INTERVIEW: Heath McNease discusses his free C.S. Lewis-inspired album

I recently caught up with rapper/singer Heath McNease via e-mail to discuss his new album, the Disney “Narnia” movies, and whether or not we’ll ever see another C.S. Lewis.

Sketch: Which of C.S. Lewis’ books was the most challenging for you to write a song about? Why?

Heath: Definitely The Problem of Pain. I wrote “A Grief Observed” early on…and I was really conscience of trying to make clear distinctions between the two songs lyrically, because they deal with some overlapping themes.

I was just going about “Problem of Pain” all wrong sonically at first. I wanted it to have too much of a serious vibe musically. So I actually ended up writing it on the ukulele and then recording it on the piano. Musically it sounded far more upbeat. Once the sonic palette was brighter…it made the lyrics stand in stark contrast. I love how it turned out.

Sketch: What was your take on the recent film adaptations of the “Narnia” series?

Heath: I saw the first one and loved it. I thought it was great. I saw Prince Caspian once, and I thought it was fun. I haven’t seen Dawn Treader yet, but I’m sure I will at some point.

I think I was kinda upset at Disney letting go of the product. Disney handled the franchise so well. But I’m sure I’ll see it eventually. Obviously it’s hard to capture every detail from the books, so you hope to capture the spirit of the work which is what I tried to do with my songs.


Sketch: This album showcases more of your acoustic singer/songwriter side. Did you attempt any of these songs in hip hop first? Why or why not?

Heath: Well it’s not totally acoustic. I actually made a concerted effort for it to not be an acoustic album. It’s definitely more of an indie/folk rock record. I actually thought in the beginning about what it might sound like if it was a hip hop record. But I just feel like people try to capture the lyrical nature of Lewis all the time. I wanted to approach it from more of a “vibe” perspective. And it just came down to what style could best capture that. And for me…it lent itself to songwriting instead of rapping.

Sketch: Since I’m from Houston, I have to ask, are there any “chopped and screwed” sounds to be heard on your version of “The Screwtape Letters?” I’ve always thought that would be a natural take on the story from a hip hop perspective.

Heath: Haha. That’s actually a great idea. That was definitely not my interpretation of it. But I’d love to hear someone take that idea and run with it.

Sketch: Will our faith ever have another C.S. Lewis? Why or why not?

Heath: I don’t know, man. That’s an awesome question. I tend to think we will if we have another catastrophic war – which I certainly hope we don’t. But Lewis and Tolkein were both severely affected by the World Wars. It existed in the way they interpreted so many things. Just being soldiers, that informed so much. It did the same with Kurt Vonnegut.

And faith took a dramatic shift in England following World War II. I always thought Lewis fought against the current of the hatred and disbelief that ran rampant at the time. And he did it with depth, warmth, and humor. Sadly the best writers, thinkers, creators, etc. are usually products of terrible tragedies. So as much as I hope we get another C.S. Lewis…I hope we don’t need one.

The Weight of Glory: Songs Inspired by the Works of C.S. Lewis can be streamed and downloaded on a pay-what-you-want-basis (including FREE) at the artist’s Bandamp site.

Listeners can also choose from a variety of financial support options that offer rewards of signed CDs, personalized thank-you videos, and house concerts.

Thoughts on MCA of the Beastie Boys - R.I.P. Adam Yauch

Cancer sucks. One of its most recent, well-known victims is Adam "MCA" Yauch.

As a white kid listening to hip hop as a yungin, Yauch's Beastie Boys were one of the first groups I gravitated towards as MTV began to embrace the genre.

Although I started listening to Christian rap early on (copped Stephen Wiley's "Bible Break" cassette tape single in 1986), I probably heard the Beasties first - something my mother wasn't too pleased about when she had to explain their "your mom threw away your best porno mag" complaint from "Fight For Your Right" to her 10 year old.

I balanced out my hip hop diet as years went along though and continued to appreciate the Beastie's growth as artists. In college, we rocked to Check Your Head and Ill Communication. When I got married and bought our first DVD player the Beasties' Video Anthology (The Criterion Collection) was one of the first discs I purchased. It's still a worthy spin with 100's of different angles and over 40 remixes on the different audio tracks. Plus, the dudes simply kill it on the visuals.

I love their instrumental albums too. The In Sound From the Way Out and The Mix-Up show off their talent as true musicians. And thankfully, they were inducted into the Rock and Roll Hall of Fame just last month. Something the great Mick Boogie celebrated with this fresh Grand Royal mixtape.

