redemption,” says Bonafide.
just how it goes.”
He adds, “In more mainstream media, the “It stands for a new beginning and for a lot of other
things… Independence. Freedom. That’s why we
coverage is set up for a career of longevity, whether
called the album Redemption. To be redeemed. To
you’re hot or not. What matters to them is, ‘Are you
not be bound by the chains and the walls and the
good?’ And if you’re good, you continue to get
limitations that we’ve been bound by. To get the
press; you continue to get coverage; you continue to
music in the hands of the people that need it. Let
get radio play. But in our very small industry, if you
God do with it what He wants to do with it.
ain’t hot, then you probably won’t get no attention.”
“This is a redemption in every sense, every
As the discussion continues, the con-versation
aspect of GRITS’ career—whether it’s a label
shifts to the topic of playing it safe in interviews
redemption, musical redemption or the
with the Christian press.
“When was the last time an ar tist got redemption people receive when they listen to this
interviewed and admitted he [has] a drinking album. It covers the whole spectrum of what
redemption
means.”
problem?”
Bonafide.
are
scared
From Left: asks
Trevor Morgan,
David“People
Nasser, Mac
Powell
(Third to
Day), Brian
Littrell, Shane
Barnard and Shane Everett (Shane & Shane)
Bonafide didn’t say it out right, but he implied
be vulnerable, but that’s the whole basis of our
it—Redemption also happens to be their last
Christian faith, the opening yourself up. People are
album with Gotee, their label home since day one.
afraid of what other people might think. Artists are
No drama. No hard feelings. No strife. Just a
chance to part ways amicably and move on.
“It breaks my heart, but I understand it,” says
Gotee president Joey Elwood of this closing
chapter. “These guys have been in this business a
long
timealland
in all
experience,
they
up
where
the if,
artists
willofbetheir
on the
stage leading
want to
set out and do this thing in an
worship
simultaneously.
entrepreneurial
way,tothen
can’tget
do to
anything
but
“We want people
not I only
know the
cheer
them
on.
I
hate
it
for
Gotee,
because
they
scriptures better through this, but to get to know Jesus
truly have
a flagship
at explains.
the label.He
It’s
the this
pain
through
His been
own words,”
Powell
offers
of
growing
old
together.”
reason: “I had made a rough mix of the songs to listen
right.
After know
Redemption,
duohad
plans
to inThat’s
my car.
I didn’t
that my the
family
beento
go it alone,
listening
to it whiledeveloping
driving, and music
one day independently
I got in the car
through
imprint,
5e and
Entertainment.
End
with
them.their
They own
turned
the CD on,
my little girl, who
story.started
Beginning
of another.
ccm
isofseven,
singing
along to Zephaniah
3:17:
The
Lord Your
God isinwith
For more
on GRITS
thisyou
month’s issue, check out
He’s
save to Gear” on Page 84.
“Russmighty
Long’stoGuide
He will take great delight in you
He will quiet you with his love
He will rejoice over you with His singing
“I just started crying. It’s so powerful that even
little children can hear these songs and memorize
them,” Powell recalls. “They are planting great
seeds of scripture in their hearts.”
For tour dates, visit gloryrevealed.com.
ccm
“We want people
to not only get
to know the
scriptures better
through this, but to
get to know Jesus
through His own
words.”—Mac Powell
ccmmagazine.com
march 07 ccm 45
CCM_03.07_Music.v4
2/9/07
5:28 PM
Page 49
inreview
music
“GO TEE! GO TEE!”
WHEN TOBY’S IN THE HOUSE, PARTY IS A VERB.
TOBYMAC
Portable Sounds
ForeFront
DON’T LEAVE HOME WITHOUT IT
Always one to embrace what’s new technologically speaking, tobyMac gives the iPod
generation exactly what it wants on his
third solo outing, Portable Sounds: plenty
of radio-friendly singles that warrant
File Under:
Grade: Arepeated listens.
Pop/Rock/Funk/Hip-Hop
Instead of going for the whole cohesive
album vibe that’s largely unappreciated these days anyway, it’s apparent that
tobyMac invested his creative energy in recording highly listenable songs that
reflect his musical tastes of the moment—classic funk, reggae, R&B and, of
course, hip-hop.
But in the spirit of keeping the audience guessing what’s up his proverbial
sleeve, there are also a few surprises on Portable Sounds. Most notably, it’s the
use of live instrumentation rather than the programmed sounds and extraneous
samples of albums past that really stands out. Whether it’s on the energetic
opener “One World” where Joanna Valencia (who also performed on Momentum
and Welcome to Diverse City) ultimately steals the show with her powerhouse
chops or the laidback groove of his irresistibly catchy first single, “Made to
Love,” the live strings and horns add a new vibrancy and potency to his sound.
Another key element that separates Portable Sounds from its predecessors is the more pop-friendly nature of songs such as “I’m For You” and
“Suddenly” where tobyMac sings more than he rhymes, which is a pleasant
change of pace. Although he’s been a Gold-selling solo artist for the better
part of this decade, these tracks are a nice homage to the dcTalk era. It’s
such a logical progression, in fact, that one half expects Michael Tait and
Kevin Max to crash the party.
Aside from all the cosmetic changes from a sonic perspective, however,
there seems to be a marked shift in tobyMac’s songwriting strategy. While
there’s still plenty of unabashed fun to be had on the horn-driven “No
Ordinary Love,” which highlights the spectacular singing of Nirva Dorsaint, a
member of his “Diverse City” touring band and the funky “Feelin’ So Fly,”
there’s far more lyrical depth on Portable Sounds.
With “No Signal,” a sweet ode to his family, tobyMac reaffirms his life’s
priorities in a song that’ll likely generate a collective “awwh” when anyone
listens. One-upping it, though, is “Lose My Soul,” which, in the vein of “Burn
For You” from Welcome to Diverse City, is an introspective prayer that gives
listeners a rare glimpse of the man behind the artist. While he’s always
talked candidly about what he cares about in terms of social commentary,
revealing moments like these have been few and far between. Now, here’s
hoping for a few more of those next time around.
In the meantime, Portable Sounds should do the trick for longtime and new
fans alike.
CHRISTA A. BANISTER
ccmmagazine.com
march 07 ccm 49
2/9/07
5:28 PM
RELIENT K
CCM_03.07_Music.v4
File Under:
Power-Pop/Pop-Punk
Page 50
Five Score
and Seven
Years Ago
Capitol/Gotee
Grade: A-
A NEW CAR!
50 ccm march 07 ccmmagazine.com
RELIENT K
to—this is a powerful and moving story
of a man dying of lung cancer, his final
thoughts of his past life and his journey
into the next. The lyrics are straight forward:
“Then Jesus showed up/Said before we go
up I thought we might reminisce/See one
night in your life when you turned out the
lights/You asked for and prayed for my forgiveness.” Not since Terry Scott Taylor’s A
Briefing For the Ascent or Rich Mullins’ A
Liturgy, A Legacy… have we heard something this beautiful or emotive. This is how
you effectively put the message of Christ,
forgiveness and eternity into a song without
making
it
sound
like
a
witnessing track. Honestly, you may not
recall the last time you were this moved by
a song. “Deathbed” is the power ful
engine in this really cool car that everyone
will want to drive.
