FolkGalore is Coming in April!

Life is a story. Your story. My story. Our story.

Stories can encourage us, give us hope, connect us to one another, build a sense of belonging, create pride, empower us, inspire us, and create unity.

On April 4-8, the city of Jackson and surrounding areas will be invited to celebrate the art of story through music. Think of it as a “happening” as opposed to an “event.” The happening is called, FolkGalore.

FolkGalore is:

Story.
Music.
Redemption.

For 5 days and nights, venues throughout Jackson and the surrounding areas will host numerous musicians and artists creating multiple stages ripe with stories celebrating the human spirit. Over 20 different stages and venues will host multiple musicians each of the five days and evenings.

Coffee shops, theaters, youth centers, churches, and house concert venues will be filled with music and art exploring what it means to live, love, triumph, fail, celebrate, dream, and learn how to get along. One of the best ways to share in the larger story we are all a part of is through folk music.

Folk music, which is widely defined, has “story” at the heart of it.

For centuries, stories have been told through music and art. Folk music takes its name from “folklore” which consists of a culture’s legends, tales, music, oral history, proverbial wisdom and sayings, jokes, visual art, popular beliefs, fairy tales, customs, and personality.

Folk music has incorporated many genres over time to include Americana, alt-country, blues, country, bluegrass, acoustic, singer-songwriter, and a wide variety and variations of those genres.

But Folk is always about stories.

April 4-8 is Spring Break. With the way the economy has been, not many folks are preparing to travel out of town. We are bringing Spring Break to Jackson.

One $20.00 pass will give participants “all-access” to the venues for concerts and any after parties with the musicians.

Throughout the week, some musicians will also be holding clinics, lessons, and lunch discussions at various times in various locations. For an extra $10.00 a participant can receive a stamp on their pass to gain access to any of these extras.

On Friday, April 8th, the event will culminate in a concert with renowned Americana artists The Steel Wheels (above photo). The Steel Wheels show is included in the all-access $20.00. However, tickets for this show will also be sold separately at the door for those only attending this concert and none of the other weekly events. The Steel Wheels only tickets will be $12.00 at the door.

Save the date! Tickets will go on sale at the end of February.

The Winds--a Song

I was excited to hear this song today by guitarist Jeremy Blaska. I hope to meet Jeremy soon. He wrote this song inspired by The Winds--our Cabernet Sauvignon that raised money for art scholarships.

Grandma's Rusted Car Just Killed a Reindeer

Worship Rises in Canada

I know a lot of Canadian jokes. I share an office with a Canadian. I live in a state that borders Canada. The jokes I didn’t know before meeting him, he filled me in on. I know about moose, beavers, Bryan Adams, and Celine Dion. I watched the Olympics.

The jokes are all in fun and they aren’t really true but nevertheless my Canadian friends have to work extra hard to dispel the myths that they all smell like maple syrup and keep a pair of ice skates in their car for when a game of hockey breaks out. Well, maybe that last one is true.

Plus, I don’t joke much anymore because it eventually gets to where I call them “America Junior” and they trump me with “Canada’s Underpants.”

And with that . . . the following is NOT a joke.

Worship leader Chris Vacher, a Canadian, had a great idea. Chris and a bunch of his buddies that lead music in their churches started getting together and writing tunes with a few things in mind: indigenous worship, camaraderie, Canadian churches, the church worldwide, stretching each other’s artistry, etc.

They called their writing group, “Worship Rises.” Out of this group, they released a four song EP that showed up on iTunes in the states yesterday. You can buy the EP for a whopping $3.96 here.

Buy it on Amazon here.

Chris shared a little on his blog today about the album and the buzz surrounding it.

Follow Chris on Twitter.


Chris has become a good friend of mine over the last few years and I am proud of him. I want you all to know about the album not because he is my friend, not because we scratch each other’s backs in cyber world, not because he is paying me, but because I believe this is an example of what it looks like when God’s church takes their heads out of their self-absorbed rear ends.

I went to Ireland a few years back and the church I visited did songs they had written. About “the troubles” and the political struggles of Ireland, about living in their world. I fell in love with Ireland and the Irish church that day. Because, I was brought into their story. This EP makes me think of Canada, my neighbor to the North and it makes me smile that they took a risk.

This album and movement teaches us or reminds us--who are music people in our churches--of some great lessons:

1. Indigenous worship is honest, tells a story that is familiar and approachable, and has a special “je ne sais quoi” for the local church that is different than plug and play worship where we pick songs that the other cool kids are playing. Give thought to your music. Tell YOUR story.
2. With that said, it is a wonderful thing to then share your story with the world. They may say, “Hey, that’s our story too.”
3. Magic can happen when we rub shoulders with like-minded people in our greater communities. When is the last time you had lunch with another pastor in town (not from your church)?
4. THE church matters more than YOUR church because THE church is JESUS’ church and Jesus is what matters. Personality, style, doctrine, methodology, tastes . . . they grow strangely dim with a kingdom mindset.

Way to go, Canada. Now, let's talk about the Nickleback problem. Can you help there, Chris?

Steve Taylor's Cash Cow

One of the creepiest and coolest songs and videos from one of the creepiest and coolest Christian musicians ever. I miss Steve Taylor. He was ahead of his time.

The Perfect Key : : : Dana Key, 1953-2010

My wife and kids laugh at me when I cry because a musician died. They don’t mean to hurt my feelings. They might think I’m “cute” or something. But, when a musician dies and their music meant a lot to me on some level, I can’t help it. Some music speaks to my soul. Maybe it’s because of the place I was at in life when they grabbed my attention. Maybe it’s because they spoke in a way no one had before. Maybe they made their instrument speak in a foreign tongue.

Sometimes, it’s like losing a friend.

Today has been a trip down memory lane for me. The Christian music world has indeed lost a friend.