My prayers are with Yauch's wife, daughter, friends and family. He will be missed.

If you haven't yet seen it, check out the way Christian rappers Heath McNease, Playdough, and RedCloud paid tribute to the Boys' classic "So What'cha Want" video in this track from the Nintendo Thumb: Straight Outta Console mixtape.

Freestyle Rhyming: The Missing Power Tool of Christian Rap Ministry

A few weeks ago I had the pleasure of taking in the “Whose Rhyme Is it Anyway?” tour stop with Playdough, Heath McNease, and RedCloud on the campus of my alma mater – Sam Houston State University.

The event is a freestyle hip hop concert in the vein of the “Whose Line Is It Anyway?” TV show of improv skits and comedy. Here, the three dudes take audience suggestions for games and setups and let their off-the-top skills fill in the rest.



I have to say, it was one of the most enjoyable hip hop related sets I’ve been to lately. The only thing that may have topped it was our MC skills competition at SXSW which, coincidentally, also featured rappers performing freestyle verses and challenges.



Combine that with the fact that this tour primarily targets secular colleges and venues, and I’m led to believe that Christians in the hip hop community need to utilize this time-honored tradition and skill more often.

Too frequently, we’re accused of biting and unoriginality. When we freestyle, we showcase our creativity and can offer a unique, all-ages brand of entertainment that most people welcome and are drawn to.

The Homeless Heroes project stuff that Jerrell Johnson and his man Set do down in Tampa is another good example of the way this skill can be used to share a message of hope with people who might otherwise turn away from traditional “Christian hip hop.”



Bottom line: If you’re a faith-based rapper and are NOT utilizing some form of freestyle rap in your performance and ministry I think you’re missing a great opportunity to expand your audience - which can ultimately lead to more lives being changed through Christ.

INTERVIEW: Heath McNease talks "Thrift Store Jesus," explaining art to Christians, and working with "outsiders" RedCloud and Pigeon John

I recently caught up with rapper/singer Heath McNease via e-mail to discuss his new album, having to explain his art for Christians, and working with “outsiders” like RedCloud and Pigeon John.

Sketch: Are you crazy? By my count, this is your 4th music project release within the last 365 days. Why the massive work ethic? Are you at all concerned about over saturation?

Heath: Hahaha. I feel like I might be crazy for choosing music as my vocation in the first place but that's about it. The work ethic is simple. Music is my job. Touring, writing, recording, that's my job - no part time hustle. So if I'm not either touring, writing, or recording then I'm essentially committing "time theft" against myself.

I love the process. I'm driven by it. It's exhausting how much it weighs on my mind sometimes, but that love was put there for a great reason.

And over saturation is a concept that doesn't exist in my world. Lil Wayne, Lady Gaga, Chris Brown...huge stars like that are the ones who potentially have to worry about stuff like that, because everyone knows them. So it could lead to audience fatigue, but I'm gaining new fans and listeners every day. I have to keep providing a new product to keep retooling my live show so that I have something new to share the next time I visit. I want new listeners to hear the newest, best version of me and then visit my back catalog. I want my ride-or-die listeners who have been invested for four years to hear my evolution as it's happening.

I think you can only over saturate when you've seeped into all areas of pop culture. I've probably got 50,000 people who've heard of me, probably 10,000 fans who are aware of me, 5,000 who follow most of what I do, and probably 2,500 who follow everything I do. So my job is to expand that.

Sketch: For this album you actually recorded and posted a video explanation of each song. Why did you feel the need to go to that extra effort?

Heath: Because I've learned that I literally can't leave ANYTHING unexplained for a lot of church people. Some people in the church are just waiting for a reason to have an issue with anything an artist says. They feel like they not only need, but intrinsically deserve, to know the nuts, bolts, and inner workings of your every thought as it pertains to your art. And since there's a lot of serious stuff covered on this album I didn't want to even leave a window open for someone in the church to attempt to twist my words or misinterpret my intentions.

95% of people in and out of the church are cool, but the 5% that aren't cool...they really try to make life miserable for everyone else. I'm just a humble dude who was called to share his heart through a few songs. I'm harmless. My heart is to help, but I don't make music for 6-year-olds.

And for a lot of church people, they feel that a Christian must make music that is acceptable for them, their grandparents, and their kids. Go listen to The Wiggles. I don't do that and I don't have a problem with anyone who does, but some people have a problem with artists not doing things their way which is antithetical to art’s purpose in the first place.

