Another Crowning Achievement

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September 2005
40
High Fidelity
After 10-plus years of making music together, Audio Adrenaline
has done the unthinkable on its latest album, Until My Heart Caves In:
The band finally found its sound. C H R I S TA FA R R I S sits down with the
guys at drummer Ben Cissell’s house to get the rest of the story.
cover story
in review
32
American Dream
49
Sure, they aren’t Christian music’s best-kept secret anymore with constant
radio airplay and accolades aplenty, but how exactly did these guys and
girls next door become such a big success story? M E L I S S A R I D D L E
gets to the bottom of the Casting Crowns phenomenon.
Music: Bethany Dillon’s sophomore release raises the bar, a
promising debut from German-born artist Sarah Brendel and more.
56
Books: Margaret Becker discusses the value of dirty dishes.
60
Tour:
features
44
A Funny Kind of Love
Cupid may have pierced Chris Rice’s new CD, Amusing, but it’s not
what you think. While he’s reportedly not been bitten by the love bug
yet, Chris does reveal why he feels the freedom to write songs with
more universal kinds of themes this time around.
BY LUCAS HENDRICKSON
46
departments
06
From the Editor:
11
The Insider: Our editor travels to Scotland to sample the G8’s
62
By the Numbers: Chris Tomlin
64
A Personal Perspective by Out of Eden’s Lisa Kimmey
66
CCM Hall of Fame: Michael Omartian
The Simple Life
Without the usual fanfare and hype, Todd Agnew introduced fans to a
different kind of worship leader with a different kind of sound on his
debut, Grace Like Rain. Now more than a year later on the eve of his
sophomore release, Reflection of Something, get to know this unusual
singer/songwriter in a more personal way. B Y A N D R E A B A I L E Y
It’s a triple threat when Newsboys, Audio Adrenaline and
Superchic[k] invade Chi-town.
Wanted: Switchfoot
historic summit (and even meets George Clooney in the
process). Plus is this Jars of Clay’s best year yet? Also, the buzz
on Rebecca St. James’ return to her pop/rock roots, why Neal
Morse is an artist you need to know and more.
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fromtheeditor
by Jay Swartzendruber
The Dutiful Letdown
When I joined CCM two years ago, one of the things I looked forward to
most was seeing the guys in Switchfoot grace the cover of our magazine for
the first time. After all, weren’t they “due”? Breakout album, The Beautiful
Letdown, had released seven months earlier, and Superchic[k] and even upand-comers The Elms had already landed their first CCM covers.
Our new cover story selection team eventually met to discuss Switchfoot,
and we gladly considered the possibilities for the upcoming spring of ’04.
We picked the first available month and gave
Sparrow Records, Switchfoot’s Christian
distributor, the good news. That’s when things
started getting surreal.
We received word from Switchfoot’s
management via Sparrow that they weren’t
ready for a CCM cover since the band was still
positioning (a.k.a. branding) itself in the
mainstream. Having been a former publicist
for Sixpence None the Richer, Chevelle,
GRITS, Fleming & John, Sarah Masen and
other mainstream-savvy Christians, I knew
exactly where they were coming from. I’d been
involved in many intense discussions about
how to appear in Christian music magazines
without having observing fans and mainstream
gatekeepers mistakenly think the artist
makes music primarily for Christians.
True, when it comes to Christian music
exposure, there’s no magazine with the
authoritative reach and reputation of CCM. But
does appearing on our cover really have that
much influence in the mainstream? (Thanks
especially to the internet and Google searches
on a music journalist’s band of choice, many
would argue, “Yes.”) And if so, did CCM in any
way influence the early mainstream branding Not actual cover...yet.
of Underoath or Relient K when they recently
appeared on covers? Regardless, how established or “big” would Switchfoot
have to be in the general market before its camp felt safely accepted,
resulting in a green light for a CCM cover?
As you can imagine, we’ve knocked on Switchfoot’s door a couple times
since that initial request for a rain check. As recently as July, management
sent word that the band still wasn’t ready.
Now, here’s where I feel the need to be upfront about some things on a
personal level. While it’s true that I’m an ardent fan of the band’s music and
Jon Foreman’s thoughtful songwriting, my relational history with
Switchfoot is layered. You see, 10 years ago, my mentor Charlie Peacock
invited me and four of our friends to staff his upstart re:think label, a
company that wanted its artists in the mainstream. Within a year of
CCM MAGAZINE
Your Christian Music Magazine Since 1978
volume 28 issue 3
For those whose lives are strengthened through faith-informed
music, CCM Magazine goes behind the scenes to celebrate the
artistry of Christian music.
CCM Magazine is a publication of Salem Publishing,
a division of Salem Communications.
•••• •••••••
CCM Magazine
Publisher Jim Cumbee
Associate Publisher & Editor in Chief Roberta Croteau
Editor Jay Swartzendruber
Departments & Creative Ventures Editor Christa Farris
Editorial Assistant Andrea Bailey
6 ccm september 05
ccmmagazine.com
re:think’s launch, Charlie discovered and signed a young, rough-around-theedges rock trio called Chin Up. (You know them today as Switchfoot.)
With the sale of re:think to Sparrow just prior to Switchfoot’s debut, I set
sail and eventually landed at Squint Entertainment. While I was never the
band’s official publicist, I was sometimes kidded by peers for promoting
Switchfoot as if I was. How could you not like this promising band? Each of
the three founding members were just…the kind of guys you’d want your
sister to date—men of depth, integrity, humor, strength, humility and
kindness. And you know what? They still are.
So, in the near future, as you see Switchfoot respond tentatively to
Christian music magazines, remember the band’s not avoiding faith-based
media as a whole—this is about music and how
the group is perceived. You may be one of
those readers who doesn’t agree with
Switchfoot’s strategy. If so, make sure your
response is prayerful. I know these guys—
especially Jon—and their motives should be
admired.
While I think it’s fun to contemplate faith in
culture and how believing artists should best
market themselves, my whole reason for telling
you this story is much more elementary. We
simply wanted you to know that… 1) Yes, we
know that Switchfoot is the biggest band
affiliated with Christian music, and that they
should have been on our cover long ago; and
2) We hear you. We know that in this year’s
Readers’ Choice Awards you selected
Switchfoot as the band you’d most like to see
on our cover, and we’re working on it.
We shot down the idea of just going ahead
and putting Switchfoot on the cover without
an exclusive interview, because…well, that
would be just plain weird professionally, not to
mention disrespectful of my friends.
After Casting Crowns' June photo shoot for
this issue’s cover, lead singer Mark Hall, multiinstrumentalist Chris Huffman and I discussed,
among other things, our mutual appreciation for Switchfoot over lunch.
This was yet another example of how genuine artists are often drawn to
each other's music, regardless of different callings.
This month CCM is honored to celebrate Casting Crowns' calling to
both encourage and challenge the church—think affirmation and tough
love. We're proud of these guys and hope their recent explosion of
popularity is just the beginning of something even bigger. We in the church
need their honesty.
Jay@CCMmagazine.com
Designers Jeff Amstutz, Mary Sergent
Production Director Ross E. Cluver
Contributing Editors Andy Argyrakis, Margaret Becker, Michael
Card, Paul Colman, Russ Long, Gregory Rumburg, Chris Well
Contributors Lucas Hendrickson, David Jenison, Lisa Kimmey,
Dan MacIntosh, David McCreary, Teri Modisette, Fernando Ortega,
Melissa Riddle, Jessica Robin, Harold Rosas
Web Editor Christa Farris
Customer Service Representatives Amy Cassell, Emeka Nnadi
Fulfillment Manager Leesa Smith
Executive Director of Advertising
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Main Office 104 Woodmont Blvd., Suite 300, Nashville, TN 37205
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Cover photo: David Dobson
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feedback
HARD TO PUT DOWN
I was really excited when I saw the
July cover of CCM Magazine [“The
Hard Way”]. I am a huge fan of the
hard bands Skillet, Underoath, Disciple
and Norma Jean, and I am so glad
that you did a piece on all of them!
CCM is truly amazing, and I am
anxious to see where you are in 10
years. But in the meantime, I’m
going to read and re-read this July
issue over and over again. Thank
you, and God bless you all.
Justin B. Clark, Durham, NC
I again have to hand it to you for
absolutely nailing the subject of
hard Christian music. The mag just
keeps getting better and better
through your continued ability to wet
your fingers to see which way the
wind is blowing. Nice job.
Danny Clayton, 105.3 The Fish
Program Director/Morning Show,
Milwaukee, WI
I just got done with your newest
issue with Underoath on the cover
with the title “The Hard Way: Loud
is in! Who knew?” Well, it is
obvious, for some time, that CCM
did not know. While I understand
the primary goal of CCM is not
necessarily rock or heavy music but
more of the Top 40/adult pop
scene, you obviously had your eyes
closed for the past number of years
as the entire face of “Christian
music” changed, grew and
developed. CCM, the “expert” in the
music area, is years behind what
kids and general music lovers have
known for some time.
It just goes to show that the
whole idea of using different styles
of ministry, no matter what they
are, can be very effective. It is not
just the Michael W. Smith, Amy
Grant and Rebecca St. James styles
that kids and people want anymore.
Sadly, it will probably take CCM and
the rest of the “Christian music”
world, including radio, a long time to
8 ccm september 05
ccmmagazine.com
realize that other forms of music,
hip-hop for example, are a very
legit form of music that must
be recognized.
Take a look at the world and
culture around you. What is being
played at sporting events, on video
games, on MTV, on the local hit
radio stations? It is a great mix of
pop, rock, hip-hop, urban and
ballads. While the Christian scene
focuses on praise & worship, that
is not what most people are listening
to—outside the church walls or [if
they are] under the age of 40.
While I understand what sells
records and plays on the local
religious radio stations, at some
point we need to take off the
blinders and see that the world
around us is not going to “buy in”
to all the praise & worship. I cannot
tell you the number of times that I
had to highlight some awesome
music from great artists that were
not praise & worship to my students
who thought that it was all “Jesus
this” and “Jesus that” and slow and
boring. Kids have a generally negative
view of what Christian music actually
is and what's available. For once,
take the lead and don't hide behind
what's expected.
Kirby Oaks, Rochester, MN
Hi Kirby,
Please allow us to direct you to our
“CCM Back Issues” department. By
calling 1-800-527-5226, you can
order all the copies of CCM from the
past few years. (Each back issue
copy costs only $5 plus shipping and
handling.) Based on your current
impressions of what’s popular in
Christian music, we think there are
some fun surprises in store. If you’d
like, you can just order those copies
of CCM that featured rock, hip-hop,
hard and/or punk artists on the
cover. But of course, that would
mean you’d miss out on all the other
rock, hip-hop, hard and punk
features and reviews!
STILL PETRA-FIED
I just read the article about Petra in
the July issue [“The Insider”]. It is
hard to believe they are retiring but
amazing that they have been praising
God with their music for 33 years.
Petra was the first introduction to
Christian rock I ever had. I have
been a fan since 1983. Through the
band’s music, my eyes and ears
were opened to an entirely new
form of ministry. I was a teenager
at the time, but throughout college
and several years later, I was able
to use its great music and
inspirational lyrics to help bring
many other teens to Christ. I still
pull out Never Say Die, More Power
Petra
To Ya and Not Of This World, among
others, every now and then. The
lyrics still speak to me now as they
did then. Thank you, Petra... You
will never be forgotten.
Jerry Sadler, Wichita Falls, TX
I was deeply saddened to read that
Petra is ending its long musical
journey. I had the privilege of seeing
them in concert about eight years
ago in Richmond, Virginia. I went
alone because not many black
people are into Christian rock; I
had a great time jumping and
singing with everyone else at the
concert. That was the best Christian
concert ever.
I look forward to a box set of its
music. I will always be a Petra fan.
Patrice B. Jones, Richmond, VA
GO FOR THE GROVES
What a deep tug on my heart the
thoughts of Shaun Groves causes
[“Dart to the Heart,” July]…to
which I say, yes, Lord, create in me
this surrender and sensitivity!
Fern Medley-Forsythe,
Scott Depot, WV
I just want to say how pleased I am
with your magazine. The content is
insightful and thought provoking. I
especially enjoyed the latest issue
with Shaun Groves. His unabashed
desire to bring the Bible to life through
his music is inspiring. Shaun truly
is a man after God's heart. Please
keep up the incredible work.
Laura Marsico, via email
WAY TO WATCH
I am an avid Christian music fan
and really enjoy reading your
magazine every month. I was
ecstatic when I opened up the July
issue to find that Paul Colman has
been added to your staff as a
monthly columnist! Not only is Paul
my No. 1 favorite artist of all time,
but he is also one of the most
humble guys I have ever met, always
promoting other artists and giving
them credit. I know he will be perfect
for the job, as he seems to have a
good eye for fresh talent. Thank you
so much for adding him to your staff,
and I look forward to reading “Paul
Colman’s Ones to Watch” in the future!
Heather Bilodeau, Lewiston, ME
Shaun Groves
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TRUTH BE TOLD
What’s your favorite Christian music legend or supposedly tall tale? What about
that nagging question concerning your favorite artist that, apparently, no one’s been
able to answer? That’s where we come in. Check here each month as CCM distinguishes
fact from fiction, and e-mail your questions to truthbetold@ccmmagazine.com.
Dear CCM,
I’ve been a longtime fan of Sonicflood. I love their new stuff, but I was wondering about
the original members. Where are they now?
—Curious in Kentucky
Dear Curious,
Thanks for your question and a great one at that! To answer it
accurately, we have to go back to the band’s true original line-up—
the one that shuffled even before Sonicflood’s wildly popular first
album released.
Are you familiar with the rock band Zilch? Well, when its band
members entered the studio in the summer of 1998, they had no
idea they were about to form the biggest modern worship band to
date. At the time keyboardist Jason Halbert and bassist Otto Price were known primarily
as the instrumental heart of dc talk's live band. With vocalist Jeff Deyo in tow, they
started to record the groundbreaking album initially titled Millennium.
As the recording process for Millennium continued, the band experienced an identity
crisis. Within a matter of months the group decided to change its name, and Otto
graciously bowed out of the band, though he played bass on the CD and actually
co-produced the album. By the time the disc released, the band had dubbed itself
“Sonicflood” and added guitarist Dwayne Laring and drummer Aaron Blanton to its line-up.
While it had been tentatively called Millennium, the album was self-titled (Sonicflood) upon
release and would eventually go on to sell more than half a million copies. As the new
millennium dawned, Sonicflood was the biggest name in modern worship. (While Delirious
had pioneered the scene, it was Sonicflood’s remake of the British band’s “I Could Sing
of Your Love Forever” that rocketed to No. 1 at Christian radio in America and attracted
church worship leaders in droves.)
With success came more confusion. Before the band's sophomore studio album
released in 2001, the second line-up was completely replaced, making way for bassist
Rick Heil to assume new duties as bandleader and lead singer.
As most fans know, original vocalist Jeff Deyo became a solo artist recording for Gotee
Records, which recently released his new live album, Surrender. Deyo also conducts
worship conferences across the United States.
Otto Price, who’s also produced recordings by Deyo, GRITS, Out of Eden and BarlowGirl,
is now employed at Word Entertainment as the head of A&R for the company. [Check out
our interview with Otto on page 24.]
As for former Sonicflood guitarist Dwayne Laring and keyboardist Jason Halber t,
subsequent gigs have been plentiful. The dynamic duo now calls the L.A. area home, and
they are in much demand as a production team. Jason is a bandleader. He’s worked with
high-profile artists such as Kelly Clarkson and Ashlee Simpson and also stays busy with
session work. How’s this for a fun factoid: You can spot Jason and Dwayne in the recent
Kelly Clarkson video, “Behind These Hazel Eyes.” Check out the scene of a band playing
in a dark forest, and sure enough, the keyboardist is Jason, while Dwayne is rocking out
on guitar. At a New Year’s televised performance by Clay Aiken, Jason was also spotted
playing the keyboards. Apparently he’s the “American Idol” go-to guy, with Randy Jackson
giving him all the sweet hook-ups.
And last but not least, Aaron Blanton has set up shop here in Nashville. He is a member
of the band By the Tree, which is signed to Fervent Records.
We welcome your comments.
Address your letter to Feedback,
CCM Magazine, 104 Woodmont Blvd., Suite 300, Nashville, TN 37205; fax 615/385-4112,
Attn: Feedback; or e-mail feedback@ccmmagazine.com. Always include your full name, address and
phone number. Letter may be edited for length and clarity.
ccmmagazine.com
september 05 ccm 9
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insider
LIVE 8: Jars of Clay connects with the godfather of hip-hop, Russell Simmons.
These are the Days
Even midway through 2005, Jars of Clay may
have already considered this its best year yet.
If you’re a Jars of Clay fan, or a member of the band for that matter, then 2005 has already been a
landmark year for you. First, the Essential Records artists released a gem of an album, Redemption
Songs, in March. (At press time the hymns-based disc had already surpassed 115,000 copies in sales.)
Then, on the heels of the album’s release, Jars of Clay took part in a 12-hour national radio fundraising
marathon, which received more than $241,000 for the band’s “1,000 Wells Project”—the flagship
campaign of its non-profit ministry Blood:Water Mission. As a result, more than 80 critically needed clean
well water systems are being built in different southern Africa locations.
Next, Jars performed at the most highly touted Billy Graham crusade in memory—late June’s New York
City event, which organizers expect may well have been the evangelist’s last American crusade.
If you’re in Jars of Clay, how do you top such an honor? According to the late Johnny Cash, a Billy
Graham crusade favorite, you don’t. But one week later, Jars took the stage for its most high-profile
performance to date… In acknowledgement of the band’s art, advocacy and name recognition, Jars was
invited to perform two songs (“Show You Love” and “Flood”) at the internationally-broadcast LIVE 8
concert in Philadelphia. With hundreds of thousands in attendance and a global television audience of
more than one billion—not to mention a redemptive cause with eternal implications—Jars of Clay helped
write an important chapter in rock & roll history.
>>> Some
Jars at LIVE 8, CCM at G8,
and a preview of Rebecca St.
James’ new album
“The significant role of LIVE 8,”
says Jars of Clay lead singer Dan
Haseltine, “was its ability to awaken
the general public to something that
had not been in the public eye for
nearly 20 years—famine, disease,
drought, slavery, civil war, all the
things that equal poverty. This is
the greater work, as it was Live AID
[in 1985] that stirred my own heart
and connected the dots of music
and social justice. It was the
original concer t that sent out
millions of tiny spores that grew
into vines of activity and deep
thought with regard to the world’s
poor. And this will hopefully be the
legacy of the day’s event.”
Jars of Clay shared LIVE 8’s
Philadelphia stage with Maroon 5,
Dave Matthews Band, Destiny’s
Child, Sarah McLachlan, Stevie
Wonder, Alicia Keys, Black Eyed Peas and others.
Together, they joined artists performing the same
day at LIVE 8 concerts in eight other countries to
raise awareness of global poverty and encourage
the leadership of the world’s wealthiest nations to
increase their response.
“We also recognized in that event that apart
from the Gospel, there is no sustainable reason to
engage the poor; there is no regenerative life in
serving the oppressed and the suffering,” says
Haseltine. “It is only the gospel that gives tangible
reason and tangible supply for loving well brothers
and sisters in the global community. The event was
wrapped in grace and irony, love and selfishness...