DR. TONY SHORE
ANBERLIN
They say Relient K named itself after the
cheap car that everybody made fun of in
the ’80s. After recording Five Score and
Seven Years Ago, the band should probably
change its name to Cor vette or
Lamborghini. Relient K is well known for
its quirky sense of humor and the fact
that these guys never took themselves too
seriously. Now they will be known for writing amazingly artistic songs—epic songs
about death, forgiveness, loss and hope.
This is the band’s fifth album in seven
years and the novelty is all but gone, and
that’s OK. If you put aside the dorky album
title and the unnecessary (albeit short)
novelty track “Crayons Can Melt On Us For
All I Care,” you are left with a brilliant and
compelling album full of wonderful powerpop and alternative pop-punk songs.
Lead vocalist and multi-instrumentalist
Matt Thiessen and the band have matured
by leaps and bounds in every possible way.
The beautiful Brian Wilson influenced a
cappella opening track, “Plead The Fifth,”
has a mind-blowing vocal arrangement with
a hook that will leave you breathless. It’s
like audio candy for power-pop fans. From
there, they quickly give the rock and poppunk enthusiasts something to get excited
about with the fast and fun “I Need You,”
and the stunning “The Best Thing,” with its
pop pianos and quick rock chorus. The
commercial hit of the record has to be
“Must Have Done Something Right” with
one of the best hooks in recent memory.
Complimenting the fantastic songwriting
is the stellar sound. The majority of the
production, this time around, is handled by
the renowned Howard Benson (My
Chemical Romance, All-American Rejects),
and the result is a sonic treat.
What makes this a truly great record,
though, is the final track, “Deathbed.”
Over 11 minutes long and with more than
100 tracks used to record it, this is an
artistic tour de force with Jon Foreman of
Switchfoot on guest vocals. This is not
art for art’s sake, however, or hard to listen
File Under:
Rock
Cities
Tooth & Nail
Grade: B
A HEAVY HEARTED WORK OF
POTENTIAL GENIUS
Following a lengthy tour in support of its
breakthrough second album Never Take
Friendship Personal, Anberlin returned to
the studio to emerge with Cities—an
album that, for lack of a better term, just
sounds big. With tighter playing and
stronger
writing,
Cities
displays
Anberlin’s growth as a band, as the songwriting team of singer Stephen Christian
and guitarist Joseph Milligan lead the
Florida quintet to focus on not just creating
a collection of rocking songs (which they
do), but creating a solid album.
It quickly kicks into gear with the frantic anthem “Godspeed,” followed by the
upbeat and radio-ready “Adelaide.” As
one would expect from Anberlin, Cities is
packed with plenty of numbers that bring
the rock, such as “A Whisper and a
Clamor” and “Alexithymia.” This doesn’t
mean that the band has to hide behind
amps at full gain, though—the ballad
“The Unwinding Cable Car” displays
Anberlin’s skill in stripping its material
down to a couple of acoustic guitars with
minimal drum and bass to produce one
of the strongest songs on the record.
There is a fine art to creating closing
tracks, and Anberlin manages to pull this
off pretty well by saving some of its best
songs for last. The heavy, yet slightly
downbeat “Dismantle Repair” fades nicely
into the appropriately-titled “Fin,” which
begins with mostly acoustics, then transitions into the entire band playing at full
volume, before finally adding in a full children’s choir; the result of which is nearepic. If the grandeur of “Fin” could be
captured earlier throughout the album, it
might be what Cities needs to not just be
a good album, but to be a great album.
2/9/07
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THE ALMOST
CCM_03.07_Music.v4
File Under:
Indie Rock
Southern
Weather
Tooth & Nail/Virgin
Grade: A
STARRING UNDEROATH’S AARON GILLESPIE
THE
THE ALMOST
ALMOST
Lyrically, Cities seems to move from
enthusiasm in taking on the world (“they lied
when they said the good die young”) to disappointment and loneliness (“is anybody out
there?”), followed by a bittersweet nostalgia
that leads to hopeful possibility (“things are
going to change now for the better”), suggesting the sense of struggle that comes with
growing older and going forward in life. Cities,
if anything, evokes a hope for the future.
UNTIL JUNE
ANDREW SCATES
File Under:
Piano Pop
Until June
Flicker/Sony
Grade: B-
LOVE SONGS IN A PIANO KEY
In the guitar dominant world of modern pop
and rock, piano-centric bands find a
strange connection that has little to do
with format or content. Such it is for Until
June, a trio of Phoenix natives that traveled
to L.A. to make or break it, landing the deal
that launched this debut. Their music—
which will be distributed exclusively to the
general market—will rightfully be compared to Ben Folds, Something Corporate,
Keane, Coldplay and others simply
because the music revolves and draws
focus from the piano of Josh Ballard and
his bright-voiced love song melodies.
These simple song structures prove
accessible and appealing, emphasizing
hook-driven choruses and lyrics that
describe the plaintive longings for love that
seem ever ywhere in our youth and
romance-focused culture. On the surface,
little here points to the expected Christian
metaphor and message of hope, but slowly
the existential angst of lost love and yearning take on a decidedly spiritual character;
the singer cries out not only for companionship but for healing and a fresh start.
The proverbial “you” often addressed in
these songs is quite obviously a human
love interest, but there is more below the
surface. “What I’ve Done” confesses acts
that have left him shamed and “alone.” But
in the next piece, “The Saddest Song,”
the protagonist says, “I fell in love with
foolish things, and now you’re gone,” but
“I’m waiting here for you.” In the end,
Ballard sings, he knows he’s “not alone.”
Not all the metaphorical references
demand a strictly spiritual interpretation.
Some of these love songs are just that.
But the final track of this somewhat brief
10-song disc, “You Do,” attempts to put
all that has come before into context.
They are not just singing about love, but
to the Source of all Love. When Ballard
sings “If only I could see the way you do,”
he is asking for insight and direction, a
way to live that eliminates some of the
suffering and confusion. A culture that
has idolized youth and romance would
benefit from the lessons of this record.
BRIAN QUINCY NEWCOMB
After stirring up buzz and expectations
with seemingly random live dates late last
year, Underoath drummer and vocalist
Aaron Gillespie’s solo project (he plays
nearly every instrument on the disc) more
than lives up to the hype. With a unique
and current sound, excellent songwriting
and more than impressive performances,
Southern Weather has all the makings of
an indie rock breakthrough.
