Podcast appearances and mentions of Jimmy Abegg

Today is another example of why I love podcasting: it gives me opportunities to have conversations with amazing people. Then I get to share those conversations with you! In the 1980s, 1990s, and 2000s, I listened to a lot of contemporary Christian music, otherwise known as CCM. If you remember back in the days before streaming took over the world, we had these little things called “liner notes,” which contained the songs, lyrics, musicians, and others involved in the making of an album. One of the names I regularly saw was Jimmy Abegg, also known as Jimmy A. He was not only active as a musician on many albums, but also as a photographer who took photographs for many contemporary Christian music album covers. For those of you familiar with CCM, you might recognize Jimmy from his days as the guitar player in the Charlie Peacock trio, as well as one of the players in Rich Mullins' Ragamuffins. Today I get to bring you a conversation with Mr. Abegg, and I hope that it will inspire you as it did me! Here's a snippet of Jimmy's bio from his website: “In 1989, a career in music led me and my young family to Nashville, Tennessee. Today, we still call Nashville home and I am proud to say that the years have been generous and full. I have been given so many opportunities to provide for my family and care for others while creating things I love. Be it, playing music on the road, recording in the studio, making fine art, showing in galleries, designing record packaging, photographing musicians, writing music, or mentoring others on all of the above; my life of creativity has explored many mediums. Whether abstract or figurative, my painting continues the tendency towards curiosity, whimsy and simple beauty, with a healthy dose of train-hopping, carefree adventure.” Jimmy suffers from macular degeneration, which has taken away the majority of his sight, but he still makes art and music. Interestingly, he says that some of his favorite pieces have been created during this period of his life. In this conversation, Jimmy and I talk about songwriting, collaboration, artwork, and creative habits, among other topics. One of my favorite quotes from this conversation is when Jimmy gave advice for people trying to figure out their path in life. He said, “Try to quit what you're doing. If you can't stop, maybe you should be doing that.” I also want to give a shout-out to the kind and generous Cindy Morgan, who thoughtfully connected me with Jimmy! * * * Today's episode is sponsored by Vellum, the go-to book formatting software for indie authors who care about creating beautiful ebooks and print books. Use the link to download Vellum for FREE.

Today is another example of why I love podcasting: it gives me opportunities to have conversations with amazing people. Then I get to share those conversations with you! In the 1980s, 1990s, and 2000s, I listened to a lot of contemporary Christian music, otherwise known as CCM. If you remember back in the days before streaming took over the world, we had these little things called “liner notes,” which contained the songs, lyrics, musicians, and others involved in the making of an album. One of the names I regularly saw was Jimmy Abegg, also known as Jimmy A. He was not only active as a musician on many albums, but also as a photographer who took photographs for many contemporary Christian music album covers. For those of you familiar with CCM, you might recognize Jimmy from his days as the guitar player in the Charlie Peacock trio, as well as one of the players in Rich Mullins' Ragamuffins. Today I get to bring you a conversation with Mr. Abegg, and I hope that it will inspire you as it did me! Here's a snippet of Jimmy's bio from his website: “In 1989, a career in music led me and my young family to Nashville, Tennessee. Today, we still call Nashville home and I am proud to say that the years have been generous and full. I have been given so many opportunities to provide for my family and care for others while creating things I love. Be it, playing music on the road, recording in the studio, making fine art, showing in galleries, designing record packaging, photographing musicians, writing music, or mentoring others on all of the above; my life of creativity has explored many mediums. Whether abstract or figurative, my painting continues the tendency towards curiosity, whimsy and simple beauty, with a healthy dose of train-hopping, carefree adventure.” Jimmy suffers from macular degeneration, which has taken away the majority of his sight, but he still makes art and music. Interestingly, he says that some of his favorite pieces have been created during this period of his life. In this conversation, Jimmy and I talk about songwriting, collaboration, artwork, and creative habits, among other topics. One of my favorite quotes from this conversation is when Jimmy gave advice for people trying to figure out their path in life. He said, “Try to quit what you're doing. If you can't stop, maybe you should be doing that.” I also want to give a shout-out to the kind and generous Cindy Morgan, who thoughtfully connected me with Jimmy! * * * Today's episode is sponsored by Vellum, the go-to book formatting software for indie authors who care about creating beautiful ebooks and print books. Use the link to download Vellum for FREE.

Jimmy Abegg is a musician, songwriter, writer, photographer, painter and artist based in Nashville. He was a significant contributor to American contemporary Christian music including being a key member of Rich Mullins' A Ragamuffin Band. 

The 77s' 1987 self-titled album was not only that band's first real shot at the "big-time" success their fans knew they deserved. It was also the climax of a creative explosion from a unique Sacramento community that had been cooking up spiritually driven, culturally engaged, artistically excellent music for about a decade. On this special "From The Vault" episode of the podcast, we unveil previously unheard tape culled from frontman Michael Roe's conversation with True Tunes and with The Electric Jesus Podcast to finally answer one of the most fascinating questions of all time: Did U2's breakthrough album The Joshua Tree inadvertently KILL one of our other favorite LPs?    If you dig this, don't miss our previous 2-part deep dive with Michael Roe, our recent @45RPM reflection on U2's Achtung Baby, our conversation with 77s and Exit Records advocate Randy Layton, or our discussions in the vault with fellow Exit artists Steve Scott, Jimmy Abegg, and Charlie Peacock.    For this show's FULL SHOW NOTES - including a list of ALL the music used in this episode and more - visit TrueTunes.com/RoeRedux.   If you want to support the show, please join our Patreon community or drop us a one-time tip and check out our NEW MERCH!

True Tunes is excited to come alongside our friends at Old Bear Records and UTR Media as they pay loving homage to the songs of Rich Mullins with a brand new, analog recording made in a house Rich owned outside of Nashville. On this special 45RPM episode of the podcast, we check in with Old Bear owner and member of The Brothers McClurg, Chris Hoisington, who – along with others – conceived of this special conceptual tribute album. Chris also got us some rare audio so that we could offer you, our listeners, an early glimpse at this very special project.   The Kickstarter campaign has already blown way past its first goal and just announced a new Rich Mullins project as well. Click HERE to read about – AND BACK this incredible project while you can.   "Bellsburg" will include contributions by True Tunes Podcast alums Amy Grant, Kevin Max, Jimmy Abegg, and Taylor Leonhardt, and Mitch McVicker, Derek Webb, and Andrew Peterson, (who were all featured on our two-part Rich Mullins feature,) as well as Ashley Cleveland,  Sara Groves,  Cindy Morgan, Brothers McClurg,  Stephen McWhirter, Jason Clayborn, Ron Block, Ian Zumback, Andy Gullahorn, Carolyn Arends,  David Mullins, Jonathan Mullins, Andrew Greer, Steve Cudworth, Ben Shive, Tommy Sims, Audrey Assad, & Andrew Osenga (all of whom we hope to feature at some point in the future.)    The True Tunes Podcast is sponsored by VisionTrust.org. Help us change the world for one child at a time by sponsoring today. Visit VisionTrust.org/TrueTunes for more information. You can support this show by joining our group of patrons at Patreon.com/truetunes or dropping us a tip via PayPal.  