It was a tornado of incongruent worldviews and
clashing doctrines, yet unified by a single overriding
purpose. What a glorious mess. And the eyes of the
world—the forgetful, selfish, greedy world—were
fixed on the poor, and it was good!”
As a result of the media interviews that ensued,
Jars of Clay’s “1,000 Wells Project” and other bandrelated topics were featured on ABC’s “Good
Morning America,” CBS, CNN, BBC, AOL, XM, MTV,
VH1 and other outlets.
JAY SWARTZENDRUBER
Kind of Line-Up: Audio Adrenaline Launches Its Own Music Festival With the “Until My Heart Caves
ccmmagazine.com
september 05 ccm 11
>>>
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>> sightings
insider
International Love Song
In acknowledgement of Christian music’s
important role in The ONE Campaign to
make extreme poverty history, organizers
extended two G8-related invitations to
our community. They offered Jars of Clay
a performance slot at LIVE 8 and
summoned CCM editor Jay Swartzendruber
to Scotland as a ONE Campaign delegate
during the G8 summit. Jay’s back and
he’s hyper, so we asked for the highlights…
(L-R) Edinburgh, Scotland; Bono departs his hotel to meet with G8 leaders.
As a relatively new advocate for Africa—I only started living like Africans are
my neighbors four years ago—I was surprised and humbled to be invited by
The ONE Campaign to be a delegate during the G8 meetings. (G8 refers to the
leaders of the “Group of Eight”—the world’s wealthiest nations, consisting of
France, Germany, Italy, Japan, the United Kingdom, the United States and
Russia.) I joined more than 100 other ONE delegates—leaders and
grassroots representatives from evangelical organizations such as World
Vision, World Concern and Bread for the World and other nonprofits like DATA,
International Medical Corps, CARE and more. (And yes, some attendees were
celebrities—more on that in a moment.)
I was grateful that The ONE Campaign also offered me press credentials,
giving me and the three-dozen American journalists with us easier access
to African leaders, President of the World Bank Paul Wolfowitz and
additional roundtables and presentations.
When the ONE Campaign’s July 4 flight landed in London for our
layover, Bob Geldof, the principal organizer and face of LIVE 8,
showed up to give us a surprise welcome. It had only been two days
since LIVE 8.
“The American media would barely cover this if not for your
presence,” he said as TV cameras from CNN, MSNBC, BBC, CBN,
Sky News and others focused on him. “What you’ve achieved with The
ONE Campaign is beyond exceptional. There has never been a mass
movement in American history like it… I think over 27 million people signed
the LIVE 8 list just in America alone. You represent a vast constituency…
President Bush called [LIVE 8] the greatest act of mass advocacy in the history
of the planet.” The room erupted into applause.
This Is How the Work Gets Done
The morning after we arrived in Scotland, I was amazed to see television
footage of our entourage disembarking on all the major networks—CNN, BBC
and Sky News.
My head still spinning, I joined the other ONE delegates for an informative
presentation by prominent screenwriter Richard Curtis (Love Actually, Notting Hill).
Curtis, an Englishman, is also one of the three influencers that organized LIVE
8 (along with Geldof and Bono). My favorite anecdote in Curtis’ overview
revealed the behind-the-scenes networking that took place before author Rick
Warren (The Purpose Driven Life) asked 150,000 evangelical pastors to join him
this summer in writing a high-profile ONE Campaign letter to President Bush.
“This came about because an old man called John Stott who lives in London—
an 85-year-old writer—wrote Warren a letter,” said Curtis.
Stott is the revered evangelical scholar who framed the historic Lausanne
Covenant.
“And I think the reason he wrote the letter,” Curtis continued, “is because of
a jobless bloke I know called Charlie Mackesy who was having lunch with me
one day and said, ‘What can I do to help?’ Then I said, ‘Do you know anyone
who has any influence in the religious community?’ Then he spoke to a guy
called Nicky Gumbel whom he knew who runs something called The Alpha
Course. Then Nicky Gumbel spoke to John Stott. Then John Stott
spoke to Rick Warren. So it was Charles, an unemployed artist,
who was actually doing the things that he could do...to help
people make connections.”
I later had the chance to chat over tea with ONE spokesman
Djimon Hounsou, the African actor who received an Oscar
nomination for his starring role in Amistad and later co-starred in
Gladiator and The Island. When I told Hounsou some of the
specifics about the Christian music community’s involvement in
The ONE Campaign, he responded, “It’s an honor to have you backing
this whole movement and getting our leaders to do the right thing. You are
helping a continent that has given so much to the rest of the world. It’s an
honor. Thank you… This is the greatest movement in the history of Africa.”
And Bono? Surely we’d connect with him, right? Even though his band U2
was on tour elsewhere in Europe, the Irishman is the face of the ONE
Campaign. A couple days after we arrived—the first day of the actual summit—
we were scheduled to meet with Bono and actor George Clooney (Ocean’s
Eleven, O Brother, Where Art Thou?), but when Clooney showed up solo, we
were told that Bono’s hotel experienced a police lockdown, thanks to
overzealous G8 protesters flooding its street.
Any disappointment on our part was put in perspective when we heard that
President Bush and other G8 leaders agreed to meet with Bono and Geldof
that afternoon.
(L-R) The Washington Times’ Jen Waters and Jay in press conference mode; screenwriter Richard Curtis; Bob Geldof, Djimon Hounsou, Natalie Imbruglia and Virgin-Atlantic CEO Sir Richard Branson deplane in Scotland
>>>
In Tour” That Begins This Month; Superchic[k], Pillar and Kids in the Way Will Join in the Fun • While
12 ccm september 05
ccmmagazine.com
>>>
>>>
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insider
>>
sightings
Photos by Steve Beard, Good News/Cre8tive Group
Edinburgh photo courtesy of photos.com
CCM_09.05_Insider.v5
LIVE 8 Scottish style; George Clooney
The Odd Couple
If you happened to catch ONE Campaigners George
Clooney and Pat Robertson (“The 700 Club”)
together on NBC’s “Nightline” this past June, you
may have done a double-take. This is how Clooney
explained their new friendship to us…
“I had long conversations with Dr. Robertson,
whom I’ve gotten to know very well on this... When
I called him, I wasn’t sure that he would get on
board with this because I wasn’t sure if it would
seem bad for us to be standing next to each other.
And the truth is, he was fantastic about it because
this is exactly the sort of thing that he’s been
working on for 40 years now. There are a lot of
political lines, religious lines, that we have to
continue to cross which means I’m doing an
interview with the Christian Broadcasting Network
later. My parents are going to laugh at me on
there [laughs]…”
Curiously, upon my return to the States, I
discovered that footage of a 15-second (or less)
chat I had with Clooney was broadcast on national
news via PBS. I simply told the gracious actor that
I wanted to give him “more ammo on the faithbased front” and handed him last month’s editor’s
letter about the 30-plus Christian artists that have
endorsed The ONE Campaign.
“Hello Scotland!”
While most of the LIVE 8 concerts had taken place
four days earlier, organizers decided to have
Edinburgh’s LIVE 8 show happen that evening
since the G8 leaders would just be arriving in town.
Early in the night’s line-up, one emcee told us from
stage that Bono had arrived on site after meetings
with G8 leadership. She explained that when Bono
and Geldof requested a face-to-face with President
Bush, the President told them he could give them
15 minutes. (It’s worth noting that any such
presidential meeting with activists is almost
unheard of during an actual G8 summit.) And this
>>> there’s
meeting? As it turned out, they spent 40 minutes
with the President and reported he was “receptive.”
Box in hand, Bono came onstage later in the
evening and discussed the meetings with the world
leaders. “I hope you don’t mind, but I gave them
your permission to spend your money ending
extreme poverty in our lifetimes,” he said. The
stadium crowd applauded in approval. “They
wanted to know, where did I get the authority to say
that? And I pulled out this box [containing
electronic signatures] and said, ‘In this box are 38
million people who are ready to go to work on this
issue, and that’s just the LIVE 8 campaign.’ When
you add that to 157 million people who signed up
for the global action against pover ty in 75
countries, I would call that permission to spend
your money. That’s a mandate—that’s the most
powerful mandate in the history of mandates.” The
applause swelled.
The Beginning of the End?
At the end of the summit a couple days later, the G8
leaders unveiled a new African plan which, in
addition to doubling aid, commits the world’s eight
wealthiest nations to: “Cancel $40 billion in debt
owed by the world’s poorest countries, provide
universal access to treatment for AIDS and other
diseases, improve education, bolster an African
peacekeeping force and work toward a deal to end
trade-distorting subsidies that hurt Africa. In return,
African countries must commit to fight corruption
and promote democracy, good governance, human
rights and rule of law.”
“If an Irish rock star can quote Churchill,” said
Bono after the announcement, “this is not the end of
extreme poverty, but it is the beginning of the end…”
Geldof declared the G8 summit a “qualified triumph,”
and gave the leaders 10 marks out of 10 for their
pledges on aid and eight out of 10 for debt relief.
For more information on The ONE Campaign’s ongoing
efforts and how you can be involved, visit ONE.org.
No Firm Release Date Yet For Chaotic Resolve, Plumb Fans
14 ccm september 05
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>>>
4:39 PM
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>>
insider
sightings
-- --- .-. ... . -.-. --- -.. .
8/9/05
MORSE CODE
CCM_09.05_Insider.v5
Known for his work in the prog
rock scene, NEAL MORSE’S most
recent effort creatively showcases
his straightforward faith.
Progressive rock’s acceptance by the general public
may have died down since its peak in the 1970s
and early ’80s, but its fans remain extremely
dedicated to the genre and its ar tists to this day.
Even without current radio play, that diehard
suppor t has brought bands like Yes, King Crimson,
Rush and Asia out of the woodwork to hit the
touring trails just within the last year. And right in
the center of that concentrated but delicately
crafted niche lies a singer/songwriter/composer
who might not be a household name but ranks right
up with the aforementioned—those who’ve stuck by
the scene will concur. Neal Morse is indeed a legend
in the prog rock community, known mostly in the
mainstream for time in the bands Spock’s Beard
and Transatlantic.
“I’ve found followers of both those groups and
my solo work have been extremely dedicated,”
Morse relates. “I remember a time when Spock’s
Beard was playing in France, and a person drove
from Portugal to see us. I did an in store [autograph
signing] not that long ago in Nashville and had
someone drive from as far away as Texas.”
Though the multi-instrumentalist is thankful for the
support, a set of newfound beliefs finds him less
concerned about earning attention or selling CDs and
more geared toward sharing the gospel message. As
a result, he focused recent solo works around faith,
such as 2003’s Testimony, the following year’s live
DVD of the same name and its epic follow-up One.
“With Testimony, I wanted people to feel my
heart and what a relationship with Jesus had done
in my life,” he recalls. “One was inspired by a lot of
the teaching in my church about the separation
between God and man in the garden. Even though
at that moment we were separated, we’ve been
reunited through His Son.”
That steady stream of releases isn’t going to
slow down any time soon, thanks to the straightup Christian disc God Won’t Give Up and a very
special endeavor only referred to as a “secret
project” at this stage in the game. The first will fall
outside previous boundaries to offer praiseoriented pop, while the latter will return to
progressive persuasions.
“I’ve had God Won’t Give Up brewing for three or
four years, and all I can tell you about the other one
is that it’s shrouded in mystery,” Morse offers with
a chuckle. “As a writer, I’m always ready for fresh
projects and the next challenge, but sometimes
the recording process takes longer than I’d like.
There will still be plenty coming down the pipeline,
and I’m sure I’ll start digging into more right after I
wrap these up.” ANDY ARGYRAKIS
Bringing BEN-HUR to the Masses
ON A SPECIAL FOUR-DISC SET, THE AWARD-WINNING MOVIE IS
NOT ONLY REMASTERED FROM THE ORIGINAL, BUT HAS MORE
THAN 10 HOURS OF BONUS FEATURES FOR ALL YOU FILM BUFFS.
Long before the “Lord of the Rings” trilogy or Titanic took home a
truckload of Oscars, another epic film, Ben Hur, was the blockbuster
event of its day. And now for longtime fans,
and perhaps the ones that missed it the first
time around, a four-disc collector’s edition
DVD with a companion Bible study guide will
hit stores on September 13. So grab some
microwave popcorn and your best pals to
see Charlton Heston in his finest hour in this
compelling story. CHRISTA FARRIS
>>>
Can Hear A New Song, “Blush,” at myspace.com/plumb • Sleigh Bells
16 ccm september 05
ccmmagazine.com
>>> >
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>>
pop/rock
THE RETURN OF
REBECCA THE ROCK CHICK
CCM GETS THE INSIDE TRACK ON REBECCA ST. JAMES’
UPCOMING ALBUM, IF I COULD TELL YOU JUST ONE THING.
It’s kind of like an early Christmas celebration—the
speculation, the secrecy, the eager anticipation of
long-awaited goodies. But because sleigh bells won’t
be ringing for three more months, the surprise we’re
talking about is Rebecca St. James’ new album,
slated to release mid-November.
Indeed, if all goes according to plan, Rebecca’s
new CD will be in our hands in two months. After a
prolonged era of purveying worship music, Rebecca
is now ready to offer a cross-section of her own
thoughts, feelings and artistic growth over the past
several years.
“I’m working with Tedd T, who did my God album,
Christmas and Pray and has been a real mainstay
with my music,” Rebecca reports. “Matt Bronlewee,
who’s also done quite a few of my recent albums, is
really pulling some fresh rock stuff out on this
album. So far it’s been awesome! Then Shawn
Shankel. He’s done a lot of pop stuff… He’s a really
strong Christian, and he did Kimberly Locke and
Hilary Duff, but he’s really wanting to move away
from just pop stuff to modern rock. I’m really
pumped about what we’re coming up with, too. It’s a
really strong team—we actually got all the producers
in one room just the other day, and it was a real
sense of, God’s doing something really cool here.”
Since the lyrical direction of the past few projects
has rarely departed from spiritual themes, can
listeners expect this record to be a more personal
peek into Rebecca’s life?
“The two words that are kind of coming up lately
in describing the album are hope and reality,”
Rebecca says. “It’s like, I’m really wanting to share
in a very real way what’s going on in my life and just
be really vulnerable. My lyrics on this album are
probably more vulnerable than any that I’ve done
before. Which people are really responding to well,
because we’ve been doing some stuff out on the
road, and the early response has been awesome.
“That’s been a real thing on my new album: Every
song has definite reality and vulnerability in it but
also hope that you can walk away and go, ‘You know
what, yeah, God is with me through all that I go
through, and I have hope because of Him.’ So I think
that it’s kind of a nice mix.” ANDREA BAILEY
>> >>>
Ring Early: Steven Curtis Chapman and MercyMe to Team Up For
ccmmagazine.com
>>>
september 05 ccm 17
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insider
SUPER
FR EAK Y
IT’S HARD TO BELIEVE THAT IT HAS ALREADY BEEN 10 YEARS SINCE THE RELEASE OF JESUS FREAK
PERMANENTLY CHANGED THE COURSE (AND SOUND) OF CHRISTIAN ROCK. NOW, A LONG-TIME DC TALK FAN (AND
OCCASIONAL CCM CONTRIBUTER) JESSICA ROBIN WAXES NOSTALGIC.
I can tell you exactly where I was the first time I heard “Jesus Freak.” I was sitting
outside in the thick Atlanta heat in the middle of the summer, 1995. Determined
to nab great seats for the dc talk show that evening at Atlanta Fest, I opted to sit
in line instead of enjoy the rides at Six Flags. Though the album itself was months
from release, a limited-edition CD single was for sale exclusively at festivals. I
shelled out the $10 and sat down in line with my Discman and headphones to
listen to my new treasure. From the opening guitar riff to the first drumbeat, my
jaw dropped as I listened in awe to a song that was not only radical for dc talk—
but for Christian music in general.
The “Jesus Freak” single and the release of the full album later in the fall
changed the landscape of Christian rock and made a tremendous impact on my
life and countless others. With Jesus Freak, dc talk showed teenagers that it was
a profound honor to be an “ardent enthusiast” of Jesus. Moreover, with opening
week sales of more than 85,000 copies, a cutting-edge music video for the title
track and the chart-climbing single “Between You and Me,” dc talk garnered
mainstream media attention and never-before-seen recognition for the genre of
Christian rock. In April of 1996, media powerhouse Entertainment Weekly
featured an article on dc talk, Jars of Clay and the Newsboys which proclaimed:
“There was a time when Christian rock didn’t have a prayer on the pop charts.
But a new wave of alterna-style bands are making a dent.” Reviews of the album
in Christian publications were peppered with phrases like “upped the ante” and
“pushing the envelope.”
When asked if the band members knew what they were getting into when they
recorded the album, producer Mark Heimermann (Michael W. Smith, Jaci Velasquez)
>>>
replies emphatically, “Oh, no question. We are all very driven personalities, and we
set out to make [a record] that would not only compete in Christian music but also
compete with what the world had to offer. We wanted to make a classic, something
timeless that would still be awesome five years later.”
With Jesus Freak, dc talk became one of the first Christian groups to rap over
rock guitars, helping pave the way for artists such as Pillar, Thousand Foot Krutch
and John Reuben. Heimermann says it was a result of “all their entities working
together, everything they brought to the table gelling into something more of who
they were.” The subsequent “Welcome to the Freak Show Tour” played to packed
arenas across the country, and the resulting live record went gold.
Meanwhile, the original recording of “Jesus Freak” landed 1996 Dove Awards
for Song of the Year and Rock Recorded Song of the Year. As if that weren’t
enough, dc talk walked out the door with the big one—Artist of the Year.
The success of Jesus Freak was enough to earn dc talk a million-dollar
recording contract with Virgin Records; and while its next release, Supernatural,
would debut at #4 on the Billboard chart, it is still Jesus Freak that consistently
gets mentioned as one of the top 10 best Christian albums ever.
Ten years and two million record sales later, Jesus Freak is still thrilling
audiences worldwide. Later this fall, Forefront Records will commemorate the
10th anniversary of its release with a remix album. A possible tribute album from
Gotee Records is rumored to hit shelves early next year. But the original will
always be considered a milestone in the world of Christian music, and rightly so.
JESSICA ROBIN
20-City Holiday Tour • The Second Chance movie (starring Michael w. smith) now set to hit theaters in
18 ccm september 05
ccmmagazine.com
>>> >
CCM_09.05_Insider.v5
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>>
4:39 PM
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pop/rock
When Two
HEAVY-HITTERS
Meet!
Flicker Records’ artist
T-Bone recently connected
with none other than the
“undisputed champ,” Laila Ali (daughter of
Mohammed Ali). Ms. Ali, of course, has gone
undefeated on her way to becoming the IBA, WIBA
and IWBF Super Middleweight champion. So how
did T-Bone meet up with the world’s most
renowned female fighter? Turns out Laila starred
in T-Bone’s recent music video that was shot in
Los Angeles for “Can I Live,” the lead single from
his Bone-A-Fide album, now slated to release
September 27. On a side note, we asked T-Bone,
who describes his taste in music as “mad
versatile,” which discs are in his own personal
heavy rotation. Apparently, dude’s world is now
getting rocked by everything from Middle Eastern
sounds to salsa, with highlights including Chaka
Khan’s “Ain’t
Nobody,” Kirk
Franklin’s
“Why Do We Sing,”
Coldplay’s “Speed
of Sound,” Yolanda
Adams’ “Thankful”
and Oscar De Leon’s
“Me Voy Pa Cali.”