Stylistically, The Almost is much more
melodic than Underoath, with nary a
scream to be found. It’s far from laidback, though. Catchy hooks, diverse
instrumentation, eclectic sonic ingredients
and powerful lyrics combine thoughtfully
throughout. The opening (and title) track
establishes itself with an aggressively
strummed acoustic guitar pattern à la
Violent Femmes before tearing open into
a power-pop gem that would make Foo
Fighters proud. “Drive There Now” keeps
the energy up while delving a little more
into emo/indie territory before the third
track, “Dirty and Left Out,” ambles in with
slow strummed acoustic guitar and electric piano. If there hasn’t been an indie
rock spin on Alt Country thus far, this is
it. Pedal steel, aching harmonies and a
wonderful gait make this not only a standout track on the album, but maybe for the
year. (The borrowing from Bill and Gloria
Gaither’s classic “Something About That
Name” is used to perfect effect without a
hint of irony or cynicism.)
The bulk of the material keeps the beat
fast, the melody dominant and the guitars
thick. “If Your Favour is Small I’m Perfect,”
“Stop It,” “Everyone Here Smells Like A
Rat,” “Never Say I Told You So” and “Call
Me When I’m Honest” all drive with intensity
and will find great favor with fans of Dead
Poetic, the aforementioned Foo Fighters
and alternative rock legends Big Star.
“Everything Makes Me Sick” boasts not
only one of the hottest vocal performances
of the batch, but some of the coolest chord
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progressions and melodic motifs in modern
rock. Slightly Beatlesque pump organ
sounds are retro enough to provide color,
without sounding too quaint.
Somehow, amidst the huge rock riffs,
Gillespie manages to maintain an element
of transparency and candor that inspires
rather than wallows. Nowhere is this more
apparent than the breathtaking “Amazing
Because It Is,” an adaptation of “Amazing
Grace” that ranges from deeply personal
confessions via solo vocal and acoustic
guitar colored by a string and horn section,
all the way to a power rock coda sung by
a simple choir and banged home with a
driving hard rock beat.
Perfect production, deeply heartfelt
and spiritually power ful lyrics and a
dynamic modern rock presentation make
Southern Weather one of the first must-own
sets of 2007.
GROUP 1 CREW
JOHN J. THOMPSON
File Under:
Soul/Hip-Hop/Funk
Group 1
Crew
Fervent/Curb/
Warner Bros.
Grade: A
WHERE DIVERSITY MEETS SELF-DISCOVERY
An initial listen through Group 1 Crew’s
debut disc indicates an obvious appreciation
for tobyMac, Out of Eden and Souljahz,
though the trio still throws in several unexpected curve balls. Main emcees Manwell,
Pablo and Blanca unite for a series of soulful harmonies placed over funky backbeats
and the occasional DJ scratch, creating a
robust, spiritually assertive sonic salsa.
“Love Is a Beautiful Thing” may have been
released this year, but its instrumentation
sounds like old-school Stevie Wonder
meets Sly & The Family Stone crossed with
Manwell and Pablo’s confident rhymes and
Blanca’s soothing soul. Come “Let It Roll,”
the band is transported into the modern
landscape, evoking the solider struts of
Gwen Stefani or Black Eyed Peas, but with
an underlying Outkast groove.
Aside from a hot soundtrack, this collection is packed to the brim with relevant
messages that simultaneously serve the
church and attempt to engage the world.
Take, for instance, the dark and brooding
soul rocker “Can’t Go On,” which summarizes members’ reliance on Jesus throughout the crazy confines of the music industry,
but also during daily living. The rap slapped
“Forgive Me” (think Coolio but current) is an
open-hearted approach at reconciliation,
running the thematic gamut of calling upon
the Lord with a repentant heart to selfacceptance (despite even the most disastrous pre-conversion choices). Yet, the
disc’s ultimate anthem is the throw down
“I Have a Dream,” which reminds all to
follow their God-given paths no matter what
roadblocks may pop up along the way.
ANDY ARGYRAKIS
JEREMY RIDDLE
CCM_03.07_Music.v4
File Under:
Pop/Worship
Full
Attention
Varietal/Word
Grade: A-
ROOKIE OF THE YEAR
Landing the No. 6 Christian pop radio hit for
all of 2006 would be a milestone in any
artist’s career. Achieving this before ever
releasing a CD is an incredible feat that has
set the stage for the much-anticipated
release of Jeremy Riddle’s first album, Full
Attention, on March 6. With as much AC
radio airplay as “Sweetly Broken” has
received, listeners may not know who
Riddle is, but chances are they have heard
his song or are already singing it during
their times of worship.
Following the heels of modern worship
staples Chris Tomlin, Todd Agnew and
David Crowder, Full Attention features 12 of
Riddle’s original worship tracks, produced
by Bob Hartry (the Emmy-nominated
producer/songwriter who’s also a guitarist
for Los Angeles band Kite7). With a voice
and sound reminiscent of Jeremy Camp or
Jason Morant, Riddle fits well into the
Vineyard family.
His raw and passionate lyrics draw the
listener into an atmosphere of worship. The
title track, “Full Attention,” captures the
heart of the album as he sings, “May Your
voice be clearer than all the others/Please
keep my eyes fixed on You/Keep me abiding
that I may bare fruit.” His words encourage
listeners as it becomes clear his music is
intentionally more about God and less
about him. “More Than a Friend” is a tender
ballad, while “Call to Praise” is his staple
anthem. Although “No Longer Bound” is an
upbeat pop/rock tune, his songwriting is
surprisingly thought-provoking: “Have we
the Church forgotten who we are?/Have we
forgotten who we serve? We serve the
Almighty Living God.”
Another artist in a long line of Vineyard
worship leaders, it is refreshing to listen to
a project that is both aesthetically pleasing
and spiritually uplifting. With an album full
of solid, well-written songs yearning for
God, it’s a safe bet “Sweetly Broken” is
merely the first home run for this rookie.
RACHEL HARROLD
JEREMY RIDDLE
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NICHOLE
NORDEMAN
CCM_03.07_Music.v4
File Under:
Singer/Songwriter Pop
Page 53
Recollection:
The Best of
Nichole
Nordeman
Sparrow
Grade: A
NOW THIS IS A BEST OF ALBUM
Sometimes life’s journey feels like a
6,000 square-foot board game. And
instead of mile-markers that read “lose a
turn” or “back to START,” they may state
“graduation,” “wedding”—life-impacting
moments. With her new album,
Recollection, Nichole Nordeman introduces two new tracks and pulls 15
mile-marker songs from four albums that
have done far more than sell almost 1
million copies, win nine GMA Dove
Awards and land five No. 1 radio singles.
They have allowed audiences to walk
alongside her life journey.
Whether pleading to God to be “real
somehow” in “Real to Me” or humbling
her questions to praise in “Holy,”
Nordeman is transparent in songs about
faith’s ups and downs.