Dana Key, guitarist and vocalist extraordinaire most known for his work with the band, DeGarmo & Key passed away yesterday from a ruptured blood clot. He was 56 years old.

When I was about 12 years old, my parents became Christians. I had been a Christian for about three years at that time. I was introduced to Jesus by our neighbor—a dear woman who took us to Sunday School every week.

When mom and dad started following Jesus, they did what many of their new Christian friends were doing at the time—they busted up their old rock and roll albums and threw them away with the weed, the booze, and whatever reminded them of their “old” life. Like, the TV.

Problem was, I never had an “old” life like them and I still loved rock and roll.

Mom and dad insisted I get rid of all my albums too. They threatened to destroy them by fire. So, I would hide my albums at friends’ homes and even gave a stack to my girlfriend for safe keeping (my girlfriend became my wife and the albums were spared from the fire).

I was shaped by the contraband I listened to in the 70’s and 80’s. Rock stars were more than entertainers—they were my friends. They were my authority. They were my heroes. I found comfort there. I found peace. I found me.

Many of my newfound Christian friends introduced me to Christian rock and roll. In the late 70’s and early 80’s, it was not cool to be a Christian rocker. Most churches frowned upon the music. Christian rock pioneers were strangers in their hometowns. Many were kicked out of their churches. I LOVED these guys.

Parents who hated rock music hated ALL kinds of rock. Supposedly demons would dance to it. Supposedly, even if you played Christian music backwards, Satan would whisper secret winning lottery numbers to you and make you like Queen.

Back then, Christian rockers were twice removed from the church and the world. They were Christians so the world hated them. They were rockers so the church hated them. I found comfort in identifying with these people. Rebels with a cause.

Early Christian rockers pissed off religious folk. That was a banner I was willing to wear. And, honestly, still wear.

One day (I think in 1981) while at a friend’s home, I perused his album collection. There were a lot of albums I hadn’t heard. A lot of Christian rockers I hadn’t been introduced to yet. A couple of albums really caught my eye by a band called DeGarmo & Key.

They had long hair. They dressed like normal rockers. Their smiles looked like they knew a secret. I was compelled to listen.

For a boy that grew up listening to his dad’s pre-charred albums like Clapton, Van Morrision, Jesse Colin Young, The Who, Cat Stevens, Allman Brothers, etc. this music was just what I needed.

I rode with my friend and his brother who was a few years older and just got his driver’s license to a little store where they sold Christian rock albums. I bought everything by DeGarmo & Key and some others including Larry Norman, Mark Heard, Petra, Servant, and Resurrection Band. My new friends.

I stored the albums at my friend’s home and got there as often as possible. One song by DeGarmo & Key would make me cry every time I heard it.

ADDEY
Addey's a cat, she's a fool, she's a star, she's a queen
She lives in a trap down on third, never heard, never seen
She's desperate for a way to get out
But she don't know what out means
Ah, Addey, don't you be so afraid,
It's not as bad as it seems

She walks cross the floor, toward the door,
To stairs, to the street
She calls up a cab for downtown
There's a man she must meet
Ah, the thought that she has to go through
Makes her cry to be free
Oh Addey, wipe those tears form your eyes
You wouldn't want him to see

She puts on your face with a smile
As she walks through the door
She thinks of her folks, and her home
And what she came there for
Ah, she tells the man that after this time
She won't be back for more
But he says ; “Huh, Addey don't you be a fool
You've said the same thing, time and time before”

She runs down the street,
In the heat, down past Nowhere café
She drops to her knees 'neath a tree
But she don't know how to pray

Oh Addey, there's not life in that rig
Why don't you pack it away
Trust in God for a new kind of life
Honey, He won't lead you astray

DeGarmo & Key was one of my dad’s gateway drugs back into music. After his extreme reaction to all rock music in general, my dad came around and tried on his Christian rock pants for a bit. He too listened to D&K, Petra, Rez, Keaggy, Norman, Mylon and Broken Heart, Mustard Seed Faith, Heard, 77’s, and a host of others with me. Today, dad appreciates all music. Thank God. He even bought his old albums back—on CD.

Today I am praying for Dana’s family and the church he pastored in Tennessee.

Thank you, Dana for helping a kid and all his friends. We all boycotted hell.

Thanks for the music. Thanks for the memories. Thanks for the contraband.

Somewhere over the rainbow
Beyond the land of Oz
Beyond the reach of man
Beyond the stars

There's a silver palace
There are streets of gold
There's a place believers
Call their home

No more separation
No more tearful eyes
No more loneliness
No more goodbyes

--No More Goodbyes, D&K

Passion: Awakening? It Will Take More Than This.

Earlier today I tweeted:

“Listening to a relatively new album that is apparently popular and wondering why I don't like even one song on it.”

I left it open-ended so people would try to guess what I was listening to. Many people jokingly guessed I was listening to Miley or Justin Beiber. Well, I’ve heard Miley’s album many times in this home with a 10-yr-old girl and, honestly, I enjoy Miley’s latest album more than this one.

The mystery album? Passion: Awakening.

In February, I was given a copy of the new Passion:Awakening CD. I love free music. I listen to most of the free music I get. I’m curious if nothing else.

I tried to like this one. I really did. I wanted to like it. Especially since I’m always on the lookout for good worship tunes to do at Westwinds.

I read the tweets. I heard the hype.

But, I don’t get it.

Some of my friends love it. I’m not a fan.

I asked my wife to listen to it with me just in case I am missing something. In case I wasn’t tapping in to my inner soccer mom and looking past my own musical taste and missing a jewel that would speak to our church.

She’s not a fan either. Nothing grabbed her (although she is more gracious than I am and said things like, “I can see how someone would enjoy this one”). Although, still, nothing got the thumbs up from her to try on the set list.