>> >>>
february 06 • Avalon Alum Cherie
ccmmagazine.com
september 05 ccm 19
>>>
CCM_09.05_Insider.v5
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>> fan
insider
fare
WATCH OUT Tiger Woods!
09.05
BETWEEN CONCERTS, BROTHER’S KEEPER SWINGS
THEIR CLUBS FOR A CAUSE!
Birthdays
On September 19th the boys will host their annual charity golf tournament
at Quail Ridge Golf Course in Memphis, Tenn. After last year’s tournament,
the band was excited to be able to present a check for
$10,000 to CBMI (The Christian Blind Mission International),
and this year’s contest should be an even greater hit, with
prominent Memphis-based company Brim’s Snack Foods
joining the sponsor list. The proceeds garnered from the
tournament will total a whopping $25,000 and will benefit
The Christian Youth Movement in Honduras, where Brother’s
Keeper recently shot its latest music video “Passion.”
05
06
08
10
13
14
16
17
Casting Rings
Chris Huffman of Casting Crowns asked his fiance Amanda to “be mine” early this year.
He’s excited to report: “January 11, 2005 is a day I’ll never forget because that’s the
day I proposed to my Amanda. I had already talked to her parents the week before and
bought the ring shortly after. She and I had been talking about how we haven’t had a
date night in a while because of my busy schedule. I took her out to Cheesecake
Factory (her favorite restaurant) for dinner, and then we went to Stone Mountain Park.
The park is open year-round, but the attractions are closed. It was already dark
out, but everything was lit up, and it was beautiful. There was no one there; it almost
felt like we were in a movie scene. We sat at the top of the slope where they have the
laser show, and I told her to close her eyes, I took a deep breath, and then I asked her.
She opened her eyes really wide to me holding the ring and said, “YES!”
We were wed August 6 at her church in Athens, Georgia.”
18
23
24
28
29
30
Kate Miner
Annie Wolaver (Annie Moses Band)
Kyle Benson (The Roosevelts)
Crystal Lewis
Hector Cervantes (Casting Crowns)
Mark Hall (Casting Crowns)
Jeremy Redman (Big Daddy Weave)
Chris Eaton
BeBe Winans
Matt Wilder (The Swift)
Tony Chavez (Mourning September)
Bonnie Keen (First Call)
Juan DeVevo (Casting Crowns)
Cedric Dent (Take 5)
Jeff Miller (Caedmon’s Call)
Billy Goodwin (Newsong)
Michael Priebe
SHINE SWEET FREEDOM
CHECK OUT A FEW RECENT KODAK MOMENTS FROM THE LARGEST ONE-DAY
EVENT IN CHRISTIAN MUSIC–DALLAS’ CELEBRATE FREEDOM.
To see more photos and read about
next year’s event, visit KLTY.com.
>>> Adams
Readies Solo Debut, The Sweet Life • Relient K’s “Be My Escape” Video Recently Hit the Top 10
20 ccm september 05
ccmmagazine.com
>>>
CCM_09.05_GetReal.v.4
8/9/05
3:37 PM
getreal
by Andrea Bailey
Page 22
5 Questions with Jason Crabb
of The Crabb Family and
Ginny Owens’ Fingerprint
Initiative
SPOTLIGHT ON…GINNY OWENS’
The Fingerprint Initiative
5 Questions
with
JASON CRABB
It’s rare for five siblings rooted in Southern Gospel to transcend style and
genre to reach an annual concert audience of 800,000 with their music.
Yet, that’s exactly what ministry-oriented group The Crabb Family,
consisting of Jason, Kelly, Adam, Aaron and Terah, has done in carrying on
the musical legacy of their parents Gerald and Kathy. After 15 #1 songs,
four of which nabbed 2005 GMA Music Awards, and two Grammy
nominations, the Crabbs have released Driven, a multi-genre offering which
quickly surpassed sales of their debut The Walk (which occupied No. 1 on
the Southern Gospel sales chart for 13 weeks in a row)! Yep, sometimes
you’ve just gotta keep it in the family.
1.
3.
2.
What’s one goal you
have as an artist?
If you could visit any
place in the world, where would
it be and why?
I would love to spend the night at
the White House and hang out
with George W. Bush for the day.
What’s your most embarrassing moment onstage?
One evening after we performed,
we prayed at the altar with those
who wanted to be saved or needed
prayer. There was an elderly woman
who I felt really had a testimony
to give… She spoke to the
audience about how her life had
been filled with sickness and
heartache. One night she had the
gun ready to commit suicide in
her bedroom. She said, "Then I
looked at my autographed picture
of Vince Gill and couldn't do it...I
hadn't got to meet him yet, and I
wanted to do that before I died."
>>>
As a kid, what did you
want to be when you grew up?
A police officer, a detective or
a singer.
4.
To perform His message to
the masses.
5.
What’s one question
you’d like to ask God when you
get to heaven?
Why did you choose me to
spread your message on such a
large scale? I don’t understand
why you would choose me, but I
thank you for taking this
unworthy individual to all the
places I have been…
What would you do if people automatically
assumed you were incapable of helping
others because of a handicap? Prove
them wrong, according to Rocketown
recording artist Ginny Owens. To put
muscle behind her mission statement,
“Bringing hope to the world one touch
at a time,” Ginny created The Fingerprint
Initiative, a unique non-profit organization
with a tri-fold purpose: developing
humanitarian programs, suppor ting
other non-profit organizations and
partnering with concert-goers and fans
to financially and physically aid specific
organizations, communities or individuals.
“This project is a realized dream for
me because of the ever-present challenge
I’ve had to face in service activities,”
Ginny says. “Most people say and think,
primarily of raising awareness and
gathering financial support. Fingerprint’s
time and energy is currently devoted to
Habitat for Humanity, building homes
for families in need.
To piggyback on these partnerships,
Ginny also sponsors events throughout
the year to serve one or more of these
organizations. Many times “Fingerprint
Events” are simply activities that take
place in local communities before or
after concerts. If fans know that Ginny’s
coming to their town for a concert, they
can request a Fingerprint event to take
place in that area.
One of these events was a character
education lesson Ginny taught to
students at Mississippi School for the
Blind. Another event allowed her to
President Carter & Ginny
Ginny breaks ground at the Jimmy Carter Work Project 2005
‘You’re blind? What can you possibly do?’
I’ve grown exhausted with trying to
convince others that I am completely
capable and called to serve.”
Not one to be easily dissuaded, Ginny
exchanged her singer/songwriter hat
for an entrepreneurial/fundraising one.
To provide focus for her organization’s
projects and events, she adopts an annual
theme—“Holding Little Hands: Bringing
Hope to Kids” for 2005—and then
selects specific organizations that
Fingerprint raises funds and awareness
for during the year. Compassion
International, International Justice
Mission and Habitat for Humanity are
this year’s “Fingerprint Projects.”
The practical scope of this endeavor
is unusually broad. For instance, the
Compassion International partnership
involves not only promoting child
sponsorships but also ensuring that
children with special needs (or ones
who have not received sponsorship for
six months or more) receive help at
Ginny’s concer ts or through the
Fingerprint Web site. Fingerprint’s work
with International Justice Mission, an
organization that, among other things,
rescues young girls who are enslaved
and oppressed in southern Asia, consists
share about creative writing with
students at Thornwell Children’s Home
in South Carolina. And this October,
Fingerprint’s volunteers are building a
house for three children and their
disabled parents in Covington, La., with
Habitat for Humanity.
Funds for Fingerprint events and
projects are raised at concerts and also
comprise a percentage of merchandise
sales. Ginny receives direct donations
on her Web site and through other
creative means, such as auctions.
According to Ginny, though, the true
beauty of Fingerprint is its multi-faceted
nature. Artists usually have platforms
that typically involve partnering with a
single non-profit organization. “Perhaps
I’m rebellious or have ADD, but I have
never been able to see myself settling
down with just one partnership,” says
Ginny. “There are so many wonderful
organizations that do great work… I
love the idea that God so graciously
leaves His fingerprints on us. Whether
through His grace, beauty or love, there
are so many ways He has an impact on
our lives. I believe He calls us to leave
the fingerprints of His love on others’
lives as well.
Find out more by visiting GinnyOwens.com.
on MTV’s “Total Request Live”; Latest CD, Mmhmm, Also Certified Gold • Derek Webb teams up with
22 ccm september 05
ccmmagazine.com
>>>
CCM_09.05_IndBeat_v5
8/9/05
3:38 PM
Page 24
K
industrybeat
A conversation
with Otto Price
and the latest
industry buzz
by Jay Swartzendruber
our label and is kind of mainstream to me—bands sonically like The Vines or
The Killers. We need some more musical representation from that sound.
Tom Whalley [chairman and CEO of Word’s parent company, Warner Brothers
Records] said to me, “Don’t sign anything safe.” I said, “You’re telling the
wrong guy that!” (laughs)
Do you still get to go into the studio and produce?
Yeah, I’m able to do both production and A&R, but my main focus and desire
is really to A&R the records, really help nurture the artists and find new
artists. In the studio, I’m doing remixes right now. I’m involved with a lot of
the radio remixes. I’m an Apple guy, too, so I’m always thinking i-Tunes, all
this stuff—how can we be doing what Rhapsody’s doing? How can we give
exclusives? I’d say I’m in the studio at least three or four times a week, either
with artists or working on something for the label or something different.
As far as new releases go, what’s on Word’s horizon?
We just released an expanded edition of Building 429’s album—we added one
song and put some bonus materials on the enhanced CD. Building 429’s new
album, produced by Monroe Jones, will hit in February or March. Also, coming
out this month will be the new albums from Mark Schultz [Live: Stories Behind
the Songs] and David Phelps [Life Is A Church], and our sister label, Fervent, is
releasing BarlowGirl’s Another Journal Entry [produced by Otto]. In October we
have the debut from “American Idol’s” George Huff and a new Randy Travis
disc coming out. There will also be a few other surprises in October that I can’t
announce yet, but they’re pretty big. We’ll be announcing some new signings
very soon.
The Price is Right
As an intern for an Atlanta-area church in his early 20s, Otto Price had no idea
he would become a renowned producer/musician/songwriter, helping shape
the face of Christian music on a national level. But that was before dc talk
called on him to play bass and eventually work with the group as a producer.
During the 12 years since then, he’s also produced and/or written songs for
Sonicflood, GRITS, Out of Eden, The Prince of Egypt soundtrack, Rebecca St.
James, Nicole C. Mullen, T.D. Jakes, Big Daddy Weave and Fusebox, among
others. And BarlowGirl? He simply discovered them and then produced the
group’s widely acclaimed Fervent Records’ debut—Christian music’s bestselling new artist title of 2004. Otto’s career then took a surprising turn eight
months ago when he became the new head of A&R for Word Entertainment
(Nicole C. Mullen, Amy Grant, Building 429, Point of Grace).
How did you respond 12 years ago when you heard Toby McKeehan
was interested in meeting with you about being dc talk’s bass player?
I said, “I’m not doing that, dude.” I thought the song “Heavenbound” was just
goofy. I didn’t think I could play with those guys. But then when I met Toby, it
changed everything—just his heart and how he wanted to reach kids. And
when I heard Free at Last, I was like, “That’s amazing… One of the better
records at the time.”
You have a reputation for excelling at a wide range of musical styles.
What does that mean for Word’s A&R approach in the future?
One thing I’m asking is, “How can we as a company change the perception of
what Word is?” We should not be defined by one genre, but rather by the
quality and the integrity of what we’re putting out. For me, the diversity is
important… I think we’ve especially been lacking on the urban side and more
of the fringe music. When I say fringe, I’m referring to what has been fringe to
>>>
A Day Behind the
Scenes with Otto
And the beat goes on…
6:00 Work out
7:15 Have devotions! Otherwise
I’m on empty.
8:30 Head to the office, check
e-mails, return phone
calls—all from the car
9:30 Marketing and
administrative meeting
11:00 Listen to new music
12:30 Lunch meeting with Jim
Van Hook (president and
CEO of Word Entertainment)
2:00 Go to the studio to check
out a mix
3:00 Meet with A&R staff about
new projects
4:15 Meet with an artist at a
studio or coffee house
6:30 Go home to my wonderful
wife and five kids
7:45 Get beat on Xbox by
my kids
10:00 Go to my home studio to
download and close out
a mix
Alternative Press magazine features
Tooth & Nail’s Underoath (CCM’s July
cover choice) as this month’s cover
story artist. The September issue
also contains a Q&A with Further
Seems Forever’s Chad Neptune, a
feature highlighting “10 Essential
Christian Hardcore Albums,” a label
profile of Tooth & Nail and a review of
Number One Gun’s new disc.
Curb recording artist Natalie Grant
simultaneously claimed the #1 spots
on the Christian market sales chart
and the Christian pop radio airplay
chart in mid July. While her album
Awaken became Christian retail’s top
seller, her breakout single “Held” led
the way on Christian Radio Weekly’s
AC chart.
Apple for podcasting of exclusive songs and acoustic renditions of his popular tracks • stop
24 ccm september 05
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CCM_09.05_List.v.3
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MM
THIN
G
5
ER
Accumulating dust, mud and black
lung as you only can at a Christian
rock festival.
2.
Reruns of television shows that weren’t
good enough to watch the first time.
3.
The cache that comes with being
one of the few who get to attend
summer school.
4.
That much less time left to craft a
letter to Santa.
5.
The sweet, sweet smell of asphalt
melting. (Mmm...asphalt.)
1 235
4
12 9 8
17
15
S
WE MISS
OUT SU
AB
1.
7 101814 13
19 11 16
WHAT IF CARTOONS WERE IN CCM?
arched” musings.
A compendium of arguably useless and “rese
20
*
6
st-O-Rama
Li
M
C
C
IC
N
O
R
AT
IM
N
A
s
l’
el
W
Chris
ADMIT IT. YOU LOVE CARTOONS. When no one else is
around—mom (or your spouse) doing the laundry, your
friends out skateboarding, your siblings busy with their
chores—you flip on the TV and watch the colorful
adventures of talking animals, wacky robots and, in a
pinch, even something educational. Hey—we’re right there
with you. (Except we also tape them for posterity.) As long
as we’re on the topic, we present the following list…
1. Chris Rice, “Cartoons”
This concert favorite, which began as a skit for a junior high group,
demonstrates how cartoon characters might praise the Lord. Includes
shout-outs to the Flintstones, Scooby Doo and the Teenage Mutant Ninja
Turtles, among others. Find it on Mr. Rice’s “best of” compilation,
Short Term Memories (Rocketown).
2. Tonéx, “The 1 U Need”
Tonéx is no stranger to mixing and matching from wildly different
sources. But few could have expected “The 1 U Need,” found on his
debut album, Pronounced toe-nay (Rescue Records). A tender groove
about running “post-haste” back to the Lord is accentuated with
telltale sound effects from Hanna-Barbera cartoons—in particular, the
sounds of characters making hasty exits.
3. Flintstones, “Open Up Your Heart (And Let the Sun Shine In)”
OVERHEARD AT THE
CCM EDITORIAL OFFICES
“
1.
Speaking of Hanna-Barbera—remember that classic Flintstones where
Fred dreams that babies Pebbles and Bamm-Bamm can sing? That
song, “Open Up Your Heart (And Let the Sun Shine In),” was written
by legendary gospel songwriter Stuart Hamblin, also responsible for
the time-honored gems “It Is No Secret” and “This Ole House.”
4. Jump5, “Beauty and the Beast”
“I don’t care who you are, Mr.
Peacock—no badge, no entry.”
When Disney released Beauty and the Beast on DVD, the special
edition included several extras—including ‘tween sensation Jump 5
putting a distinctive stamp on the music video for the title song. Also
in the bonus materials: Animator Glen Keane, explaining the process
of animating the final transformation of the beast into a man, uses the
opportunity to share his faith openly.
2.
“But I thought Rebecca St. James was
related to the guy who made the Bible.”
3.
“You know what this magazine needs?
More lists.”
5. Doug TenNaple
4.
“Jay, this is one of those
conversations for which you really
need to use your ‘inside voice.’”
5.
“Boys, boys! Put down those
lightsabers—we’re trying to pray!”
Back in the ’90s, new network WB launched a cartoon starring
videogame legend Earthworm Jim. Game and show creator Doug
TenNaple has, of course, done many animation and comics projects
since then. The reason he’s in this column? He created album covers
for Five Iron Frenzy, Sunny Day Roses and Terry S. Taylor. (Terry Taylor
also did the music score for Doug’s game, “Neverhood.”)
26 ccm september 05
ccmmagazine.com
NUTRICION DE DELICION: Be sure to check out Chris Well’s blog at CCMMagazine.com,
where he will share a special extended edition of this column. And maybe some recipes.
Chris Well, who looks remarkably like the character “Brak” from
“Space Ghost,” is the celebrity author of the wildly popular novel
Forgiving Solomon Long (Harvest House). He also likes to write about
himself in the third person.
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paulcolman’s onestowatch
THE SHOWDOWN—vocalist David Bunton, guitarist/vocalist Josh
Childers, guitarist Travis Bailey, bassist Eric Koruschak and
drummer Andrew Hall—is a metal band from Elizabethton,
Tennessee. Its debut album, A Chorus of Obliteration,
released by EMI-distributed indie label Mono Vs. Stereo, is an epic
assault on the senses. Thematically, the record deals with the
battle between good and evil and…it certainly sounds like it. The
band is already receiving glowing reviews from mainstream metal
magazines that emphasize The Showdown’s authenticity.
PAUL: What inspired the title "A Chorus of Obliteration"?
DAVID: Well, [the album’s title track] is about the wall of Jericho.
It ties in with our record because a lot of our songs are about Old
Testament battles.
inhabited
GOD’S PROPERTY
INHABITED is a Houston-based rock band featuring lead singer
PAUL: What would you say to anyone who says the sound of metal is
angry and hard and does not seem to usher in a sense of peace?
DAVID: I would agree—that’s just what metal is. It's aggressive,
extreme and heavy. It’s a style of music that we like and enjoy
playing, and we use it as a vehicle for our message.
PAUL: Where did the inspiration for this album come from? Is it
an intentionally thematic concept record?
Sara Acker, her brother/guitarist Marcus Acker, drummer Jerrett
Horn, bassist James Colvin and guitarist Justin Tinnel. The band’s
label debut, The Revolution, was produced by industry veteran
Monroe Jones (Third Day, Caedmon’s Call) and released in July on
Fervent Records. The album’s transparent lyrics portray the struggle for identity, yet always lead to the redemptive love of Jesus as
the solution. Sonically, The Revolution is hard-hitting but also wonderfully melodic and textured.
JOSH: Basically, it’s about Old Testament and spiritual warfare...
PAUL: I read that you spend many hours answering e-mails from
PAUL: You’re getting extremely positive reviews from a lot of mainstream
young people who are struggling with all sorts of issues. Is this as
important as the music?
SARA: It’s a weird experience when you go and do a show sometimes. You immerse yourself in the music and pour out your heart
before an audience, hoping that you will reach them. Then afterward, you often come face to face with those who thank you for
encouraging them, but then you leave. You go to the next show and
pray that they keep seeking. So, I think the music and message go
hand in hand... I feel those e-mails are really an important part
and have opened my eyes to the vast need and hunger for truth. I
don’t always have every answer, and often find myself seeking God
for wisdom, but He is faithful.
