• BC Christian News • MARCH ISSUE 2001 • VOL. 21 #3 • Formerly "Christian Info News" •

Various takes on Contemporary Christian Music
By John Cody

• John J. Thompson: Raised By Wolves, ECW Press, 2000

Subtitled ‘The Story of Christian Rock & Roll,’ Thompson’s tome is more history lesson than critique. For the most part, his attention is on the groups -- rather than business machinations, or theological arguments (although both issues are dealt with). As the owner of True Tunes Music , Thompson has been intimately involved with the CCM scene for more than a decade, and knows his subject well. He divides the music into three separate eras (the ‘70s, ‘80s, and ‘90s) and traces it's evolution -- from humble beginnings to it's current status as industry heavyweight.

Unfortunately, he is hampered by a lack of knowledge regarding the mainstream music scene. For instance, Christian recording artist Richard Souther was never part of Souther, Hillman, Furay -- that was J. D. Souther.
He describes the Crosby, Stills, Nash & Young song, ‘Ohio’ (1970) as “the first time rock music participated in the dissemination of, and the reaction to, a news item.” Hardly. Four years earlier, Stills and Young -- as members of Buffalo Springfield -- recorded ‘For What It’s Worth,’ which dealt with the Sunset Strip riots of 1966; and everyone from the Animals to Frank Zappa had songs dealing with specific news events during the ‘60s.

Calling the ‘70s the “golden age of LPs,” he maintains that, until then, “records were more or less souvenirs” -- with “bands prefer[ing] to play live,” as opposed to spending time in the recording studio. This theory flies in the face of almost any ‘greatest albums’ list, which are generally top-heavy with ‘60s releases, including: the Beach Boys’ Pet Sounds, the Beatles’ Sgt. Pepper, Love’s Forever Changes, plus others by Bob Dylan, Jimi Hendrix, Rolling Stones, Doors, Velvet Underground, to mention a few.

Thompson gets other facts confused. The date he gives for the event which inspired ‘Ohio’ -- the Kent State shootings -- is off by two years. Chubby Checker is listed as a ‘50s artist; but with the exception of two minor singles released in 1959, his career was for the most part limited to the ‘60s -- a decade which saw him place 32 singles on the Billboard Hot 100. Along with Blondie and Elvis Costello, MC5 are listed as a post-punk band; they were long gone before the first notes of the ‘70s punk scene were ever played. Thompson has Daniel Amos recording their debut release in 1976; but a few pages later, we’re told that the very same album was released in 1975.

Finally, several well-known artists’ names are misspelled, including: Eddie Cochran, John McLaughlin, Mantovani, Simon & Garfunkel and Kurt Cobain.

A good fact checker and proofreader could have remedied these and many more mistakes. As it stands, so many errors take away from what could have been a first rate history of the genre.


• Thom Granger (editor): The 100 Greatest Albums In Christian Music, CCM Books/Harvest House, 2001

100 Greatest Albums makes a convincing argument that, throughout CCM’s relatively brief history, selected releases have been every bit as good as what was heard in the mainstream market. Broken down by decade, it’s obvious that the quality has improved steadily; 17 titles are from the ’70s, 38 from the ‘80s, and 45 from the ‘90s.

Amy Grant proves as popular with the critics as the public, placing five times -- including three albums released after her mainstream breakthrough -- demonstrating that it is possible to create music that appeals to both audiences. Mark Heard, Rich Mullins, Charlie Peacock and Michael W. Smith tie for second place, with three titles each. None of the Heard albums made the CCM charts; other acts, including Adam Again, Rick Elias, and Lifesavors Underground are in a similar position -- they never hit the charts, but are remembered long after their more successful competitors have faded from memory.

An ‘Honorable mention’ section includes a curious -- and entirely fitting -- entry: John Coltrane’s A Love Supreme. That album, a mid ‘60s jazz classic, is from another realm entirely; the music is uncompromising in its execution, and well worth investigating for the more adventurous listener.