And the whole..."But aren't you called to be a Christian before an artist?" debate is weird because I'm called to serve God and God called me to serve Him by following His word and my instinct as an artist. Pastors can speak about Song of Solomon to adults, but they can't do that with 6-year-olds. This is for teenagers, college students, and adults. It's not for children's service and that's fine.



Sketch: To me, Thrift Store Jesus sounds like a pretty even mix of your acoustic and hip hop musical identities. Was that intentional?

Heath: Hah, it would've been all rap or all acoustic if that was where I was being lead. I said that I didn't want it to be a concept album, but I did want it to conceptually sound like an album an artist could've made on one really cold, lonely day. There are only three straight-up acoustic songs, but they are so similar in their content they don't stick out. They weren't done to change the vibe though. They just fit perfectly with what I was trying to talk about and that conceptual balance I think is what makes it such a strong album.

Sketch: The song "It's a Wonderful Life" features Pigeon John and RedCloud - two guys who have been somewhat ostracized from the Christian hip hop community lately. Why did you decide to include them on this project?

Heath: Because they are my friends and I love them. Because they are phenomenal artists. Because they added something to the album and that's what an artist looks for.

RedCloud was the first dude who ever reached out to me - just some punk high school kid who liked rap. RedCloud took me on the road with him and showed me everything. He showed me how to rock shows. He showed me how to be gracious at host homes.

He did real ministry. I’m not talking about showing up at rich churches and rocking for 150 white kids and leaving with a check. I mean...we were in Native American reservations in South Dakota and Montana...places that this country have either forgotten or ignored and he loved on those people in a way I’ve rarely seen. He was there to serve.

I wouldn't care if every church, Christian, pastor, deacon, and supporter of mine told me they'd never bring me in again if I supported him. I’d still do it because that's what friends do. That’s what Christians do.

I’ve seen the heart of a lot of Christian culture by how they treated that dude. I’ve seen churches love on him in a way that literally broke me down. I’ve also seen some people stand in judgment towards him in a way that is nothing short of grotesque - especially when they have NO basis other than rumor. If they don't want to support his music, that's fine, but people have been harsh.

And I’m in NO way condoning some of the things he's said or done and he knows that, but if I had Mos Def or Talib Kweli on my album people would be stoked. But a Christian dude who is doing his best to figure things out? “No...you can't work with him.”

Throwback video with Pigeon John from Heath's first album

And Pigeon John is the best live performer hip hop has ever seen - all of hip hop. I mean that. We’re not best friends or anything. I don't think I’ve spoken to him in three years because of how busy his schedule got, but i wrote an $18 check for [Pigeon John’s first solo album] ... Is Clueless with money I made working a summer job and I’ve been his biggest fan ever since.

And he's been dragged through the mud as well. I honestly don't know or care to know about the inner workings of his personal life. Unless I hear something straight from him I consider it gossip...which in and of itself is not biblical. So I love him as a person and I pray for him to find peace and happiness. And I love him as an artist so I wanted to work with him again.

I put sintax.the.terrific on the song too. He knew those guys were on the song and he never once said, "Oh man...I'm not sure." He said he'd love to because he wanted to be a part of a good song. And that song says something amazing and it took all four of us to do that.



Sketch: There's some really raw language on this album. I'm not necessarily speaking of curse words (although there appear to be a few that you've muted), but also just in the honest, sometimes less-than-flattering, thoughts and feelings of a man seeking truth.

How scared were you to release some of this publicly? Has its response surprised you in any way?

Heath: The first thing I’d say is there is NO cursing on the album. No muting or anything. My goal was to make harsh edits so there would be a perception of edited cursing at times even when there wasn't. But it was only done when a story was being told through the eyes of someone who would say something less than savory. I recorded this album in a church's studio, so I wouldn't have wanted to do that anyway.

But I knew the language was going to be more honest. I knew it was going to expose a lot of stuff that I was truly feeling. I knew it was going to run the gamut of emotions: doubt, fear, anger, bitterness, despondence, desperation, love, lust, greed, selfishness, AND redemption.

I was more frightened to release this than I could even explain because...when you pray hard about something and you say, "God...I don't want to get in the way. If there's something I shouldn't say...please convict me. If there's something I shouldn't do...please be the business man that I don't know how to be" a lot of people don't realize that this kind of honesty is the WORST move you could make if you're a business man who looks at the church as a way to fund your endeavors. But I’ve never looked at it like that.