In the conclusion of our conversation with Michael Roe we talk about one of JJT's favorite 77s songs in great detail, along with the birth, evolution, survival, and impact of The Lost Dogs, and the hard-won lessons Roe has learned along the way. The Choir's Steve Hindalong and Derri Daugherty offer some revealing perspectives on their brother-in-arms and singer/songwriter/visual artist and Love Coma frontman Chris Taylor reflects on Roe as both a fan and as a young artist under his tutelage.   And don't miss Part One in which Roe talks about his earliest influences as an artist, the progressive faith community that embraced him and made space for The 77s to emerge, and our special 45RPM episode in which his bandmates Aaron Smith, Jan Eric Volz, Terry Scott Taylor and Jimmy Abegg riff on Roe along with longtime friend and advocate Randy Layton. Find the complete Show Notes page, including a complete list of all music used on this episode at TrueTunes.com/Roe2.  BUY Michael Roe's music HERE Check out our special Spotify Mix of Roe's music HERE Don't forget to check out Michael Roe's special Jukebox Takeover mix, including over 60 of the most influential records in his life HERE   The True Tunes Podcast is sponsored by VisionTrust.org. Help us change the world for one child at a time by sponsoring today. Visit VisionTrust.org/TrueTunes for more information. If you would like to support the show, please consider joining our Patreon community or dropping us a one-time tip and check out our SWAG STORE.

On this special @45RPM episode we continue our exploration of the life, music, and legacy of Michael Roe by checking in with some of his closest friends and compatriots. We hear from his 77s bandmates: Aaron "A-Train" Smith and Jan Eric Volz, Exit Records soulmate Jimmy Abegg, longtime advocate Randy Layton of Alternative Records, and fellow Lost Dog Terry Scott Taylor.   On Part 2 we will continue to dig deep with the man himself, diving into one of JJT's all-time favorite 77s songs and hearing all about the formation, evolution, and tragic beauty of The Lost Dogs. We'll hear about what it might mean to “do it for love,” after all these broken, beautiful years.   If you have not heard PART ONE of our conversation with Mike "Dr. Love" Roe - check it out now.    The True Tunes Podcast is sponsored by VisionTrust.org. Help us change the world for one child at a time by sponsoring today. Visit VisionTrust.org/TrueTunes for more information. You can support this show by joining our group of patrons at Patreon.com/truetunes or dropping us a tip via PayPal.  

Dan Haseltine (Jars of Clay) joins host John J. Thompson to talk about musical roots, finding a mission, and how past experiences prepared him for his current work scoring the massively successful and critically acclaimed television drama The Chosen. From the technical and creative challenges inherent in this kind of work to spiritual and theological concerns, this in-depth conversation is about listening carefully to the sound beneath the sound. Plus, in part 2, (coming soon) we talk with Haseltine's musical partner in The Chosen, Matthew S. Nelson. Support Blood:Water More info about JARS OF CLAY  Special thanks to @TheChosenTV @scribblepotemus  and @thebanksnelson   Also, don't forget that long-time child sponsor Jimmy Abegg is throwing his wholehearted support behind VisionTrust and offering anyone who sponsors a child a hand-painted, one-of-a-kind print for free. Full music notes, links, photos, and more on the SHOW NOTES PAGE at TrueTunes.com 

Listen to better music, and listen to music better.   After a twenty-year break – True Tunes is back! The tools are different this time. There's no store, no venue, and no sponsored stages at a major festival. What we have now are lots of stories to tell about lessons learned, visions caught, questions articulated, and community embraced. Join host John J. Thompson and his wide range of guests as we dig for the good stuff. And whether you were a part of the journey with us the first time around, or you're brand new to this conversation, if you're ready to dive into the deep end of the musical pool – where the sounds resonate in ways that defy our labels, then this conversation is for you.   Join us as we converse with musicians, songwriters, producers, and music industry leaders – from legends and obscure geniuses of the past to some of the freshest new voices emerging today. Some examples of the voices you've heard so far include Buddy Miller, Amy Grant, Steve Taylor, Charlie Peacock, Ian Fitchuk, Natalie Bergman, The Choir, Kevin Max, Waterdeep, Gungor, Liz Vice, Sandra McCracken, Eddie DeGarmo, Taylor Leonhardt, Jimmy Abegg, Michael McDermott, Christa Wells, Ella Mine, and rare archive interviews with Larry Norman and Rich Mullins. We also crank up our trusty Jukebox and listen carefully to some amazing music along the way. And we are truly just getting started.   So get yourself something to drink, pull up a chair, and make yourself comfortable, or maybe get your favorite headphones and head outside for a nice walk with us - as we listen to better music, and listen to music better, together.   On the True Tunes Podcast   Produced by John J. Thompson and Bruce A. Brown for Gyroscope Productions. Available on all podcast platforms. Full show notes and episode list available at TrueTunes.com/podcast-show-notes/

The Choir has been crafting their own unique brand of otherworldly alternative rock for nearly four decades now. While it's not uncommon for big-time acts to keep at it – playing their hits and cashing in on nostalgia – most artists who have endured the perpetual uphill climb that guitarist/vocalist Derri Daugherty, drummer/lyricist Steve Hindalong, and sax/lyricon/atmosphericist Dan Michaels have faced would have given up long ago. But The Choir has just released an album many fans count among the strongest of their inspired career. Deep Cuts contemplates the journey, the wounds, the healing, and the scars of life with a remarkable amount of humor, joy, and grace. On this episode of the True Tunes Podcast we sit down with The Choir to talk about their roots, their new music, and what keeps them going this far into such a challenging journey. (You'll also hear the debut of a new recording of their 1986 single "Render Love" created especially for the Electric Jesus film.) PS: We also find out that long-time child sponsor Jimmy Abegg is throwing his wholehearted support behind VisionTrust and offering anyone who sponsors a child a hand-painted, one-of-a-kind print for free! Full music notes, links, photos, and more on the SHOW NOTES PAGE at TrueTunes.com 

Call him a creative polymath or the quintessential Soul Man, but Jimmy Abegg (Rich Mullins' Ragamuffin Band, Steve Taylor & The Perfect Foil, The Charlie Peacock Group, Vector, etc) has been a reliable source of musical and visual beauty and coolness for over forty years. And now, with his vision fading, this veteran side-man and accomplished craftsman is settling into his new role as a blind visionary; still painting – still making music – and still offering graceful sketches of beauty in a damaged world. Join us as we visit with him in the brand new East Nashville studio built for him by friends far and wide who have been blessed by his work. You'll hear what a few of them have to say as Amy Grant, Charlie Peacock, and Steve Taylor drop by to offer a few words on Jimmy as well.  On the Jukebox, we consider the massively successful, and yet still somehow meaningful, 1986 mainstream breakthrough by Peter Gabriel. What secrets might So have for us to unpack 35 years after its release, and what mysteries might indie-folk artists Lowland Hum have uncovered in their recent homage to the classic LP. Full song list and Show Notes available at TrueTunes.com.  Produced by John J. Thompson and Bruce A. Brown for Gyroscope Productions. Please consider sponsoring a child through VisionTrust.org and drop us a line if you do.   