While they may be the best the genre has to offer, trying to find these albums on CD is another matter: a check with CD Now found only 39 titles currently available. While internet sleuthing may turn up a few more, it’s a sad testament that so many have fallen out of print.


• Tooth & Nail Videography 1993-1999, Tooth & Nail, 2000

This DVD demonstrates how far things have come in the world of Christian music. Label head Brandon Ebel has commented that, while he would never sign an artist he finds vulgar, he wants Tooth and Nail “to be a normal record label.” That includes having accessible product -- which not only stands against the competition, but actually, in many cases, has become part of the mainstream.

This collection includes every video the label has released since its inception. Stylistically, it runs the gamut, including: Danielson Familie, Project 86, MXPX, Starflyer 59, Mike Knott, Joy Electric and 25 other acts, with a total of 54 videos. An excellent introduction to what’s been happening over the last few years.


• Mark Joseph: The Rock & Roll Rebellion (Broadman & Holman) 1999

In this book, Joseph likens CCM to the old Negro baseball leagues -- where teams were segregated according to color, regardless of talent. This arrangement was encouraged by team owners -- both black and white -- who stood to earn far more as long as the status quo was maintained. For three decades, Christian record labels have fostered a similar model -- where acts could be major stars in one market, and virtually unheard of in the other.

Joseph quotes C.S. Lewis, regarding Christian writers producing works tailored for other Christians. Lewis takes them to task for “endlessly harping on [Christ’s] blood as if that were all that mattered -- they must be the work either of people so far above me that they can’t reach me, or else of people with no imaginations at all.”

Joseph maintains that the questionable agendas of some Christian labels have ruined numerous careers: “The shortsighted Christians intent on building a separatist religious music empire owe a generation of silenced artists -- and the culture that never heard their music -- an explanation and an apology.”

To remedy the situation, he suggests industry leaders recognize that, as a result of their legacy of mistakes, any music, record companies, radio stations or magazines labelling themselves specifically as “Christian” will never be taken seriously by the music industry. He is calling for products every bit the equal of -- if not superior to -- anything heard on today’s market. Until people of faith are fully integrated into popular music, he maintains, labels such as ‘CCM’ and ‘Christian artist’ -- any term that marginalizes -- must be rejected. This doesn’t imply watered-down lyrics, nor does it negate those who sing specifically for the church -- like Steve Bell, Michael Card and John Michael Talbot -- whom he likens to medics and cooks in God’s army.

Joseph offers compelling arguments, and knows his subject well; but he needs to bone up on rock and roll history: the Yardbirds never covered ‘Get Together’ (Youngbloods and Jefferson Airplane); B.J.Thomas and Dion both grew up listening to Hank Williams, not Hank Williams Jr.; Barry McGuire was never the leader of the New Christy Minstrels -- that was Randy Sparks; and the Alpha Band released three Lps, not two.


• The Christian & Rock Music, edited by Samuel Bacchiocchi, Biblical Perspectives, 2000

The fact that the author cites Bob Larson’s career as a rock star -- which was long ago exposed as a fabrication -- is questionable at best. With the wealth of books on the subject currently available, this is best left on the shelf.


• Soul2Soul by Christopher L. Coppernoll (Word Publishing) 1998

Christoper Coppernoll is the host of the syndicated radio series Soul2Soul. Each week he interviews CCM acts on various aspects of the Christian walk; this book consists of quotes from the shows. Perhaps the most insightful comment is from Michael W. Smith: “I’ve always felt like we talk too much.”


• Jay R. Howard & John M. Streck: Apostles Of Rock, University Press Of Kentucky, 1999

Howard and Streck explore differing philosophies within the Christian arts community. Breaking down into three distinct approaches: Separational, Integrational and Transformational (for details, see the preceding article).

Any agenda, they argue, whether religious, political, or social, runs the risk of overshadowing the music. While there are notable exceptions -- Woody Guthrie, Larry Norman, the Clash -- in the majority of cases the music suffers.