PAUL: If you had to summarize your message to your audience in a
The whole concept of being a spiritual warrior is fascinating. So
many people see Christians as tame and boring, but really it’s a
constant battle. It’s constant daily warfare, and relating that back
to the Israelites fighting the Philistines, or angels and demons
going at it, really interests me. It felt like a rallying cry, a call to
what should be a nation of warriors but is seen as a group of weaklings. Hopefully, we’ve inspired some people to wake up and fight.
metal/music outlets, and it’s obvious that your lyrics are Biblically
based. Why do you think the response is so favorable?
ERIC: We really wanted to put out a record that would be totally
legitimate in both the Christian and secular worlds, and we did.
The record was meant to hit both audiences, so it has been a
huge blessing to gain so much respect from mainstream/metal
press. By making no apologies and having no reservations with the
music, it opens the door for the message of Christ through the
lyrics. And that is our goal.
the showdown
THE HARDNESS OF ART
PAUL: Tell me about the name “Inhabited.”
SARA: The meaning is twofold. Psalm 22:3 says God inhabits the
praises of His people. We always want to put on a good show, but
we also want our music to usher in God’s presence! I Corinthians
6:19 says we are inhabited by the Holy Spirit. We are indwelt by
the ‘spirit of truth’ (John 14:17) and want our lives to reflect that.
We want to honor God, not only on stage, but also with our lives.
We are not our own!
28 ccm september 05 ccmmagazine.com
photo by Karissa Fiorentino
single sentence, what would it be?
SARA: We want to bring hope to the hopeless, love to those who
feel unwanted, purpose to those who have given up, encouragement
to those who are discouraged, truth to the lost and cause even the
skeptics to revisit their thoughts on God.
Singer/songwriter/author Paul Colman is the former frontman for Grammy-nominated and Dove Award-winning act Paul
Colman Trio. His first solo project in seven years, Let It Go (Inpop), recently released to critical acclaim with its “Gloria”
single going No. 1 at Christian radio in his home country of Australia for more than 16 weeks. Colman currently tours,
speaks and performs internationally. For more information visit PaulColman.com.
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livingthemessage
by Michael Card
So he said, “When you pray, say, Father, reveal who
you are. Set the world right. Keep us alive with three
square meals. Keep us forgiven with you and
forgiving others. Keep us safe from ourselves and
the Devil.”—LUKE 11:2-4 AS PARAPHRASED IN THE MESSAGE
A Breath of a Prayer
If you want a window into the personal prayer life of Jesus, the gospel of
Luke is the best place to begin. When you look through the various
windows of the pages of his gospel, you will see Jesus staying up all
night to pray on several occasions
(e.g. 5:16). At every turning point,
whether it was choosing the Twelve
(6:12) or preparing for the night of I have always believed that
the Transfiguration, Luke tells us it
the essence of profundity is
happened “as He was praying.”
simplicity, and the Lord’s
When Jesus angrily tears up, for the
Prayer is the perfect
second time, the marketplace in the
expression of this.
Temple court, Luke tells us the real
reason: so the Gentiles could have a
quiet place to pray (19:46). More
than any other gospel, Luke paints us
a picture of Jesus on His knees.
You would expect then, that we would actually get to hear Jesus praying
again and again as the story of His life unfolds. But being the great
storyteller that he is, Luke forces us, for 11 long chapters, to wait
impatiently for that precious moment when, at long last, we get to actually
30 ccm september 05 ccmmagazine.com
hear Jesus pray. It has been a long, long wait, and Luke understands that we,
like the Twelve, simply can’t wait any longer. When His disciples finally say,
“Lord, teach us to pray…” we are so relieved and happy that they asked.
It is just then that we are confronted with the same “problem” everyone
who came close to Jesus was confronted with. He always fails to meet your
expectations. He almost never gives people what they expect. In fact, He
almost never gives what they ask for; instead, He gives what we should have
asked for, whether we want it or not. (He loves us so much that He is willing
to risk our not liking Him, in order that we might learn to really love Him.)
The same is true when Luke finally gets around to letting us hear Jesus pray.
It is not what we think we wanted to hear.
This is how you should pray:
“Father, may your name be honored.
May your Kingdom come soon.
Give us our food day by day.
And forgive us our sins—
just as we forgive those who have sinned against us.
And don’t let us yield to temptation.”
1Holy Bible : New Living Translation. 1997, c1996 (electronic ed.) (Lk 11:2-4). Wheaton: Tyndale House.
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The Pharisees or other religious leaders of that
day (and ours) would have provided a long,
impressive prayer, filled with allusions to the
Torah and to the rabbinic traditions. They would
have used strictly religious language, big multisyllabic words. (In fact, Jesus gives us a picture of
such a person in Luke 18:9-14.) But Jesus knows
that kind of prayer is not what we need.
Instead, when his disciples finally ask, Jesus
provides a prayer (the shorter form, in Luke) that
can be spoken in a single breath. A child who is
just learning to speak can learn to pray by means
of this prayer and, if what Jesus says in Luke
10:21 is true, will understand it as well as a PhD.
I have always believed that the essence of
profundity is simplicity, and the Lord’s Prayer is
the perfect expression of this.
It is a child’s unique privilege to use the name
“Father.” Jesus, the Son, speaks so to God and
gives us permission at the same time to address
Him that way. This was not new, as some scholars
have said. The Pharisees used the formula “Our
Father who art in heaven,” but the prayers they
prayed sounded nothing like Jesus’ simple prayer.
Furthermore, it is a prayer rooted in reality.
“Give us bread for today,” it asks. But in the
same breath, it takes us to the extremes of
“Your kingdom come.” In doing so, Jesus brings
together the nearness of present need and the
distant hope of God breaking fully into the
present. Because the truth is, they are only
separated by a momentary breath.
The prayer closes with the ideas of sin,
forgiveness and temptation. Keeping in mind that
they are the perfect words, we realize that they
perfectly explain the correlation between these
concepts. Sin must first be repented of, and so
Jesus tells us to speak the words, “Forgive us our
sins.” But forgiveness must be expressed by an
appropriate response. Luke prepared us to hear
this word in the story of Simon and the sinful
woman (Lk 7:47). Forgiving and being forgiven
are two sides of the same coin. Jesus knows that
when we cannot find it in ourselves to forgive
someone else, it is because we have lost sight of
all we’ve been forgiven of.
Jesus’ closing words place the focus, place our
dependence back where it belongs, on the Father.
Is Jesus saying that God is the cause of
temptation? No, of course not. But as we saw in
Job, He who is sovereign over everything places
boundaries on just how far we can be tempted
(I Cor. 10:13). Later on, Jesus will echo this same
idea when He tells his disciples to pray that they
will not fall into temptation (22:46).
Were you even aware that there was a shorter form of the
Lord’s Prayer in Luke?
Jesus’ disciples ask that He teach them “just as John
taught his disciples.” What does this say about their
expectations of Jesus?
Do you think there were other reasons that they asked to
be taught to pray?
Like so many believers, I grew up in church.
Most of my first impressions of who God is,
what we should wear when we go to His
“house,” how much to tithe, when and why to
get dunked in a tank of water, how to beat
the pants off the freckly kid in the Bible
sword drill competition, and of course, how
to pray, were all lessons that began for me in
the third pew at First Nazarene. And some of
those lingering impressions still shape and
inform my faith. Some of them, I’m afraid,
shouldn’t. I’ve had a bit of un-learning to do
in some areas.
It’s taken me a long time to understand how
to pray with simple and honest humility
instead of trying to string a bunch of fancy
catchphrases together in an effort to sound
like a first class Christian. I love this reminder
in Luke, about how very simple this beautiful
act of prayer can and should be. Simple and
utterly transforming. Time and time again,
we watch Jesus casually dismantle all the
formal and stifling “shoulds” in in our
buttoned up lives until we are left with little
more than our small quiet hearts and few
honest words. Voila! Prayer.
— Nichole Nordeman
Study: After Jesus gives them the paradigm
for prayer, notice that He goes on to tell them
a small but powerful parable about prayer (vss.
5-8). The lesson of the story is that we should
be persistent in our prayers. Jesus uses a word
that literally means “shameless.” He sums up this
teaching with a command and a promise in v.9.
In vss. 11-13, Jesus gives us the real reason for
being confident. It is not because we deserve
anything. It is not because we have mastered
some complicated prayer formula. Our confidence
is totally based on the perfect, heartbreaking
goodness of the Father. And what does Jesus
assume we will shamelessly ask the Father for?
Why, the Holy Spirit, of course.
Commit: Luke presents a radical view of
Jesus. He is nothing like what anyone ever
expected. When He teaches the disciples to
pray, His paradigm is alarmingly short and simple.
His life, as it is perfectly portrayed in the
gospels, teaches us that what we ask for in
prayer is rarely what we need. We usually ask
for provision, when the Father who knows how
to give good gifts is ready to give us so much
more—His Presence through the Holy Spirit.
And all this by means of a simple prayer that
can be spoken in a single breath!
Michael Card is an award-winning scholar, musician and radio broadcaster
who resides in Franklin, Tennessee. His latest book and study guide titled A Sacred
Sorrow deal with the painful circumstances surrounding the lives of Job, David,
Jeremiah and Jesus, circumstances that provoked these men into a unique song of
worship. Visit MichaelCard.com for more information.
ccmmagazine.com
september 05 ccm 31
'ODS7ORD HASALLTHEELEMENTS
OF A GREATSTORYnGOODGUYS
BADGUYSEPICBATTLESDEVOTED
SIDEKICKSROMANCEBETRAYALAN
ETERNAL3AVIOR)TS EVERYTHING
WENEEDTOSTAYALIVE 3OMETIMES
THETRUTHISBETTERTHANFICTION
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Written By: Melissa Riddle
32 ccm september 05
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Photos By: David Dobson
bson
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HERE’S TO THE LIVES
BEHIND THE SONGS...
It’s a hot, humid June night.
A night when most good Baptists head to church for Wednesday night
prayer meeting. But this is no ordinary Wednesday night. No sir. This is
Wednesday night at the 2005 Southern Baptist Convention. Twelve
thousand of the dedicated are gathered at Nashville’s Gaylord
Entertainment Center to hear SBC leaders cast the vision for the largest
denomination in the United States.
Missionaries from all over the world tell stories of God at work among
“the least of these.” The Rev. Billy Graham’s grandson is present for the
unveiling of a bronze sculpture to honor such “a great Southern Baptist.” A
full orchestra plays on cue as a worship team leads the audience in hymns
and choruses blended to suit even the most finicky worshiper. The people
sing with rousing gusto, palpable fervor. The clock meanders to 7, 7:30,
then approaches 8 pm. The crowd seems to grow weary of the waiting. A
1,000-voice-choir stands at the ready, every bit as eager as the crowd
below, anticipating the highlight of the evening.
Now, this would be the dramatic, veil-ripping part of the event where
the arena lights fade to black, music from 2001: A Space Odyssey fills the air
and a legendary band storms the stage, sweeping the audience off its feet
in a rush of excitement and deafening applause.
But it didn’t happen quite like that.
Oh, the crowd was swept away, alright. They couldn’t have been happier
if Elvis himself, guitar slung over his cape-draped shoulder, appeared before
them. The applause was loud and enthusiastic. And when the band began
to play, everyone under 45 began to sing along, the words as familiar and
personal as a close family friend. The seven-piece band was as un-rock-star-like
as a band can possibly be, as ordinary as the next-door neighbor, as average
as your Uncle Jack.
Ordinary people. A real estate agent, a Christian bookstore sales clerk, a
graphic artist, a video guy/janitor at the church—a group of dedicated
youth workers who used their musical gifts to lead their kids in worship.
This is Casting Crowns, the hottest band in Christian music. The hottest
new thing by far. Christian music buyers couldn’t empty store and e-shelves
of its self-titled debut fast enough. In fact, Casting Crowns was the fastestselling new Christian act of 2003 and 2004. Think platinum in less than
two years. Think rare for a new artist.
Christian radio hounds around the country couldn’t (and still can’t)
rotate “If We Are The Body,” “The Voice of Truth” and “Who Am I?” fast
enough, and even curmudgeonly music critics gave them props for “natural
talent” and “lyrical integrity.”
The 2005 GMA Music Awards bore witness with no less than 13
nominations and seven Dove Awards, including “Group of the Year,” “Song
of the Year for ‘Who Am I?’”, “Pop/Contemporary Recorded Song of the
Year,” “Inspirational Recorded Song of the Year,” and “Songwriter of the Year”
for frontman Mark Hall.
And the band has performed for more than one million people.
Not bad for an eager upstart looking for Christian music stardom, but for
a group of youth workers from Atlanta who set out only to make another
CD of songs for their church kids, it has been a whirlwind of a surprise.
“No one is more surprised at the past couple of years than we are,”
guitarist Juan (pronounced ‘Ju-wan’) DeVevo says. “A couple of years back,
we’d never thought about competing or signing a record deal or anything
like that. It had never crossed our minds. And to think God had all this
planned for us, just a youth band, is amazing.”
But for all the success, accolades and excitement, there are still some
folks scratching their heads, wondering what it is about this unlikely band
of ordinary Joes and Jills that makes them so extraordinary. Why is what
they’re selling so irresistible?
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They certainly don’t look the part. And let’s just be upfront about it. These
seven people certainly aren’t fashion magazine material. Better still, they
wouldn’t want to be. Megan Garrett and Melodee DeVevo personify “the
girl next door.” Warm, conversational women who care more about their
relationships than the latest trend in clothing or the newest fad diet, they
are average-sized women who, like most of us, struggle to see themselves
as God sees them and not as society expects them to be.
“From a girl’s perspective,” Garrett says, “it’s intimidating to see all these
perfectly beautiful singers, even in Christian music. I’m close to six feet tall.
I’ve never been a small person. Melodee and I try to look nice when we go on
stage, but at the same time we don’t get stressed trying to do the heels and
the bling-bling everywhere. Magazines and TV make you feel so
inadequate, so it’s encouraging when young girls and women come up to
me saying, ‘It’s really encouraging to me to see a real-size person on stage
for once.’ I think that’s one of the reasons I am who I am…for this season
we’re in.”
The guys in the band, meanwhile, don’t have chiseled faces or six-pack
abs, and aren’t too concerned with whether their clothes match or not.
“Honestly,” says drummer Andy Williams, sporting a shaved noggin,
“what you see is what you get with us. We’re not the band that gets off the
bus looking like rock stars. We’re usually in our sleep pants and t-shirts and
flip-flops, with our hair—well, everyone’s hair but mine—all over the
place, so being cool is pretty much out of the question.”
“There’s nothing glamorous about a slightly overweight, 35-year-old
father of three,” says Mark Hall of himself. “But we certainly don’t want to
seem like bitter ugly people. We’re just who we are when we show up.
We’ve had stylists for photo shoots, someone to help us pick out a shirt
every once in awhile, but that’s just because there are a lot of guys in the
band, and we don’t know how to dress.”
Unassuming, self-deprecating and the first to poke fun at themselves,
Casting Crowns doesn’t give a whole lot of thought to what constitutes
“coolness.” They’re too preoccupied with being real and following God.
Without that, there would be no music and no ministry.
“When they wake up and when they go to bed, give or take a few
grouchy moments, everybody here is basically, ‘This is who I am, and I’m
not going to pretend,’” says Mark’s wife (and the road manager) Melanie.
“The people you see on the stage are the same people I see on the bus every day.”
After all, they agree, this whole music adventure is not about being seen.
It’s more about being heard. “Most people who go to a Casting Crowns
concert hardly even open their eyes anyway,” violinist Melodee DeVevo
says with a grin. “I mean, we could have choreographed movements that
would be wasted on the audience because it wouldn’t matter. Our fans are
not in the room because somebody looks cool, or because they want to be
like that person; it’s because of the songs. It really is their worship moment.”
WHAT
YOU Hear
With last month’s release of sophomore project, Lifesong, there’s a whole host
of record label people eager to prove that the success of Casting Crowns’
debut was no fluke. That all the accolades (and all the album sales) of the
past two years were only the beginning of even bigger things to come. That
there’s a whole lot more extraordinary stuff where that came from.
But make no mistake, the band says, none of it came from them.
I want to sign Your name to the end of this day
Knowing that my heart was true
Let my lifesong sing to you…
“When something happens in your life, and you know full well that
there’s not a single thing you did to make it happen, and you’re not good
enough to make it happen, much less keep it happening,” Mark Hall says,
“you just know that for some reason God wants it to be right now. You just
bloom where you’re planted. You just do it until the next thing comes.”
It’s just like his day job, student ministry, he continues. “I never had a
resume. You just go when you’re going like you’re never going to leave, and
you just love on people and give it everything you’ve got until God gives you
something new.”
And be prepared, he says, for the fact that “He may not.”
“I went through a little weirdness right before we started recording
Lifesong, and we had some neat talks with Steven Curtis [Chapman] and with
[Third Day lead singer] Mac Powell, just about the pressure stuff. And there
came a point when I just had to lay that down and just do it. And even if
not, I’m still speaking this Wednesday night to my kids back home.”
Lifesong, like the debut album that precedes it, finds Hall and Casting
Crowns focused on the same truth-can-be-a-tough-pill-to-swallow message:
There are broken people within arm’s reach of the church, and if there is
any hope of healing, it begins with people who will be the hands and feet
of Jesus. Not unlike “We Are the Body,” with its confrontational tone toward
the church, new songs such as “Stained Glass Masquerade” and “Does
Anybody Hear Her?” prick consciousnesses and seek to change hearts.
ARE WE HAPPY PLASTIC PEOPLE
UNDER SHINY, PLASTIC STEEPLES
WITH WALLS AROUND OUR WEAKNESS
SMILES TO HIDE OUR PAIN
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Mark Hall’s lyrics are every bit as powerful and
beautiful and pointed as before, and if some
choose to believe that the music of Casting Crowns
simply “preaches to the choir,” then so be it.
Doesn’t the choir need to hear it?
“That’s a misconception a lot of people seem to
have,” says Hall. “How can writing songs that
challenge the church, songs that ask Christians to
consider their actions, be a bad thing? After all, it’s
the message that matters, not the labels that exist
in the Christian music industry or even the biases
shared among Christian music fans. Every
Christian artist has a ministry—within and outside
the church—and each one is important.
“Christian music is a good picture of what the
body of Christ is like,” he continues. “Different
artists working in their gifts, working where their
passions are. Everybody is passionate about what
they do, about what they feel called to, so for one
to say the other’s ministry is more or less
meaningful or spiritual or anything is ridiculous.
“There are way too many walls in Christian
music. A lot of my friends are saying we’re walled
into worship, but if you ask me, we’re all worship
bands. Worship is a totally different thing, really.
And everything we do is worship, so it seems like
a lot of these walls should come down. I think the
closer you get to Jesus, the more you start seeing
that everybody has a ministry that they need to
do. You just gotta be careful when you’re out there
not to look at the others as though they’re not in
ministry because they’re not in your ministry.”
For Casting Crowns, ministry is not about
preaching at all, but about talking about and
walking through the stuff of life.
