I’m carpet bagging here—a writing guy commenting on music to music people—but give me a couple paragraphs before you start snickering at my ignorance. The Golden Age
We seem to be enjoying a Golden Age of Songwriting. From Chris Tomlin and Israel Houghton to MercyMe’s Bart Millard and Casting Crown’s Mark Hall to the Hillsong movement to your personal favorite (Derek Webb? Kirk
The Tin Age
We seem to be enjoying a Tin Age of Christian music. From Chris Tomlin and Israel Houghton to MercyMe’s Bart Millard and Casting Crown’s Mark Hall to the Hillsong movement, it seems like mediocre music is clogging Christian radio today. It’s an awful time—certainly not the worst ever, but . . .—to be challenged and surprised by anything produced by our major artists.
In music it’s a “sound,” in writing it’s a “style.” Maybe I’m too much of a book guy, but I don’t hear that in Christian music today.
Case in point:
Cases in point: MercyMe and Casting Crowns play almost nothing memorable. You recognize them by their lead vocalist, not their uninspired music.
Stellar artists/performers—and I’d put Israel & Chris Tomlin in or near that range—must couple their spectacular lyrics while exhibiting a stellar style that is uniquely them to be considered one of the Hall of Famers. It’s not about popularity, it’s about electrifying history.
Need a couple examples? Think: The Beatles. Think the Edge’s soaring guitar in U2. Every song is different. Every song is theirs alone.
Legitimate Reasons?
Are there different standards for Christian music? Does a “sound” matter in the eyes of history? Do the genres of church music (P&W, Gospel, Southern Gospel) nullify true signatures that the general listener would instantly recognize? Or do Christian listeners only expect genre satisfaction, punishing the truly talented who exemplify both?
I don’t have any answers, just many questions.
Still, it’s ironic that there’s such a yawning dichotomy between the lyrics and music of most Christian music right now.
I’m done. Feel free to argue with me. Put the book guy in his place.
Kent,
ReplyDeleteYou have such a great point! Maybe you should do this more often! It is VERY true that most of the bands you mention do not give us much of anything memorable. And that's what I've been struggling with for some time now - it all sounds the same and nothing really stands out from the rest. It all says the same thing and it all sounds the same - that's what drives me crazy.
But you are right that Israel and Christ Tomlin save the day. They are kind of like Steven Curtic Chapman - he has written so many songs that are recognizable to me because of the message - he does have that "sound" that you speak of and I just know when one of his songs is coming on. But there is a unique quality to them and most importantly the message of which you speak. And it's not all "self-help" messages. That is my biggest complaint. At some point we've got to get the theology and doctrine back in our songs - we've gotta sing what we believe instead of singing to just prop ourselves and others up so they can just "get through the day."
AA
Yo. Writer man. I wrote a reply and it got toasted. I wish I had a clue what happened to it. Irritating. That was many weeks ago. Now I still feel compelled to applaud your effort and boldness at posting something here. Maybe you will let me carpet bag on the Word blog one day. And of course I am still compelled to comment on your post.
ReplyDeleteYou ask: "Do the genres of church music (P&W, Gospel, Southern Gospel) nullify true signatures that the general listener would instantly recognize? Or do Christian listeners only expect genre satisfaction, punishing the truly talented who exemplify both?"
I could probably write a full blog posting in response. I will try to limit it to a few words here. 1. Yes. I think that genre stifles the musician's ability to have that distinctive sound. Although give Hezekiah Walker and Fred Hammond a listen. I think they're quite distinctive. Also Shirley Caesar. T.D. Jakes. Black Gospel, to my ears, lends these artists an ability to have that musical individualism you seem to crave. Contemporary Christian, on the other hand, has long struck me as lackluster in musical content. And, as Ann points out, SCC also.
I was intrigued by your observation regarding Israel's latest crossing the genres so freely. I have long lacked funds with which to buy much music, but Israel's one that I would go further into hock to buy . . . wait. Nevermind I won't go there. But yes I am a huge Israel fan.
Where was I? Yes. Do listeners expect genre satisfaction. Also yes. Most listeners only want to hear what they like to hear. We do many of our elders a disservice to lean so contemporary. If you're in the country you need to do country. If you're in the city you need to walk the line between Contemporary Christian and Black Gospel. And if you're serving an older congregation you need to serve up more hymns. Keep the old ones. Introduce quality new ones at a pace that can be sustained. Lots of opinions. Lots of theories. Short on decent practical application.
Your truly.
EG