Passion has turned out some decent worship tunes over the years. Some of our favorite church tunes over the last few years have come out of the movement. Some of my favorite worship music artists have been and are still associated with Passion.

But, this one . . . falls flat in my opinion. It’s not horrible. It’s just not interesting.

I might be getting old but, I don’t think that’s the problem—I can still rock with the best of them and I have a diverse palette when it comes to music. (although I don’t really enjoy listening to any “artists” with acronyms for names, lame monikers, hyphens and dashes in their name if the dash or hyphen follows one letter, or most music made in the Disney laboratories).

Maybe it’s that . . . and I KNOW this sounds like I’m getting old . . . but . . . it all sounds the same. Or, at least it sounds like every other major label worship album with a marketing budget out there with the exception of very few.

Maybe it’s that I’m tired of worship music mimicking U2. And falling short.

Maybe it’s that I wish someone would tell the powers that be that songs don’t need to be four on the floor (ummm, a kick drum every quarter note) to be cool and energetic.

Maybe it’s the mix. Lots of vocals. Lots.

Maybe it's no variety in the instrumentation.

Maybe it’s that the majority of the lyrics are cliché. Overused. Same rhyme schemes. Not a lot of thought. I can get past a lot of cliché lyrics when there is a compelling melody that makes it hard not to sing but I was barely tempted to sing along.

Maybe it’s all the above.

I don’t want to take apart any specific artist or song. I wasn’t grabbed by any of them. Don’t get me wrong, I like many of the artists on the album, I just don’t like the album. Many of these artists are heroes of mine. Great people.

One exception on the album is David Crowder’s version of John Mark McMillan’s, “How He Loves Us” but that barely counts because it is 5-years old. The song has already been done by McMillan, Crowder, Kim Walker, Todd Agnew, Flyleaf, and The Glorious Unseen (am I forgetting anyone?).

A lyrical exception is Crowder’s, “Like a Lion” but, alas, Crowder didn’t write it. It was written by Daniel Bashta who should have done it on the album. The original is better.

There are a couple I might like if I didn’t like them better when they went by another title and were done in 1998. Or 2000. Or 2002. Or 2005.

Maybe the songs will work for your church. Maybe I’ll listen again and something will grow on me. Maybe a ton of people will request we do a song at Westwinds and we decide it’s worth a try. But, after 4 listens, I’m done.

How Video Games Saved Church Music

There has never been a greater, happier, more fulfilling, more fun period of time in my 20+ years of being a musician in the church as this very moment. By “moment” I am referring to the period of time that began sometime in 2004 and stretches to the present—The age of Guitar Hero.

2004 saw the invention of Guitar Hero. God’s gift to the church musician. On its heels, RockBand came along in 2007 and the angels sang once again.

Not exaggerating.

Church musicians and church personalities come in all shapes and sizes but, if you are in church that is missional in any way (use your favorite descriptive word like seeker targeted, seeker sensitive, relevant, whatever), you are always seeking for songs that are winners. Songs that create moments. Songs that relate. Songs that people dig. As many people as possible.

Talk about livin' on a prayer.

Unless your church is predominantly one demographic, you swing the pendulum knowing every song is not going to hit everyone the same way but you hope it hits some. Few of us have a church full of 35 year olds who crave a Pearl Jam or Nirvana song every week.

Variety is key. But . . .

Something has changed and we owe a great deal of gratitude to the folks at Guitar Hero. They introduced Classic Rock to a generation who used to think it was dad’s old crappy music. Not only Classic rock but a variety of songs that were popular in the 60’s, 70’s, 80’s and 90’s not to mention current hits. Then, with RockBand’s introduction of Beatles RockBand in 2009, some of the greatest music of all time was introduced for the first time to the young masses. Happiness is a warm game.

For the first time in history, when parents are yelling, “turn that down!” there is a good chance it is the exact same song their parents’ told them to turn down . . . or, grandparents told their parents.

What does this mean for church musicians? It means your grab bag of songs should start with these catalogs.

But, the great thing is, it’s not only specific to these catalogs. All of a sudden, Classic Rock is cool across the board. And, all those 30 and 40-something’s who are coming back to church after years of hiding are bringing their kids who already know the words to what dad was listening to in the 80’s and 90’s. Outside of the game playing, younger crowds are listening to Classic Rock and 90’s RADIO because, if it’s cool for the game, it has to be cool. A Kansas song can show up on a game and kids go to iTunes and download the whole album.

Take a trip to Kohl’s or even Hot Topic and look at the clothing. Vintage rock tees such as AC/DC, The Doors, Van Halen and Rolling Stones have trickled down to the stores that cater to teens and they are buying them up faster than dad can say, "radical (or boss, or cool, or awesome)!"

In the last few months at Westwinds, I have run a little experiment. I incorporated Beatles tunes into worship medleys, played songs by The Who, Rolling Stones, REO Speedwagon and others with incredible feedback. By everyone.

The kids, college young adults, parents, and the older folks are all high-fiving us on the same tunes. One older lady who often comments about volume recently thanked me for playing The Who’s “Christmas” that hints at the Tommy lyrics. She is in her mid sixties. “That really spoke to me” she said. “Thank you for playing the music I love. You always do a good job.” (P.S. it was the loudest we have played in a long time).

It is also interesting that worship music heroes like David Crowder have embraced their inner classic rock and, in so doing, have made it okay for the more conservative Christian kids to listen to. After all, Ted Nugent played a guest spot on Crowder's 2007 album, "Remedy."

The planets have aligned. Thank you God. And, thank you video games.

Old Songs, New Songs, You Know I've Had My Share

The other night on Twitter, I asked musicians, worship leaders, pastors, and whomever wanted to add anything, how they determine what songs to shelf for their church. When does a song feel old? How many times is too many times to sing a song?