Her two new songs, “Sunrise” and
“Finally Free,” are no different. Raising
the popular “time machine” question in
lead single “Sunrise,” Nordeman asks
herself if she could go back and make her
life easier, would she? She answers with,
“How would I know the morning if I knew
not midnight?” Melodically, the minor,
whispering chords follow the verses, until
the mood dramatically builds instrumentally
and vocally into a major key, as
Nordeman proclaims God as maker of
new beginnings—“You are sunrise.”
“Finally Free,” the new theme song for
Women of Faith, quietly consoles the soul
imprisoned in doubt with a ballad that
centers on the John 8:36 promise of new
freedom in Christ. “Let the chains fall
away starting today/Everything has
changed/I’m finally free.”
JENNA LUCADO
NICHOLE NORDEMAN
REBECCA ST. JAMES
aLIVE In Florida
Featuring
Bonus
Concert
DVD
Includes The Hits
“Wait For Me” • “Thank You” • “Blessed Be The Name”
It was the music alone that first gave Rebecca St. James a platform for impacting culture.
Now experience for yourself her captivating live concert filled with the songs,
stories, and heart of Rebecca St. James in aLIVE in Florida.
OVER 2 HOURS OF LIVE MUSIC AND VIDEO
www.rebeccastjames.com www.myspace.com/rebeccastjames
AVAILABLE AT
TARGET
CCM_03.07_Music.v4
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Page 54
SEVENTH DAY
SLUMBER
SEVENTH DAY SLUMBER
File Under:
Rock
Finally
Awake
BEC
Other tunes translate the yearning a
believer carries as a burden for those lost
around them. It’s preaching, but it hardly
seems contrived when Rojas sings: “There
is One Who sees it all/He’ll give you life you
never dreamed/He can see the pain underneath your skin…” (“Missing Pages”).
When the music is this solid, it helps bring
the message home.
DOUG VAN PELT
Grade: B+
Seventh Day Slumber has ever-so-slightly
fine-tuned its sound with producer Paul
Ebersold (Third Day, The Showdown).
They’ve found a way to showcase the
band’s greatest strength—the melodic
rasp vocals of Joseph Rojas—and the
result has never sounded better. Instead
of strumming along at a slow pace, they’ve
served up a clean polish that will serve the
story-telling songs well, making each verse
as important as the chorus. Most of the
songs are cohesive to this sound, making
for a pleasant listen from beginning to end.
If you took 11 power ballads from the band
Pillar, this is what it might sound like.
The second track, “Last Regret,”
makes a decided departure from this
format, as the band seemingly sticks its
toe in the screamo waters to see how it
feels. It works well enough that it may not
be a surprise if we hear more from this
direction in the future. The upbeat song
carries quite the joyous, celebrator y
message: “I never dreamed that I could
feel this way… I finally found a place
where I belong/Only one regret—all those
years I’ve lost for nothing at all.”
54 ccm march 07 ccmmagazine.com
SHAWN
MCDONALD
POWER BALLADRY
File Under:
Singer/Songwriter
Scattered
Pieces: Live
Sparrow
Grade: C
AVERAGE RENDERING FROM AN
EXCEPTIONAL ARTIST
After 2005’s surprisingly strong Live in
Seattle from Shawn McDonald, one might
think it odd that he would produce a second live project this soon. However, fans
who have seen him in person know that
live performances happen to be one of
McDonald’s specialties. Leaning heavily
on a fairly balanced collection of songs
from both 2004’s Simply Nothing and last
year’s Ripen, Scattered Pieces: Live is
indeed an eclectic mix recorded from the
best of McDonald’s set lists.
Although his lyrics are consistently
poignant and artistic, his sophomore live
offering fails to convey the creative
expression that differentiates his live
show from the rest of the acoustic pack.
(For instance, during his “Ripen Tour,” an
ar tist painted on stage throughout
McDonald’s entire set.)
While Live In Seattle included personal
stage commentary between songs, this
time around, over an hour of solid music
ensues. Fans will enjoy four new recordings including a beautiful rendition of
“Amazing Grace” and the sprightly
“Shadowlands,” based on Psalm 23.
Sadly, however, none of the three originals
truly excels. Audience participation on
hits “Gravity” and “Take My Hand” provides
spirited arrangements, and “Beautiful”
(a duet with tour mate Alli Rogers)
ser ves as an eloquent ending, but no
standout moments, such as his version
of “Over the Rainbow” on Seattle, exist.
Although live recordings usually provide
the artist with an opportunity for experimentation, McDonald prefers strippeddown, less eccentric versions of his
songs, leaving little room to exceed
expectations of the originals.
Although his gravelly voice sounds
passionately warm, this isn’t a strong,
memorable set. Hopefully, this release will
pacify the most eager fans and anticipation
will build for McDonald’s next studio
attempt, which will hopefully raise his
profile and sustain his creative journey.
LINDSAY WILLIAMS
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newreleases
MARCH 6
Adam Cunningham Adam Cunningham (Beatmart)
Brian Doerksen
Holy God (Integrity)
Jason Gray
All The Lovely Losers (Centricity)
Tramaine Hawkins Never Lost My Praise (Gospocentric)
Jackson Waters
Come Undone (Word)
Shawn McDonald
Scattered Pieces: Live (Sparrow)
Nichole Nordeman Recollection: The Best of Nichole
Nordeman (Sparrow)
Oceans Above
Relient K
Oceans Above (Sparrow)
Five Score and Seven Years Ago
(Capitol/Gotee)
Jeremy Riddle
Deas Vail
Full Attention (Varietal/Word)
All The Houses Look the Same
(Brave New World)
Various
Beautiful Worship (INO)
Various
Glory Revealed: The Word of God
in Worship (Reunion)
Various
WOW Hymns (Word)
John Waller
The Blessing (Beach Street)
MARCH 13
Bob Dylan
Saved (Sony/Integrity)
Bob Dylan
Shot of Love (Sony/Integrity)
Bob Dylan
Slow Train Coming (Sony/Integrity)
MARCH 20
Casting Crowns
Casting Crowns Gift Edition
(Beach Street)
Family Force 5
Business Up Front Party In The Back
Diamond Edition (Gotee)
Haste The Day
Pressure The Hinges (Tooth & Nail)
Joy Electric
The Otherly Opus (Tooth & Nail)
Kutless
Strong Tower Deluxe Edition (BEC)
Nate Sallie
Ruined for Ordinary (Curb)
Seventh Day
Slumber
Finally Awake (BEC)
Rebecca St. James aLIVE in Florida CD/DVD (Forefront)
Various
This Is Solid State, Vol. 6 (Solid State)
Paul Wright
Wright or Wrong These Songs Are
Paul's (Gotee)
MARCH 27
Alabama
Songs of Inspiration, Vol. 2
(RCA/Provident)
Ben Tankard
Third Day
Remain Calm (Verity)
Chronology, Vol. 1 (1996 - 2001)
(Essential)
SHAWN MCDONALD
CCM_03.07_Books.v4
2/12/07
12:41 PM
Page 56
thefineprint
books
by Chris Well
COMING CLEAN
With The Prodigal Comes Home: My Story of Failure
and God’s Story of Redemption (Thomas Nelson),
recording ar tist MICHAEL ENGLISH humbly
reveals the ups and downs of his life and career
during the past 10 years. He had a bright future:
Following successful tenures with the Gaither Trio
and the Gaither Vocal Band, he went solo in 1991.