“I think people listen to you if you’re
transparent,” Hall says. “If you say, ‘This is where we
all live,’ then you can talk about the hard things.
People want to hear the truth. You just hang
around church for a while, and you’ll see. People
don’t want you to talk around it. They want you to
tell it like it is, even if it hurts. We’re not talking
about a bunch of new stuff; we’re still talking
about pain and other things where people really
live. And we’re still trying to live out what we’re
singing about.”
WHAT Matters Most
A big part of that ‘walking the walk’ still
happens—week in, week out—at Eagle’s Landing
Baptist Church just south of Atlanta, Ga., where
Casting Crowns’ hearts are rooted in local youth
ministry to over 400 kids. In the whirlwind of
Christian celebrity and success, this calling
supercedes all others, a fact that’s more than
apparent in the schedule the band keeps. While
they could obviously be booked 52 weekends a
year, they make a point to be home every other
Sunday, as well as Monday,
Tuesday and Wednesday
of every week.
It’s not just a matter of
responsibility with them. It’s a matter of passion.
It’s a challenge, one that even their youth group
wasn’t convinced they’d meet. But over time, the
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band (which is just part of the youth
ministry team at the church) proved
it was up to the task. “Sometimes,
they test us just to see what we’ll do,”
Melodee DeVevo says, “but we’ve
been really careful with their schedule,
careful to be there on Sundays. Even
if we roll in at 8:30 AM on Sunday,
we get off the bus and go to Sunday
school. They see that, and they
respect that.”
A lot of what they teach their
students, like a lot of what they sing
about, is better witnessed in action,
Hall says. “We worship, and we pray
a lot. Through our songs, we teach
our students how to pray that way. In
fact, the song ‘Lifesong,’ like many of
our songs, simply came from what I
found myself saying and praying
while leading the students. From the
questions that come up in my time
with them.”
For the seven ordinary people
known as Casting Crowns, the
church is their field of choice, an
extraordinary place where honest
questions and real-life answers are
always welcome. Where the lost, the
weak, unwanted, unlovely and even
the ordinary can be beautiful. Where
the mission, in music and in life, is to
love them all like Jesus. ccm
HELLO…My name is
Okay, so lead singer Mark Hall gets most of the VIP treatment. His
bandmates don’t mind so much. True, he gets most of the public and
media attention too. They really don’t mind. And more than his share of
the Dove Awards? Yes. But, seriously, they really don’t mind. Fact is, deep
down, there’s nobody’s back they’d rather have. And frankly, they know
who they are. But the question remains…Do you?
HECTOR ALONZO CERVANTES, 24
Born in Daytona Beach, Fla., young Hector took
up guitar, drums and bass at age 13. Although his
elementary teacher used to write “I haven’t
figured him out yet,” on his report card, she also
said “He’s a leader.” He and Christy married earlier
in 2005 and are the proud parents of Chipper,
“the most awesome dog in the world.” Hector enjoys 3D animation, his
mom’s sweet tea, flip-flops and a good book like Humility by Andrew Murray.
THE 5•1•1 on HECTOR
FIVE WORDS THAT DESCRIBE WHAT YOU BRING TO THE BAND: “X-Box controller, brownness (I’m Hispanic), another body, flip-flops, I give...ask them!”
ONE THING THAT CC FANS WOULD FIND SURPRISING ABOUT YOU: “I was originally the
drummer for Casting Crowns.”
ONE TRUTH THAT SUSTAINS YOU DAILY: “Isaiah 45:2-3—‘I will go before and level the
uneven places. I will shatter the bronze doors and cut the iron bars in two. I
will give you the treasures of darkness and riches from secret places so that
you may know that I, the Lord, call you by name.’”
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JUAN GENE DeVEVO, JR., 29
Born in Jacksonville, Fla., Juan learned to play acoustic
guitar, electrical guitar, mandolin and banjo at age 15.
His musical hero? Stu G from Delirious, whose “huge
guitar makes all their songs huge.” Married to Melodee
for five years, and when he’s not mixing songs or
making videos, the chances are good that he’s walking
Duke and Satchmo, his and Melodee’s two lab mixes. The last song that moved him
to tears: “Untitled Hymn (Come to Jesus)” by Chris Rice.
THE 5•1•1 on JUAN
FIVE WORDS THAT DESCRIBE WHAT YOU BRING TO THE BAND: “Weight, hair, smells, prayer, ‘Halo fodder.’”
ONE THING THAT CC FANS WOULD FIND SURPRISING ABOUT YOU: “I’m a pilot.”
ONE TRUTH THAT SUSTAINS YOU DAILY: “What can I do today for Jesus?”
MELODEE SUMMER DeVEVO, 29
From Daytona Beach, Fla., Melodee was “A joy to have
in class but talks a little too much,” according to her
report card in school. She took up the violin, cello and
mandolin at age 11 but was re-taught everything in
college by her musical hero, violin teacher Routa
Kroumovitch-Gomez. Melodee credits Melanie Hall,
Mark's wife, as her spiritual hero. In addition to Juan, her husband of six years,
Melodee loves to cook and read and never grows tired of listening to Switchfoot.
THE 5•1•1 on MELODEE
FIVE WORDS THAT DESCRIBE WHAT YOU BRING TO THE BAND: “Laughing, volume,
ONE THING THAT CC FANS WOULD FIND SURPRISING ABOUT YOU: “I cry every
and more laughing.”
single time I share
something that is meaningful to me or has something to do with what God is doing in my life.”
ONE TRUTH THAT SUSTAINS YOU DAILY: “I am loved!”
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MEGAN DENISE GARRETT, 26
THE
5•1•1 on MEGAN
From McDonough, Ga., Megan was “a good kid” (at
least according to her elementary school report card).
She learned to play piano at age 10, bassoon at age
11 and guitar at age 16. An accident-prone flip-flop
wearer and sweet-tea drinker, Megan married Ryan in
2003 and, along with English Mastiff Harley, is
expecting their first little Garrett around Christmas.
FIVE WORDS THAT DESCRIBE WHAT YOU BRING TO THE BAND: “Mercy, humor, honesty and um...piano.”
ONE ARTIST YOU COULD LISTEN TO ALL DAY AND NEVER GROW TIRED: “Watermark.”
ONE TRUTH THAT SUSTAINS YOU DAILY: “When the world tells me I’m not good enough, God
ANDREW JOSEPH WILLIAMS, 33
Andy hails from Lithonia, Ga., and learned to
play keys at age 12, harmonica at age 16 and
drums at 22. Married to wife Kelly for six years
and dad to Aden—“He’s a human.” A natural,
funny guy who loves Frisbee golf, interior
decorating and the “Left Behind” series. If you
want to make Andy cry, just whip out “Closer Than A Brother” by the band
Allies. That’ll do the trick.
THE 5•1•1 on ANDY
FIVE WORDS THAT DESCRIBE WHAT YOU BRING TO THE BAND:
“Drums, drumsticks,
cymbals, belly, chaos.”
thinks I am, and He proves it by using me.”
ONE THING THAT CC FANS WOULD FIND SURPRISING ABOUT YOU:
“Well, I do like the sound
of music.”
“1 John 1:9—‘If we confess our sins, He is
faithful and just to forgive us our sins and cleanse us from all unrighteousness.’”
ONE TRUTH THAT SUSTAINS YOU DAILY:
CHRISTOPHER ROBERT HUFFMAN, 24
This Glasgow, Ky., boy is the trumpet/bass/guitar
section of the band. A Dr. Pepper guy who married
Amanda just over a year ago, Chris has no kids or pets,
but he’s a self-confessed “shoe freak” and “aspiring
singer.” He stays in stitches most of the time, thanks
to bandmates Juan and Andy, but one listen to
Switchfoot’s “Only Hope” can make him cry.
THE
5•1•1 on CHRIS
FIVE WORDS THAT DESCRIBE WHAT YOU BRING TO THE BAND:“Rocking,
face-melting, bass guitar
(all one phrase).”
ONE ARTIST YOU COULD LISTEN TO ALL DAY AND NEVER GROW TIRED:“Tree63.”
ONE TRUTH THAT SUSTAINS YOU DAILY: “Knowing that God’s love is new every
day and that
IS WHAT
“WHAT YOU SEE WE’RE
NOT
YOU GET WITH US.
THE BAND THAT GETS OFF THE BUS
LOOKING LIKE ROCK STARS.
”
my wife loves me.”
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The Fantastic Four
40 ccm september 05
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tian music
With so many new faces in Chris
ity. With
is a rare, even enviable commod
raderie is
for the masses, the guys’ cama
thes
nine
as a
music
With
rie is
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Audio Adrenaline
é of a veteran artist like
these days, the rock & roll résum
its super-charged anthems
g
yin
pla
of
s
ar
ye
+
10
d
an
dit
nine albums to the band’s cre
rning at drummer Ben Cissell’s
mo
ay
nd
Mo
lar
cu
rti
pa
s
thi
ge
as apparent as ever, even offsta
ccmmagazine.com
>>>>
september 05 ccm 41
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ir families are
cozy Franklin home. While the
a bevy of future Audio
significantly bigger now with
g around (or in some
Adrenaline replacements runnin
new A.A. babies were
cases, snoozing, since two
), they still have time for
welcomed to the pack recently
mptu movie reviews and
plenty of inside jokes and impro
s sentences without fail.
can flawlessly finish each other’
s a passion for ministry,
This tight-knit group also share
stage while performing
something they not only do on
“Worldwide” and the nowsignature songs “Ocean Floor,”
the work of the “Hands
classic “Big House,” but through
lead singer Mark Stuart
and Feet Project.” Last month,
an entirely new level by
took the fundraising efforts to
motorcycle trek to raise
completing a nearly 3,000-mile
organization that builds
awareness and money for the
With a busy schedule and
orphanages for children in Haiti.
nd’s credit, what could
plenty of accolades to the ba
dio Adrenaline’s loudest
possibly be next? How about Au
ie? Now, Christa Farris
record since Some Kind of Zomb
the guys discuss the new
lets the band do the talking as
In and much more.
music on Until My Heart Caves
>>>>
CCM: When we were in the studio listening to
tracks from the new album, Mark said that, with
this record, Audio Adrenaline finally found its
sound. How did you do that at this point in
your career?
Ben Cissell (drums): “I think Audio Adrenaline’s
sound is what we do live, and we went into the
studio with that in mind. Our producer Jay Joyce
(Nichole Nordeman, Patty Griffin) was all into
making it pretty raw. And I think he did a really
good job at capturing the essence of the band.”
Tyler Burkham (guitar, vocals): “I think there
was more of an emphasis on passion than
performance on this record. Jay was like, ‘Hey,
what are you singing about?’ He encouraged us
that “Whatever you’re singing, sing about it with
passion.” That helped us think about what we
were passionate about and made us be intentional
about conveying that.”
CCM: Since Worldwide released, there have
been even more personal changes with the
band, namely more kids added to the mix. (Ben
and his wife, Rhondi, recently welcomed a son,
Lincoln, while—at press time—Tyler and his wife,
Allison, welcomed a new son, Osten.) With this
new place in your lives, what charges you to
keep doing what you’re doing after 10 years?
Ben: “I feel like we still have something to say. I
think the moment when we feel like people aren’t
really listening to us—not our music but what we
42 ccm september 05
ccmmagazine.com
ylist
Audio Adrenaline’s Pla
(or professional
The band reveals what CDs and books
cyclists) are currently rocking its world.
Ben: “My wife Rhondi and I are doing a study on C.S.
Lewis. I can’t go because I have to babysit most of the
time, but our church is doing it. So, I have C.S. Lewis’
Mere Christianity on my iPod, which is pretty cool.”
Tyler: “I think I’m a hipster (laughs). I’m listening
to Ryan Adam’s new one, Cold Roses, and reading
Searching For God Knows What [by Donald
Miller], which is basically what everyone my age is
probably into.”
Will: “I’ve been consumed with the Tour de France,
to be honest. It’s not a book or a CD, of course, but
I’ve got it pod-cast through my iPod. I listen to it.”
Mark: “How is Lance [Armstrong] doing?”
Will: “He wore the yellow jersey in today’s stage. He
didn’t win today because it was a sprinter’s race.”
Will: “OK, I’m trying to think of the book I’ve
been reading. There are a couple I’ve been
throwing around: One is First You Have to Row
a Little Boat [by Richard Bode]. And the next
one is One Fish, Two Fish, Red Fish, Blue Fish
[by Dr. Seuss]. I read that every night to my
children. For CDs, I’ve been listening to the new
Weezer album, Make Believe.”
Mark: “I read a lot of Sports Illustrated (laughs).
I’m reading [C.S. Lewis’] ‘The Chronicles of Narnia’
books now because I’d never read them.”
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have to say—I think that’s when we throw in the
towel. But I think all of us are still passionate about
trying to reach out to kids and show them that there
is hope out there. The best way to do that is through
music but also when Will talks in the concert before
one of our new songs…or when Mark talks. I think
it’s weird because it’s right in the middle of a rock
concert when Will talks. But when he does, the
whole crowd is really hushed and listening. I think
that’s a really powerful moment.”
Will McGinniss (bass): “I do think we enjoy
what we do still, too, although we feel weary at
times. The road can be long, and we miss our
families. But when we get back on the bus
together, we’re like kids in a candy store catching
up and goofing off—all wired and silly. Our
friendship has nothing to do with Audio
Adrenaline. But being in the band allows us the
opportunity to get together more often than not.”
Mark Stuart (vocals): “I think the whole record is
about that very question you asked and how you
stay passionate. I think it’s a choice. If we just
allowed our emotions to dictate where the band was
going to go, we would’ve broken up 12 years ago or
something (laughs). I think it’s a conscious effort to
say, ‘We are saints, and we are called to a higher
calling.’ We are not perfect people by any means,
and when I say “saints,” I’m not saying we’re perfect.
But we are called to a high standard of having
something to do and doing it with all of our hearts.”
CCM: Your records have always been pretty
straightforward about your faith. Have you
ever been at a point where you just wanted to
make a record full of really fun songs instead?
Mark: I definitely think our label pushes us to do
stuff like that—or different people. But this time,
our label just said ‘Go and sing about where you
are.’ Some of the songs are fun; but some are more
serious. For us, it’s fun to make a record that’s really
honest—that’s when music becomes fun again.”
CCM: How do you continue to stay enthusiastic
about your faith when you have to go out, play
your music every night and encourage people
because that’s what they expect from you?
Mark: “I think we all have to realize that God
works in spite of us. We could show up, be on fire
for the Lord and have a terrible show. Or we could
show up with a lot of baggage and really be
completely empty, and God does miracles. We are
tools, and God uses us however He wants. But I do
think it’s important to make intentional
investments into your own heart and spiritual
wellbeing so that you have something to offer.” ccm
Move Over Ebert & Roeper
Want to find out if a movie deserves a thumbs up or thum
bs down? Look no further than Audio Adrenaline—the
band definitely has a few opinions when it come
s to the big screen.
Mark: You should have me write movie reviews for CCM. I go and see pretty much every movie.
CCM: That would be great… [“Great”? Um…Yeah. Can you say, “Silver platter opportunity”? Hint to
readers: Keep an eye on our “Sightings” section beginning next month.—Editor.] Let’s see…What was
the last “thumbs up” movie you saw?
Mark: “I’ve got three I thought were really good. I liked Cinderella Man. I give Batman Begins a thumbs
up, but I think the best movie I’ve seen is Crash for what they had to work with and what they did. And I
will tell you that War of the Worlds stunk. The best thing about it is that little blonde girl, Dakota Fanning.
She is incredible. Tom Cruise is well, whatever. It’s not a great movie for him. The movie is very similar to
Jaws, typical Steven Spielberg with setting up the little relationships between father and the son and the
daughter. That was good, but the downfall of the movie was it was stupid.”
Tyler: “I think the last one I saw in the theater that was a thumbs-up film was Eternal Sunshine of the
Spotless Mind. The thing about having kids is a movie becomes like a $60 thing with popcorn, a babysitter
and two tickets.”
Will: “I think the last movie I saw was Napoleon Dynamite, and that’s been a while ago.”
ccmmagazine.com
(L-R) Tyler Burkham, Mark Stuart, Ben Cissell, Will McGinniss
september 05 ccm 43
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Chris Rice opens up like we all hoped he would.
B Y
L U C A S
H E N D R I C K S O N
No More
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Discussions about the idea of freedom,
be they through powerful statements or
hackneyed clichés, seem to dominate the public
discourse more than any other topic thus far in
the 21st century.
We hear about freedom daily on the global scale,
and even more intensely on the national radar, but
we sometimes miss out on the personal stories.
Chris Rice wants freedom: freedom to live his
life the way he chooses (as privately as someone in
the public eye can), freedom to make his music
the way he chooses (surrounded by friends old
and new, and for an audience as broad as he can
make it)…and the freedom to do interviews only
one day a week.
“I just found I couldn’t keep working everything
around a 15-minute slot here or a 10-minute slot
there, or midway through the morning you have
something else here, so you can’t plan anything for
the morning,” says the veteran singer-songwriter
now in his ninth year as a recording artist. “At one
point, we just decided, ‘Let’s do Tuesdays.’”
Through a conversation with Rice, you detect
a man who knows there’s freedom in setting
certain boundaries and obliterating others. From
his earliest days as an artist, Rice made it plain to
business associates and fans alike that there’s the
public Chris and the private Chris, and the twain
shall meet only when they have to.
But private problems arose via his public gift,
crafting compelling storysongs (though, he’s quick
to point out, not always his personal stories) that
touch people’s hearts effortlessly, creating in them
a desire to connect on that personal level with the
introspective storyteller.
“Part of the problem is that I’m a huge introvert,
and people don’t tend to understand that, and a
public life really intensifies that in a way that can’t
be explained. So I have to manage how and when
I interact with people, and over the years you learn
what knocks you flat and what makes things work,”
Rice says. “There are little things like not [meeting
fans] before a show, which might make a promoter
really mad, but I just have to say it’s my policy
because I can’t walk on a stage 20 minutes after
Mr. S
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having met with 20 people. The intensity of that
interaction just depletes me, and I can’t walk on a
stage excited and riled up ready to go after that
kind of situation, so managing that is the key.”
So where Rice sometimes finds it necessary to
throw the shields up (albeit as transparent and
temporary as possible), his professional life has
never been so free…and so full of opportunity.
This month sees the release of his latest studio
effort, Amusing, his first under a new recording
agreement with INO Records and the production
outfit he and producer Monroe Jones co-own
called eb+flo Records.
“INO just made perfect sense. Their record of
being able to handle artistry and artists that spill
over into the rest of the world and knowing the
channels and knowing how to be able to do that
well, made it a place where I wouldn’t have to
worry about forsaking what I’ve been doing all
along,” Rice says. “I can still keep that going and
not turn my back on it, but also be able to pursue
all directions. INO is so much behind that and
knows how to make it happen.”
Amusing finds Rice back in wry, optimistic,
sensitive and energetic form, but with a variety of
musical sandboxes he’s able and eager to work in.
The opener “Love Like Crazy” (featuring an intro
by surf-rock twangmaster Duane Eddy) is an
uptempo pop-rocker embracing the idea of
shedding the inhibitions that come with love,
“Breakfast Table” gives a more personal look at the
thought of looking forward to heaven, and “The
Best Song Ever” ramps up an anthemic take on the
common, joyous place found in fellowship.
