Many of you have received or will shortly be receiving a project I’ve been talking about for quite some time and have finally accomplished. Yes, I have finally finished my CD of hymns. Technically, it was started nearly 2 years ago, but to be honest, the majority of the work was done in the month of December when we decided to make them a Christmas present. Nevertheless, that fact that it is finally complete brings a great sense of satisfaction. I am, for the most part, quite content with the outcome. I’ve never really put this much time into any one project, not to mention a project that turned out mostly how I intended. So, it’s been a good experience. I feel like I’ve learned a lot in the process, as well, both about recording specifically and art in general. It’s been fun.
If you are interested in a CD, let me know and give me your address and I will send you one. It’s free.
There are lots of little tidbits and stories about the CD that I want to share. It may be a little self-indulgent, but I always like reading about the little details, so I’m going to assume some of you like it to, and if not, oh well, it will be fun for me anyway. It’ll be like watching your favorite DVD with the commentary on. Only this isn’t your favorite CD and you have to read instead of just listen. These are all the things that couldn’t be written on the one page CD insert.
First of all, why a CD of hymns? I’ve always liked hymns, and when I went to Taylor where most everyone hated them because they weren’t as hip as the latest praise and worship CD, I was starved of hymns and forced to survive by singing along with the bell tower while walking across campus between classes. I did that quite often, actually, I sang loud and proud and I think everyone was wondering, “This kid actually knows these songs?!?” So I’ve always liked hymns for a variety of reasons that I don’t think I need to discuss now. On top of my love of hymns, I’ve never been much of a songwriter, and in order to achieve some sort of creative release, I’ve always been forced to sing and play other people’s songs. That’s caused me to play a lot of hymns, and one thing led to another. I got this four-track recorder for Christmas in 2003. I started recording that spring and it continued little by little from there on out. Of course, since then, the hip and trendy thing to do in the CCM world is to cover a lot of hymns. That’s not to say many people are doing a very good job of it, of course, because few are, in my opinion. But what does this have to do with what I was talking about?
Here’s a little bit about each song:
Holy Holy Holy - This was the earliest song that was done that ended up on the CD. I recorded bass and Nate Pelz on guitar in my dorm room in Morris, and then the snare drum and saxophone in the conference room on our floor. I always intended to record a bunch of guys from the floor for the last verse, but I was never able to round them up. So, these vocals weren’t recorded until this past month, the group vocals being recorded at Mark and Heather’s house. Erica was a real trooper on this song; I think we recorded about 20 times before we got something she was ok with, and even then I think each verse ended up being a different take, which is somewhat tricky to do with a four-track. It’s in an awkward key I guess, but it is the key in which it’s written in the hymnal.
Immortal Invisible - I recorded the guitar and accordion for this in the shower of our Briarwood apartment. You can kind of tell by the echo of my voice when I count it off at the beginning of the track. I try to tell myself the shower had better acoustics, but I really don’t think it makes that much of difference when I’m honest with myself. Jonas helped with the percussion so that we could do it all in one track. That kid hates hymns I think, mostly because a lot of them are in 3/4 time.
Wonderful Words of Life - I have a feeling this one is probably unfamiliar to most. It’s an old one we never sing anymore, one of those that was popular for our grandparents back when they were trying to write “hip and modern” hymns, and it didn’t really stick around too long. It kind of just popped into my head out of nowhere one day, and it’s a fun little melody, especially on chord organ, so I whipped it together.
When I Survey - This is one that Erica and I always sing together. I pulled it together pretty quickly in December. There is not much better than the key of E on guitar, I think. This is one I am most pleased with. It’s simple.
I Know Whom I Have Believed - This one kind of goes along with Wonderful Words of Life, one of those 20th century gospel hymns, although it’s lasted a little longer and is more familiar than that one. But it was also a random one that popped into my head and I pulled it together in one night while Erica spent hours talking girl talk with her friend in the living room. I was a little worried it came out with a reggae feel. Erica says it’s not reggae, it just seems like a little kids version with the bouncing ball showing the words on the TV screen and me singing with a cheesy enthusiastic look on my face. I see what she’s saying, and I kind of like it.
Be Thou My Vision - I first recorded a version just like this one, sitting on the couch in the living room one night after a hard long day at work. I liked how it came out, especially because our steam heat radiator starting banging in the background in the middle of the song. But after listening to it a few times, I realized how flat I was singing (a constant struggle) and decided I needed to record a new version, which sounds basically the same, just no heater and a little more in tune. It features the ukulele, of course, which was a random graduation present from my parents this year, a very very welcome addition to my collection.
Grace Greater Than Our Sin - When I first got my 4-track, Jared Cheek got a digital 8-track. He and I recorded a version of this hymn, but he deleted it by accident, I think. This version is much different than that one was. I’m not sure what gave me the idea to do vocals just at the end, but I love how it turned out.