In 1992, English’s eponymous solo debut
included the anthem “In Christ Alone,” which
gained national media attention when it inspired
Buffalo Bills quarterback Frank Reich to lead his
team against the Houston Oilers to win one of the
greatest comebacks in NFL history. At the 1994
Dove Awards, English won an armload of accolades for that album, including “Artist of the
Year”—only to give the lot of them back a week
later when the news broke of his affair with a fellow Christian singer. Newspapers around the world
latched onto the story. From 1994 to 2002,
English’s life went from bad to worse: Public
shame, divorce, broken relationships, drug addiction, even homelessness. But in 2002, God
reached out and rescued Michael from himself.
Today Michael is renewed, and for the first time,
he tells his story of redemption.
NOTORIOUS
SHARON CARTER ROGERS’ debut thriller, Sinner
(River Oak), is receiving all sorts of acclaim.
Amazon.com’s No. 1 reviewer, Harriet Klausner,
plucked newcomer novelist Rogers out of obscurity
and posted a top-shelf review of Sinner, giving it a
five-star rating. Sinner is attracting grassroots buzz
on the Internet through the author’s mysterious
MySpace profile and, with fan reviews, quickly cropping up in places like Kevin Lucia’s The Bookshelf
Reviews and Infuzemag.com. The story: An attack
at St. Anthony's Cathedral leaves behind a symbol
of the mythological Sinner, a vigilante legend since
the days of the Civil War. An investigative writer
begins a relentless pursuit of the legend, only to
discover that myth is often based on truth—and is
sometimes more dangerous than it ought to be.
Throw in a millionaire, a mystery cottage and a few
comic book collectibles, and you’ve got the heartpounding adventure that is Sinner.
GAME ON
TIM DOWNS has been many things—Campus
Crusade for Christ staffer, nationally syndicated
cartoonist, speaker and award-winning author. In
the past few years, he has added “thriller novelist”
to the list, including his latest from WestBow Press,
Head Game. However, fans of his much-beloved
(and still much-missed) comic strip “Downstown”
will be glad to know that Downs contributed a
comics-style prologue to the novel. But make no
mistake—Head Game is no laughing matter: During
the Gulf War, three men served together in psy ops,
writing and disseminating highly successful propaganda to convince Iraqi soldiers to lay down their
arms without resistance. Over a decade later, one
such Iraqi is out for revenge, using more covert
tactics of psychological warfare against the three
Americans who he believes ruined his life.
B(u)y the Book
Check out these new releases…
Were you recently inspired by the
film Amazing Grace but think slavery in the U.S. ended with the Civil
War?
Think
again.
DAVID
BATSTONE’s NOT FOR SALE: The
Return of the Global Slave Trade—
And How We Can Fight It (HarperSanFrancisco)
chronicles a shocking investigation into the
world of human trafficking and the heroic abolitionists combating this global epidemic.
Is your church launching a contemporary service, trying to balance
traditional and modern musical
tastes, or seeking relevant worship
for a “secularized” society? Check
out GREG SCHEER’s The Art of
Worship: A Musician’s Guide to Leading Modern
Worship (Baker) for help.
In her new book, God Has a Dream for
Your Life (W Publishing), singer and
author SHEILA WALSH
wants
women to realize what it means to
dream God’s dream for their lives,
not just their own, and how these
dreams will, in fact, change through disappointments, our lives’ journeys and by being sanctified
through God’s love.
EUGENE H. PETERSON, who
penned The Message Bible, has
written a thoughtful, irenic call to
follow the way of Christ instead of
the modern dead-ends of consumerism, celebrity and charisma
in The Jesus Way: A Conversation on the Ways
That Jesus Is the Way (Wm. B. Eerdmans).
Vividly describing her lack of emotions and her desire to, literally, cling
to the carpet, comedian CHONDA
PIERCE chronicles her 18-month
journey through the depths of
depression and back into the light
in Laughing in the Dark (Howard).
An inspiring story of courage and
conviction, The Bishop of Rwanda:
Finding Forgiveness Amidst a Pile of
Bones (W Publishing) reveals the
lifetime journey of a former
Rwandan exile, Anglican Bishop
JOHN RUCYAHANA, who returned home despite
danger and peril to help rescue his country from
the chaos of genocide.
PROFILES BY KRISTI HENSON
CCM_03.07_Gear.v3
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Page 58
russlong’s guidetogear>>
WHEN STUDIO LIFE IS GOOD
CHANCES ARE THAT EVEN IF YOU HAVEN’T BOUGHT THE ALBUM, YOU’VE
HEARD TRACKS FROM STELLAR KART’S LATEST RELEASE WE CAN’T STAND
SITTING DOWN (WORD). THE ALBUM, WHICH IS MOST EASILY DESCRIBED AS
POWER POP PUNK ROCK, IS A WONDERFUL BLEND OF HIGH-ENERGY SONGS
THAT HAS LEFT A TRAIL OF HITS IN ITS TRACKS.
HAILING FROM PHOENIX, ARIZONA, THE BAND HAS ROCKED NEARLY 200
SHOWS PER YEAR SINCE THE RELEASE OF ITS ALL GAS, NO BRAKE ALBUM
BACK IN 2005. THE BAND, CONSISTING OF VOCALIST ADAM AGEE, DRUMMER
JORDAN MESSER, BASSIST BRIAN CALCARA AND GUITARIST CODY PELLERIN,
ORIGINALLY WROTE NEARLY 30 SONGS IN PREPARATION FOR WE CAN'T STAND
SITTING DOWN, BEFORE NARROWING IT DOWN TO THE 12 GEMS THAT MADE
THE CUT. I HAD THE CHANCE TO TALK WITH ADAM AND THE BAND’S
PRODUCER ABOUT SONGWRITING AND RECORDING.
>> IT STARTS WITH A SONG::
“Most of our songs are written with a couple of us and acoustic guitars,” Adam says. “I write my lyrics with the
old-school pen and paper, while the other guys reach for their laptops. Once we have the songs to a certain
level, we’ll lay them down in Garage Band for reference.”
When it came time to head to the studio, Stellar Kart brought in rising star producer Ian Eskelin (All Star
United lead singer and the man behind Everyday Sunday and Krystal Meyers). Ian explains his production
viewpoint: “My whole philosophy now is ‘simplify.’ I’m almost the anti-producer. I know so many people who are
great engineers, and I’ve had to take a big step back from engineering so I can concentrate on lyric and melody.
To me it all starts with songs. Once I have that it’s a lot easier to turn it into something amazing.“
When it comes to getting started as a songwriter, Adam advises, “I would recommend a cheap acoustic
guitar. You don’t have to buy an amp, and you can learn just as much about notes and scales as [with] a piano, but with more portability.