This episode features an extended interview with renowned musician and songwriter Phil Madeira. Phil comes on to talk about how his band Red Dirt Boys (backup band for Emmylou Harris) is doing a crowdfunding campaign for two new albums. But he also tells us about his storied career in the music business, how he found himself being the band leader for Rick Elias' tribute concert, and why he liked Rich Mullins but not his music. Please check out Phil's website for more of his story and where to purchase his music. This episode also features a longer version of Jimmy Abegg and Ben Pearson's reflections about Rick Elias which was in our previous episode.

April 2, 2021 is the two year anniversary of the death of Rick Elias. This episode is a tribute to his life and work and features a long list of people sharing their stories about all the beautiful, conflicted moments they got to share with him over the years, including: Jimmy Abegg, Aaron Smith, Mark Robertson, Phil Madeira, Ben Pearson, Phil Keaggy, Margaret Becker, Randy Stonehill, Bryan Duncan, Carolyn Arends, Mitch McVicker, Sammy Horner, Chris Hauser, and many others.

In Part 2 of this special episode we hear from our late friend, mentor, and guide, Rich Mullins via a long-lost interview conducted at the old True Tunes record store in Wheaton Illinois in 1995. We also check in with Mitch McVicker, Phil Madeira, and Derek Webb, and we listen to Andrew Peterson on the Jukebox. Rich’s Ragamuffin bandmates Jimmy Abegg, Aaron Smith, and Mark Robertson come back to close things out as well. It’s our longest and fullest episode yet and we are excited for everyone to hear it.   This newly restored interview is 25 years old, but as we hear host John J. Thompson and Mullins talk about the struggle to pursue honest artistry and personal spiritual growth amidst evangelical fundamentalism and the benefits and beauty of exposing ourselves to challenging ideas and people, it seems like it could have been recorded yesterday.  Visit TrueTunes.com for the full show notes and please spread the word. (And don't miss Part 1, where the Ragamuffins set the stage so beautifully.) 

To many, singer and songwriter Rich Mullins was a favorite artist; the man behind songs like “Awesome God,” “Creed,” and “Hold Me Jesus.” To others, he was an enigma—a beautifully inscrutable amalgam of passion, authenticity, vulnerability, and transcendence. To some, he was a friend, a benefactor, or even a brother. On this special two-part episode of the True Tunes Podcast we will revisit the legacy of this unlikely pilgrim through conversations with some of his closest compatriots, and by hearing from the man himself – in the form of a previously unheard, and recently unearthed interview conducted in the old True Tunes record store in 1995. In Part 1 John J. Thompson visits with Rich’s Ragamuffin Band members, Jimmy Abegg, Aaron Smith, and Mark Robertson to help put it all in perspective. On Part 2 (coming soon) he sits down with Mitch McVicker and Phil Madeira, and talks with singer-songwriter Derek Webb who, though he has moved away from Christian music, recently released a cover of Mullins’ “We Are Not As Strong As We Think We Are.” On the Jukebox, we dive into the obviously Mullins-haunted career of Andrew Peterson.   24 years since his passing, might we find some guidance from Rich about navigating the complexities of faith, doubt, and mystery by asking better questions and listening more carefully to the sounds around us?  

Jimmy Abegg is a veteran of both the music and art worlds. Currently Jimmy is in need of financial help to complete the building Blind Jimmy's Lighthouse, an art and music studio he's building behind his home. You can support him through direct donations or simply by buying his art at his website www.jimmyabegg.com. Associated with Rich Mullins's Ragamuffin Band, Charlie Peacock, and the band Vector, our conversation intentionally focuses on his own art and music, especially his plans once his studio gets completed, including recording albums, offering art workshops to the community, finishing his podcast, and writing his memoir. 

Gabe talks with Jimmy Abegg (10:58) and Derek Webb (29:56) about the legacy of Rich Mullins. They also discuss the new Pledge Music campaign celebrating the life of Rich Mullins. Gabe also looks at Rich Mullins’ “A Liturgy, A Legacy, and a Ragamuffin Band” as the flashback of the week (3:35). Visit our website: decentchristiantalk.com

As a drummer and hand percussionist Michael Radovsk's recording credits include Black Hawk, Phil Keaggy, Beth Nielson Chapman, Marshall Crenshaw, Bill Lloyd, Bedlam, Reservoir Dogs (soundtrack), Rango (soundtrack), Billy Falcon, Patricia Conroy, Ronna Reeves, Victoria Shaw, Andy Pratt, Jimmy Abegg, Kiya Heartwood, Suitcase Pimps, and the Grave Blankets.As a composer of music for TV film and commercials, Michael Radovsky have created music for companies such as Firstcom, Sonoton, APM, Nonstop, Warner Chappell, Megatrax, Groove Addicts, Groove Worx, One Music, Riptide, NHK, Jingle Punks, and Mibe Music. He's had placements in the films Rango (starring Johnny Depp) and Kicking And Screaming (featuring Will Ferrell And Robert Duvall). His Television placements include AMC's Breaking Bad, Dancing With The Stars, So You Think You Can Dance, American Idol, as well as numerous uses on Fox,ABC, ABC Family, CBS, Food Network, Lifetime, USA Network, NPT, HGTV, MLB, HBO, A&E, and “reality” television shows too many to mention.Michael's music for commercials include Jeep, Ford, Toyota, Dodge, O'Charley's, NASCAR, Johnsonville, Health South, Tri-Star Medical, and TN Farm Bureau.https://soundcloud.com/mike-radovsky

The Mosley's are Stephen and Rachel Mosley, a husband and wife sing-songwriter duo from Florida. Their music is earthy and reflective and indicative of the Americana folk of the South. Their first full length album Ordinary Time was produced by Phil Madeira and co-produced by Jimmy Abegg. I got to sit down with them for an interview at UTR Media's Escape to the Lake festival. You can read more about The Mosleys and purchase their music at their website: http://www.themosleysmusic.com/