My Jesus I Love Thee - This is another one Erica and I have always sung together, so it was only natural to include it. In the left speaker, if you listen closely, you’ll hear me tinker on the piano throughout the entire song. In the first draft of this song, that part was much louder. I liked the concept (very freeform - which basically is my only option since I don’t really know how to play the piano) and I liked how most of it sounded, but it ended up being like an annoying mosquito that wouldn’t leave you alone long enough to enjoy the song. So, I remixed it and hid it underneath the other instruments and only in one ear. That was it’s kind of like a hidden treasure, I guess. The piano (and snare drum) were recorded in a practice room in the music building at Taylor on a lonely, planless Friday night. It seemed like there were a lot of those my senior year.
I Need Thee Every Hour - It was Erica’s idea to add this song, and it was a good one, one that was inspired by Anathallo’s hymn CD. But finishing it was a nightmare, to be perfectly honest. I thought we had finished it, but it was incredibly sloppy and terrible, so we had to do it all over again keeping only the original accordion track. Only, this time when we redid it, we didn’t have a click track because we had recorded over it. That created all kinds of problems I don’t need to explain. It was a nightmare.
Like a River Glorious - I recorded this right after I got my ukulele. Originally, I sang on it and this instrumental part was the second verse, but it turned out to be a pretty awkward sounding song. I wasn’t going to put it on the CD at all, but then I had the idea to put this instrumental verse on as a sort of interlude. It sounds good on headphones, as the melody and harmony are panned to different ears.
Come Thou Fount - I realize this is a painfully slow tempo, but I think it’s often done much too fast. I prefer to call it “prayerfully slow” rather than painfully slow, and even though I’m joking when I say that, I don’t think I actually am. This was recorded one piece at a time, with a lot of time in between each. I recorded acoustic guitar in the shower, then had Wes record the electric guitar during a break from school, then the tamborine, piano, and cymbal later on in the practice room on that Friday night, and then the vocals in December. When Wes recorded, I just played the tape for him and said, “record whatever you want.” He recorded the melodly line, mostly because he wasn’t familiar enough with the song at that point to do anything more, but I am very glad that’s how it turned out. I think it is simply beautiful. I really wanted sleigh bells on the second verse rather than tamborine, but I didn’t have any. This is my favorite hymn, and can say that with a considerable amount of certainty. Listen to the last minute or so on headphones for some fun panning action. Wes kept going with his delay pedal and I didn’t really want him to stop.
Rock of Ages - This hymn brought me the most satisfaction. I first (re)discovered it over a break when Pastor Rick sang it on a Sunday morning. The words really struck me. They are quite amazing. After that Sunday morning, I recorded the version on piano (track 14) at my parents’ home. I went back to school and recorded the guitar part in my closet. I didn’t get to do any more of it, because I heard this specific horn part in my head and wanted to do big things with it, but never thought it would be possible. But a few days before I needed the CD to be finished, I asked Kyle Page and Wes to come over to our apartment and they helped to make this part in my head a reality. I couldn’t have been more ecstatic. The percussion on the third verse is Kyle scratching his drum head, but when Wes joined us a little later, he heard it and thought it was us rubbing our hands together. So, on every track we did after that, we rubbed our hands together during that part. It blends in pretty well and is kind of tough to hear, but again, with the help of some headphones it comes through a little more clearly. On the fourth verse, Kyle and I added accordion and bass drum first. Then we added the trombone (Wes) and trumpet (Kyle) with suspended cymbal (me). Then we added another track of suspended cymbal with Wes and I stomping on the floor, too, which the mike picked up through the mike stand, creating a pretty cool deep bass beat that was quite a pleasant surprise. This is probably the closest any of the songs got to what I was hearing in my head, and I was happy. “When I soar to worlds unknown, see the on thy judgement throne” - it’s hard to come up with music to fit that sort of intense imagery, but I hope I accomplished that in my own little humble 4-track sort of way. Oh, and I guess I didn’t know the word “respite” and I was only using my knowledge in phonics (vowel-consonant-e pattern) to decode it, which you can hear in the piano version. Erica corrected my pronunciation for the guitar version.
I could tell you a lot more, but you’re probably bored by now.
If you received a copy with the artwork, that was done using the printmaking technique I learned in Art for Teachers (etching into a styrofoam meat tray to make the print). I thought for sure we used tempera paint, but it turns out we actually used printmaking ink. I thickened the paint with elmer’s glue and that seemed to do the trick, although some of them still turned out pretty rough.
The inserts were made on the copy machine at school during my prep period. Shhhh, don’t tell anyone.
And there you have it. Thanks for listening.