Save Password
Forgot your Password?

Not A Member?

Jesus Joshua 24:15 Home  »  Forum Home  »  Jesus Joshua 24:15  »  Newsletter  »  Jesus Joshua 24:15 Newsletter November 2008



Guitar Weenie

740 Posts

Posted - 17 Nov 2008 :  16:21:00 Show Profile Reply with Quote

Jesus Joshua 24:15 Newsletter November 2008

The Band:
Bobby Shepherd: Drums
Steve Pettit: Lead Vocals
Jay Woody: Bass
Will Rauser: Guitars

The Crew:
Mark Bussell: Webmaster, Computer Tech, Photography, Roadie
Tammy Woody: Video Production, Wardrobe
Juli Rauser: Booking
George Sparks: Roadie

Editor's Lead

Don't Blame Me!

Welcome to the November edition of the Jesus Joshua 24:15 newsletter. I would like to address something that I found amusingly ironic. I say "amusing" with a slight twinge of sarcasm, but it would be really funny if it wasn't so sad.

I was up late one recent Saturday night, and I was channel hopping. I have recently satellite T.V., and I was enjoying some of the different programming on, even at that late hour. I came across a documentary on the history of heavy metal. Being that I enjoy the style, I was interested in watching that.

As they went through the historical progression of the genre, I saw a lot of my musical heroes, and it brought back a lot of fond memories I had from my teen years. They documented the history of many metal artists throughout the last 40 or so years.

Of course, as they began to progress into the more modern interpretations of metal, I began to see where I have "gotten off the train", so to speak.

At any rate, they began to document the history of controversy that has accompanied metal music since it's birth. Of course, metal has always had a sinister shadow that always seemed to accompany it. And one of those sinister proponents was Marylin Manson.

Now, this article is not about Manson, nor am I trying to confirm or deny any of the sordid details surrounding this guy. However, I would like to highlight some of his quotes, and address what I think is a serious inconsistency in his thinking.

Manson was being interviewed, and these words were what came out of his own mouth. He stated that he was always attracted to villainous characters (particularly villains in movies) because "villains always seemed to be very secure in who they were."

Villains know what they want, and they don't attempt to cater to the opinions of others, or words to that effect. In other words, Manson is drawn to villainous characters because he identifies with them.

Okay. Fine. I actually think he is being totally genuine when he makes those statements. I think he's weird for thinking that way, but, okay, whatever rocks your world, Marylin.

But that's not the amusingly ironic part. A few years after that admission, there happened to be a great national tragedy in the U.S. It was called the Columbine shootings in Littleton, Colorado. Now, before anyone takes me to task, I certainly do not consider that tragedy amusing. In fact, there was nothing at all funny about what happened at that High School.

Naturally, after the massacre in Littleton, where the shooters took their own lives, everyone was clamoring for some kind of explanation as to what led to this terrible tragedy. One of the ways people deal with tragedy is to look for someone to blame.

Apparently, it was discovered that the two teenage shooters liked to listen to Manson's music... a lot. And, of course, that tragedy got hung around Manson's neck. Despite the fact that I personally will not listen to Marylin Manson's music, and I do believe that he's anti-Christian (he has admitted to that in several print interviews), even I do not think that was fair attach him to the shooting in Columbine.

That all being said, here's the irony; In an interview after the shooting, and during the firestorm of blame and accusation that followed, Manson spoke out, saying, "I don't understand why everyone is blaming me! It always seems like they need a scapegoat!" It was almost... I don't know... kind of whiny. In the interview from a few years prior, Manson was almost proud to be associated with villainy. Now, he doesn't think it's too much fun to be the villain. Oh, poor Marylin Manson.

Here's a guy who makes a career out of shock and controversy. Here's a guy who encourages rebellion, violence, and chaos. Here's a guy who thinks it a high calling to identify with villainy. Here's a guy who considers evil and hate old friends.

And, yet, when those things to which he has attached himself manifest into reality, he thinks it unfair and cruel to throw some of the blame his way. Well MM, you are often judged by the company you keep. I thought, Marylin, that you enjoyed identifying with villains. Is that not what you said?