There’s a possibility it could put some people off who are believers, but if my motivation was the money and not sharing what was on my heart I’d be squandering this gift. But i was definitely frightened in a way I haven't really expressed.

The response has been so overwhelming. I’ve heard exactly what I was hoping I’d hear from believers, from non believers, from casual listeners and hardcore fans. "Man...I relate to this so much." "Heath, thank you for being brave enough to really be honest. I’m going through the exact same thing as you mentioned in this song or that song." "I can tell this wasn't an easy album for you to make, but thank you for following your heart."

Stuff like that shows me that it's exactly what needed to happen. I’ve heard a ton of people say it's their favorite album of mine. They say it's my best and most mature. I knew from the beginning that it would unfortunately have no place in the world of accessibility, but I knew that I owed it to myself and to the people who are going through tough times to make this album.



Thrift Store Jesus can be streamed and downloaded on a pay-what-you-want-basis (including FREE) at the artist’s Bandamp site.

Listeners can also choose from a variety of financial support options that offer rewards of signed CDs, personalized thank-you videos, and house concerts.

Fab da Eclectic drops a "Bombshell"

I recently caught up with Fab da Eclectic aka Tobias Moran to discuss his new album Bombshell, attempting to make music a career, and if he has any concerns about the visual content associated with his production for outlets like CBS, ESPN, and HBO. And like Heath McNease (who Fab has produced for in the past), he’s switching his sound from hip hop to pop.

Sketch: I've noticed that you often given credit to the original Christian hip hop journalist, Richie "s/ave" Douglas (founder of ONEMIND Magazine and DaSouth.com), for providing some early guidance to your music career. Can you share a little bit more about that relationship and your thoughts on his legacy?

Fab: s/ave was the first person I ever sent one of my beats to. I had heard of ONEMIND, and heard that they were the "guys" I needed to send my music to if I was to get heard. s/ave was very cool and kind in critiquing my music, but also blunt and gave me some good pointers. I often sent beats to him for his approval. If s/ave thought it was wack, I tossed it and started over again. That's how highly I thought of him.

Over the years, we exchanged emails. In the last email I got from him he told me that I had turned into a very solid beat maker and that I'd go far. That meant a great deal to me. I believe Richie was a very integral part of helping me understand how to make solid hip hop music. I wish I had the opportunity to sit down with him one more time and let him know just how much he meant to me personally. Christian hip hop lost a good guy when we lost Richie.

Sketch: In the past, you've done a lot of hip hop production and vocals but Bombshell finds you heading in a more pop-music direction. Why the switch?

Fab: I had been sitting on lots of songs that were just gathering dust coupled with the fact that I was a little disenchanted with the 16 bar spoken hook. I wanted really to make something that I would enjoy listening to by myself. So I decided this time around to put those songs to music and make them catchy. I figured, maybe a hand full of folks might like some laid back, catchy acoustic hip pop. But honestly, I just wanted to do something different...something...chill.

Sketch: Bombshell appears to be collection of relationship story songs. What drove you toward that theme?

Fab: The first song I wrote for this record was the title cut which is about my wife. I played it for her and she cried! And then I thought, "You know, everyone relates to relationship songs." So I took some of the ones I had written, changed them up a bit and recorded them.

I thought if I put together catchy hooks, someone out there could relate to at least one of the songs. Everyone's had a break up. Everyone's felt pain. Everyone's had a moment where they miss someone. What better way to grab the listener than to write a song about something they're familiar with? It just so happens that I've had quite a few folks email me and tell me "Oh my gosh, that song is about ME!" So perhaps it worked.

Sketch: You have some high profile production credits on your resume’ including spots on "CSI," ESPN, and HBO. As a Christian, did you/do you ever have any fear about the lyrics/images/stories that will be told in conjunction with your music? Just curious if you have any qualms (or even much control) over violent or sexual images and dialogue that might be tied to your work.

Fab: Not really. I believe God puts us on a path and opportunities lie along those paths everywhere. God is good and I believe we have several choices along the way. I believe if we are truly set apart and predestined, whatever path we take is God's will in the long run. I was given opportunities and I took them. Who knows what's going on behind the scenes with the music? Perhaps someone may hear one of my songs on TV, search for me, find Bombshell and have a song speak to them. I make the music and let God do with it what he chooses.

Sketch: Your song "Goodnight" tips its hat toward Christian rap pioneers but also seems to be your "Dear John" letter to hip hop? How did those trailblazers impact both your faith and music and are you really done with this genre?

