Speed bumps can be a hassle. You’ve got to slow down and take it easy going over them or driving too fast could cause your car to fall apart right there in the roadway.  That’s one way to look at it.

My dad and I were talking about the speed bumps that God allows in our lives. They’re not placed haphazardly or randomly; they come in all sizes and are placed in the roadway of our lives to help us.

Most of the time we rush through life without noticing the scenery, smelling the roses or pondering the many blessings around us. Sometimes a speed bump comes in a variety of “difficulties” like  health problems or financial challenges. Whatever the situation, we are forced to slow down and pay attention to our bodies, spending habits, relationships and especially our relationship with God.

Most of the time life’s speed bumps pop up while everything seems to be going well. The warning might be a blessing in disguise as God gives us the opportunity to stop, look and listen. Sometimes potential dangers are up ahead and we have no clue.

So when something interrupts our lives, God may be trying to get our attention. We may never know when it’ll happen, but if a speed bump appears up ahead, it’s better to slow down and make adjustments. Thank God for those pesky things–they save lives!

I just finished Chuck Smith’s 2003 book, The Man God Uses: 14 Characteristics of a Godly Man. Chuck referenced Acts 5 in one of the chapters, and reminded me of the wisdom Gamaliel spoke to his fellowPharisees following the death and resurrection of Jesus. 

Acts 5:27-28 states:

“The apostles were brought in and made to appear before the Sanhedrin to be questioned by the high priest.’We gave you strict orders not to teach in this name,’ he said.’Yet you have filled Jerusalem with your teaching and are determined to make us guilty of this man’s blood.'”

Ironically, when Jesus was on trial, this same group of Jewish leaders asked that Pilot put Jesus’ blood on their heads, demanding He be killed–now they are working to avoid blame.

The plot thickens as the Apostles, now on trial themselves, insist:

“The God of our ancestors raised Jesus from the dead—whom you killed by hanging him on a cross. God exalted him to his own right hand as Prince and Savior that he might bring Israel to repentance and forgive their sins.” Acts 5:30-31 (NIV)

Then in verses 33 through 39 we read:

“When they heard this, they were furious and wanted to put them to death. But a Pharisee named Gamaliel, a teacher of the law, who was honored by all the people, stood up in the Sanhedrin and ordered that the men be put outside for a little while. Then he addressed the Sanhedrin: “Men of Israel, consider carefully what you intend to do to these men. Some time ago Theudas appeared, claiming to be somebody, and about four hundred men rallied to him. He was killed, all his followers were dispersed, and it all came to nothing. After him, Judas the Galilean appeared in the days of the census and led a band of people in revolt. He too was killed, and all his followers were scattered. Therefore, in the present case I advise you: Leave these men alone! Let them go! For if their purpose or activity is of human origin, it will fail. But if it is from God, you will not be able to stop these men; you will only find yourselves fighting against God. (NIV)”

In reading this, I am reminded that it’s wise to “consider carefully what you (or we) intend to do.” Rash decisions usually lead to failure. When we follow Jesus and obey His Word, we are certain to succeed. It may not be an easy path, but we can count on the Holy Spirit to see us through. If what we do and say “is of human origin, it will fail.” If what we do is of God, no one will be able to stop us!

Thank God for Gamaliel, his wisdom, and his courage to step of of the crowd to deliver it.

KHJ, “Boss Radio,”  was “the” AM radio station for me to listen to while growing up in southern California in the 60s. Disc Jockey legends like Robert W. Morgan, Charlie Tuna and The Real Don Steele worked their way to L.A. to hold some of the nation’s ultimate radio gigs. KEZY was another favorite. In my youth I was entertained by KEZY DJs like Bruce Chandler, Paul Freeman, MikeWagner, Dave Sebastian and Rick Carroll.

The DJs were as important to us as the music they played. Little did I know growing up there that some of the classic music of the last half of the 20th Century was broadcast for the first time from those tiny radio control booths–making an initial impression on Los Angeles and eventually, the world. Some producers in Hollywood were known to finish a mix in the recording studio, run to one of these radio stations and beg the DJs to give it a spin. I was so blessed to have grown up in the midst of all that.

I recently read a great book about the formative years of radio called, The Hits Just Keep on Coming: The History of Top 40 Radio, by Ben Fong Torres. For those like me, who’s life has been deeply touched and affected by AM radio, you will find this a very interesting read. It was fascinating to learn how radio would evolve, even to survive competition from the broadcasting behemoth–television.

These days I listen to Sirius XM. But even they use DJs on my beloved “70s on 7” channel,  just like KHJ and KEZY did back in the day. The following is an exerpt from an upcoming tribute film to the L.A. studio musicians of AM radio’s golden age: The Wrecking Crew. In it, you’ll hear some cool anecdotes from folks who were part of, or associated with, the Wrecking Crew. They specifically talk about Todd Storz and Gordon McLendon, from the birth of Top 40 radio to the homogenous nature of  radio today.