“One of the things Monroe says a lot, and I
really agree, is that each record is really a snapshot
of that period in your life,” Rice says. “This
record, especially, I drew from a lot of different
things, and the music seems to go off into a lot of
different directions, experimenting with different
chord structures and vocal styles.
“Over the years, I’ve found certain categories of
songs that work well for me. There’s always a jazzinfluenced song, even though I don’t have a
tremendous background in jazz, and there’s
always a hymn-type song, but it’s not because I
purposely say, ‘There’s a slot for a hymn; let’s do
one.’ As I’ve assimilated what I’ve heard, just the
things I like show up.”
But Amusing’s overriding theme is romantic
love… Out-and-out love songs on a “Christian
music” record—and by an unmarried artist, no
less? You better believe it, and while Rice remains
coy on whether any apply directly to him and
makes it plain that many of the songs such as
“When Did You Fall,” “Lemonade” and “I See The
Moon” come from his observations of other
people, there’s a freedom in these songs to express
love in a fashion that’s still pretty uncommon
within Christian music. Despite groundbreaking
albums by Charlie Peacock (1991’s Love Life) and
Steven Curtis Chapman (2003’s All About Love),
relationship songs often seem reserved for
mainstream “crossover” attempts or the more
expressive artists on Christian music’s rock fringe.
It’s an uphill battle Rice knows he’s going to face,
not only in his live shows but also on Christian
radio, where such songs aren’t often a big winners.
But that willingness to take on preconceived
notions is all part of his own philosophical shift,
one he says has been a long time coming.
“In my conviction and my philosophy, in how I
think and how I live, I just knew the way I was
doing music and who I was communicating to was
kind of being funneled into a very one-directional
mode,” Rice says. “I felt like in any other
profession I would have been encouraged by
the church over and over again to get out into the
world and be light and salt, mix and do your work
well and represent Christ there.
“But it seems if you’re a musician, there’s this
kind of ownership that says, ‘You better do this for
us and it better be about God, and it can’t be for
them because you’re tainting yourself and selling
out and going secular.’ We’ve invented a new sin
called ‘going secular.’ It’s not Biblical thinking at
all. It’s counter to what even Christ did, because if
we keep staying safe and staying together and
huddling and making sure we’re not tainted by the
‘real world,’ we’re really messed up in our thinking.
“So I’ve been applying those things across the
board, in my world, my life and my work. Now
that I have this opportunity for change, I’m going
to go big guns, full force and go after that. Ignore
the boundaries and do music for everybody. Yes,
my faith is going to be a big part of it, but it’s not
going to be specifically, especially for a Christian
audience—it’s going to be everybody.
“I can hear that response already to this record,
‘You’re selling out, you don’t mention God on your
record that much, how can you say you’re doing this
for God?’” he says. “Well, you don’t understand that
this record is not mine in the first place. Jesus never
told anybody, ‘Make records for my glory,’ so this
record has nothing to do with that other than how
God wants to apply it to their hearts. It has nothing
to do with God’s work on this planet through my
[personal] life. This is secondary, and the real deal is
that doing this record could put me in a relationship
with a person who needs to know God.
“That’s where the gospel points us. That’s the
undercurrent that people don’t see because
people only see my public life. People aren’t
going to understand, and what I keep coming
back to quietly is that when we get to heaven,
they’ll understand.” ccm
r. Shy Guy
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Artist
The Making of An
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In an unexpected but thoroughly exciting journey, Todd Agnew went from summer
camp to Christian radio success without really trying.
By Ava Barclay
Growing up in his small Texas hometown, Todd Agnew had three true loves:
worship, music and camp. Of course, at the time, this early fan of Michael
W. Smith, WhiteHeart and DeGarmo & Key didn’t know how these interests
would figure into the rest of his life. But when he was 18 and offered the
opportunity to lead three worship songs for a Bible study, his future direction
became a little more clear—even if he describes his first stab at worship
leading as “terrible.”
“So I practiced my songs; I was so excited,” Todd remembers,” But when I
went in there and did it, it was horrible.. After I was done, I told the Lord, ‘I am
so sorry. This is obviously not what you want me to do; I’ll never do this again.’”
But despite how bad Todd thought he performed that particular night,
God apparently had other ideas. And like it or not, they still included
worship leading.
the summer of ’89
Like any craft, whether writing, playing guitar or even pottery, it’s good to
have mentors to show you a few tricks of the trade. And under the tutelage
of several worship leaders, Todd began to get more comfortable in front of a
church crowd. “I just fell in love with it,” he says. But love usually isn’t enough
to make a career out of something, so Todd started considering the logistics.
Namely, how could he get enough worship-leading gigs to make
a living?
So, as many have done before, Todd struck a deal with God: Any door that
He opened, he promised he would walk through. And a year later Todd
landed his first break: leading worship for youth groups across the country.
During a visit to a particular church in Shawnee, Okla., the pastor pulled
Todd aside after the service and asked if there was any way he could lead
worship at their summer camp. While it seemed like the opportunity of a
lifetime for an outdoors enthusiast like himself, Todd’s practical side kicked in.
Knowing he had to work to pay for school, he politely turned down the offer.
But the pastor just wouldn’t take “no” for an answer. And with a little
networking and a few phone calls, it wasn’t long before he had shows booked
for Todd for the entirety of the summer.
Now, 16 years after that breakthrough experience, Todd may be a more
seasoned worship leader with a record deal, but there’s still no place like
camp for the naturally shy singer. In fact, the great outdoors is still one of
Todd’s favorite venues and somewhere he continues to play each year.
spotlight? no thanks.
But wait a minute, how did Todd score a record deal while playing the
summer camp circuit? Unlike the majority of musicians, he was more than a
little reluctant to sign on the dotted line. It just wasn’t his style to be in the
spotlight, and frankly, he liked things the way they were. Without the
pressure of a contract, he had the freedom to play where he wanted, whether
it was camp, a coffeehouse, the Hard Rock Café or even the occasional bar,
in hopes of sharing the message of the gospel with those who needed to hear
it most.
So when a record deal was unexpectedly presented to him, he immediately
declined. But it wasn’t long before he remembered that bargain he made to
“walk through any door that was opened for him.”
“It wasn’t something I was pursuing. When we went in to make the first record
[Grace Like Rain], I definitely went in purposefully—thinking we were going to sell
it at youth camp,” Todd says. “I recorded it independently, and [Ardent Records]
just picked it up and released it. It was just the songs we were doing in worship
right then. It wasn’t this great plan to get signed or any of that.”
Plan or not, there was no denying the album’s impact in the Christian music
industry, as the CD sold well over 180,000 copies and earned Todd his first Dove
Award nominations for Best Rock/Contemporary Album of the Year along with
Best Rock Contemporary Song for “This Fragile Breath (The Thunder Song)”.
Now, with a successful debut to his credit, a follow-up was the next
logical step. But Todd found the process of a sophomore record even a little
more difficult than the average musician who’s concerned about the urban
legend of the “sophomore jinx.” After all, he never really intended to be an
“artist” in the first place, and the expectations that
go hand in hand with success weren’t something
Todd was accustomed to.
growing pains
“Trying to put your second record together when
you didn’t really mean to make your first record can
be difficult,” Todd says with a chuckle. “I felt like I
wanted to be real honest about my faith, my
struggles and the things I was learning…
“I went through a real learning process about
[being an artist] while making my second album,
Reflection of Something,” he adds. “I never had put a
whole lot of thought into Todd Agnew—the artist. It
was more Todd Agnew—figuring out how to be a
Christian… My plan was to be obedient, but it wasn’t
to be in the industry. Yet, when I was obedient, this is
where I ended up.”
And the raw nature of the songs on Reflections of
Something is reflective of his increased self-awareness.
Like the debut, the tracks are gritty rock slices,
guitar-racked for the most part, but defined with a
reverence fostered by Todd’s direct songwriting. By
and large, the album is gutsy and commanding,
melding a strong dose of blues and funk into his
rock roots. This time around, also watch out for
ripping guitar solos, especially on “New Name.” But
to keep listeners guessing, Todd also serves up a
happy-go-lucky, rollicking melody on “The Middle
of Me” and also tones down his naturally aggressive
vocals for a worshipful violin arrangement on the
record’s standout cut, “Isaiah 6.”
“‘Isaiah 6’ was a big moment for me,” Todd recalls.
“I was just digging into one of my favorite Scripture
passages and putting it to music…I wrote it in the
middle of the night, sitting there with my guitar in
the church office. It started there, and then it ends up
as this huge song with a choir, orchestra and all this
stuff. You just sit and go ‘Wow, that’s majestic, that’s
something beyond Todd Agnew.’”
in record time
Now, with a sigh of relief at the completion of a
deeply personal record, Todd returns to the “artist”
life this fall as he teams up with Inhabited and
Starfield on the touring circuit. And just how is he
feeling about his career these days?
“I always thought I was too prideful to be put in
the spotlight,” Todd admits. “And God goes, ‘You
were. That’s why I kicked your tail for all these
years, so that you would be ready when this time
came. You know it’s not about you.’ And I go, ‘Yeah,
I do, you’re right.’ Because, really, I’m just a jerk. I’m
just messed up like all the people who come to hear
us play. And I try to be honest with them about that.
God just chooses to use us, and we get to be a part
of something special because we’re willing to. And
so right now, our willingness has taken us on tours
and on the radio. If that changes next month, you
won’t see us anymore because God will have taken
us somewhere else. And that’s cool.” ccm
ccmmagazine.com
september 05 ccm 47
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inreview
music
A Beautiful Mind at Work
REMEMBER HOW IMPRESSED YOU WERE BY BETHANY DILLON’S PRODIGIOUS DEBUT?
WELL, THINK OLDER, WISER, DEEPER.
BETHANY DILLON
Imagination
Sparrow
DREAMING HAS RARELY SOUNDED THIS GOOD.
People often say that teenagers have wild
imaginations. Whether or not that's true, teen
singer Bethany Dillon's Imagination certainly
knows how to create a wild response.
In 2004, Dillon's self-titled bow became
File under:
Grade: APop
Christian music’s best-selling solo debut of
the year, so there's no wonder fans are clamoring for her heavily hyped follow-up,
Imagination. Is the anticipation justified? For the most part, yes. The Ed Cashproduced disc dabbles in praise and pop, but overall, Imagination pays tribute
to a female singer/songwriter legacy that foregoes predictable conventions. For
example, Dillon doesn't overpower the tracks with her vocals but prefers to let
the music drive the song. While not a traditional formula for Top 40, it does lend
itself to a career aimed at surviving the next excruciating "Total Request Live" craze.
The track most familiar to Christian radio fans, "All That I Can Do," blends
pepped-up acoustic and electric guitars with an understated drumbeat for a
perfectly balanced dynamic. Lyrically, the singer tackles trust and reliance
issues with a vocal delivery that's spirited and sharp. "In An Airplane" takes
flight with a smooth flow of percussion and piano keys alongside vocals that
poetically paint a divine picture from a window seat's view. Likewise, the
worshipful "Hallelujah" stands out by capturing a more youthful tone and
fresh arrangement.
Though her upbeat songs shine brightest, Dillon isn't afraid to slow the
pace. "I Believe In You" might not work a Zao fan into a frenzy, but its explosive
chorus conveys the feeling that Dillon believes what she sings. Her vocals are
passionate and emotive, but at the same time, she doesn't sound like she's
begging for an Oscar. Offering a more low-key approach, "Be Near Me" works
because the gorgeous vocals and background music are filled with subtle
hooks. The title track and "My Love Hasn't Grown Cold" also take a more subdued route, but they both fall short by moving slow for so long that the average listener feels like hitting the horn.
Dillon, who's barely old enough to drive, already claims two full-length
albums and an EP. Born of a music-oriented family from a small town in Ohio,
she's clearly found her calling on Imagination and shows that not all female
teens need an army of choreographed dancers to succeed. Dillon, who writes
or co-writes all her songs, breaks through on talent alone. DAVID JENISON
ccmmagazine.com
september 05 ccm 49
File under:
Modern Pop/Rock
8/9/05
3:58 PM
Page 50
AUDIO
ADRENALINE
CCM_09.05_Music.v.6
Until
My Heart
Caves In
ForeFront
Grade: B
SAME BAND, BRAND NEW SOUND
CASTING CROWNS
In is a likable collection of simple, fistpumping anthems that should connect
particularly with youth groups.
“Clap Your Hands” and “Until My Heart
Caves In” is a (forgive the pun) adrenalinecharged, one-two punch about pushing
oneself to the limits and never giving
up. “You Are My King” is both a big rock
chorus and heartfelt worship song. “Are
You Ready For Love?” marries a bittersweet melody to a call to reach out to
the orphans and the widows in Jesus’
name. “Undefeated” is a rocker which
will surely connect with live audiences
(verily demanding that you sing along).
A delightful surprise is a remake of
the ’60s chestnut “(Your Love Keeps
Lifting Me) Higher & Higher.” The members
of Audio A capture the bounce of the
original but somehow give it a modern
rock sheen that’s very cool and up-to-date.
(Not to mention, in the context of the
whole album, the song’s vague spirituality
becomes that much more pointed.)
In the end, Audio A does a fine job of
bringing to the table what has pleased
fans for almost 15 years. More important,
this is a fresh sound that proves Mark
Stuart and his cohorts aren’t going away
anytime soon.
CHRIS WELL
CASTING
CROWNS
Audio Adrenaline has always been one
of the real workhorses of Christian rock.
With the losses of such stalwart arenapleasers as dc talk, Petra and Whiteheart,
and with so many of the young, heretoday-gone-tomorrow Johnny rock bands
that come and go, the boys of Audio A
keep on going—touring, ministering to
and rocking youth groups everywhere.
Following a recording hiatus, Audio A
returns with Until My Heart Caves In, the
band’s ninth studio effort. Teaming with
producer Jay Joyce, whose credits
include The Wallflowers and Macy Gray,
the result is a sinewy brand of modern
rock, one that ranges from moments of
dreamy pop to high-energy rock anthems.
It’s a fresh take on the band’s classic
sound, and one that will certainly turn
some heads.
Lyrically, the group has never been
one for deep songwriting—theological
or otherwise—but longtime fans will be
glad to know that Until My Heart Caves
File under:
Pop
Lifesong
Beach Street/
Reunion
Grade: A-
ANOTHER CROWNING ACHIEVEMENT
The improbable success of Casting
Crowns ranks as one of the biggest
stories in Christian music history.
Here’s a seven-piece church praise
band-turned-AC/pop-rock ensemble that
struck gold…er, make that platinum
(sales of one million copies) with its
2003 self-titled debut. The group also
holds the distinction of being the fastestselling debut Christian artist in the modern
era. Songs “If We Are the Body,” “Who
Am I” and “Voice of Truth” topped industry
charts for weeks on end.
What’s more, earlier this year Casting
Crowns and frontman Mark Hall hauled in
an impressive seven GMA Music
Awards, including wins for Group of the
Year, Song of the Year and Songwriter
of the Year.
Talk about raising the bar.
AUDIO ADRENALINE
50 ccm september 05 ccmmagazine.com
8/9/05
3:58 PM
Page 51
Fortunately, the band keeps it high on
sophomore studio release Lifesong.
Staying true to their approach of assimilating crisp melodies, forthright lyrics and
stout vocals, the Crowns effectively
blend uptempo worship anthems and
emotive ballads for another wellbalanced set.
The title track kick-starts the disc
with a powerhouse praise number that
points believers toward honoring God in
all they do. Further in, rollicking cut “Set
Me Free” reveals urgent guitar riffs and
driving rhythms that suggest something
Third Day might proffer.
Not one to pull punches lyrically, Hall
fuels much of the project with indictments against hypocrisy and piousness
in the church. To wit, the softer cadence
of “Does Anybody Hear Her” doesn’t
diminish the hard-hitting message that
condemning others is wrong
(“If judgment looms from every steeple/If
lofty glances from lofty people/Can’t see
past her scarlet letter/And we’ve never
even met her”).
While at times selections such as “Love
Them Like Jesus” and “In Me” closely
evoke Steven Curtis Chapman (co-producer
of Casting Crowns’ first album), most of
the songs resonate with freshness, a
testament to Mark Miller’s production
savvy and Hall’s distinctive ingenuity.
File under:
Hard/Metal
Reborn
Big3
Grade: B+
“METAL? WHAT IS METAL?”…THE CHURCH’S
ORIGINAL ANSWER.
This is a flash forward, not backward,
as STRYPER is reborn with original members Michael Sweet (vocals, guitar),
Robert Sweet (drums) and Oz Fox
(guitar), welcoming former Whitecross
bassist Tracy Ferrie in lieu of the
beloved Tim Gaines.
Believe it or not, it’s been 15 years
since the pioneering metal band
released a full-length CD of new material—
1990’s Against The Law (Enigma/
Hollywood). After disbanding in the early
’90s for several years, STRYPER reappeared occasionally both on stage and
on random CD compilations and side
projects. But now we have 11 tracks—
10 new songs—as the men try to
squeeze back into their spandex (Actually,
only Robert can still wear them as he
did when STRYPER played 2001’s
Cornerstone Festival.), shred out some
serious rock & roll and show the younguns
how to do “metal with a message.”
Photo by Stephen Stickler
DAVID McCREARY
STRYPER
CCM_09.05_Music.v.6
STRYPER
ccmmagazine.com
september 05 ccm 51
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3:58 PM
Page 52
Indeed, many of today’s bands have
freedom to rock the flock thanks to
STRYPER paving the way.
Loyal fans, as you put Reborn on your
turntable—I mean your iPod—it might
take a few songs to encounter the breed
of metal you so affectionately remember.
Think of the raw Yellow and Black Attack
merging with the polish of In God We
Trust. The first four tracks—“Open Your
Eyes,” “Reborn,” “When Did I See You
Cry” and “Make You Mine”—sound like
STRYPER had Disciple or Galactic
Cowboys lend a hand, which isn’t bad,
just not the STRYPER we knew and
loved. These tracks also reveal some of
the limitations of home studio recording
and production, and a smaller drum kit
for Robert. And in a few places, Michael
sounds tired of getting the metal edge
back in his voice. But don’t jump to
conclusions prematurely—there is plenty
of banging, thrashing and metal sparks
from these grinding axes.
Any doubts about STRYPER’s rebirth
are blown away by “Passion,” a very
moving spiritual track that affirms the
band members’ faith and vision. It will
take you back to classic STRYPER power
ballads such as “First Love” and
“Reach Out.” Musically, most of the
album’s tracks hit high on the rock
meter, with the walkers flung into the
air via its closer, an updated version of
“In God We Trust.” Are you ready for
Michael Sweet at full volume? Here are
the screaming vocals you were sure put
the devil on the run to you-know-where.
All told, the “reborn” version of
STRYPER will have you rocking and
singing along. There’s less glam and
more filling in this matured metal for
the masses, and the band’s clarion
message remains loud and clear:
Salvation Through Redemption
Yielding Peace Encouragement
and Righteousness.
HAROLD ROSAS
THE
AMBASSADOR
CCM_09.05_Music.v.6
File under:
Rap/Hip-Hop
SERVING MUSICIANS SINCE 1924!
ALL MUSICAL INSTRUMENTS
Over 45 Stores
NATIONWIDE!