Fab: Gosh....Soup, PID, Stephen Wiley, and Michael Peace were the first tapes I had in my collection. I am forever indebted to them for their ministry and music. I played those tapes until they were worn out, they impacted me so much! Those four in particular inspired me, not only to make music but what they were saying MEANT something. In a time where hair bands saturated radio, I had a little slice of something I could relate to when Christian hip hop hit. I have never been fortunate enough to work with any of them, but that would be a dream. I'd love to sit down with them all and just say "Thank you."

Done with the genre? You know, I don't really know. I know I'm done making "hip hop" records. I want to move into a more musical and catchy genre. I also want to make music that sells...music that radio will play. I know we're all tired of being broke with our music. Well, then we need to start making music that pays us back.

I love hip hop. Hip hop is in the blood. I'm sure I'll drop a beat or two here or there in the future! Just not sure when. Perhaps I'll try to push other artists to make their hip hop a little more musical.



Bombshell was released on February 15, 2011 and is available now on iTunes, Bandcamp, and Amazon.

Heath McNease Takes a Break from Hip Hop with New Acoustic Pop Record

I recently caught up with Georgia-based Christian rapper Heath McNease via e-mail to discuss his new album, the art of freestyling, and the how he keeps his faith when on the road for over 300 gigs a year.

Sketch: When somebody asks what kind of music you do what do you tell them?

Heath: I tell them I'm an emcee and a singer songwriter. I do hip hop and I do singer/songwriter solo material.

Sketch: You do both worship music and hip hop. Do you find much crossover between those audiences?

Heath: Definitely sometimes. I honestly think some people are more impressed by that than they should be. I never set out to do two different styles of music because I wanted to be "different" or to have a comfortable niche to rest in..."look he raps AND he plays instruments AND he sings." I don't think that's a cool concept to lean on, because you can do all three and be mediocre at them and it doesn't help your cause.

Wyclef Jean [from The Fugees] was doing this before anybody, so it's not an original idea. My goal has always been to make great music - to make great rap and great acoustic stuff, so I definitely find a lot of crossover, but I think sometimes it isn't for the right reasons. We’re in a time where people listen to every different genre under the moon and stars and they can go from rap to pop or folk in seconds. So it isn't impressive that I do multiple things musically because their iPod does the same thing.

I think I could possibly see how they find it impressive live when I'm freestyling/playing guitar, piano, and harmonica/doing worship/covering songs, but I don't think that being a fan of an artist because they can do multiple things musically is necessarily the best promotional tool to use.

Sketch: Do see some of the same faces at both types of shows or do you perform both types of music at one show?

Heath: I definitely see some of the same faces. I integrate and keep it separate depending on what the venue wants. I play rap clubs and venues where I mostly just rap. I do coffee shops and lead worship and only play and sing. But most of my regular concerts include a heavy selection of both.

Sketch: Often your hip hop seems to lean heavily on humor and "nerdcore" type references. Why is that?

Heath: I'm not sure I've ever truly understood the "nerd core" deduction. I'm not saying I disagree with it when people say it...or take exception to it. I'm just not sure I understand it. It comes up in a lot of reviews and it's always used in a positive light but I'm not sure what the end game is there. I mean, on a rap album of mine with 15 tracks, probably seven or eight of them are feel good songs, three or four are more serious bangers, and the rest is usually incredibly serious and lyrically dense subject matter that exposes a lot of urgent and pressing material. I think sometimes it is easier for people to put me in the "clown prince, nerdcore, silly" category because I have a lot of fun on my albums and when playing live but I think that is sometimes a function of the fact that 98% of hip hop is far too serious/bland/uninteresting/formulaic/safe and because everything sounds the same

My material tends to stick out a little more for its humorous approach because there aren't a lot of emcees or artists who really tackle humorous material without going into full out cartoonish devices which I avoid with a few exceptions here or there because there are definitely times for blatant silliness.

But I like to make people laugh. I like to give people a great time a show and have them leave feeling optimistic about life for five minutes before the next war breaks out or celebrity gets arrested or family member gets sick, etc. We need to escape sometimes. But all the humor really does is serve in the process of opening people up to the serious things I'd like to share. It is a give and take.

My music is a lot like someone's life would sound - tons of joy...tons of happiness...lots of sorrow...lots of worry. So I don't think I've ever "leaned" on humor or any other device. It's just a natural manifestation of how I choose to communicate both musically and interpersonally.

Sketch: Why did you decide to take a break from hip hop on The House Always Wins?