It will also be hard to play and sound terrible, which in turn, will make you find out how determined you really are to play an instrument. The
strings were so far away from the neck on the guitar I learned on that my fingers actually bled all over the fret-board when I would play for
long periods of time. Learning on that thing has made every other instrument I have played a piece of cake.”
Even the best gear has its bad moments. Adam describes a recent run-in with the technology demon: “We were playing a show in Virginia
earlier this year, and the guitar amp they had for us to use was picking up the local AM radio station. Every time Cody paused or stopped
playing, Big Jim's evening talk show came on. It was pretty hilarious.”
As far as dream gear goes, Adam explains, “I would be very happy if I could get my hands on one of those Marshall guitar heads in Spinal
Tap that go all the way to 11.”
[
SONY PSP
]
Adam’s all-around favorite piece of gear is his Sony PSP. He describes it as “the ultimate travel distraction and time waster.” One
of the coolest PSP accessories around is the Griffin iFM Radio Tuner and Remote Control which integrates FM radio tuning and
remote control functionality to the PSP. The snap-on attachment features a large, easy-to-read LED for FM tuning, a pass-through
port for headphones and a clip for comfortable use. The built-in remote includes the controls for simple media playback and
functionality. Using the single button switch, gamers can enjoy their favorite FM stations or control music directly from their PSP.
AUDIX OM7
The Audix OM7, Adam’s performance vocal mic of choice, is one of the most versatile mics around. It was developed in the mid’90s primarily for touring rock bands with exceptionally loud stage volumes. Because of its extreme off-axis rejection, many people
consider it the “ultimate gain before feedback” mic, and it can handle sound pressure levels in excess of 140 dB without distortion.
Its performance characteristics allow it to be placed in close proximity to the drums and guitar cabinets with minimal bleed and
remarkable opposition to feedback. The retail price of the OM7 is $349, but it can be had for much less. Sweetwater sells it for an
amazing $229.97.
GEAR :
LINKS
For more information on the gear on this page, visit:
sweetwater.com, audixusa.com, griffintechnology.com,
us.playstation.com/PSP
58 ccm march 07
ccmmagazine.com
Sony PSP
Audix OM7
Russ Long is an award-winning recording engineer who has helmed Gold and Platinum albums by newsboys
and Sixpence None the Richer as well as recordings by Chris Tomlin, Relient K, MercyMe, Wilco, Phil
Keaggy, Over the Rhine and others. Russ has created an educational DVD on studio engineering tailored for
singers, songwriters and home studio enthusiasts. For more information, visit audioinstruction.com.
CCM_03.07_SRO.v4
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standingroomonly
your guide to concerts
All concert photos by Andy Argyrakis
by Andy Argyrakis
From left: Jeremy Camp, Stellar Kart’s Adam Agee and Jordan Messer
CLUB CONNECTION
[HOUSE OF BLUES PRESENTS: JEREMY CAMP & STELLAR KART]
HOUSE OF BLUES | CHICAGO, IL — JANUARY 25, 2007
The sign above the House of Blues’ stage, no
matter what the city, always reads “Unity In
Diversity/All Are One.” Though it may mean well,
the somewhat new age saying didn’t ring totally
true for many of those gathered to see BEC
Recordings artist Jeremy Camp on his current club
tour, which comes in the wake of newfound
mainstream exposure. While the popular Christian
singer/songwriter could’ve shied away from
witnessing the single way, truth and life, he refused
to be intimidated by the surroundings and boldly
delivered the gospel. Sure, many gathered were
probably already believers, but for those who may
have caught Camp on the cover of Pollstar, the
Yahoo! home page (where his videos have been
featured) or the soundtrack for the film “Amazing
Grace,” perhaps they saw a slice of heaven for the
very first time.
Aside from an uplifting salvation presentation,
there was plenty of evidence that this tunesmith is
spiritually on fire, a common thread that runs
throughout his new Beyond Measure CD, along with
previous studio albums such as Restored and Stay.
Given that growing body of work (which also includes
a worship project and live CD/DVD combo) it’s
increasingly apparent why Camp has grown from a
15-minute support act into a bona fide headliner.
He kicked off the musical portion of the evening
with guns-a-blazing thanks to the blaring alternative
rock of “Lay Down My Pride” and “Tonight.” But
Camp quickly showcased his sensitive side,
strapping on an acoustic guitar for the tender “Take
You Back” and fellow radio smash “Right Here.”
From there, it would be a 90-minute ride through the
past half decade, covering all the obligatory hits,
several praise choruses and an exciting surprise.
Considering the concert was close to Camp’s
home state of Indiana, his parents were in
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attendance, which led to the headliner’s
impromptu invitation for good old dad to make a
cameo. Tom Camp was greeted by the sold-out
crowd with overwhelming cheers, especially after
he whipped out a harmonica for a blistering blues
rendition of “Jesus Loves Me.” “We couldn’t
come to Chicago and not play the blues,
especially at the House of Blues,” Camp teased,
citing the city that birthed Buddy Guy and Chess
Records (to name a few).
Another rousing display was the pair of power
ballads “I Still Believe” and “Walk By Faith,” which
seamlessly flowed into one another and recalled
Camp’s courageous testimony of losing his first wife
to cancer. But more recent cuts such as “Feels Like”
and a cover of the classic hymn “Give Me Jesus”
pointed to a restored life and thankfulness for his
blossoming family (including wife and fellow artist
Adie, plus a pair of young children). But Camp and
his polished band made sure not to forget their most
famous rockers “Take My Life” and “Stay,” making it
clear calm temperaments were strictly reserved for
more serious selections and that reckless revelry
was still an essential element.
Warming up the hall was the increasingly popular
Word act Stellar Kart, the modern pop/punkers
who released We Can’t Stand Sitting Down last
year. Though the members were energetic and
appeared to be enjoying themselves, their
somewhat generic and watered-down offerings
reinforced who attendees came to see. An
unflattering cover of Bon Jovi’s “Livin’ On A Prayer”
didn’t help the cause, though the smash single
“Me and Jesus” provided a partial rebound. With a
little more refinement, hopefully the gang can
graduate to the level of Hawk Nelson or perhaps
even Relient K, which is possible with continued
practice on these types of support slots.
[
Giving concertgoers a look at one of
the country’s coolest Christian venues
]
Sometimes a venue doesn’t need an ultra-spiritual
mission statement or a posting of its beliefs on the
front door to cultivate a positive, uplifting and
appealing environment. THRIO’S COFFEEHOUSE
(located in Arkadelphia, Arkansas) will be the first to
promote the city’s college rivalry between Ouachita
Baptist University and Henderson State University,
though they keep the environment casual and seeker
friendly when it comes to spirituality.