MADISON
1647 GALLATIN PIKE NORTH
(615) 860-7475
www.samashmusic.com
52 ccm september 05 ccmmagazine.com
The Thesis
Cross Movement
Grade: B
RHYMES TO SINK YOUR MUSICAL TEETH INTO
Since rap is such a delicate art form,
those who listen to the more sanitized
rhymes never want to simply trade
profanities for less hungry rhythms and
lackluster lyrics. The music doesn’t
have to be hardcore, yet no real “hustla”
wants his rap toned down—after all,
what are the sub-woofers in the trunk
for? It’s an uneasy marriage, but on his
new disc, The Thesis, The Ambassador
(a.k.a. William Branch) keeps it clean
enough to eat off of, while diligently
preserving the necessary “crunk” factor.
While The Thesis is his second solo
effort, The Ambassador is primarily known
as a member of The Cross Movement.
However, he pulls a Beyoncé here—of
the 18 tracks on this album, there’s
more than enough to justify playing this
in your ride.
As on most rap projects, samples
really kick up the hook, and the first
track “Thesis Pieces” finds a child
warbling “Jesus makes everything right”
to lock in the chorus. The third track,
“Amba-ss-ador” spells out a fantastically
catchy, if not altogether original hook
(think U-S-H-E-R). Overall, the choruses
THE AMBASSADOR
are faultless… It’s the verses that tend
to drag, perhaps due to the hefty task
of professing a sophisticated gospel rather
than girls and Hennessy in slang format.
The next highlight is “Song For You,”
a tune with a predilection for a staticky
Bone Thugs ‘N Harmony before it slams
into “Psych! Didn’t think it was a slow jam,
did ya?” Other gems are “Feels Good,”
an R&B-tinged collaboration with Dá Truth
and S•O•U•L where The Ambassador hits
his stride with close-shaven lyrical
invention, and the poignant “My Clothes,
My Hair,” which reflects the ever-present
struggle with body image: “Can he love
me/Will he even care/when he sees my
clothes/or when he sees my hair?” And
the ebullient hooks on “Oh Wretched
Man” and “Back Home” are some of
The Ambassador’s finest moments.
Listeners may or may not appreciate
the disc’s multiple pop culture
references, but at least The Ambassador
knows his Louis Vuitton and Snoop
Dogg. “Ma, you don’t have to drop it like
it’s hot,” he consoles on “Get You Open.”
The Ambassador could rap more
briskly, pop his syllables and tighten up
his rhymes a bit, but he is more than
easy on the ears. The beats are
energetic, at times addictive, and many
would argue this offering manifests the
most authentic rap presence since
GRITS’ latest disc.
ANDREA BAILEY
8/9/05
3:58 PM
DIZMAS
CCM_09.05_Music.v.6
File under:
Hard Rock
Page 53
On A Search
In America
Credential
Recordings
Grade: C
THERE’S POTENTIAL FOR HARD ROCK
GREATNESS HERE.
After listening to Dizmas’ On A Search In
America, it’s hard to get away from the
nagging impression that this California
group is still a work in progress.
There are plenty of appealing musical
elements here, mind you, including
singer Zack Zegan’s Axl Rose-esque
scratchy vocalisms and the band’s
extra- crunchy hard rock. But the individual
songs themselves sometimes add up to
sketched ideas, rather than complete
thoughts, leaving the listener wanting
and needing just a little bit more.
To its credit, Dizmas gives its songs
attention-grabbing titles. Unfortunately,
teasers such as “Revolution,” “Controversy”
and “Riots and Violence” fail to become
the epics suggested by their names. For
instance, it’s nearly impossible to figure
out just what this “Riots and Violence”
couplet means: “Riots and violence!/
Thanks for the rainbow.” Huh? The group
is much more effective when dealing
with simpler, more straightforward messages, such as those expressed through
“Redemption, Passion, Glory.” “This is
redemption/That you would die for
me/And this is salvation/That you would
live in me.”
The band’s musical style is akin to
Kutless, yet it shares the artistic ambitions
of much more adventurous bands such
as P.O.D. While Dizmas has the potential
to grow far beyond being just another
vanilla hard rock outfit, it must first
learn how to combine its raw emotion
and well-developed musical skills with
equally admirable lyrical ideas. Instead
of writing down a few vague thoughts
and calling that a song, Dizmas needs
to tell stories and dig deeper into the
songs’ subject matter. These criticisms
aside, Dizmas is one hard rock band
that mostly uses its noggin for thinking,
instead of mindless head banging, a
positive trait that makes it one band to
keep your eye on.
DAN MacINTOSH
ccmmagazine.com
september 05 ccm 53
DIZMAS
8/9/05
3:58 PM
SARAH
BRENDEL
CCM_09.05_Music.v.6
File under:
Pop/Rock
Page 54
Sarah
Brendel
Inpop
Grade: A
AND NOW FOR SOMETHING DIFFERENT…
Sarah Brendel may be new to American
audiences, but in her native Germany she's
spent the past three years building quite
the profile in the national pop/rock scene.
In addition to spending months on end
climbing airplay charts, she scored the
soundtrack standout "Take My Heart"
for the motion picture The Poet and performed for an audience of 100,000 in
the city of Stuttgart's world class stadium.
You could call Brendel a rock chick,
but that’s somewhat narrow when you
consider that no two songs on her U.S.
debut are alike. Brendel mixes it up with
a little sweet, a little crunch, a little punch.
“Commodity,” the opening track,
begins with a Duran Duran-esque hook,
SARAH BRENDEL
then morphs into a delicious modern rock
offering. “Turn” is a smoother ballad with
serene strings and meditative vocals.
The rich “Pardon Me” serves up a cry
for the mercy of God. And Brendel uses
inspiration from musical influences Bob
Dylan and Larry Norman to spice up the
sonic mix on “King I Love,” a no-apologies,
folksy gospel in which she declares her
simple affection for Jesus.
Put all the differing flavors together,
and you’ll find the singer/songwriter
has one distinct advantage on this disc:
her lyrics. It‘s possible that Sarah
Brendel will make a few “misheard
lyrics” lists because she is difficult to
understand at first. But stop, savor and
listen—you’ll be rewarded. Her word
mixtures and unusual, compelling
descriptors bring out the sparkle in the
language, despite her heavy accent:
“Now the ocean’s burning/but I will
soothe the flame/I got a message from
over the moon/now I know I got the fire
to conquer the gloom.”
Brendel’s fresh, energizing prose will
quench the thirst of anyone hoping for
something beyond the bland, recycled
phrases of the past.
TERI MODISETTE
54 ccm september 05 ccmmagazine.com
ARTIST’S CHOICE
CCM_09.05_Music.v.6
8/9/05
3:58 PM
Page 55
ORTEGA
FERNANDO ORTEGO ENDORSES
DAVID BUSH’S NEW INDEPENDENT ALBUM,
CHANGE THE WORLD.
David Bush has made a career from his
powerful ballads. One of his early songs—
“More Than Ever”—was a staple in my
repertoire long before I started writing
and recording songs of my own. The
lyrics were reminiscent of Keith Green
and Steve Camp, taking on a sort of
prophetic stance. The message was at
once rallying and convicting, urgent in its plea
for the believer to make a stand for Christ in
a complacent, godless world.
I hear the same voice in these songs,
though the music has taken on a more muscular
and aggressive approach. Some of the song
titles include “Stand Up and
Fight,” the title cut “Change the
World” and “I Will Sing.” There is
a lot of interesting guitar work
here, some of it very contemporary pop-rock, and some landing
squarely in the mid-’80s. The
guitarists assembled are brilliant—
Michael Thompson, Shawn Tubbs,
Randy Mitchell and Craig
Willoughby—not to mention the
host of other fine musicians who contributed
under the masterful direction of John Andrew
Schreiner (Crystal Lewis, Julie Miller).
The songs mentioned above make bold,
declarative statements about how a committed
newreleases
SEPTEMBER 6
Crabb Family
Various
Gold City
Various
Super Southern Gospel (Daywind)
The Second Chance
Soundtrack (Reunion)
Super Southern Gospel (Daywind)
Super Southern Gospel Hits (Daywind)
SEPTEMBER 13
Switchfoot
CeCe Winans
Reuben Morgan
Perrys
Nothing is Sound (Sparrow/Columbia)
Purified (INO)
World Through Your Eyes (Rocketown)
Remembering the
Happy Goodmans (Daywind)
Shane & Shane Live (Inpop)
Sarah Hart
Into These Rooms (spiritandsong)
Matt Maher
Welcome to Life (spiritandsong)
SEPTEMBER 20
Josh Bates
Iskra String
Quartet
David Fitzgerald
Larnelle Harris
Perfect Day (Beach Street)
Sanctuary (Daywind)
Breath Of Heaven (Daywind)
I Want to Be A Star (Discovery House)
SEPTEMBER 27
T-Bone
The Katinas
David Phelps
Steven Curtis
Chapman
MercyMe
Rita Springer
Kendall Payne
Various
Bone-A-Fide (Flicker)
The Legacy Project (BHT)
Life Is A Church (Word)
All I Really Want for Christmas (Sparrow)
The Christmas Sessions (INO)
I Have to Believe (Floodgate)
Grown (BHT)
Chronicles of Narnia—
Inspirational Soundtrack (Sparrow)
The Brooklyn
Tabernacle Choir I'm Amazed... (INO)
Various
Come Let Us Adore Him (Essential)
Various
Encore Series Christmas
(2 volumes) (Provident)
Various
The Glorious Impossible
Various
(Spring Hill Worship)
Adora (Spring Hill Worship)
ccmmagazine.com
september 05 ccm 55
and determined believer can make a difference
in the world. David sings them with great passion
and conviction, almost bravado, like a battle cry:
“I’ll put my doubting thoughts to flight/Run ‘till
sin is not in sight/When there’s no one else
around/I’ll stand up and fight!”
Scattered between are somewhat more deferential songs such
as “My Life is an Offering,” “Take
My Hand” and “Lean On Me,”
which is my favorite song on the
record: “Your passion and youth/A
moment in history/Like withering
grass/ Your glory will pass/
So lean on me.”
David pours himself into these
more plaintive songs with the same
intensity, providing a nice contrast and balance
to the rest of the record.
For more information, or to purchase your own
copy of Change the World, visit davidbush.com.
CCM_09.05_Books.v5
8/9/05
4:52 PM
Page 56
inreview
books
A PERFECT PRACTICE
by Margaret Becker
I got my first job in second grade. Every night, around six, I “clocked
in” at the sink. I learned early how to get burnt Shake-n-Bake off
Pyrex and what “dish-pan hands” meant in real life. My
career skills followed me to college, where I worked
long, hard, sweaty hours at Duke’s Grill as a “professional” dishwasher. As far as jobs go, the only perk
was the solitude. No one in his/her right mind wants to
stand in the steam of hot water, handling mounds of
other people’s table scraps. I escaped by daydreaming
about what I would do with my paycheck. I guess that
is why I have always been fascinated with Brother
Lawrence and his timeless book, The Practice of the
Presence of God.
A “lay brother” among monks in the 1600s, Brother
Lawrence went to serve in a monastery at the age of
55. Among his menial tasks were cooking and cleaning
up for the order. Unlike me, while his hands did common work, he discovered his life’s passion: the discipline of constant prayer and
praise. He considered it his honor and his duty.
That when he began his business [in the kitchen] he said to God…‘O
my God, since Thou art with me and I must now, in obedience to Thy
ARTIST EXCLUSIVE
SHE Teen (Safe, Healthy, Empowered)
By Rebecca St. James and Lynda Hunter Bjorklund (Tyndale)
SHE’s all that! As a teen girl struggling with the pressures of
life and what it means to be a woman, wouldn’t you love for
someone older and wiser to step in and guide you? CCM
readers’ own “Favorite Female Artist,” Rebecca St. James,
takes on that integral role with the brand new SHE Teen, a colorful bookmeets-magazine that integrates Biblical life strategies from Rebecca’s
personal experience—underscored by the wisdom of coauthor Lynda Hunter
Bjorklund. Yes, SHE is an acronym: It means Safe, Healthy and Empowered,
things Rebecca believes all young women can be when they find their identity
in Christ.
“I have such a passion and heart for young people, just pointing them to
God and being like a big sister and older friend,” Rebecca says. “I’m so
excited about SHE Teen because it’s very approachable, very reader friendly.
It’s one of the first book-zines, where it has actual book text in it, but it’s in
a very approachable magazine format—lots of pictures and quizzes and fun
stuff, teens talking to teens. Interspersed are stories from my real life.”
SHE Teen discusses all the hot-button issues girls are dealing with—sex
and purity, body image and eating disorders, boundaries and purpose—
while encouraging teens to be all God made them to be. “I realized that a
lot of women, including young women, come to that overwhelmed place
where they just feel like they’re drowning in so many areas of pressure,”
Rebecca adds. “They just want truth and hope and encouragement instead
of that pressure, somebody to relate to… And God has the answers that
we need in the areas of beauty and purpose and boundaries and intimacy
with God and others.”
commands, apply my mind to these outward things, I beseech Thee to
grant me the grace to continue in Thy presence; and…receive all my
works, and possess all my affections.
A far cry from payday dreams.
My copy of The Practice is dog-eared, stained and
coverless. I have read and re-read it for 25 years. It’s
comprised of passages concerning Brother Lawrence
and his unique pursuit: to be in constant communion
with God, no matter what the setting—as well as
descriptions about his humble life. The book contains
both his writings and writings by others who knew of him.
You must listen to me carefully: Besides the Bible, I
have read only a few books that have left me deeply
changed. This is one of them. If you apply even one iota
of Brother Lawrence’s prayer process, you will become
different. Perhaps best of all, there are no teaching
DVDs, workbooks or ginsu knives needed to emulate his
beautiful journey. A simple sponge and last night’s dishes will do just fine.
Margaret Becker is an award-winning author, speaker, producer, songwriter
and recording artist. Her latest work includes her third book, Bringing the
Elements, set to release this fall, and the recent worship recording, Faithfully
Yours: Psalms. For more information visit maggieb.com.
Miracle Grow
Restoring Broken Things: What Happens When We Catch
a Vision for the New World Jesus is Creating
By Steven Curtis Chapman and Scotty Smith (Integrity)
If you read the newspaper or turn on the TV, you know
the world has fallen into a state of disrepair hardly
conscionable for people of faith. Chapman and Smith call
us to join Jesus Christ in a work of restoration as He defies
societal trends to “make all things new.”
Manifest Presence: Expecting a Visitation of God’s Grace
Through Worship By Jack Hayford (Chosen)
Millions flock to Promise Keepers rallies and Billy Graham
Crusades for the supercharged worship sessions. Now the
man behind the music speaks up about the comprehensive
pursuit of God’s glory and presence we call worship.
Strictly Fiction
Mistaken Identity By Josh McDowell & Ed Stewart (Green Key)
Best-selling authors collaborate on a narrative of human
preconceptions within the church. When calamity befalls the
Chapel of the Valley, does the stranger in their midst deserve
the blame?
Profiles by Andrea Bailey
56 ccm september 05 ccmmagazine.com
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russlong’s guidetogear>>
THE BEST OF BOTH WORLDS
FIND OUT HOW THE CHOIR MERGED VINTAGE AND MODERN GEAR
TO RECORD ITS NEW ALBUM, O HOW THE MIGHTY HAVE FALLEN (GALAXY 21)
>>
Yep, I’m one of those folks who not only remembers when The Choir was called Youth Choir, but I was also a big fan. I was
fortunate to have a brief stint on the road with them as the front-of-house mixer in the early ’90s, and even then they were
committed to finding the perfect combination of vintage and modern gear. Once again, this was the agenda in the making of
the band’s newest release O How The Mighty Have Fallen, its first album in five years.
MIGHTY ESSENTIAL::
The sonic backbone of O How the Mighty Have Fallen is the distorted guitar tones and rich, lush, melodic dreamscapes. To create
these textures, guitarist Derri Daugherty, who moonlights as a guitarist with The Lost Dogs (with Michael Roe and Terry Taylor),
and producer/guitarist Marc Byrd relied on a diverse palette of vintage and recent gear.
Daugherty’s guitar of choice was his hollow-body Gretsch Nashville. “It’s my favorite guitar, and that’s usually the first thing I
reach for,” he says. “It’s cool because the open tuning thing works well, and the Bigsby (tremolo bar) on it is really solid. I can’t
figure out why it stays in tune so well, actually. It’s a blue sunburst reissue, but this has got TV Jones pickups. They’re cool
pickups, kind of like Gretsch hand-wound reissue.” Daugherty also played a 1967 12-string Gibson ES 335, a hollow-body Fender
Telecaster and a gold-top Gibson Les Paul with mini humbuckers.
The guitar tones were processed through multiple effects pedals including delay, overdrive, compression and chorus by a wide
variety of manufacturers including Line 6, BOSS, MXR, Danelectro, Roger Mayer, Maestro and Ibanez.
Daugherty’s classic Vox AC30 and Byrd’s single-speaker Bad Cat proved to be the amps of choice for the album. Byrd describes
his Bad Cat as “a really versatile, cool amp.” “We had the Vox AC30 in one room and the Bad Cat in the other room, because
Derri does a lot of stereo. We were able to get a lot of good separation and natural room ambience,” Byrd explains.
The Choir: (L-R) Tim Chandler, Derri Daugherty,
Steve Hindalong, Marc Byrd & Dan Michaels
Gretsch Nashville
Bad Cat
Vox AC30
Tech 21 XXL
THE LOWDOWN::
Tim Chandler covered the bass duties with his Aria Pro II bass guitar equipped with a single humbucker pickup. He played his
instrument through a Gallien Krueger bass head and Ampeg SVT half-stack with four 10-inch speakers. “I’ve been using that
speaker cabinet since 1991, when my refrigerator-sized SVT with eight 10-inch speakers blew up under mysterious circumstances
at Cornerstone during a Daniel Amos set,” he says.
STICKS & STONES::
Choir drummer/percussionist Steve Hindalong played a DW kit that he borrowed from session ace Dennis Holt (Rebecca St.
James, Kerry Livgren & AD, Brooks Williams). It’s the same kit that Holt played on the City on a Hill classic “God of Wonders.”
“He has a lot of kits, a session drummer like that, but that’s the one I like,” says Hindalong. “It’s deep. It’s resonant.”
Hindalong complemented the kit with his collection of Zildjian and Wuhan cymbals and a Ludwig Black Beauty snare drum. He
describes his secret to tuning drums: “I always tune the bottom heads slightly higher than my top heads. I get the top head pretty
loose, and I tune one lug lower than the rest, and that gives it that descending (sound).” Hindalong also accentuated the album
with various keyboard textures performed on the Korg MS2000B analog modeling synthesizer. “I feel like a real musician!” he says.
Steve’s drum kit
Korg MS2000B
Selmer Mark VI
tenor sax
SAX, SYNTH & AMBIENCE::
Sax player Dan Michaels’ instrument of choice is an early model Selmer Mark VI Tenor Sax with a Strathan mouthpiece. He also
plays the AKAI EWI 3000 electronic wind instrument, which lets him play synthesizers via this futuristic saxophone-esque wind
controller. You can hear it on the album’s final cut, “To Rescue Me.”