The answers were great--(most were funny responses that were inside jokes about washed-up bands, churches, and such)--but many of them were helpful.

I didn't say what my own philosophy is, I simply asked the question. Most people (according to the survey) rely on gut check, feedback from their band and congregation, a sense of when a song feels "dated", how their church responds in the moment, and the sheer number of times they have done it(VH1 gives away an award each year entitled, "Your Song Kicked Ass but was Played Too Damn Much." Sometimes, that's just the case).

We rely on the same things to varying degrees. We track our songs on a spreadsheet so we don't overdo them, we drop them if they felt good at a listen but don't work live, we play them more when people love them and request them, etc. AND, we also believe the biblical idea of "sing a new song to the Lord" is more than just a suggestion so . . . we regularly bring on new songs and phase some out. Sometimes, songs are still "good" they just need to take a time out.

And, occasionally, one of the best things you can do at a church is bring back an oldie with some new spit polish and fresh arrangements. Familiarity and nostalgia can go a long way.

I like songs to go out like Seinfeld--on top, nothing wrong, just feels like it's time to end. Then, the song always has good memories attached and when we bring it back--if ever--it's like seeing an old friend.

A great add from friend Patrick Murphy was, "I want to say, forget relevance. Stop worrying about old and new." Patrick also added to remember the value of creating within your own group and not relying wholly on songs that are written by and/or sung by others (I'm embellishing a bit). I agree with Patrick in that I never think it's a good idea to abandon a song just because everyone else already did. It's never too late to pick up a song everyone else has been doing for a bit. Think about your own community. Just because Crowder wrote a new song doesn't mean you should do it, even if everyone else is. It may be wrong for you. There is value in singing the songs the church is singing worldwide but, it shouldn't be our only criteria for picking/playing/rotating/retiring songs. And, we highly value indigenous worship tunes.

I'm trying something fun this quarter at The Winds. I made a list of our "favorite" tunes over the last 6 years. The list was HUGE. I picked about 40+ off that list for this quarter (and threw in some favorite original tunes that our church loves). So, Westwinds will be taking a trip down memory lane for the next 3 months. The only songs that will be repeated in 3 months will be a fistful of songs we learned in the last 2 months so they stay fresh and we learn them well. No other songs will be repeated. It's like the Top 40 Countdown for Westwinds.

It was a hard task. Next quarter, we will hit another 25 or so. I thought you might want to see the list. They are in alphabetical order.

1. 1000 Hallelujahs—Mark Roach
2. All Around Me--Flyleaf
3. All We Need—Charlie Hall
4. Always Something—John Voelz
5. Anytime Lord—John Voelz
6. Beautiful One—Tim Hughes
7. Beautiful Wonderful—John Voelz
8. Bless the Lord—Among Thorns
9. Cannons—Phil Wickham
10. Chainbreaker—Charlie Hall
11. Count Me In--Leeland
12. Dress Us Up—John Mark McMillan
13. Eternal One—Robbie Seay
14. Everyone Under the Sun—Vickie Beeching
15. Everything--Lifehouse
16. From the Inside Out—Joel Houston
17. Glory of it All—David Crowder
18. God of This City—Chris Tomlin
19. Here is Our King—David Crowder
20. Hosanna—Paul Baloche/Brenton Brown
21. How Great is Our God—Chris Tomlin
22. I Will Lift My Eyes—Bebo Norman
23. I Will Not Forget You—Paul Baloche
24. I Will Overcome—Charlie Hall
25. I Will Rise—Chris Tomlin
26. Indescribable—Laura Story
27. Life Light Up—Christy Nockels
28. Love Has Come—John Voelz
29. Magnificent—U2
30. Mighty to Save—Reuban Morgan
31. More of You—John Voelz
32. My Reward—Paul Baloche
33. My Song—Bob Bullock
34. My Surrender—John Voelz
35. Nothing But the Blood—Matt Redman
36. Praise Him—David Crowder
37. OK--Mutemath
38. One Thing/Doxology—Charlie Hall
39. Remind Me—John Voelz
40. Rescue—Jared Anderson/Desperation Band
41. Shot of Love—John Voelz
42. Sing—John Voelz
43. Song of Hope—Robbie Seay
44. Sound of Melodies--Leeland
45. Take My Life—John Voelz
46. Take Us In—Vineyard
47. The Least I Can Do—Mark Roach
48. The One—Brian Chandler
49. This is How We Know—Matt Redman
50. Today is the Day—Lincoln Brewster
51. Whatever—John Voelz
52. Wonderful King—David Crowder
53. You Lifted Me Out—Chris Tomlin
54. Your Love Never Fails—Chris Quilala

The Westwinds Top 11 (because it's one louder)

Westwinds Top Worship Tunes of 2009

We get a lot of mileage out of our indigenous worship tunes at The Winds (written by me or others in our band) but there are quite a few we use from the giant pool of resources in the worship music industry that our people love. You may sing some of these at your church.

Honestly, not all of these were MY favorites (some were), but I guess it's not all about me. These are the ones we tried that stuck. People dig 'em.

We got the most feedback about these tunes in 2009 (not necessarily in this order):

1. Life Light Up by Christy Nockels
2. The One by Brian Chandler
3. All Around Me by Flyleaf
4. This is How We Know by Matt Redman
5. God of This City by Chris Tomlin
6. I Will Rise by Chris Tomlin
7. Magnificent by U2
8. Today is the Day by Lincoln Brewster
9. Mighty to Save by Reuben Morgan
10. From the Inside Out by Joel Houston
11. Your Love Never Fails by Chris Quilala

Foo Fighters "Wheels" Video

Not only do they rid the world of Foo, they can't write a bad song.

The Tyranny of Theme Part 2

Why is it that church musicians listen to Radiohead and say they are inspired and moved yet pick a Nickleback song for the weekend?