It is true that it is unfair to heap the blame upon Manson for the shootings at Columbine. Despite his own rejoicing in wickedness, it is not appropriate to justify bad behavior by other bad behavior. It is not appropriate to give a false judgment, even if the victim of the false accusation acts as though they deserve it.

However, since Manson chooses to wallow in the cesspool, and be proud about it, why should he be surprised when there's an infectious breakout? Why should he be surprised that he is receiving the fruits of his own mouth? I mean, if you like being the villain, then accept the reputation of the villain, right? If you despise innocence, then why be annoyed when you're called guilty?

Let me put it another way. Let's say that you like to play with fire in an unsafe manner. And, let's suppose that you constantly rejected the correction of those who know the dangers of fire. And let's say an accidental fire breaks out, though you had nothing to do with it. And let's go further to say that somebody got killed as a result of that fire. And let's even further say that the fire was started accidentally.

Given all of that, why, then, should you be surprised when the finger of blame points in your direction? Even if there's not enough evidence to satisfy the accusation, would you really have the right to be annoyed that you were blamed for it?

I have to tell you all that I could not find an appropriate passage of Scripture to apply to this particular situation. I am sure that there's plenty of them, but I couldn't find one that contextually suited my point. However, the only one that seemed to fit somewhat comfortably was, "A man who sows wickedness reaps trouble," (Proverbs 22:8).

Well, I guess that Galatians 6:7-8 works, as well.

Do not be deceived: God cannot be mocked. A man reaps what he sows. The one who sows to please his sinful nature, from that nature will reap destruction; the one who sows to please the Spirit, from the Spirit will reap eternal life.

The Bible tells us that what we sow in the flesh, we will reap in the flesh. Or, to put it in a different context, what we plant in this life will grow in this life. If you sow injustice, then why not expect that injustice to grow in your yard? If you play around and rejoice in evil, then why be surprised when it splashes on you? If you rejoice in villainy, then why be surprised at being called a villain?

Maybe Manson had nothing to do with the violence and carnage at Columbine. At least, directly. However, the very mindset that drove those two teenage shooters to destroy others and themselves is indeed what Manson has celebrated in his music and personal lifestyle. Should he, then, not be proud that others act like villains?

One of the biggest complaints against Christians has been the charge of hypocrisy: do as I say, not as I do. Even the world knows that the truth of what we preach can only be confirmed and effective if we are living out that truth in our lives. And, the world has a right to be angry with those "Christians" who do not practice what they preach. And those "Christians" who sow into hypocrisy should not be surprised when they receive the brunt of even unjust accusation. And they shouldn't be surprised when other people follow their lead. It isn't always fair, but it is the price one must pay. It is reaping what you have sown.

So, I think that Manson really shouldn't be surprised at being unjustly held responsible for the actions of a couple of deranged minds. I do not make excuses for those who feel they need a scapegoat for their blame. But, I say, "You reap what you sow." You like associating yourself with villains? Then accept being blamed like a villain.

Guitar Points from Will

Blues Chord Progressions, Part II

Last month, I showed you how to play the "I-IV-V" 12-bar blues progression in the key of "E". This month, let's examine the idiom a little closer. I mentioned last month that in any given key, there a 7 chords(we'll use the key of "E" as an example); 3 Major triads (E, A, B), 3 minor triads (F#m, G#m, C#m) and one diminished triad (D#0, or D#dim).

Now, a little deeper analysis is needed. If you take the triad to it's next building block, you get a seven-type chord. That chord might be a Major 7 (EM7), a minor 7 (Em7), a Dominant7 (E7), or a Half-Diminished 7 (m7b5). There is also a fully Diminished 7 (Edim7, or E07), but those aren't actually part of the key center or harmony. However, they do exist and can be used, even in a blues-style progression.

At any rate, if we are in the key of EMajor, we generate this: EM7, F#m7, G#m7, AM7, B7, C#m7, D#m7b5.

If we were to just put Roman Numerals in place of the chords, we would get this: IM7, iim7, iiim7, IVM7, V7, viim7, viim7b5.Now, there's a few things we need to notice. First, that we still have 3 Major triads and 3 minor triads, yet both have 7ths added to the upper voice. But, now we have a minor triad with a diminished 5 (b5) AND a b7 tone (or the dominant 7 tone). As you add more voices to the harmony, the resemblances each chord have to one another decreases. We will look at this in a future column, but right now, I just need you to see that there are differences in the harmonies.