Chris had the opportunity to attend UTR Media's 2017 Escape to the Lake music festival and retreat in Cedar Lake, Indiana. This bonus episode of Between the Songs features an exclusive interview with Andrew Greer, the author of the new book on Rich Mullins Winds of Heaven Stuff of Earth: Spiritual Conversation Inspired by the Life & Lyrics of Rich Mullins. Their talk goes in depth about how the book came together (which features numerous reflections from those who knew Mullins or were inspired by him) as well as about the Mullins tribute album Greer is going to start working on with UTR's Dave Trout, Andrew Osenga, Andrew Peterson, and Reed Arvin (yes, you read that last one correctly!). This bonus also features Chris' recap of Escape to the Lake, the wonderful Mullins tribute concert that took place there, and how he got to hang out with Jimmy Abegg, Ben Pearson, and The Mosleys.  You can pre-order the book (and receive some great extras) by visiting it's official website: https://www.windsofheavenstuffofearth.com/  

Episode 2 of Rich Mullins: Between the Songs (www.betweenthesongspodcast.com) features an in depth look at Rich Mullins' first independent album with his band and ministry Zion. Behold the Man was only ever released independently in 1981, but was kept alive through various bootleg tapes or vinyl copies if you could find them. Joe has put the album up on the Ragamuffin Archive though, so now we can all listen to it. The episode also features an extensive interview with Beth Snell Lutz, Mullins' bandmate and friend. She offers a rare peek into Mullins' early years in Cincinnati leading up to how he found his way into the recording industry in Nashville. Please check out our previous article so you can listen through the album and read through Beth's commentary on the songs. As always, the episode features Joe and Chris' commentary on the album as well as updates on the various Rich Mullins tributes going on this year. On top of everything else are excited to announce our first "sponsor" of the podcast, St. Rich Beard Oil, which you should most definitely check out here. And finally, Joe's 20th Anniversary Tribute Concert in Window Rock is really coming together, but the event needs patrons and sponsors. Please check out our page for how you can help fund this important event, which will feature David Mullins, Jimmy Abegg, Mitch McVicker, and Eric Hauck.

Our inaugural episode features our introduction to the series: we go over the order of each episode and why Rich Mullins is still an important artist 20 years after his death. The centerpiece of the episode is an interview with the legendary Jimmy Abegg, a musician, artist, and member of Mullins' Ragamuffin Band. We wrap up by featuring a breakdown of some of the Mullins tribute projects and events going on in 2017.

Jimmy Abegg (born December 29, 1954), also known as Jimmy A, is an American guitarist, composer, director, photographer and artist, currently living in Nashville, Tennessee.In the 1980s, he formed the pop-rock band Vector with Steve Griffith. In the 1990s, he played as a solo musician, then joined Rich Mullins‘ A Ragamuffin Band. He has created a variety of album artwork. He completed a series for Vanderbilt Children’s Hospital.Abegg is currently suffering from macular degeneration, but continues to paint.

Jimmy Abegg (born December 29, 1954), also known as Jimmy A, is an American guitarist, composer, director, photographer and artist, currently living in Nashville, Tennessee.In the 1980s, he formed the pop-rock band Vector with Steve Griffith. In the 1990s, he played as a solo musician, then joined Rich Mullins' A Ragamuffin Band. He has created a variety of album artwork. He completed a series for Vanderbilt Children's Hospital.Abegg is currently suffering from macular degeneration, but continues to paint.

Welcome everyone to episode 99 of the Everyone’s Agnostic podcast, I’m Cass Midgley. Today, I bring you a special episode where I’m going to briefly focus on music as a voice that both called me to stay Christian and called me out, and my guest today symbolizes that tension. Some of my favorite Christian music artists were Edin-Adahl, Sweet Comfort Band, Allies, The Front, David & the Giants, Russ Taff, Charlie Peacock, the 77s, Jimmy Abegg, Mark Heard, Dave Perkins, Jon Gibson, 2nd Chapter of Acts, Switchfoot, and Adam Again.  I collected over 800 Christian music cassettes and CDs between the early 80s and late 90s. I was the music buyer at a Christian bookstore and I was a sales rep for StarSong. Early on I decided to ban secular music from my life. Part of what keeps one convinced that they’re in the right is by surrounding one’s self with music that only confirms one’s beliefs.  How could all these songs be written about something that’s not true? And yet, in the outside world, there were even more songs and musicians who felt no need to write religious songs. One of the hats my guest today wears is that of a music critic. He wrote close to 900 articles in Christian music publications between 1982 and 1999. That’s over one articles a week for 17 years and those same years coincide with my infatuation with Christianity. And if you trace those articles chronologically, he little by little, started reviewing secular music more and more, which gave me permission to lift my ban on it and listen outside the Christian sub-culture. The other thing I think this episode points out is that there are some smart Christians out there who, maybe in the vein of John Shelby Spong, or Marcus Borg, or Paul Tillich, have figured out a way to shape their Christian narrative into a redemptive work and practice that makes the world a better place. They have salvaged, at least for themselves and a few others, that which claimed to be salvation.  They’ve made craft beer out of barley and hops and it has enhanced the lived experience of those in their wake.  Reverend Brian Quincy Newcomb has served as pastor in the United Church of Christ for over 30 years. We talk about the evolution of his faith from childhood to present day. I picture him as a master craftsman that started whittling away at a solid tree trunk 40+ years ago and today it is a sculpture of a giant black bear with her cub in her mouth, a fish in one hand, and crossing a roaring river. We talk about the formation of his faith, through deconstruction and reconstruction, and his struggle with kidney cancer. And at the end, some friends offer a few words about Brian’s impact on their lives.  We taped this talk May 7th, 2016. Subscribe, rate us, and/or leave a review of our podcast on iTunes, Stitcher, or wherever you listen to podcasts.  Also, you can support through our Patreon page. Credits: "Towering Mountain of Ignorance" intro by Hank Green https://www.youtube.com/watch?v=w3v3S82TuxU Intro bumper "Never Know" by Jack Johnson Thanks for listening and be a yes-sayer to what is. Link to Brian’s bio on the church website Some of Brian’s reviews on The Fire Note Peter Enn’s book: “The Sin of Certainty” Seth Godin’s Amazon book page Rene Girard interview      

In episode 10, we unpack a life long journey of a legend in the Christian music world. Jimmy Abegg has played guitar for many different artists including Charlie Peacock, Rich Mullens and the Ragamuffin band, and Steve Taylor and the Perfect Foil. He is a very talented painter and photographer as well. In this episode, we talk about his journey in music and the arts, his inspiration, and wisdom for the next generation of musicians and artists. Something that we didn't mention in the interview is Jimmy's diagnosis with Macular Degeneration. He is losing his eye sight. Many of his friends are putting together a benefit for him and are trying to raise $65,000 to build an art studio in Jimmy's backyard since he can no longer drive. We would love to be a part, spread the word, and get other fellow podcasters involved! Please consider making a donation to his cause. If you find any inspiration from this episode, like we have, then consider helping Jimmy with the next chapter of his career by giving towards a new art studio. www.jimmyabegg.com See acast.com/privacy for privacy and opt-out information.

