Andy Whitman’s music blog is one of my favorites, and today’s entry is especially interesting. (Opus, I see, has noticed it as well.) It’s a commentary on Contemporary Christian Music written 16 years ago. And it’s still oh so relevant (if you’ll permit me the use of that much-abused word.)
It’s worth noting that 16 years ago, Leslie Phillips had recently changed her name to Sam Phillips, jumped off the CCM ship, and reinvented herself as Sam Phillips, with the album The Indescribable Wow introducing her to the open waters of “secular music.” It was her courageous transition, along with the exemplary work done by U2 in that period, that convinced me once and for all that art was about freedom and revelation, not packaging messages and airbrushing personalities. I wish I’d known Andy back then. We could have ranted together.
But we’ve come a long way, baby. Along with Phillips and U2, we have Over the Rhine, The Innocence Mission, Sufjan Stevens, and so many more demonstrating honesty, innovation, and excellence that must make those bands bound by the expectations of the CCM industry feel rather jealous. Not to say that there aren’t artists of integrity within the CCM corral, and no, I’m not making a blanket condemnation of all Christians recording on Christian labels (we’ve had that argument here enough). But it’s interesting to see how so many of these problems persist, in spite of the fact that artists like those I listed above are having such a significant impact being “in, but not of the world.”
So, Jeffrey… can you think of any artists recording for a CCM label today who DO record music with excellence and integrity?
Off the top of my head I can think of four examples: Jars of Clay (esp. the Who We Are Instead album), Derek Webb (She Must and Shall Go Free), Steven Delopolous (Me Died Blue), and Mars ILL, whose upcoming PRO*PAIN record is among the finest rap recordings I’ve ever heard.
Josh, I stongly agree with your examples. Jars’ Who We Are Instead is great, and I’m itching to hear Redemption Songs. Pretty much anything Webb does is excellent.
Do Tooth & Nail artists count as CCM?
If so, I would propose both Project 86 (especially Songs to Burn Your Bridges By, which is a great indictment of the industry problems discussed in this post. Also, Project’s singer, Andrew Schwab, is mentioned in the comments on the Whitman post) and Starflyer 59.
I think, for Tooth & Nail, it depends on the artist. T&N has a long-standing relationship with some [less-conservative] Christian Bookstores, but most [if not all] of their bands are not recognized by the CCM except as occasional “hard music” alternatives. T&N started another label [BEC] specifically to go for the CCM market and has changed the main T&N focus to the Hot Topic crowd. The fact that fantastic bands like Starflyer 59 and Joy Electric are still only cursorily supported by T&N consistantly baffles me.
[shameless plug] If you’re interested in music made by artists who are Christian but eschew the CCM idea and try to make the best art possible, check out In the Light and the accompanying podcast.[/shameless plug]
how about kirk franklin, israel houghton and fred hammond? i know they all belong more in the black gospel genres (w/ some latin gospel thrown in for good measure in the case of houghton), but they still go through those distribution heads.
and hammond, in my opinion, has long been the second coming of stevie wonder. (btw, i also agree w/ hurst, esp. in regards to mars ill.)
Thanks for the mention, and for the kind words, Jeffrey.
I too am somewhat heartened by what I see, and I certainly appreciate the work of the artists/bands you mentioned.
But it’s interesting to note that the same dynamic existed back then that exists today. That is, there were Christian musicians operating outside the CCM world, and, for the most part, they were studiously ignored by the followers of CCM.
Bruce Cockburn was around, of course. T-Bone Burnett was still making albums occasionally. Tonio K. was making great albums. Pierce Pettis and Bill Mallonee were at the beginning of their careers. Mark Heard was fighting the good fight, part of the CCM world, but never really of that world. Peter Case and Victoria Williams were making stellar albums that were all but ignored.
Somehow in the mainstream evangelical world these folks never received the notice and acclaim they deserved. CCM Magazine rarely if ever covered them. And it was only thanks to magazines like Brian Q. Newcomb’s Harvest Rock Syndicate that the music received any notice at all. It was too Christian for the “secular” magazines, and apparently not Christian enough for the CCM world.
I am thankful to see that that’s changed somewhat. That’s why Sufjan’s latest album, which won accolades from scores of “secular” magazines last year, is so important and so groundbreaking. U2 has done it for years, of course, but it’s nice to see someone else join the rarefied ranks of those Christian artists who win critical acclaim from the wider musical world. Sufjan did an end run around CCM, and for once it doesn’t matter that CCM didn’t really notice. Plenty of other people did, and that’s gratifying.
Who would’ve thought an Eno/Simon collaboration would receive such high praise? I’ve been wondering what Eno would do since he no longer seems to be working with U2.
Two allmusic quotes caught my attention:
“…there is gentle hope and wry humor as well, giving this music a rich elegance that makes it stand among Simon’s best work.”
“Simon doesn’t achieve his comeback by reconnecting with the sound and spirit of his classic work; he has achieved it by being as restless and ambitious as he was at his popular and creative peak, which makes Surprise all the more remarkable.”
Wow. I’ll be checking this one out for sure!
one quote caught my eye:
“he pushes even harder here, largely abandoning familiar song structures — only two cuts here have something resembling a conventional chorus”
I do like a good chorus, so, we’ll see…