Now, the I-IV-V progression looks like this: EM7-AM7-B7. However, in a normal or typical Blues progression, you might see this: E7-A7-B7. Now, all of those are Dominat7 type chords, and each one of those are the V7 chord of different keys. The "E7" is the V7 in the key of A Major. The "A7" is the V7 of the key of D Major. And, of course, the "B7" is the V7 of the key of E Major. How can this be? Here's but one explanation;

Dominant chords (V7) have a strong tendency to lead the ear to the home key chord (or the I). So, in the key of E Major, the B7 chord strongly pulls the ear toward the home chord, or "E". However, this rule can be manipulated to work be causing the next chord to be a "temporary home" chord. In other words, since the B7 chord pulls toward the E, make the E an "E7", and it will now lead the ear to the A. Now make the A Major chord into an "A7" and it will pull the ear again. Of course, if you follow it through to the next conclusion, you would be going to a "D" (and that will work), but you would be falling out of the tonal center of the progression, which, in this case, is the key of "E".

Also, the 4th chord (or "IV") tends to lead back to the I chord, as well (though not as strong as the V chord can). So, we can head back to the I from the Iv chord. To oversimplify, any Dominant chord (V7 chord) can go to virtually ANY other chord.

The reason why a "I7-IV7-V7" type progression works is because all of those Dominant chords lead to each other.

Okay, great. Now, how does one use this plethora of information? Well, fo one thing, you can substitute the "I-IV-V" with a "I7-IV7-V7" progression and it will work great. Let's look at an example;


I7----------------------| IV7--------------------| I7---------------------| E5 E6 E7 E6 A5 A6 A7 A6 E5 E6 E7 E6 E|------------------------|------------------------|------------------------|| B|------------------------|------------------------|------------------------|| G|------------------------|------------------------|------------------------|| D|------------------------|-2-----4-----5-----4----|------------------------|| A|-2-----4-----5-----4----|-0--0--0--0--0--0--0--0-|-2-----4-----5-----4----|| E|-0--0--0--0--0--0--0--0-|------------------------|-0--0--0--0--0--0--0--0-|| I7---------------------| IV7---------------------------------------------| E5 E6 E7 E6 A5 A6 A7 A6 A5 A6 A7 A6 E|------------------------|------------------------|------------------------|| B|------------------------|------------------------|------------------------|| G|------------------------|------------------------|------------------------|| D|------------------------|-2-----4-----5-----4----|-2-----4-----5-----4----|| A|-2-----4-----5-----4----|-0--0--0--0--0--0--0--0-|-0--0--0--0--0--0--0--0-|| E|-0--0--0--0--0--0--0--0-|------------------------|------------------------|| I7----------------------------------------------| V7---------------------| E5 E6 E7 E6 E5 E6 E7 E6 E|------------------------|------------------------|------------------------|| B|------------------------|------------------------|------------------------|| G|------------------------|------------------------|------------------------|| D|------------------------|------------------------|-4-----6-----7-----6----|| A|-2-----4-----5-----4----|-2-----4-----5-----4----|-2--2--2--2--2--2--2--2-|| E|-0--0--0--0--0--0--0--0-|-0--0--0--0--0--0--0--0-|------------------------|| IV7--------------------| I7----------------------------------------------| A5 A6 A7 A6 E5 E6 E7 E6 E5 E6 E7 E6 E|------------------------|------------------------|------------------------|| B|------------------------|------------------------|------------------------|| G|------------------------|------------------------|------------------------|| D|-2-----4-----5-----6----|------------------------|------------------------|| A|-0--0--0--0--0--0--0--0-|-2-----4-----5-----4----|-2-----4-----5-----4----|| E|------------------------|-0--0--0--0--0--0--0--0-|-0--0--0--0--0--0--0--0-||