We welcome Jason Ingram to Full Circle Music studios. He is a producer, songwriter, and artist with multiple SESAC songwriter of the year awards, Dove Awards, and Grammy Awards, with more #1 Radio Hits than most ever see. His credits include Brandon Heath, Hillsong, Chris Tomlin, Tenth Avenue North, Casting Crowns, and MercyMe.He talks about the idea that “your calendar will tell me if you're a songwriter”. It is the discipline versus inspiration. Which comes first.He also shares some personal insight into his story and his journey through the hard times in the beginning of trying to make it in a new city as a professional songwriter.To get Top 10 Songwriting Tips click Here.fca_eoi_form p { width: auto; }#fca_eoi_form_269 input{max-width:9999px;}#fca_eoi_form_269 *{box-sizing:border-box;}#fca_eoi_form_269 div.fca_eoi_form_text_element,#fca_eoi_form_269 input.fca_eoi_form_input_element,#fca_eoi_form_269 input.fca_eoi_form_button_element{display:block;margin:0;padding:0;line-height:normal;font-size:14px;letter-spacing:normal;word-spacing:normal;text-indent:0;text-shadow:none;text-decoration:none;text-transform:none;white-space:normal;width:inherit;height:inherit;background-image:none;border:none;border-radius:0;box-shadow:none;box-sizing:border-box;transition:none;outline:none;-webkit-transition:none;-webkit-appearance:none;-moz-appearance:none;color:#000;font-family:"Open Sans", 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a:hover{color:#8f8f8f !important;} AUDIO 37min:19secPodcast – Interview with hosts Seth Mosley, Chris Murphy & guest, Jason IngramSeth: Hey what's up. this is Seth Mosley, host of the Full Circle Music Show, thanks for listening. Again, this week we've got an awesome guest, one of my long time heroes of the music business, Jason Ingram, Sir Jason Ingram. He's a producer, song writer, artist, worship leader and all of the above. He has multiple awards on his mantle for Sesac songwriter of the year, he's won Dove Award producer of the year, more number ones than you can imagine and really has had, in the last several years, what has been an incredible career in the music business. And today we get to sit down and hear the story before Jason Ingram as the Jason Ingram that we know now.That's half the reason why we do this show is to kind of shine a light on the blood, sweat and tears that goes into making a successful career in the music business and there's a lot of stuff that I learnt in this episode about Jason; some stories about how he got into it and believe it or not at one time he was touring as a merch manager for a band, him and his wife were selling blood plasma just to get back home for Christmas. I'm telling you there's some stuff that you don't know that goes into making a successful song writing and producing career. So stick around and before we dive into it we wanted to thank you for listening, thank you for subscribing, go over to iTunes, leave us a good rating and review. That helps us a ton as we're getting this podcast off the ground.And for our next segment, Full Circle music trivia, the answer to last week's question: What is the highest selling album of all time? Well the answer for that is Michael Jackson Thriller. So to one of you guys who e-mailed in to trivia@fullcirclemusic.org, you get a free copy of the book ‘Hitmen'. And this week's question is: Who is the top Grammy award winner of all time? Again, who is the top Grammy award winner of all time? Email your response in to trivia@fullcirclemusic.org and this week the winner's going to take home ‘All you need to know about the music business' by Donald Passman, 8th Edition. Up to date information on new music business models including music streaming services and cloud lockers, the latest developments in digital rights and updated numbers and statistics for a traditional industry. Again, email your responses in to  trivia@fullcirclemusic.org and thanks for playing along.Alright, let's just dive into the episode, we've got Jason Ingram in here, in the house. A good friend and without even probably knowing it, mentor of mine who I've looked up to since I've moved to Nashville and song writing and production. And just track record for days, the  guy has just had hit after hit after hit and his songs are being sang in churches all around the world.  So for you to take a few minutes to come and spend with us means a lot so thank you for doing this.Jason: Yeah, it's an honourSeth: So do you want to carry us in?Chris: Yeah man, one of the things that I wanted to know from you Jason, is when did the song writing bug hit you or how long have you been doing it? Was it one of those things just where you were doodling in a notepad when you were 6 years old or even earlier or…?Jason: I started taking piano lessons in middle school but I think I was a freshman in high school when I was introduced to just chord voicings so up until then I was just learning to read music and more classical sort of training and which I wasn't excelling at but I loved music and so I just stayed at it and then I think my freshman year in high school, someone just taught me how to play chords. And think about music as chords as opposed to just reading notes on a scale. And I instantly started writing songs once I had chords, I was a songwriter…not a very good one…but from then on, yeah, I mean I was writing songs.Chris: Did it start for you at going on what you were hearing on the radio and just putting chords to that? Or was it truly like “I don't care what's going on, on the radio, I've  got my own vision that I'm…[4.06]Jason: Yeah no, I was, I was writing my own thingsChris: That's greatJason: Love songs for interest of mine, things like thatChris: Yeah, wow that's great man. So were you that guy with the guitar who got the girl because you had the guitar?Jason: Yeah…my wife…and then once I learnt chords I started leading worship as well and so my wife, we were on a little missions trip to Mexico, we lived in California and I was a  graduating senior and she was going into her junior year in high school and we went down there and I led worship at this thing that we were doing. And I didn't know her but she saw me leading worship and she knew, she told a camp counsellor that I was going to be her husband. And so, yeah, I think the guitar strummings, it helps man.Seth: AbsolutelyJason: Helps make up for other things…Chris: The lack of confidence [5.06] actually talking face to face.Jason: Massive lack of confidence, man, growing up in the church, there's so many stories that sound similar to that, it's like going up to that youth pastor or whatever and pointing, like that's going to be my guy.Seth: Did you know at that time or did you find that out later?Jason: I found that out later, we started sort of dating a bit after that but yeah, I found that out later. And she's not that kind of person, she's actually…I wasn't one of the popular kids and she was so I wouldn't have even, like gone there.Chris: Yeah, she was out of your leagueJason: She was [5.38] but yeah, I found that out later and I've just been writing songs out of a ‘heart place' you know. Ever since I first started writing songs I think that's been one of the, hopefully one of the things that people notice when they hear songs that I'm part ofChris: Yeah, yeah. And has that always come naturally to you? To be able to express your heart on paper or in a recording?Jason: I guess it has, yeah I guess it has. I've found music as the gift of…which is hard to hold onto sometimes when you've been doing something for a while and it becomes your career but there was a lot of years where the only reason I had to write a song was just to get something out. There wasn't any career in itChris: AlrightJason: And so I did that long enough that I think that it's easy for me to sort of stay in that placeChris: Yeah, yeah, I think one of the hallmarks of the songs that I know of yours, I mean from a perspective of they've got a story or they've got an intention to it and it sounds like you were saying, in those early days before anybody was paying you to write a song; or asking you to go do something that it was because you had to get something out. And I feel like that there is a trend in, at least pop music these days, where there's not necessarily a story, it's  just the feeling, it's a vibe that's going on. Do you find that you would have a harder time if you were you know, if you needed to go write the next Justin Bieber song versus writing something that has more of a, a heart pouring so to speak?Jason: I will say it, like a melody or a track or a vibe can bring out a lot of emotions so since you've mentioned Bieber…[7.16]…yeah, his most recent album is like, to me it's been the thing I've listened to the most this year. And so I just love it, I think the song