I want people to engage and have a deeper level of listening. When we explain art away, we open the door to passive interaction—the lowest level of listening.

When there is an unidentified noise in your home, you seek it out with due diligence. Where is it coming from? What does it mean? Is something broke? Am I in danger? Once you identify it, you deal with it. But, if someone says, “oh, that’s just the wind blowing the tree against the house” you stop listening. You “hear” it, but you don’t listen to it anymore.

When we explain art away and live under the tyranny of theme—especially obvious theme . . .

No one asks questions. They don’t need to.

No one arrives at their own conclusions about their own lives. We tell them what to think.

No one is bothered. We tell them it’s okay.

No one is convicted. There’s no element of surprise.

Often, people will ask me why we “use” certain songs at the Winds. But, I don’t think in terms of “using” art. At least not in the sense these folks are thinking of when they ask the question.

I certainly don’t think of music as something we “use” to get to the “real message” (sermon).

Music isn’t “used” to round out 60 minutes and offer something other than a talking head.

Music isn’t simply used to communicate one theme at Westwinds.

Our music, like everything we do on the weekend is about aggregates and gateways. Sure, we aren’t completely random. We pray. We think things through. We pick the right song for the right moment. But, we aren’t mono-thematic.

What I really, really, REALLY want to see happen is for the people who are in charge of music selections at their churches to look past obvious theme. I want to see us not be afraid of the world of metaphor, tension, concurrent subject matter, emotional and physiological response, and avant-garde.

So, instead of asking your network of music people if they know a good song about “money” because your pastor is doing a sermon on “tithing,” (which will garner obvious and overdone suggestions like Pink Floyd—Money, The Beatles—Money (That’s What I Want), and Calloway—I Wanna Be Rich) let’s think for a change.

If you are stuck in the theme mode, at least think about deeper layers of themes. A theme like “tithing” gives you a plethora of places to go from comfort, to sacrifice, to commitment, to mission, to obedience, to state of the heart, to lifestyle, to choices, to fear, etc.

OR . . . OR . . . don’t do a song at all!

OR . . . do a song that isn’t tied to the theme at all.

OR . . . do a song that is pertinent for other things your church or the world is experiencing.

OR . . . do a song because it is a good song and it needs to be heard.

One of the greatest things that ever happened to the church over the last few years was Willow Creek’s influence on music and the arts in the context of the Sunday gathering. But it is that very thing, that theme mindset, which “special song” approach, which sometimes keeps us hamstrung from being creative.

It makes us predictable.

So, we are left to search the internet for themes, ask our friends what worked for them, go to an old book like The Source, or post a frantic request to Twitter because our pastor is speaking on Homosexuality and we can only think of Queen songs.

(P.S. Scott Dyer, author of The Source, is a friend and a good man. The Source has been a huge impact and excellent resource for many. Sometimes, a book like this is exactly what the doctor ordered. But, it is not the only way to approach music selection and I’m sure Scott would agree)

So, church musicians, I dare you to break the mold.

Listen to the radio. Listen to the new iTunes releases. Pull up the playlist of the college station.

When a song grabs you, ask why.

If it makes you cry, you should probably share it. Soon. Because.

If it makes you smile, buy the chart.

If it bothers you, put it on the calendar.

The Tyranny of Theme Part 1

I see it every week. On Twitter. On Facebook. On various network loops I belong to.

The quest for the perfect “feature” or “special” song to use on a Sunday.

Typical scenario:

1) Someone decides upon a theme.
2) A team brainstorms what movie clip/music they can use to support said theme
3) Some songs make the cut and then the music person asks their network for ideas

Maybe there is a missions conference happening. So, the senior pastor puts it out to his “creative team” to find the most pertinent—ahem, most obvious—“mission” songs.

Typical Tweet: “Looking for a killer energetic opener for the missions conference. Last year we did “Takin’ it to the Streets.” Ideas?”

God forbid the theme is something like Ananias and Sapphira to send the poor music person on a quest for a song about an untimely death.

I’m having fun, but I think it is time for us to retool.

Food for thought . . .

Are we willing to let the song stand on its own? I seldom give a song a setup or explain away all the mystery. I want it to speak for itself. Art is dialogue.

Yet, in our theme-heavy church services, we take away the guesswork for people. The most fun and effective part.

Sometimes, usually because a pastor can’t live with tension or doesn’t want people to get the “wrong idea”, someone will give away the whole punch line of a song before it begins. Example: “This is a song about how we need to get along and stop bickering. It is a sad song about how a person is hurt by words. It is a great story about a dad and his daughter. Listen to the words. Ask how you use words. Do you need to change?” And one and two and three and four and . . .

Boring. No adventure. No discovery.

One of the things I love about watching LOST is the conversation that happens outside of the program. The endless search for deeper meaning. Clues. Suspense. Metaphor.

ABC did something with their new series, “FlashForward” after week one that made me furious. At the commercial breaks, the commentator gave us hints as to the clues. He would say, “did you catch that name? Could be important!” Or, “Did you see the kangaroo? That probably means something.”

I almost stopped watching. I’m not an idiot. Don’t dumb it down for me.

I wonder if we sometimes do that with our “creative” process. “Hey, everyone . . . here are the clues. Here is what to listen for. This is the theme for the day. Get it? Get it?”

The Downhere Christmas Album Doesn't Suck! Woo Hoo!

True confession: When it comes to Christmas music, I am usually pretty "Bah, Humbug." I get tired of it real fast. It always starts too early in the year in the stores. And, when it comes to new Christmas albums, it seems like I have to sort through quite a pile before I find anything fresh. I'm jaded. But honest.

Today, a Christmas album hit the street that is a breath of fresh air.

The guys from Downhere have turned out quality music for the past few years. Good poetry. Thoughtful. Engaging. Well produced. Fresh perspective. Well arranged. Good humor. Tight harmony.