Now, this is a 12-bar blues form, somewhat different from last month's version. However, this example is designed to reveal how well the "I7-IV7-V7" progression works. Your ear can really anticipate the chord changes. Even though this is a Blues in E, the Dominant 7 chords function as chords from the key, even though, technically, they are not part of the key of E Major. "E7" is the V7 of the key of A Major, and "A7" is the V7 of the key of D Major. "B7' is the V7 of the key of E Major, so, in reality, the B7 is the only actual chord that belongs to E Major. The neat thing about the Blues (and even Jazz and some Rock) is that the "key" is sort of relative, meaning that the use of tonal centers rarely applies. Actually, many Blues and Jazz chord progressions go through a series of "Key Centers", where the tune may flow through several different tone centers.Much like our 12-bar progression above, many Blues and Jazz tunes cycle through different keys, only to eventually land back at the original key. Practice the above progression to hear the chord movement. This will help develop your ears to understand the aural information of the Blues.

Lead Techniques from Will

Blues Lead Playing, Part II

Last month, I showed you the Pentatonic Blues Scale. In using those scales, I showed you a linear way to play the musical information. But, as I also said, scales are not music. Scales are the building blocks of music, and it helps to study them and practice them. But, players don't think in terms of scales (well, the good ones don't, anyway). Good players think in terms of emotional content and personal expression. Since the Blues is about emotion, it only makes sense to reflect that in the instrumental playing.

One of the most expressive techniques found in Blues guitar playing is what is termed as "double-stops". Double-stops are phrases that are played using two notes (or even three or four) at the same time. The technique sounds similar to chords, but they are not used that way. Sometimes the double-stop uses bends on one or more of the notes;


E7** * * *** *** E|-15(15)----------12(12)---------|| B|-15(17)--15(15)--15(17)--12(12)-|| G|---------14(16)----------14(16)-|| D|--------------------------------|| A|--------------------------------|| E|--------------------------------||

(* = Pick both strings,Bend second string only)
(** = The chord symbol is only to imply the key)
(***= Unison bends, where the bent note is the same pitch as the unbent note)

Here is a classic Blues Double-stop bend lick;

Ex. 2

E7** * B v v v B v v v B v v v v B ^ v vib. E|--------12-12-12--------12-12-12--------12-12-12-----------------|| B|--------12-12-12--------12-12-12--------12-12-12--15(15)15-12----|| G|-14(16)----------14(16)----------14(16)-----------14(16)14-12----|| D|--------------------------------------------------------------14-|| A|-----------------------------------------------------------------|| E|-----------------------------------------------------------------||

Practice this lick slowly but with a hard pick attack. And let the bends not be too accurate. The notes sound cool when they sound slightly out of pitch with each other. It is called "tension and release". The above lick has several different double-stop applications, and they are all found within the 5 note pentatonic scale at the 12th position;


v ^ v ^ v ^ v ^ v ^ v ^ E|-------------------------------12-15-|| B|-------------------------12-15-------|| G|-------------------12-14-------------|| D|-------------12-14-------------------|| A|-------12-14-------------------------|| E|-12-15-------------------------------||

Taking that single note scale, let's make it a double-stop scale;


v v v v v v v v v v E|-------------------------12-15-|| B|-------------------12-15-12-15-|| G|-------------12-14-12-14-------|| D|-------12-14-12-14-------------|| A|-12-14-12-14-------------------|| E|-12-15-------------------------||

Note that in the single note scale pattern, I used alternate pick strokes (v,^), but in the double-stop pattern, I used all down strokes. Well, I find it much more difficult to play double stops with up strokes. I am not saying it can't be done. I'm just saying it is not right for me. Plus, I think double-stops need to have that extra "umph" that strong down picking gives. It is much more staccato, or rhythmic. But, that's my opinion.

At any rate, try combining the single note scale patterns into double-stop patterns in other scale positions. Then try bending notes against unbent notes in those positions. It really helps bring blues phrases alive.