The summer of 1969 is more than just a song by Bryan Adams–I lived it. For my 9th birthday in July, my mom and dad let me stay a week or so with my grandmother.

Surrounded by thousands of other cookie-cutter apartment buildings in San Jose, California, Grandma’s place seemed like a safe haven to play “hide and seek,” or a game of marbles with the neighborhood kids. But because I was afraid of the boogie man, I rarely left Grandma Zoe’s side.

I had ample reason to be afraid. The Zodiac killer was on the loose in greater San Francisco, frightfully near San Jose, murdering young people (The killings occurred between December 1968 and October 1969). Altogether, four men and three women between the ages of 16 and 29 were the unfortunate victims of this vicious maniac (other reports suggest he actually killed dozens more). In any event, I was scared stiff. I can remember seeing the ciphers–coded messages–written by the Zodiac, printed in the newspapers that Grandma Zoe left open on the kitchen table.

1969 was also the summer of Apollo 11 and the first men on Moon. Less than a week before America’s youth invaded Woodstock in Upstate New York on August 15th, Charles Manson and his “family” committed the Tate-LaBianca murders in the Benedict Canyon area of Los Angeles.

I clearly remember watching the news on T.V. with my family after returning home to Orange County from my time with Grandma Zoe. It was the day after the Tate murders and a local station was reporting from an L.A. freeway off-ramp while authorities searched the dense vegetation for a gun, a knife, and any evidence purportedly thrown from a suspicious car.

After Manson and his cohorts were apprehended, the entire country–especially those of us who were less than an hour’s drive from the horrendous crime scene–sat stunned. This “peace and love” hippie, Charles Manson, shattered the “love not war” image of the Haight-Ashbury flower child. We were now looking into the face of a monster. Everything changed that summer.

I know all this seems bleak, but there is a time when a child first realizes the world is a dangerous place–that life is fragile. That summer was my initial wake-up call. I don’t live in fear anymore, but all it takes to bring up these memories is a T.V. show like the one I watched last night about the Zodiac killer. It’s amazing how one summer can change your little universe…and the whole world, too.

Most of you acoustic guitarist out there have the same frustrations as me: it’s difficult to get a great live acoustic guitar tone.

My studio is equipped to produce wonderful acoustic sounds from my 6, 12, hi-string and classical guitars–as well as my mandolin–through great mic’s and preamps. But I’ve always had to settle for second-rate, under-the-saddle tones live, even with on-board microphones. I’m still not fully satisfied. Don’t jump to conclusions–I have great guitars with top-notch pickup systems. It’s just that I can’t coax a decent, authentic, full, studio-quality tone during a show.

I started my live acoustic journey like everyone else: clueless!  Back in 1973, at my first paying gig (a wedding, $35), I shoved a gigantic microphone into the sound-hole of my cheap Japanese dreadnought. Obviously, I fought feedback the whole time.

I grew as a player and jumped into the pro-world when I installed an L.R. Baggs under-the-sadle pickup with an on-board mixer onto my 1976 Martin D-28. It worked well, but the piezo artifacts in the overall sound still irked me. I eventually purchased a Lowden O25, put a Sunrise pickup in the sound hole, an L.R. Baggs under the saddle, and mixed it all together with a Pendulum Audio SPS-1 stereo preamp system. It was a very expensive way to bring my live acoustic tone quality to a decent level. Still, If you can believe it, I wasn’t fully pleased.

I read an interview recently with James Taylor in Mix Magazine. Since I’ve seen JT in concert, and know first-hand the tone he demands from his guitar, I shut up and listen when he addresses his tone secrets. From the Mix interview, JT describes his current live acoustic challenges and solution:

“The Holy Grail of acoustic guitar for live performance is finding a way to get the artifacts out of the transducer. The slight buzz, the quack we’ve all experienced. They’re moving targets, and unfortunately you just can’t dial them out. To me it seems like there’s this little curve of phase cancellation followed by augmentation that occurs with each note, and it’s not static enough that you can find it easily. This is the major thing we’ve dealt with, and right now we have a pretty good handle on taming the problem using Fishman’s Aura acoustic-imaging blender.”

I currently only take my Composite Acoustics GX Performer dreadnought out live. I love it! It has an L.R. Baggs iBeam mixer on board (you’d be extremely surprised how this guitar sounds in the air–it is physically light and resists the temptation to change it’s tuning with drastic temperature fluctuations while getting it out of the car and into the venue). 

I’ve got the Fishman Aura 16 blender and agree with JT: it’s the best solution for good live tone so far (you’ll have to make your own judgement). I’m one step closer to live acoustic nirvana! Anything beats a microphone bouncing around the inside of my acoustic, just to get heard above the drums.