A look at the café’s concert menu is chock full of
faith-based artists, from former member of The
Normals/current player for Caedmon’s Call Andrew
Osenga to Floodgate Records’ latest find Hundred
Year Storm to Tooth & Nail dance rockers Jonezetta
and Chicago’s indie heroes (and former Switchfoot
tour mates) Sleeping At Last. The alcohol-free
environment is also rumored to serve a pretty serious
cup of Joe, plus paninis packed with everything under
the kitchen sink.
HERE AND THERE
ARE YOU WITHIN A DAY’S DRIVE?
Here’s a concert date you won’t want to miss!
03/15 Bethany Dillon & Future of Forestry,
Marion, AL
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.
CCM_03.07_ThingsILOVE.v3
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THINGS I
With HAWK NELSON’S DANIEL BIRO
Hawk Nelson’s got a lot
to love these days as the
boys are currently on the
“Winter Jam Tour” and fans are
clamoring over their latest
endeavor, Smile It’s the End of the
World (Tooth & Nail). Now, Hawk’s
bass player, DANIEL BIRO,
reveals the things he
personally loves…
>> If I can make time within all the craziness
of summer festivals, I like to retreat up north
to a friendly small town called Bancroft,
Ontario. This tree is one of the highlighted
spots where I like to spend some quiet time
with God. Away from all the busyness, I can
really hear Him.
>> My best friend, Bon. She is
responsible for keeping me in check
and being my main source of
encouragement. I simply love her.
>> This paraphrase of the Bible, by
Eugene Peterson, has revolutionized the
way I read and perceive God’s Word. It is
so modern and plain English that it feels
like God is talking right to me—the way I
believe He intends it to be. I so
recommend this for everyone who
struggles with reading and understanding
the Bible.
>> Jaren is this character I created to
help solve the world’s problems. I’ve made
some different versions of him, including
this Pumpkin-Jaren where proceeds from his
sales go toward a Compassion child named
Franchiyou in Haiti. Check out jarenrocks.com
for more details on how he is helping.
>> Ever since we first started touring, Jason and I
love to stop and take pictures of state signs. All
those long hours driving start to drive you a little
crazy, and it’s a refreshing exercise. I have 40 state
sign pictures so far.
<< I actually got my first car this year, and
there’s nothing more peaceful than spending
an afternoon washing it. His name is Noire,
which simply means “black” in French.
>> Without our awesomely
loyal fans, we would not be
here. I just want to make it
clear that we appreciate each
and every one of you out
there. Hope to see you soon...
Check out Hawk Nelson’s website—hawknelson.com—for the latest updates and to hear music from Smile, It’s The
End of the World.
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CCM_03.07_LooseEnds.v3
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LOOSE ENDS
CONFESSIONS OF AN UNFINISHED FAITH
LIGHTS, CAMERA, ACTION
Movie night is a big deal at my house.
I remember when I was a younger, single
person, hearing my married friends with kids talk
about how excited they were about getting to
have a “Blockbuster night” on Saturday night. I
remember thinking, “Wow. How sad. When I get
married and have kids, I am so not going to be a
giant lame-o and allow the highlight of my entire
week to revolve around microwave popcorn and
a DVD player.” I was certain my evenings would
be spent strolling through art museums or
stopping at sidewalk cafés to scribble something
insightful in my journal. Naturally, whatever
child I was schlepping around in a stroller, would
be quietly practicing his or her French with the
flashcards I found at the museum gift shop.
No joke. That was my vision of family life.
Anything, dear Lord, but Blockbuster night.
The irony, of course, is that I married a man
who is such a film buff that we have a separate
room for movie watching. And a special screen on
a special wall the size of an SUV with 19 remote
controls, specifically designed to detonate in the
hands of women. But I am an admitted convert. I
am now the girl who takes great pride in unscorched popcorn and great shame in un-popped
kernels. I am now the girl who races to my
special spot on the couch for movie night. Let
the museum people scoff… I have far more
comfortable slippers than Van Gogh ever owned.
The other night, Errol and I made a rare and
erroneous film selection. He had obtained a free
copy of the most recent King Kong movie (2005).
I won’t waste time reviewing the film. Besides, I
should try and be sensitive…maybe you liked it.
Maybe you also like sweaty gym socks and small
daggers poked in your eyes. Maybe you like the
Keebler elves. But, our only consolation in
watching this film was that it was…free. But
then, so are the chickenpox.
The film opens with one of the main
characters, Carl Denham (played by Jack Black),
a struggling yet passionate movie director in the
1930s trying to make his mark and fund his next
“masterpiece.” When he is first introduced in early
M
BY NICHOLE NORDEMAN
physical beauty we will never attain, the
scenes, I had compassion for him. He is
clutching, the grasping, the constant
desperately trying to win the enthusiasm (and
justification…and everyone else in the room is
dollars) of some wealthy investors to afford him
thinking… Put the camera down. Your life is falling
the luxury of finishing his film. He is appropriately
apart around you, and you’re waiting to get footage of a
eccentric and inappropriate, but it was easy for me
50-foot monkey holding a blonde. Let…it…go.
to be sympathetic with his willingness to go to
Knowing when to clutch at something even
any lengths to make his movie.
tighter because you believe so firmly in seeing it
Most of the movie is spent watching him trail a
through, and knowing when to walk away, might
giant, hairy gorilla (duh) who spends two hours
be one of the hardest parts about a journey in faith.
flinging the lovely Naomi Watts about, lipstick
There are so many competing voices. So much
and curls perfectly intact, despite the fact that
input. So many books and friends and friends
Kong repeatedly snaps her bony neck around like
recommending books. So many therapists and
a chicken. There. Now you’ve seen the movie.
counselors (big fan, by the way)… It can be a great
Oh yeah. She screams a lot.
struggle to quiet all the chatter and really
Long after the movie mercifully ended, it
hear God’s heart. Everybody and their
was the Jack Black character—the
gorilla is an expert on what God
passionate director—that stayed with
Why is there
wants for you. And very few
me. Once he is finally on spooky
have a clue. Least of all,
Skull Island, and he begins
always such a fine people
the goofball staring back in the
frantically filming, it is clear that
his passion for his art has started line between genuine mirror who can no longer see
the forest for the bananas.
to look more like a disturbing
In the 10th chapter of John’s
obsession. Danger lurks around
commitment and
Gospel, Jesus spends some time
every corner, and even though his
talking to a crowd about how His
closest friends and crew are losing unhealthy fixation?
sheep “will follow Him because they
their limbs and lives to creatures who
know His voice.” Other shepherds,
are unspeakably gruesome, he manages
other watchmen and “hired hands” will try
to somehow keep his camera rolling “for art’s
and coerce His sheep to follow, but “they will never
sake.” Narrowly escaping the clutches of giant
follow a stranger, in fact, they will run away from
cockroaches and ginormous eels himself, he is
him because they do not recognize a stranger’s
miraculously able to scramble behind the lens and
voice.” (vs. 5) After His thorough and gentle
continue to film the bedlam, unharmed.
explanation of this sheep/shepherd metaphor—18
What began as my admiration for his
verses worth, in fact—about half the crowd decided
passionate pursuit of art quickly became disgust
He was “demon possessed and raving mad,” and
for his insatiable greed and opportunism…all at
probably went off in search of Little Bo Peep. Case
the expense of his cast and crew.
in point, I’d say.