Byrd, whose side project Hammock recently recorded the ambient music album Kenotic, added a host of atmospheric textures
to the album. To get the dreamy, synthesizer-like part that opens the album, he used a Fender Stratocaster specially equipped with
a Sustainiac pickup. This unique pickup uses a circuit that keeps vibrating the guitar strings, making notes last for as long as the
player wants. “I use that a lot of times to create ambient atmosphere in the background,” Byrd says. “And, of course, I run that
through Roland Space Echo, Boss Reverb and the Line 6 (delay modeler). I customized the Line 6 ‘autoswell’ sound... I tweaked
it and got weird frequencies at the end. I use that a lot with reverb and all kinds of other effects.”
One of Byrd’s sonic secrets is using open tunings for the guitar. Instead of the standard E-A-D-G-B-E tuning, he uses E-A-E-E-B-E
and C-G-C-G-G-D. “It opens up a new space for you, and then when you go back to standard tuning, it’s almost like a new space
also,” Byrd says. “Switching back and forth between the two helps me stay fresh.’
Fender
Stratocaster
Select source material provided by Anthony DeBarros
GEAR :
LINKS
For more information on the artists and gear on this page, visit:
thechoir.net, thelostdogs.com, hammockmusic.com, voxamps.co.uk,
badcatamps.com, line6.com, gretsch.com, sustainiac.com,
dwdrums.com, zildjian.com, korg.com and akaipro.com.
58 ccm september 05
ccmmagazine.com
Russ Long is an award winning recording engineer who has helmed gold and platinum albums by Sixpence
None the Richer and Newsboys as well as recordings by Relient K, Wilco, Phil Keaggy, Over the Rhine and
others. Russ recently created an educational DVD on studio engineering tailored for singers, songwriters
and home studio enthusiasts. For more information visit audioinstruction.com.
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standingroomonly
your guide to concerts
All photos by Andy Argyrakis
by Andy Argryakis
L-R: (top) Newsboys’ frontman Peter Furler, (bottom) Newsboys’ bassist/singer Phil Joel, A.A. guitarist/vocalist Tyler Burkum, A.A. frontman Mark
Stuart, Superchic[k] guitarist Melissa Brock, (top) Superchic[k] founder/keyboardist Max Hsu and (bottom) Superchic[k] frontwoman Tricia Brock
SHINEFEST
NEWSBOYS, AUDIO ADRENALINE AND SUPERCHIC[K]
OLIVET NAZARENE UNIVERSITY | BOURBONNAIS, IL— JULY 17, 2005
Considering that all summer, music buffs around
America looked toward Chicago in anticipation of
Lollapalooza (the extravaganza featuring the reunited
Pixies, Weezer, Billy Idol and The Killers), it would
seem awfully difficult for fellow festivals to compete.
However, not only did a killer Christian music line-up
draw an enormous crowd to the area in spite of
that national fete, but it filled up to near capacity
during the very same week. That’s because the trio of
big guns that topped the bill brought an explosive
outpouring of high-octane entertainment, characterized
by loads of new material and a handful of charttopping hits.
Leading the list was Australia’s favorite altrockers-turned-worship-leaders, Newsboys, who’ve
been celebrating a pair of praise projects—
Adoration: The Worship Album and last fall’s Devotion.
Each earned split showcasing behind flying fog and
gargantuan lighting displays, which, like the
Newsboys’ solo tours, was state of the art on all
levels. Such impressive visuals set the mood for
congregational singing during the chants of
“Blessed Be Your Name” and the escalating anthem
“I Am Free.” The evening’s demeanor remained
vertical for a resplendent take on “He Reigns,”
during which a local children’s gospel choir
supported frontman Peter Furler and Co.
Of course, the band couldn’t ignore the obligatory
favorites, which were anything but redundant. For
example, “Entertaining Angels” was a trade-off in
harmonies between bassist Phil Joel and the
group’s newest member Bryan Olesen (also a member
of new Inpop act Casting Pearls), who reached
incredible vibrato range that rivaled the original.
“Shine” has been a set staple since it landed on
Going Public, but, in this case, was sped up slightly
to invite all to bounce more briskly with the beat.
Come “Breakfast,” the extremely dedicated held
up Captain Crunch cereal boxes, much to the
amusement of each of the players.
Audio Adrenaline possessed an equally forceful
flare, uncovering its new album Until My Heart
Caves In and reinterpreting the oldies. The gang’s
set started on a fresh note thanks to the rousing
60 ccm september 05
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“Clap Your Hands,” which, as the title implies, got
everyone cheering in unison. The craziness carried
over into the wild “Worldwide” and a retooled
version of “Big House,” amplified by beefy guitars
and singer Mark Stuart’s snarls. On a softer note,
bookend ballads “Ocean Floor” and “Starting Over”
gave way to the band’s serious side, paving the
way for the reflective “Until My Heart Caves In.”
The track introduced the group’s current theme of not
merely walking through life numb, but fully embracing
each opportunity under the Lord’s direction.
Illinois’ very own Superchic[k] gave concertgoers
plenty to think about as well, primarily prodding
youth to not be ashamed of the gospel. Cuts off
the recent Beauty From Pain (such as “Anthem”
and “Pure”) inspired all to stand up for faith, no
matter how much peer pressure and personal
problems get in the way. “So Bright (Stand Up)”
and “One Girl Revolution” were also empowering,
wrapped around a series of electronic samples,
pop/punk instrumentation and hip-hop nuances.
Like the two acts that followed, Superchic[k]
engrossed the audience and held down a presence
within the summer’s sweltering heat.
HERE AND THERE
Are you within a day’s drive?
Here is a concert date you won’t want to miss!
9/5
Michael W. Smith with Third Day
at the "Rock the Universe" festival in Orlando, FL
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.
SITTING DOWN WITH HOMETOWN
HEROES SUPERCHIC[K]:
Considering Superchic[k] hails from the
Chicago suburbs, the touring titans played
to a humongous homecoming crowd at
Shinefest. Here are some snippets of a
conversation with bassist/vocalist Matt
Dally on coming up in the Chi-town scene,
Shinefest and Superchic[k]’s fanbase:
SOUTH SIDE SHOUT OUTS: "Back in the day,
I used to hang at a club called ‘Off the Alley’
that every South Side band dreamed of
playing. I had the chance to play at one of the
last shows ever at the club, along with every
coffeehouse, church, gym and any place that
would hold us throughout that side of the [city]!"
LOVE AFFAIR WITH THE LINE-UP: “I'm a
huge fan of Audio Adrenaline because they're
great guys and a good rock & roll band that
isn't afraid to really rock. Newsboys is a great
band from Australia that we've toured with
before. They're awesome guys and have a lot
of energy on stage.”
FAVORABLE FANFARE: “It's amazing because
every time you put out a new record, you're
really excited about the songs and want to
get the fresh material out there. Usually it
takes someone hearing it several times or
seeing a show a couple times to really get
into it, but for some reason, people are really
relating to this record right away."
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BYTHENUMBERS
9273Chris Tomlin01845
by Gregory Rumburg
Millions, reportedly, sing this popular songwriter’s worship anthems each
week in churches around the big blue marble we call earth. “Forever.” “We
Fall Down.” “The Wonderful Cross.” Yet Austin’s Chris Tomlin and his
bandmates—Jesse Reeves (bass), Travis Nunn (drums) and Daniel Carson
(guitar)—prefer to be known simply as regular guys. Go figure.
9 1,500
Years old and suffering from mono, Tomlin started playing acoustic guitar. He
was unable to field second base for his Little League baseball team, bored and
driving his parents crazy, so his dad, a picker himself, taught Chris to play
the hits of fellow Texan Willie Nelson. The first two Chris learned were “Blue
Eyes Crying in the Rain” and “On the Road Again,” which he still enjoys.
Participants in Austin Stone Community Church, the congregation Tomlin
helped plant in his Texas home almost three years ago. It predominately
serves students at the University of Texas at Austin.
90
8
50
2
150
1
’06
82 28
Percent of church plants failed in Austin at the time the congregation was
taking root, according to church officials.
Guitars now owned by Tomlin, including acoustics by Collings, Avalon,
McPherson and electrics by Gibson and Fender.
Simultaneous Top 10 hit singles—“Indescribable” and “Holy is the Lord,” from
Arriving (sixsteps)—on Radio & Record’s Christian AC chart for five weeks, a deed
that’s never been done before, according to Tomlin’s record label. Tomlin says,
“It’s awesome to see songs like ‘Holy is the Lord’ getting on radio airwaves, not
because it’s our song, but because those kind of songs, I think, are important for
people to have in their hearts. The song is to God and has nothing to do with the
artists behind it.” “The Way I Was Made” is traveling through charts now.
Dove Award credited to Tomlin last spring for Arriving, tapped as the 2005
Praise & Worship Album of the Year. Chris recalls: “It was a special moment—
my parents were there. My mom and I used to watch the Dove Awards when I
was a kid, and I’d always joke, ‘I’m going to take you! I want you there when I
win some day!’ So it was cool to have that happen.”
Tomlin’s average golf score, but he admits until further notice, “I’ve put my
clubs on ice. My average started climbing because I wasn’t playing enough.
I’m way too competitive to have that happen.”
LOVE
The peculiar expression for ‘zero’ in tennis, Tomlin’s latest athletic endeavor.
“I’m crazy about tennis. I’ve played since I was a little kid, but in the last year
I’ve really gotten back into it. I try to play two or three times a week now.”
62 ccm september 05
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Percent: Chris’s goal for self-participation in Austin Stone events, despite
his travel schedule. How does he do it? “It’s just a matter of priorities,”
he says. “You always manage what’s your priority.”
Concerts and events performed a year by Chris. Tomlin’s favorite live
event is the Passion conference format. Passion invites students
worldwide to seek God in corporate worship. “There is such a hunger and
readiness there… to encounter God. It’s a beautiful thing to lead college
students that way,” he says.
Signifying early January’s four-day Passion ’06 Conference taking place in
Nashville. Tomlin again plans to be one of the event’s lead worshippers.
Cities planned to be visited this fall during “The Indescribable Tour,”
featuring Tomlin, Matt Redman and speaker/author Louie Giglio. “I love
doing our own concerts, too,” Tomlin says, adding he’s looking forward to
being with Redman and Giglio because they are “two of my best friends.
It’s going to be a great night…where people will hopefully be in awe of God.”
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apersonalperspective
by Lisa Kimmey
THE GOAL IS Soul
When we invited Out of Eden’s Lisa Kimmey to write this
month’s guest artist column, we knew she’d have something
compelling to say. Besides being one of Christian music’s urban
pop pioneers, the singer/songwriter/producer is a deepthinking woman who esteems integrity, grace and creativity.
We’re honored to have her join us this month…
“I remember a time when it was all
This summer, I took a drama workshop taught by actor jeff obafemi carr,
creative director of Nashville’s Amun Ra Theatre and co-star with
Michael W. Smith in the upcoming film, The Second Chance. As an artist, I
believe you should constantly stretch yourself and be willing to try new
outlets that prevent you from feeding a TiVo addiction.
The class was fascinating. He lectured, we did exercises, and we went
on some unique field trips. One trip in particular is lodged in my mind:
a visit to the home of Dr. J. Robert Bradley, a man I’d never met or even
heard of.
As it turns out, Mr. Bradley is world-renowned.
Growing up, Bradley was illiterate, but he could sing. As a boy he sang
all over Memphis before landing as a young adult in Cookeville, Tenn.,
where he was discovered by a white college professor who defied
segregation by teaching him music, reading and writing.
Bradley later became a singer and philanthropist who has performed
all over the world. He was knighted in Africa and Korea and given
honorary doctorates by several institutions.
I was moved as he told his story, constantly reminding us that his
relationship with the Lord was his saving grace. This man of 85 years
poignantly shared his life experiences. In closing, he encouraged us to
take care of ourselves, including watching the food we eat. “I mean, I like
neck bones, but they don’t taste like they used to,” he quipped.
I walked away with those words ringing in my ears, and as I thought
about what to write, it struck me that those words capture how I feel
about the Christian music industry.
I remember a time when it was all about pushing the envelope to reach
the world. I remember when WAY FM came to my church and played
Heather & Kirsten, Mike E and other Christian hip-hop and R&B, along
with Michael W. Smith and Steven Curtis Chapman, as a sample of their
future playlists. I now recall looking at one of our industry's leading
publication’s list of "The Top 50 CHR Songs of 2000" and being shocked
to find “Shackles” by Mary Mary and “Revolution” by Kirk Franklin—
both huge songs everywhere else—not even in the Top 20. I thought,
where is the disconnect?
I’ve seen Christian R&B, gospel and hip-hop get smaller, while—in
the mainstream—becoming the most popular genres of music. While
playing at festivals or performing at our shows, I see that the kids
know the music of Destiny’s Child, Eminem and 50 Cent, yet they
have no idea who Kiki Sheard, Detrick Hadden or J. Moss are. While
I appreciate what the Gospel Music Association is trying to do in this
area, it is unfortunate that some of you readers probably don’t know
these artists’ music.
My point is that we have a long way to go. In order
about to operate as the family of God in music, we must be
willing to give more than one genre a platform. We must
learn to appreciate the many beautiful forms of music
that we have in our industry. I personally miss the avant
garde days—making music in tobyMac’s basement, excited
and naïve but happy that there were many others
trailblazing for Christian hip-hop and R&B. It feels like
the industry as a whole has moved forward, leaving urban soul behind.
As I begin to seek God on the next portion of my journey, I wonder
what my response will be. How will I help with the advancement of
acceptance and appreciation in the Christian music industry?
’Cause honestly, I really do like Christian music, but it just doesn’t taste
like it used to. ccm
pushing the envelope
to reach the world.” –Lisa Kimmey
64 ccm september 05
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CLASSIFIEDS
CONTEST
SINGERS
CHRISTIAN SONGWRITING CONTEST with
huge prizes including studio time, cash,
apparel and a chance to open for a national
act. To enter visit god-song.com or call 540842-1119
SINGERS CONTACT ME for Voice Help
Herbs FREE caroltreasures@comcast.net
Quality Vitamins and Herbs. Memberships
are a $40 order for wholesale prices.
mynsp.com/caroltreasures
DOWNLOADS
2005 HOLIDAY MUSIC
BIBLE-BASED MUSIC. Choruses everyone
can sing. Download instrumental tracks
(MP3s) and sheet music with lyrics (PDFs).
Visit mroark.com
INTERNET
A WONDERFUL NEW, ORIGINAL
Christmas song is available for artists
who are planning a Christmas release
for the 2005 holiday season.
“Christmastime In Heaven” can be heard
and publishing information is available at:
songramp.com/Flyingsheep
FAITHROCK RADIO: Today’s Internet Home
for the Best Mix of Christian Music!
Powerful! Positive! Uplifting! faithrock.org
SERVICES
CCM [ISSN 1524–7848] is published monthly by Salem Publishing.
Copyright: CCM © 2005 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
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MINISTRY
TRAVEL THE COUNTRY and get paid! Now
hiring young adults for a unique ministry
opportunity. Call 1-800-359-6922
PERFORMERS
PERFORMERS WANTED! Singing and
dancing required. Must be willing to travel.
Serve the Lord through music! Audition
information at newdawnsingers.com
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halloffame
DISCOGRAPHY
White Horse
(ABC/Dunhill) (1974)
Adam Again
(1977)
(Myrrh)
Seasons Of The Soul
(Myrrh) (1979)
The Builder
(Myrrh) (1980)
Conversations
(Reunion) (1982)
The Race
(Word/Epic)
(1991)
Like Brothers
(1995)
(Sonrise)
Michael
Omartian F
rom the very beginning of what we now call
“contemporary Christian music,” artists have yearned
to cross back over to the culture at large. For many
artists, of course, it was just a dream.
For Michael Omartian, it was just another day at the office.
Over the past 30 years or so, producer, composer,
arranger and recording artist Michael Omartian has
enjoyed immense success on both sides of the Christian and
mainstream music divide, working with a diverse list of
artists, including 4Him, Steely Dan, The Imperials, Donna
Summer, Kathy Troccoli, Christopher Cross … and the list
just goes on.
Born Nov. 26, 1945, in Evanston, Ill., Omartian started to
make his mark in professional music as a freelance session
player and arranger in the ’70s around the Midwest.
His solo debut, 1974’s White Horse, was released in the
general market on the ABC/Dunhill label and in the nascent
Christian market on Myrrh. It was one of the earliest
triumphs for Christian rock, a feast of synths and guitars
that melded progressive rock compositions and pop hooks
with wife Stormie Omartian’s clever, contemplative lyrics,
held together by the sort of top-notch production that
would soon make Omartian famous.
Throughout the ’70s he continued to make strides in the
general market, making hit records with the likes of Rod
Stewart, Eric Clapton and Christopher Cross. He and
66 ccm september 05
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another producer briefly formed the studio group Rhythm
Heritage and hit No. 1 on the pop charts with the rockin’
television themes for “Starsky & Hutch” and “S.W.A.T.”
He also continued to record his own Christian albums
here and there. His wife, Stormie, was the lyricist and a
vocal presence on White Horse and Adam Again; by 1979’s
Seasons of the Soul, they were billed as a duo.
In 1985, Omartian became an independent producer
and began working with several Christian artists, starting
with Gary Chapman and Steve Camp. He moved to
Nashville in 1990 and, in 1991, collaborated on Amy
Grant’s smash A&M/Myrrh set Heart In Motion. Other
Christian artists who have benefited from the Omartian
touch include The Imperials, Kathy Troccoli, Russ Taff,
Point of Grace and many more.
In 2000, Michael and Stormie Omartian created the
popular Christmas musical Child Of The Promise: A Musical
Story Celebrating The Birth Of Christ. The Sparrow Records
release drew on the vocal talents of a wide variety of
artists, including Michael W. Smith, Donna Summer,
Steven Curtis Chapman, Richard Marx, Amy Grant, Bob
Carlisle, Michael Crawford, Crystal Lewis and others.
Never one to slow down, Omartian is currently working
with 4Him on a “best of” record with past hits redone in a
contemporary band motif. He is also doing new artist
development with several promising young artists, and
mixing a Christmas record for Tony Orlando and Dawn.
“Having the privilege of working with so many great
and talented artists in the contemporary Christian music
field over the past 25 years has been a real encouragement
to me,” Omartian says. “I feel I am a part of their ministry.
To serve God, and to do it through music, is a very
fulfilling thing, and to be honored for doing that is
something I would never have anticipated and for which I
am deeply honored and grateful.” C H R I S W E L L
The Players (Warner Alliance)
(1996)
Child Of The Promise
(Sparrow) (2000)
MICHAEL OMARTIAN
HAS PRODUCED HUNDREDS OF RECORDS
FOR OTHER ARTISTS. IN THE GENERAL
MARKET, HE IS SAID TO BE THE ONLY
PRODUCER TO HAVE NO.1 HITS IN
THREE DECADES—THE ’70S, ’80S & ’90S.
Christian artists he has produced include:
2nd Chapter of Acts, Bryan Duncan,
Benny Hester, Matthew Ward, Amy Grant,
4Him, Point of Grace, Wayne Watson,
Kathy Troccoli, Gary Chapman, Debbie
Boone, First Call, Sandi Patti, Steve
Camp, Billy and Sarah Gaines, and
Jonathan Pierce.
CCM COVERS
November 1980
For a complete list of past Hall of Fame inductees, visit CCMmagazine.com.