"How Many Kings?: Songs for Christmas" has many great moments and makes me happy as opposed to the usual "I should have just downloaded the single for 99cents instead of wasting money on a whole album" feeling I usually get.

We are covering the title track at Westwinds on Christmas Eve. We are also doing their arrangement of "God Rest Ye Merry Gentlemen" (a song that i have NEVER done at Christmas). Good King Wenceslas has a great little groove. Five Golden Rings was a fun little surprise and touch of Downhere fun. I love that these guys don't take themselves too seriously (p.s. buy their first album and stick around for the hidden track). Even the Silent Track is enjoyable summoning a bit of a Sigur Ros feel.

Thanks, guys . . . for not sucking.

I interviewed Jeremy a while back. You can read that interview here. I have always appreciated these guys. Buy the album. Rock stars need money. Click below for instant gratification.



Check out their video below:

Muse: The Making of Uprising

U2 360 in Chicago = "Magnificent!"

U2. Always an amazing live show. Just when I think they can't do anything even equally as stunning as their last stage production, they go and do something crazy and innovative and blow my mind. "We built this spaceship to get closer to you," mused Bono.

Saturday night, we saw U2 kick off their American tour in Chicago with a sold out crowd at Soldier Field. The beautiful remodeled Soldier Field was a perfect outdoor venue--architecturally and aesthetically.

We left for Chicago at 2:00 eastern time, drove 3.5 hours, got stuck in traffic, met our friend Andy, parked a mile away (to avoid the almost $50 Soldier Field parking fee), grabbed some Jimmy John's and walked into the stadium at 7:00 central time. The show ended pretty late and we drove into our driveway back in Jackson at a little after 4am. The alarm went off at 6:00am making for an interesting sleep-deprived day at church. Well worth it.

Ireland's Snow Patrol opened the show. I liked these guys. Better live than in the studio.

Then, David Bowie's, "Space Oddity" a.k.a. "Major Tom" blared through the best live sound system I have ever heard (serious) and the boys took the stage.

Once again it was a spiritual moment. There's a vibe you can't articulate.

Bono was charming and poetic as always. He has always said Chicago is their favorite American city and, if you read Michka Assayas’ book, Bono—In Conversation” you heard him describe Chicago/the midwest as the “real America” as opposed to the coastal cities. Before breaking into “Still Haven’t Found . . .” Bono said, 'We Irish like to think we played a part in building this majestic skyline . . . we were the clouds.. the rain... in fact we are the wind in this windy city...'

The introduction of the band was humorous and touching. I don’t know if this is an “exact” quote but it is close: "Let me introduce my colleagues, on sky scraping guitar, the man who makes Dr Spock look like Dr Ruth, The Edge . . . On bass guitar, the man who from an early age knew four strings are better than six, a man who is well endowed mentally and physically, the elegant Adam Clayton . . . On drums, the man who gave us our first gig and never ceases to remind us of that fact, the thunder and lighting of the band, and when he smiles the sun comes out . . . Larry Mullen Jr."

"A few words about myself . . ." Bono went on to say people often laugh at him for his lack of humility as a rock star but said it's a little hard to be a humble rock star when you look around and see what he sees in the stadium. "When we get together, this band and you people, anything can happen. There's not much room for modesty."

THE SETLIST
Breathe,
No Line On The Horizon,
Get On Your Boots,
Magnificent,
Beautiful Day,
Elevation,
I Still Haven't Found What I'm Looking For,
Stuck In A Moment (You Can't Get Out Of),
Unknown Caller,
Unforgettable Fire,
City of Blinding Lights,
Vertigo,
I'll Go Crazy If I Don't Go Crazy Tonight (Remix),
Sunday Bloody Sunday,
Pride (In The Name of Love),
MLK,
Walk On,
Where The Streets Have No Name,
One,
Bad

ENCORE
Ultraviolet,
With Or Without You,
Moment of Surrender

My favorite moment in the show was "Magnificent." Bono's body language left no room for guessing what the song was about and who it was written for. I worshiped Jesus unapologetically-- following Bono's lead. Singing,

Magnificent
Magnificent
I was born
I was born to be with you
In this space and time
After that and ever after I haven't had a clue
Only to break rhyme
This foolishness can leave a heart black and blue
Only love, only love can leave such a mark
But only love, only love can heal such a scar
I was born
I was born to sing for you
I didn't have a choice but to lift you up
And sing whatever song you wanted me to
I give you back my voice
From the womb my first cry, it was a joyful noise...
Only love, only love can leave such a mark
But only love, only love can heal such a scar
Justified till we die, you and I will magnify
The Magnificent
Magnificent

Bono ended the night by reminding us, "all you need is love . . . and a spaceship."

20 Bands from Sabbatical

I listen to a lot of music. It’s what I do.

I have a lot of favorite musicians who live in obscurity and will never grace the cover of Rolling Stone and, I kinda like that. But there are some bands who are embraced by the masses. Popularity does not a good band make but, there are a few popular heroes in my book. Here is a short list. Besides the great music, these are a few of my favorite “popular” bands and why.

This is not my Top 20 list necessarily, but they got the most play time on my sabbatical this summer.

The Beatles

The standard. The legend. The mark. The poetry. The hype. The story. The history. The personalities. The emotion.

U2

The grandeur. The spectacle. The extravagance. The politics. The God talk. The turn of phrase. The cleverness.

Foo Fighters

The rock. The energy. The laughter. The tone. The sing-ability. The fun. The angst. The legend that is Dave.

Kings of Leon

The freshness. The attitude. The family. The approachability (of the members). The anti-formula.

The Vines

The raw. The harmony. The in-your-face. The grit. The hook.

Beck

The artistry. The palette. The timbre. The talent.

Cake

The originality. The vibra-slap. The speak-singing. The humor.