• Various Artists: Roaring Lambs, Squint Entertainment, 2000

First published in 1993, Bob Briner’s Roaring Lambs was a call to arms for those frustrated by the seemingly endless list of mistakes made by the Christian entertainment industry. Conceived as a tribute to Briner, who passed away in 1999, this disc features acts who are described as having “made a difference” -- which could be disputed. Acts like Steven Curtis Chapman are hardly examples of Briner’s concepts. When artists are marketed through a Christian label, and stocked in the Christian music section, the odds of making an impression outside of the Christian ‘ghetto’ are slim to none.

As an overall package, this CD is okay; but it’s hardly a convincing argument for the quality that exists within the community. Responding to criticism, Steve Taylor, head of Squint Entertainment, told Christianity Today: “The fact is, this [CD] was made to preach to the choir. It makes no sense outside the context of the Christian church. That’s the point of the book, the album.”

By way of comparison, the same week I received this disc, I also picked up a copy of a British magazine entitled Uncut. Each issue includes a CD sampling current releases, mostly British. With a few exceptions (Miles Davis and Iggy Pop) the acts are obscure, and rarely major sellers on this side of the pond. Few reach the sales figures of those included on the Roaring Lambs disc. Yet, hands down the former is a more varied, enjoyable listen.


• Charlie Peacock: At The Crossroads, Broadman & Holman, 1999

Peacock offers solid, well-reasoned arguments as to what went wrong with CCM -- and offers ideas on how it can be righted. Plenty of food for thought.


• Various Artists: First Love, NewPort, 1998

The idea behind this CD was simple: bring together a group of CCM pioneers, and let the tapes roll. Among others, Andrae Crouch, Randy Stonehill, Barry McGuire, 2nd Chapter Of Acts, Randy Matthews and Chuck Girard all step up to the mike. Even Keith Green shows up, via a recently discovered recording.

Recorded in ‘97, the material consists of 31 songs -- some classics, some new, with the majority falling into the former category -- dating from the early ‘70s. For the most part, it’s a soft (Jesus) rock fest -- a secular equivalent of it would be a supersession featuring the likes of Bread, The Carpenters, Air Supply, and Dan Hill. Most of these acts have produced quality music in the past -- some still do -- but much here just doesn’t stand the test of time; too often, it comes across like a lost National Lampoon parody of empty-headed Jesus freaks. Fans of the genre will love this stuff -- but if you’re not big on the era, give it a pass.

The disc contains little in the way of information; but an ad for a pair of companion videos promises intimate artist interviews.


• Jeffrey L. Brothers: Hot Hits - Christian Hit Radio, CCM Books, 1999

Modeled after Joel Osborne’s Billboard Chart series -- including concise bios, songwriter credits, record label info and chart positions -- Hot Hits covers 1978-1998. Based on radio airplay as charted on the Contemporary Hits airplay charts, the late starting date means a number of major figures who made their mark before the magazine began publishing are barely present; because chart success is the criterion for selection, acts such as Larry Norman, Daniel Amos, Paul Clark and Evie are afforded far less space than their esteemed positions warrant.

A number of mainstream acts make brief appearances: Johnny Rivers, Marilyn McCoo, Bob Dylan, and Maria Muldaur all made occasional forays into the genre. One rather curious inclusion is Greek composer Vangelis, who appears with his Chariots Of Fire theme. Others who write from a Christian perspective are conspicuous by their absence: there is no T-Bone Burnett, Bruce Cockburn or Pierce Pettis. Many bands who experienced peak popularity throughout the era are also missing, such as Adam Again, 77s, LSU and Altar Boys.

Who makes the biggest mark? No surprise here, with Amy Grant charting an impressive 44 times, closely trailed by Petra (42 times) and Michael W. Smith (41). B.C. artists Salmond & Muldaur and Carolyn Arends are no-shows, but Connie Scott (5) and Hokus Pick (1) both put in appearances.