writing is amazing, I think the production is phenomenal and it's emotional to me so it feels like, I feel like I can touch it. There is a lot of pop music that doesn't have that same sense to it.Chris: Yeah, maybe Justin Bieber recently is not the best of those examples but it has that pop sheen to it, necessarily more than an emotion.Jason: Yeah, what I'm kind of hearing you ask is, is it those songs that are less about the lyric and about just a vibe or something like that. Lyric is huge for me, especially in the lane that God has me in and I feel like in some regard  a lot of pop music, the lyric is real secondary to whether or not it's a hit or not right? And I think we're accountable to more, I look at songs in this lane that God has called me to, I've often called them life rafts for people and so if I'm throwing someone a life raft, if that's what God lets me do with my song, I want it to hold them up. And so our words often become people's prayers, you know, and that's phenomenal. Martin Luther said when I can't pray, I sing and we're able to throw these life rafts to people, a lot of times that don't even know what to pray and write the prayer that they need to re-engage their heart with the Lord and so it's a huge, I think a weight, that we need to carry when we're considering ‘do we have the words right?'Seth: It's not  just that when you're in a session just like settling on something because at some point, you know, I mean, you've got deadlines and you've just got to get the song out. I mean you've got eight hours a day and you've got to get home to your family. But the intentionality in this genre of lyric is everything.Jason: Yeah, it totally isSeth: So, rewinding, we skipped forward a lot of years but from you leading worship on that mission trip, wherever you were in California to when you, you know, got your first pay check from doing music, what did that look like?Jason: It was a lot of years. I definitely took the long road so I heard Christine Cane talk once on the distance between anointing and appointing and it's different for all of us but I really felt like God anointed me very specifically to write songs for His church, as a teenager. The appointing was probably some fifteen years later and so I went to Bible College, I became a worship pastor at a church in California and had a band, got a little bitty record deal, toured…sold four albums…it was off to an amazing startChris: All to your relatives right?Jason: Right and then at some point my wife and I felt nudged to move here and so we did but I didn't have a job or anything in music and so my entry point into music, and I was working temp agency jobs, I mean it got pretty lean for us, there was a Christmas where we went to sell blood plasma to try to get home for Christmas.Seth: [10.43] from going to Nashville to California? WowJason: That year I just remember thinking, ‘This, this has got to turn around pretty soon', you know, ‘there's only so much blood available'Seth: It was literally blood, sweat and tearsJason: Yeah, right yeah.Chris: That's amazingJason: My entry point into what I'm doing now, oddly enough, was getting a job doing merchandise for Sonicflood and this was back when they were sort of at the top of their thing. And so I needed a job, I didn't think…that's not what I moved here to do…but I started selling their merchandise and I heard they were about to make their second record and I heard that they wanted the title of the record to be ‘Resonate' and they didn't have a song called ‘Resonate', usually you don't title your album until you've got an album you know? Isn't that weird, so I pounced, ‘merch guy' saw an opportunity and wrote a song called ‘Resonate' which was a shoe in because you have to have a song called ‘Resonate' if the album's called ‘Resonate' and they didn't have it, so they had to record it. They recorded it, of course it was the title track but that happened before I wrote the song [11.53] it became their first single off that album. So that was the first time someone else recorded something that I wrote.Seth: You were doing merch for them on a tour and heard some conversation that [12.09]Jason: I heard a conversation, went to a hotel room, wrote a song, came back and said “Here's a song called ‘Resonate'”Chris: What was that like when you presented it? Did you present it as though you had not heard that before but just randomly came up with a song that was…Jason: No, I wasn't, I didn't play it off like I hadn't heard that they were calling the album ‘Resonate', so that was my entry point and then someone said “So that song made a little bit of money”, that was the first time that ever happened to me you know, ten years into writing songs, selling merchandise and blood. Some friends were saying “You should meet with publishers in town”, I'd never heard of a music publisher. I didn't know there was a career to be had in song writing, I had no idea. I was pretty naive to how the music industry worked and so I met with all the publishers in town, got a quick “No” from everybody. I just didn't have, I had this one song you know, and then…Seth: And they were all like, “And what else?”Jason: Right, right. And so the fourth publisher I met with, which was the last option, saw potential in the writing but really valued sort of, my heart for what I wanted to do with my writing so I entered my first publishing deal and that was, I guess, twelve years ago now.Chris: Who was that with?Jason: Cindy Wilt signed me to Word, so I wrote for Word for three years, she's my champion, she's with the Lord now…Chris: Just this past year…Jason: Yes, she signed me, I probably wrote a hundred songs my first year, as a writer at Word, with co-writes, almost every day. I didn't get one cut.Chris: Wow! Out of a hundred?Jason: A hundred yeah, yeah my batting average was pretty low, I wrote a hundred songs, no cuts but I really felt at the time that it was the most amazing year and I thought ‘Well, I'm not going to get my option picked up because I've made no money for the company but I was just really thankful to the Lord to have sort of lived a dream for a year. And so I was really ready to pack up and go back to something else and she picked up my option, wrote another hundred songs for another year, got my first cut, found out it was a hidden track…Seth: So did you even get paid for this?Jason: Well my…Chris: He got paid with hidden moneyJason: Yes, hidden money, Cindy called and assured me that you get paid the same, just no one will hear it. I was like “Ah, awesome”. So again, I thought…Seth: So one out of two hundredJason: One out of two hundredSeth: That's amazing though just for her vision in you, you know. If I signed a writer, if I was a publisher…Jason: You would not, no, you do not stick around, I would have never stuck with me so yeah, she really is a champion for meChris: Yeah, that's amazingJason: And so she picked up my option again…Seth: After the hidden trackJason: Really, really caught a wave, “So you're telling me there's a chance…”. So year three is when I finally kind of did catch my wave and I started having quite a few things work and the real sort of, another real pivotal album for me was Joy Williams did an album called Genesis and we wrote most of the songs on that album together…Seth: You and Joy…Jason: Yes, and it, it didn't necessarily go on to be the biggest album but everyone loved it. So it was like all of our peers loved it and so all of a sudden, doors started opening up and then I met a guy named Bebo Norman and we started writing songs for his album. And I'd never produced anything and I was just doing demos and stuff with the songs we wrote and then I ended up producing that record for him called Between the Dreaming and the Coming TrueSeth: Was that just kind of like, hey, you had been doing these demos and they loved what you were doing, just keep…Jason: Yeah, well what actually happened is we had written, I think, almost all the songs for his album, just the two of us and he went to the producer that they had hired to produce the first couple of songs and they just weren't thrilled with where they landed and so I think Bebo went and just said “Hey, do you mind if me and Jason sort of try to hit a couple?” I think he asked if we could hit a couple and record at the mall. So, then I was a producer you know and that's when I really did sort of catch a wave in that season. And another thing, so I started having lots of songs getting recorded, I started producing a lot. I really think this happened where I might have written a hundred songs and had no cuts, I think I've had a couple years where I've had a hundred songs cut.Chris: Wow, wowJason: And which is nuts so things just got fast and exciting and I found was a part of a couple guys who stumbled into this