Why is there always such a fine line between
There’s the challenge. Not just the getting
genuine commitment and unhealthy fixation?
quiet part, but whose voice you choose to
And why is it so easy for everyone else to
amplify. And it is a choice. And a huge
recognize when that line has been blurred or
risk…because it might very well mean God
crossed, except for the sucker who is still
prying your white knuckles off that camera.
clinging to the illusion that he or she is somehow
ARRGH. I hate it when I accidentally write
gallantly obliged to keep fixating? We see it all
something that applies to my own life. Stupid Kong.
the time…dating relationships that should have
Don’t rent it… You can borrow my copy. You
ended long ago, jobs that should have been
can have my copy. No charge.
resigned from, unrealistic pie-in-the-sky notions
of being “discovered” at something, the
The new album, Recollection: The Best of Nichole
optimistic pining away for a certain kind of
Nordeman (Sparrow), featuring two new songs, releases March 6.
“
”
For more information, visit nicholenordeman.com.
64 ccm march 07
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CCM_03.07_Classifieds.v2
2/12/07
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Page 65
CLASSIFIEDS
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serious about your career? We offer
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[email protected]
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
March 15 for the May 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 (2-color) 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.
ATTENTION ccm READERS:
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JOIN TODAY:
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CCM OPPORTUNITIES
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ARE YOU A NATURAL-BORN TALKER? If so,
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CCM [ISSN 1524–7848] is published monthly by Salem Publishing. Copyright: CCM © 2007 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,
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ccmmagazine.com
march 07 ccm 65
CCM_03.07_HistoryMakers.v4
2/12/07
12:40 PM
Page 66
HISTORYMAKERS
WITH J O H N S T Y L L
MOMENTS THAT SHAPED CCM
IN RECENT YEARS CHRISTIAN MUSIC FANS HAVE SEEN A GROWING NUMBER OF THEIR FAVORITE ARTISTS BECOME ACTIVISTS,
RESPONDING TO ISSUES OF JUSTICE AND MERCY BY LINKING ARMS WITH COMPASSION INTERNATIONAL, WORLD VISION,
INTERNATIONAL JUSTICE MISSION, THE ONE CAMPAIGN AND OTHERS. YET, IT WAS MORE THAN 20 YEARS AGO, THAT OVER
100 CHRISTIAN ARTISTS RESPONDED IN A UNIFIED VOICE TO THE HISTORIC FAMINE IN AFRICA.
[ONE IN THE SPIRIT]
Back in the mid-’80s a terrible famine had Africa in its
merciless grip. Bob Geldolf of the Boomtown Rats brought a
bunch of English artists together to record “Do They Know
It’s Christmas.” The group was cleverly called “Band-Aid.”
Then Michael Jackson, Bruce Springsteen and many others
checked their egos at the door and formed “USA for Africa”
to record “We Are the World”—another “gang singing”
anthem to help the African crisis.
In what may have seemed like a typical “Johnny-comelately” Christian response to “Band-Aid” and “USA for
Africa,” Christian artist Steve Camp wrote a song (with Phil
Madiera and Rob and Carol Frazier) called “Do Something
Now.” After several months of planning, a recording session
was organized at Bullet Studios on Nashville’s Music Row
following the 16th Annual Dove Awards on April 3, 1985.
More than 100 artists contributed to the recording. The
midnight session was no doubt the largest and most diverse
collection of Christian recording artists ever gathered in a
studio at one time. They called themselves “The CAUSE”—
Christian Artists United to Save the Earth.
It was a “Who’s Who” of Christian music at that time:
Amy Grant, Larry Norman, Russ Taff, Sandi Patty, Michael
Card, John Fischer, Bill and Gloria Gaither, Silverwind, Phil
Keaggy, DeGarmo & Key, Mylon LeFevre, Steve Green,
Bobby Jones, Rusty Goodman, Geoff Moore, Steve Camp,
David Meece, Steve Taylor, Shirley Caesar, Evie Karlsson,
Sheila Walsh, Michele Pillar, Jessy Dixon, Kathy Troccoli
and of course, many more. The legendary 2nd Chapter of
Acts even lent vocals, although they weren’t able to attend
that all-night recording session.
[
From left: CCM Magazine cover and The CAUSE recording session
CCM Magazine was given access to the session and ran a cover story about the making of the
recording in the June 1985 issue. As CCM editor Ted Ojarovsky pointed out, the Christians
weren’t really copying the world. Christian artists had actually joined together three years
prior to release Together, a 10-song album featuring Amy Grant, Andrae Crouch, The Imperials,
Sweet Comfort Band and others. The recordings and all royalties were donated to World
Vision to fight hunger. In a separate effort, Compassion International had begun working with
Christian artists in the late ‘70s. All proceeds from “Do Something Now” were channeled
through Compassion.
I was fortunate enough to be in the studio that night to witness the recording. Once the
artists were positioned on risers in Bullet’s Studio A, Camp offered a prayer, and then the group
began to sing “He is Lord, He is Lord…. Every knee shall bow and every tongue confess that Jesus Christ is
Lord.” Then John Fischer passed around some loaves of bread and cups of juice for the sacrament
of communion, a fitting and unifying opening for this portion of what had already been a very
long evening. Prayers were offered by Bill Gaither and Mylon LeFevre. Wess Stafford, who
worked in the president’s office at Compassion International (and is now president), explained
that 100 percent of the funds received by the organization from the sales of the records and
associated merchandise would go to aid in Africa.
With all of the preliminaries completed, the tape finally started rolling around 2 a.m. as Cam
Floria, founder of the Continental Singers, directed the singers. “Do something now/See their broken
lives/Pick up the pieces/Do something now…” During a lull in the recording, the group spontaneously
broke into a chorus of Russ Taff’s “We Will Stand”: “You’re my brother, you’re my sister/So, take me by
the hand/Together we will work until He comes…”
An incredible sense of unity and camaraderie filled the room. Artists from the worlds of
contemporary Christian music, black gospel and Southern gospel sang together, prayed
together and talked together. It was a thing of beauty. “I’ve never seen anything like this,” said
Compassion’s Stafford (as quoted in CCM). “It’s 3:45 a.m. and nobody wants to go home.
They’re all hanging around. I can’t believe this. It’s a tremendous spirit of unity.”
Amy Grant and Larry Norman were the last to record their solos and lip-synch them for the
cameras. It was nearly 5:30 a.m. The few people left in the room by that time concluded their
evening with prayer. It was the dawn of a new day.
Send your thoughts to me at [email protected].
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 Dove Awards, which it oversees, go to gospelmusic.org.
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]