Counting Crows

The array. The whine. The accessibility. The instrumentation. The poetry.

Lenny Kravitz

The attitude. The ethos/authenticity. The style. The clothes. The humility. The honesty.

No Doubt

The horns. The aerobics. The camaraderie. The punk. The pout. The pop.

Pearl Jam

The place in history. The flannel (of days gone by). The memories. The gravel. The sweat. The frantic.

The Police

The reggae. The minimal. The vox. The hits. The longevity. The relevance.

Prince

The guitar. The glitter. The soul. The color.

Radiohead

The art. The originality. The computer. The voice. The pain. The think. The provoke.

Red Hot Chili Peppers

The funk. The tats. The energy. The bad voice. The personalities.

Sheryl Crow

The studio sounds. The country/rock/soul. The writing. The guitars.

The White Stripes/Raconteurs/Jack White

The fervor. The guts. The sounds. The whine. The live show. The pale. The comfort in his own skin.

Fountains of Wayne

The every other song that’s better than Stacy’s Mom. The pop. The smiles. The soundtracks. The musicianship.

Tom Petty

The country. The ugly. The telecaster. The band. The cruise-ability. The memories.

AC/DC

The blues. The screams. The grit. The predictability. The school dances.

Zach Williams Folk Prophet

I met Zach WIlliams at Q in Austin this week. Zach opened Q with an acoustic guitar and sang a song that summoned all the good things I love about the prophetic singer songwriters in the tradition of Dylan, Cash, Jonatha Brooke, Derek Webb, Jon Foreman, Sufjan Stevens and the likes. Zach is a legit new folk voice with a sense of urgency and daring vulnerability.

On top of all the great vibe and the rapture of my musical senses, Zach was a great conversationalist with a huge heart for Brooklyn (where he is involved in a church plant) and a huge love for Jesus and people. Zach strikes me as the guy who wears others' burdens physically. He internalizes others' struggles and feels a deep sense of their pain. I think that's what makes him a great songwriter. You can buy some of his stuff on iTunes but the real magic is seeing him live. He's a great storyteller to keep your eye on.

Zach is planting a church in Brooklyn and is connected with my friend Jon Tyson, pastor of Trinity Grace Church in NYC.

Your Country Music Guide OR Not All Country Sucks OR Johnny Cash vs. the World

We covered a Carrie Underwood song at Westwinds a couple of weeks ago and, I must say, Kelsey McCracken rocked it. It was awesome.

When we got done, quite a few people (after high-fiving Kelsey and telling her she should audition for American Idol) mocked me for being a liar. “I thought you don’t like Country music! See! Country is cool! Neener neener, etc.”

Ummm . . . I picked the song. That should say something.

But, I know what they were getting at. They have heard me at times make fun of “certain kinds” of Country music. And, really, I’m way more of a Rock guy any day.

Here’s the thing: those who aren’t musicians, music addicts and/or audiophiles tend to lump country music into one category. However, there are quite a few different kinds of Country, just like there are different kinds of “Rock.”

You can’t say you are a Rock & Roll fan and automatically mean you like Elvis, Sex Pistols, Elton John, The Beatles, Megadeath, Korn, Thin Lizzy, Prince, Ramstein, Yeah, Yeah, Yeah’s and Bryan Adams in the same sentence. Unless, you actually mean that. Which is odd.

According to AllMusic.com, there are traditionally about 7 types of Country music. These categories are typically labeled Alternative Country, Contemporary Country, Country-Pop, Honky Tonk, Progressive Country, Traditional Country, and Western Swing

In all honesty, there are at least 3 of those I don’t really care for. However, even in those sub-genres, if one of my favorite bands tries a song in a particular style I don’t typically gravitate towards, I might like it. If Foo Fighters want to try Honky Tonk for a spell, I will probably dig it.

These categories are okay, but I have some different categories I would like to suggest. These are typically the categories I think in when it comes to Country. Some I like. Some I don’t.

Twangy
Typically, I can’t stand this. This is where everyone sings like you know they don’t talk. There is only one person that can get away with this in my mind and it is authentic. Reba. Period. I don’t really like Reba either (she’s great as a person), but at least I believe her. I’ve seen her TV show. She’s really like that.

Patriotic
Most often, this drives me nuts. It’s not that I don’t love my country, it’s just that it usually ties in loving America with loving Jesus and has a tinge of “we’ll kick your ass if you don’t love both.” Not for me.

Narrative/Stories
Not all of this is bad but most of it is. These songs tell stories designed to make you cry. Many of them have dumb lyrics. Some of them are timeless and classic. It’s really a crapshoot here.

Johnny Cash
Cash gets his own category. Because he rules. Because he’s Cash. Because he’s the man in black. Because he owned Folsom prison. And San Quentin. And he covered Nine Inch Nails and Dylan and Neil Young and Sting and Tom Petty and Springsteen and The Beatles and The Stones and U2 and Depeche Mode and Beck and Soundgarden. And the list goes on. And he recorded with U2. He’s Cash. All Country music must bow.

Should be Called 70’s Rock
If you grew up listening to Eagles and loving them, you will like 25% of what is on Country radio. I love Eagles. I love them so much I just typed Eagles instead of “The” Eagles in order to honor their true name. It doesn’t make you less of a fan if you say The Eagles, but I just want to set the record straight. LOTS of new Country fits in this category.

Sappy Crappy
This sub-genre includes any songs about dads and little girls, growing up, losing love, towns or factories shutting down, etc. If I had no self-respect, if I didn’t care about tainting my family name, if I didn’t care about my son getting into fights at school, I could write one of these songs in five minutes and make a million dollars. Ummm, the ones about dads and little girls always make me cry. There. I said it.