Heath: I definitely wasn't taking a break from it. It just seemed like the right time for me. When I am writing/producing/recording/mixing/mastering hip hop projects it takes so much out of me. The creative process can be a long one, because I never allow myself to come with anything less than my absolute best.

It takes time to really build songs with the heavy syllabic structure that I have in cooperation with the mixture of both live and sampled instrumentation and then the engineering phase is ten times as brutal with none of the fun. So while I'm working on hip hop or while I'm on the road these acoustic songs just find their way out of my heart.

I think the greatest difference between any other kind of music and hip hop is that with hip hop your words tell a vivid story. You can describe every detail down to the last thread. You can sometimes beat a dead horse before you even get to the third verse. With acoustic/pop/rock/indie music there is so much more of an opportunity to abstract your thoughts and ideas. You can try to capture a "mood" without thoroughly expressing a full idea and I've found that sometimes that speaks to me louder than 48 bars worth of storytelling.

It's just a great blessing that I have been given the opportunity to explore both sides of that communication musically. I just thought it was time for less lyrics and more mood. So this album essentially wrote itself.

Sketch: Which type of music do you find more challenging to write: hip hop or acoustic pop? Why is that?

Heath: Hip hop because of the lyrical content. It's just a lot more difficult to be both deep, interesting, stylish, and captivating when your words are your entire form of communication than in pop or indie music where music, lyric, and sometimes just sounds like "ooooh", "ahhh", and "dah dah dah" and can take on a character of their own. That's a lot less writing. It's more about feeling it out and a lot like the saying in poetry classes -"Less words, more poem." That's how pop is.

Sketch: Which comparison do you get and hate more: "the Christian Eminem" or "the Christian Jack Johnson?"

Heath: Geez, I'd say it's about equal. Although the "Christian" part doesn't come up so much, especially when I'm playing outside of a church which I do a lot of. I think comparisons make some artists upset but I understand that we as people have it built in our system to want to classify and qualify. It's just a shorthand that we all speak.

Sketch: You're a part of the "Whose Rhyme Is Is Anyway?" hip hop improv tour with Atlanta's Manchild (of Mars Ill) and Dallas' Playdough. Tell me a little bit about how that got started and how it's been received so far.

Heath: It has been received so well. It's just a ton of fun, man, getting to freestyle and play shows with two guys that I grew up listening to. I mean. I was in high school idolizing these guys. Now I get to swap freestyles back and forth with them? It's amazing.

Audiences love it, dude. They eat it up. Fans of rap, newbies, old, and young, colleges, clubs, churches, etc. we play everywhere and it's a blast. Having a show build solely on the art of freestyle and improv is just a great experience because the audience gets to not only help dictate what you rhyme about, but they get to watch you sweat it out. Manchild and Playdough are two of the dopest freestylers out there and I would put their skill up against anybody's. I'm just happy to be a part of it.

I'm not necessarily the biggest "purist" when it comes to hip hop, but I do feel the art of freestyle has truly been forgotten. I guarantee that 99% of the guys that rap in the mainstream couldn't hold down a topic-based or centrally-themed freestyle for more than four bars. They would go into the clutches of "rippin the mic" or "gettin paid" or whatever it is that rappers say. Freestyle is both a gift and a chore. You have to work at it to continue to be comfortable enough to just let your mind take over. The three of us do that very well at this point.

Sketch: You told me you've done about 300 shows in a year and I know you have a hectic travel schedule. How do you maintain your faith and grounding when you're on the road so often?

Heath: Great question, man. Sometimes it's tough...just like a regular 9 to 5 life is tough. But I think the greatest asset for me is that I get to have a church home multiple days a week even though it's not MY church. I get to see how God is working in the lives of cities and towns all across the country and that increases my faith in a way that being stationary couldn't.

Seeing the church truly be a haven and shelter for people who are broken, sick, poor, and just in general need...that's been awesome. Watching the body of Christ help others because we were mandated to LOVE...not just to try to convert people.

That's one of the toughest parts of Christianity for some people - learning how to love people for their sake without trying to use your means as an end to "save" them. "Let your light so shine so that they might see your good works and glorify your Father which is in heaven."

We are supposed to shine and love and that makes being on the road incredibly uplifting instead of negatively distracting. Plus, having close, air tight accountability with some very close friends in my life keeps me focused on the true goal.

The House Always Wins is available today at all major digital outlets including iTunes where it is listed as an extremely affordable $4.99.

And right now SphereOfHipHop.com is offering Heath's The Gun Show rap album as a free download. Click here to grab your copy.