News and Events

  • If you have any questions for the band, or any single member of the band, send an email to Axeman2415 via the JJ24:15 website. Any questions are welcome, but the band reserves the right not to answer any questions of deeply personal or vulgar nature.
  • Check out the Jesus Joshua 24:15 Myspace page, - You can check out the tunes and you can order the music from there.
  • There is really no news from the band due to the fact that we are down for the holidays, and jobs and families take priority. We are still active, and all is well in our midst. We are just doing things behind the scenes.
  • Speaking of the holidays, remember that Thanksgiving is coming up. Let's all remember to be thankful, not only for the blessings of the American nation (not all of you are U.S. citizens), but also for our God, who provided for our salvation in Jesus Christ. He has indeed blessed us. Let's be thankful and grateful

A Final Thought

As the editor of the newsletter, and reflecting on being thankful, allow me some personal leeway. I would like to extend my appreciation and gratefulness to some very important people in my life;

#1) To my God, who provided what I could not for myself, and who continues to do so, ever more abundantly.

#2) To my wife, who blesses me everyday, even when we aren't seeing eye to eye.

#3) To my children, who bless me every time I am around them, just by being in my life.

#4) To my band-mates, Bob, Jay, and Steve, and their families. I work with the best. I am severely under qualified to work with these guys. Thanks for letting me play with ya'll.

#5) For the friends I have made as a result of being in this band. I am particularly indebted to my dear Australian buddy, Shredhead. If there was ever a person who could be my long lost brother, it is him.

#6) To AnonJr. Thanks for all of the hours, late nights, patient answers to very stupid questions, and patient times of listening. Thanks for pulling our butts out of the digital fire more times than I can count! And thanks for being a fan of the band, and not just liking the band because we're friends... lol!

#7) To my country. Despite our flaws and shortcomings, I am grateful and thankful for the opportunities that America has allowed me. (Oh, and to Shred: Australia might be closer to Heaven, the U.S is Heaven... lol!)

#8) To my church family. I have been the recipient of much love and grace from these folks. And many others have as well.

#9) And to all of you who are a part of the JJ24:15 mailing list, the fans, and the friends of the band. If there is no one listening, then there is no one being blessed. Thanks for listening.

"C'mon Dave, Gimme a break!"

New Member

97 Posts

Posted - 17 Nov 2008 :  16:40:25 Show Profile Reply with Quote
I find it very interesting how people who claim one thing tend to try and shift the blame else where when all of a sudden they are now in the spot light. Seems as if no one can claim responsibility for their actions any more. The "Devil made me do it" mentality doesn't work because after all Satan isn't holding a gun to your head but merely just making suggestions. It is however your choice to follow suit.

And when all is said and done I can go home :D
Go to Top of Page

Junior Member

322 Posts

Posted - 18 Nov 2008 :  04:27:14 Show Profile Reply with Quote
I think Galatians sums it up perfectly . Nowhere does the Scripture say you're excused from this principal because you're too dumb to know it . As a matter of fact , if MM had any wisdom at all , he might see it as it was intended , a warning .

"I am particularly indebted to my dear Australian buddy, Shredhead. If there was ever a person who could be my long lost brother, it is him."

Thanks mate , but I ain't lost , I'm right here lol . Seriously , don't feel indebted to me , it is I that owe you my gratitude , & I thank our Father often for our kinship .
And Anon , I'll never forget the help you've given me either .

"(Oh, and to Shred: Australia might be closer to Heaven, the U.S is Heaven... lol!)"
I'm reminded of an illustration I read once , I think it was from CS Lewis . He was watching a group of African orphans playing in the dirt , making mud pies , happy to play with the mud , as they had never tasted a REAL pie . You , my muddy Brother , have illustrated his point beautifully ......{heh heh heh lol snigger}

but some of you need to be awakened and slapped silly - William D Rauser
Go to Top of Page

Guitar Weenie

740 Posts

Posted - 18 Nov 2008 :  12:30:01 Show Profile Reply with Quote
I'm reminded of an illustration I read once , I think it was from CS Lewis . He was watching a group of African orphans playing in the dirt , making mud pies , happy to play with the mud , as they had never tasted a REAL pie . You , my muddy Brother , have illustrated his point beautifully ......{heh heh heh lol snigger}

LOL! Nice one....Uncle Screwtape.....

"C'mon Dave, Gimme a break!"
Go to Top of Page

Jump To: 

© Jesus Joshua 24:15 - A Soul Joy Records Recording Artist
Created By: Wayward Son Developers
Powered By: Snitz Forums