Hot Chicks
This could be any sub-genre of Country but the fact that it is played by and/or sung by hot chicks makes it cool for any guy to own. Most guys hope there is a lot of pictures inside the CD and therefore do not buy the digital download. Carrie Underwood, Dixie Chicks, Shania Twain, Faith Hill, Martina MacBride, etc. Most guys justify that it is really good music (and I’m not saying it isn’t) but half the guys wouldn’t own it if the exact same songs were sung by . . . someone less attractive.

Pretty Boys
Most of this makes me ill. However, there are a few in this category who rise to the top no matter how pretty they are because they can flat out play guitar. Keith Urban anyone?

Mean and/or Vengeful and/or Angry Chick Songs
This sub-genre includes any woman who can and will kick any guy’s ass. It also includes sweet girls who just sing a song that sounds like they could metamorphose at any time and kick a guy’s ass. Some guys dig this though it kinda scares them when their wife or girlfriend learns the words. Gretchen Wilson goes here all the time. Do not mess with her. However, a song like sweet little Carrie Underwood’s “Next Time He Cheats” goes here as well. You could take Carrie out ballroom dancing but if you cross her she will beat you to death in your sleep with a Louisville Slugger.

It’s Country but it’s Too Cool and Creative So We Must Call it Rock
Sheryl Crow.

It’s Country but it’s Called Rock Because Country Doesn’t Want it Because it Sucks
Kid Rock.

Cowboy songs
This is cool . . . if you’re a cowboy. And if you make coffee over an open fire. And read cowboy poetry. And have actually branded something. And smell like cigarettes and manure. Otherwise, it sucks.

Crossover?
This sub-genre is full of Country stars with a pop flare or ones who couldn’t make it as a pop star so they called them Country.

American Idol
This will continue to be a huge category over the years. I promise it will keep growing. Now, Carrie rules this world and is legit. She really doesn’t belong in this category anymore. She is her own deal. But there are quite a few who didn’t “make it” that the Idol machine tossed into this category hoping someone would think they were cool. Bucky? Bucky, are you there?

Hmmm. I Guess I’ll Try Country.
This one is strange to me. Some pop and rock stars who have had a successful career in their genre sometimes decide they want to go Country. I don’t know why. To each his own. Hootie? Michelle Branch?

Rock and Blues Stars who can Pull Off Country at ANY Time and Make it Cool
This is a long list. I will name a few. These are guys and gals who are really rock (or blues) but can play something “technically” Country and it sounds indigenous to their genre. Tom Petty. Kings of Leon. Bruce Springsteen. The Beatles. The Black Crowes. Stevie Ray Vaughn.

Alison Krauss
She makes bluegrass cool.

Southern Rock
Skynyrd. 38 Special. Molly Hatchet. Marshall Tucker. ZZ Top. Allman Brothers. Some of it freaking awesome. Some of it sucks. But, you have to pretend to like all of it is you are a Country fan or you will be outcast--just like if you don't like Patriotic Country.

There you have it! Your complete Country music guide. My mind is a bit twitsted and convoluted . . . I get it. Highly subjective . . . I get it. But, I’m right. If you want to know if a Country song or band is cool, just ask me. I will help you out. I’m here to serve.

Music for War-Torn Children

Today, I’m listening to the War Child: Heroes album. The album was released just a few days ago. The concept is brilliant. 15 music icons were asked to select one of their favorite tunes from their extensive catalogue and to pick which “current” icon or newer artist they trusted to cover the tune with their own interpretation in order to support War Child.

War Child comments, “In devising the concept behind this album - inviting musical legends to place their faith in the next generation – we sought to mirror War Child’s work. We feel the reaction was fittingly awesome.”

The following bands did theses covers from the following artists:

Beck (Bob Dylan: Leopard-Skin Pill-Box Hat)
Scissor Sisters (Roxy Music: Do The Strand)
Lily Allen (The Clash: Straight To Hell)
Duffy (Paul McCartney: Live And Let Die)
Elbow (U2: Running To Stand Still)
TV On The Radio (David Bowie: Heroes)
Hot Chip (Joy Division: Transmission)
The Kooks (The Kinks: Victoria)
Estelle (Stevie Wonder: Superstition)
Rufus Wainwright (Brian Wilson: Wonderful/ Song For Children)
Peaches (Iggy Pop: Search And Destroy)
The Hold Steady (Bruce Springsteen: Atlantic City)
The Like (Elvis Costello: You Belong To Me)
Yeah Yeah Yeahs (The Ramones: Sheena Is A Punk Rocker)
Franz Ferdinand (Blondie: Call Me)

It’s not the first time there has been a compilation album of covers by a variety of artists. Usually these kinds of albums are tribute albums to one specific artist such as the “In the Name of Love” album by Artists United for Africa or “Encomium: A Tribute to Led Zeppelin” by various artists. We’ve also seen tribute albums recreated by one particular artist in their style such as Booker T. & the M.G.’s recreation of Fleetwood Mac’s Rumors album. Or, genre tributes such as “Is It Rolling Bob?: A Reggae Tribute to Bob Dylan.

I like this fresh approach.

I’m particularly fond of the Beck, Duffy, The Kooks, Elbow, and Rufus Wainwright offerings at this point in my early listening through the tracks.

According to the site . . .

“War Child works with children affected by war in Iraq, Afghanistan, Democratic Republic of Congo and Uganda. We work with children who have been hit hardest by the joint forces of poverty, conflict and social exclusion. Our groundbreaking work with former child soldiers, street children and children in prison has supported and helped thousands who would otherwise not have been able to reintegrate with their community, gain access to education or enjoy sustainable livelihood support.

The children we work with participate directly in our decision-making and project design. In this way our projects reflect their needs not ours.

War Child works closely with other aid organisations and local and national government to ensure the knowledge and skills gained through our work are shared with as many people as possible. In this way we are able to help many more children than we can hope to reach directly.”

Buy the album. Support this work.