band called 10th Avenue North and so we signed them to a little development deal and shot them a record deal and that thing's turned into something really significant. Brandon Heath and I wrote ‘Give me your eyes' which turned into something significant and then it just seemed, it seemed to be like…where Seth is right nowSeth: I don't know if I'm there yetJason: Just lots of songs doing really, really, really well and to some degree I'm still on that wave but I have had a bit of a shift in, for me personally, and like God uses music in so many different ways but the song that I was most desiring in my life was songs for the Church. Songs that the Church could bring in worship to the Lord and I had a picture in my mind since high school that one day I would walk in to the back of a room and hear God's people singing something that He let me be a part of writing. So this is relatively recent, about six and a half years ago, six years ago I had…the mailbox money was there…and the accolades and stuff with my peers was there but I had this sort of unfulfilled dream and passion of mine and I was asking the Lord, before I moved into another [18.51] deal, if I was meant to keep doing this because I truly, and I prayed this, and I truly meant it, that I would trade all of the other things and what it brought and the success that it brought for that experience of walking in the back of a church and hearing God's people singing something that He'd let me be a part of writing.So I started bringing this prayer to the Lord about six and a half years ago, took some space from writing and it just seemed like that, at that time God shifted some things from me and really moved me into a place where that was going to become a much more significant part of my life. I remember the day I heard a church sing, I was in the back of a room and I heard a church sing something I wrote for the first time and it was six years ago. It was something I'd written with a guy named Reuben Morgan, because of the success that I'd had, he had come through town and he'd asked if he could get with Christian music's sort of top writer/producers and I was one of three he spent a day with and he didn't really want to write any songs. It was more to just sort of like talk philosophy, hang out, kind of get some exposure to some other ways of maybe approaching songs and take that back because they write their songs internally. So we spent a day and didn't write but we became friends instantly, it was like the brother that was out there that I hadn't met yet. So he came back through a couple of weeks later and on a Saturday morning we just decided to give a go at writing a little something and we wrote Forever Reign but he wasn't thinking that he would take it home and use it at church. So it was just a song that was just on a voice memo on two phones and I didn't know if that's all it would ever be and you really don't know.I think songwriters out there kind of wonder if you know when you've got one of those and you really don't know. I think you should feel like you've got one of those with every song you ever write, so this song was sitting there and I'm still praying this prayer, “Lord, let me walk in the back of a church and hear your people singing something You let me write” and I get this email and it says “Hey, decided to give this a run at church, it's unbelievable what's happening, this is just a board mix so excuse it being rough but I just wanted you to hear it”. And so I'm by myself in my room at home and I push play and I'm listening to Hillsong church sing ‘Forever Reign' like their lives depend upon it and I realized at that moment I was in the back of a church, like, but in God's extravagant and beautiful way, I was by myself with Him but I was listening into the back of not just any church but the most influential church on worship in the world. That really marked a transition for me and I so love radio, it's so fun for me and hooks and pop melodies but if I had to give my life as a writer to one thing, it would certainly be songs that God's people are singing in the church and so I do as much of that as possible these days and really love itChris: What an amazing storySeth: It's pretty crazyChris: Yeah, it is, and the fact that you were able to have kind of a private moment there but still have that experience that you kind of envisioned years and years beforeJason: Yeah, God's got this stuff you know, He's got usChris: Well speaking of that and the faith that it took to get to that point, what kind of faith did it take for you or ‘stick-to-it-iveness' that first year where you had the deal and you wrote a hundred songs and not one cut and then the second year where you finally got one but not many people would hear it unless they knew how to work a CD player the right way? What did it take for you to keep going and for Cindy to continue to have faith in you, just what was that experience like for you?Jason: Well I think what keeps us going is that we love it, it's hard for me to come over here and talk with Seth and not be like ‘So let's write something' because I love it, I love when we write, I love writing songs and so it's what keeps you going is that you love it. Even if there's not the return of people hearing it, that's a big bonus but that kept me going at it. And also too, I'm a bit, I'm driven, I don't think anyone ends up in this world that's achieving things like you're going to find that drive is a big part of a common factor.Seth: Well to push through two years of not having anything, it has to beJason: Right, it is and belief, people believing in you. The other thing, I do think it's important for songwriters in this era, we're such an instant gratification culture and an entitled culture that we don't appreciate the hours. There's this whole ten thousand hours thing that it takes to master anything that we're all familiar with but I really find that's true. I like to tell songwriters, I've got a good friend named Jimmy Abegg who was in The Ragamuffins with Rich Mullins and he's still a brilliant guitar player but his painting is probably his first love, so he's this brilliant painter; we have his paintings hanging all around our house. My wife dabbles in painting sometimes and so she had taken some pictures of the ocean out where we're from in Santa Cruz and had come home and was painting these ocean scenes, she had six canvasses hanging on the wall and she thought ‘Well I'm going to have Jimmy come out and give me some critique'. And I'm like ‘Oh, that'll be amazing, get critiqued by Jimmy Abegg' so he comes out and he looks at her six paintings and he tells her so many…like he just finds encouraging things to say about every inch of all six canvasses…but then he says, “Okay, so  you've got six, so go paint ninety four more and then paint your first painting”Chris: Oh gosh…Jason: But that's like, what good advice, I mean we always just want to fast track to…and some writers might write…their first song might be a world changing song, there's a difference between people who ‘happen' into a good song and people that constantly write great songs. And that comes from really honing your craft and honing your craft is…there's no shortcut to hours.Chris: I was thinking as you were saying that, the hundred songs in the first year and the hundred songs in the second year, even if they didn't get put anywhere that either could equate to significance on the charts or every bottom dollar, whatever that is, like what a classroom that is, to be in front of someone else, doing a co-write, [25.56] writing. All those songs are building towards…just like you were saying Jimmy was saying that all of those hundred paintings build towards being able to put your first one out there that is really a statementSeth: My competitiveness would probably go back and take some of those if I were in your position and play them for somebody and just watch how many of them would get cut. Now because you're Jason Ingram…Jason: You're totally right, and that does happen, that does happen. I mean you don't…it's hard to get a fair listen…people always listen to things through the filter of what their expectation is and so if their expectation is that something is going to be great, they're more likely to hear it that waySeth: Yeah, it's pre-informed, I'm sureChris: That's definitely true. So the kid that's getting out of Belmont and wanting to become the next Jason Ingram…what's your biggest word of advice to him or her?Jason: Write songs that mean something to you and put your head down and work hard and write a lot. The other thing I…when I say write something that means something to you…is I do find that a lot of people sort of come out of these environments and they've learned some sort of craft butSeth: Like meaning [27.17] haven't gone and gotten a degreeJason: Yeah, like got a degree or they've kind of read some books so they want to do something so they study the craft and you can assemble a song because the rhyme is there or the hook is there but I just think the difference, even in the pop world, and certainly in Country and Christian, is the songs that are written because they matter to you is…those are always the ones that do something. And another thing I tell people is if you want to be a songwriter, make sure your calendar tells me you're a songwriter because if your calendar doesn't tell me you're a songwriter you're not a songwriter.We sort of have this sort of idea that ‘Well, I'm just going to catch a song, I'm waiting for inspiration or…', the thing that we learn is,  we calendar our song writing and then good things happen. You tend to want to think that…like even ‘Forever Reign' as an example…or anything like that, that I was woken up in the middle of the night and the Lord said “I've got something for you”, so I got up, I sang something into my phone and the next morning I'm playing it back, and I'm like ‘Oh my goodness, this is amazing'. But, really it was just a date and a time that was scheduled on a calendar and had that not happened, that song would not exist and so I always tell people your calendar will tell me what you are in life and if you want to be a songwriter let's look at your calendar and let's see if you are. That's a big one is because it takes a lot of discipline to keep writing songsSeth: Now that's a good word, it's kind of less of waiting for inspiration to strike and just showing up every day and then the inspiration comes because of who you're around and…Chris: Definitely, definitelyJason: Yeah, and another thing is, on that, because of who you're around, co-write. We both know, we all know co-writing is the key to my success, that wasn't something I was doing…none of the songs that people know me by would even exist…that's a very big dealSeth: Do you sit down nowadays, ever, and just do anything by yourself anymore or is it just kind of like…that's…you don't do it that way anymore?Jason: I really don't. Every now and then, I think last year I wrote a song by myself, I just…you know was in a moment where I felt like I needed to express something…but that's so rare. I have an unfair advantage in that I have access to a lot of talented friends and so I want to know what my idea shapes into with someone else's mind involved in it as wellChris: Was that a process for you? In the early days when you say you sat in your room by yourself writing that song, to being mostly known as a person whose an amazing collaborator and co-writer, that process of transitioning into mostly co-writesJason: One of the things I told my first publisher when I signed my first publishing deal is that I write my best songs by myself and I really believed that and she said “Okay, well we'll see how that shapes up for you”. And it certainly was not true, what I said. I do not write my best songs by myself.Chris: How long did that take for you to fully believe that?Jason: About two years, of writing some by myself and writing a ton with other people, it makes sense though, I mean the community in strength. Like it just…it makes sense that when you do something as a team you're going to get better results than individualsSeth: That word is recurring very many times in this podcastChris: Isn't it though? It's amazingSeth: The importance of team and along with your team, when you were getting into it would you consider that publisher like your mentor, do you feel like you had a mentor, sort of shepherding you in your career?Jason: She would have been my mentor in that season of life for sure, she would listen to everything I wrote and told me what was working and what wasn't, yeah that was just like school for meChris: Was it tough to hear?Jason: No, because the heart was someone who was…when no one else wanted to give me any advance and tell me to write songs…this was the person that said “You can do it” so no, it definitely wasn't. I mean, it's always tough to hear in the regard that I think we put our hearts, we put ourselves into these things that we do and so it's always hard to hear things that are critical but it's so valuableSeth: At this point in your career you've achieved some pretty big success by any world standard. Is there anything that you're still afraid of when you come into work every day?Jason: Yes and it's that I'm afraid that I'm missing what God wants out of me and so I keep that in front of me, like the thing I'm really wanting to be mindful of in 2016 is if I didn't write another song [32.38] my family's going to be okay and I've accomplished something and I could come and write songs purely out of craft and gifting as can you and get good results but I…what I'm afraid of is, I'm not seeking what God wants…What does He want from me? What does He…what are the prayers that people need? What are the life rafts that we need to throw to people? What are the…not just writing songs [33.13] I just don't want to…in this space that I'm in…the music industry works unfortunately, I think, very much like any other industry, there's not a lot of conversation of mission, there's not a lot of conversation of, truly, of life impact, which is kind of sad you know. You want to hope that that's there but we're inundated by ‘Is it a hit?', I hate that word, I love when things become a hit but I…Seth: If that's what you're shooting forJason: The fear in me is just that we would just write really catchy jingles that people enjoy but that we're not really bringing the people what God, what His heart for us to bring them is. So that's front and centre for meSeth: Now that's goodChris: You're kind of building on that, and borrowing from a term you said earlier that you feel you're still kind of riding that initial wave that you caught. Can you foresee what you either want your next wave to look like or what you feel like you're transitioning into now? If it's the same thing, that's fine but what is the next two, three, five years look like for Jason Ingram?Jason: I've reached a place of freedom in my life where there's been a lot of hustle and  a lot of drive for a lot of years and I really want to sit in a place of rest and freedom and gratitude and so when you're too tired or there's something that happens when you're not taking care of yourself or your soul and your ‘get to's' become ‘got to's'. There is some years where I get to write a song, I get to be with this artist today, I get to come and talk about this. They become ‘got to's', I've got to do this, I've got to write today, I've got to be with that artist tomorrow. And there's no joy in that, there's no rest in that and for me, I'm just trying to move just into a space where everything is a ‘get to' again and however long God wants to use me in this capacity, like I'm pumped but holding it loosely.But I am excited, I'm ready to write the best songs I've ever written and to dig deep and jump around a room [35.36] listening to you know, I'm super fired up so I don't know, I don't have another thing, you know, just this thing and I do think there's something to that. I don't often say to people like you can go so many paths when something starts working, when one thing's working it's easy to start thinking about all these other things that you're not doing. And I've just tried to live by this principle that I heard someone say which is so where you have favour and so where I have favour, that's where I'm going to continue to sow and not be thinking about ‘Well because this is working [36.18] what I can get in that door, that I could do that thing'Chris: It's been a pleasure to  hear from you. I know that so many of your words have turned into songs that have turned into these personal words for other people. You know they've taken those as their own, as their prayer like you're saying. So it's been a pleasure for me to be able to sit here and just hear from you because so much of what I've heard from you have been the songs that you've created and so to hear personally from you about some of that with the struggles or the high points or the…what you're thinking of as some of those songs come to light has been a pleasure man, thank youSeth: Yeah, super funJason: Thanks so much for the time manSeth: You've been listening to the Full Circle Music Show, leave us a nice rating and review on iTunes. Editing help this week thanks to Kayley Ingram and [37.05] Jerricho Scroggins, produced by the Full Circle Music Company. Check us out at fullcirclemusic.org/podcastwww.fullcirclemusic.orgThe post FCM012 – Writing 100 Songs A Year with Jason Ingram appeared first on Full Circle Music. See acast.com/privacy for privacy and opt-out information.