God Gave Rock and Roll to You

by Leah Payne

An entertaining history of the soundtrack of American evangelical Christianity

Few things frightened conservative white Protestant parents of the 1950s and the 1960s more than thought of their children falling prey to the "menace to Christendom" known as rock and roll. The raucous sounds of Elvis Presley and Little Richard seemed tailor-made to destroy the faith of their young and, in the process, undermine the moral foundations of the United States. Parents and pastors launched a crusade against rock music, but they were fighting an uphill battle.

Salvation came in a most unlikely form. Well, maybe not that unlikely--the long hair, the beards, the sandals--but still a far cry from the buttoned-up, conservative Protestantism they were striving to preserve. Yet when a revival swept through counterculture hippie communities of the West Coast in the 1960s and 1970s a new alternative emerged. Known as the Jesus Movement--and its members, more colloquially, as "Jesus freaks"--the revival was short-lived. But by combining the rock and folk music of the counterculture with religious ideas and aims of conservative white evangelicals, Jesus freaks and evangelical media moguls gave birth to an entire genre known as Contemporary Christian Music (CCM). By the 1980s and 1990s, CCM had grown into a massive, multimillion-dollar industry. Contemporary Christian artists were appearing on Top 40 radio, and some, most famously Amy Grant, crossed over into the mainstream. And yet, today, the industry is a shadow of what it once was.

In this book, Leah Payne traces the history and trajectory of CCM in America and, in the process, demonstrates how the industry, its artists, and its fans shaped--and continue to shape--conservative, (mostly) white, evangelical Protestantism. For many outside observers, evangelical pop stars, interpretive dancers, puppeteers, mimes, and bodybuilders are silly expressions of kitsch. Yet Payne argues that these cultural products were sources of power, meaning, and political activism. Throughout, she draws on in-depth interviews with CCM journalists, publishers, producers, and artists, as well as archives, sales and marketing data, fan magazines, merchandise--everything that went into making CCM a thriving subculture. Ultimately, Payne argues, CCM spurred evangelical activism in more potent and lasting ways than any particular doctrine, denomination, culture war, or legislative agenda had before.

• Publish Date: 1 February 2024
• Publish Status: Active
• Imprint: Oxford University Press
• Format: eBook (Kindle)
• Pages: 251
• Language: English

Reviews

[Jeff Sexton]

(Mostly) Well Documented History Of the Entire History of 'Contemporary Christian Music' As The Term Was Known Through The Late 20th And Early 21st Centuries.

 

For those of us who grew up with 'CCM', this is actually a refreshing history that traces the roots of the music from its earliest days in 19th century songbooks through the early days of rock and roll through the heights of the late 80s- early 2000s boom and all the way to the seeming life support bed the genre currently finds itself on. Along the way, you're going to hear tales of names both familiar and not and how they shaped or played a role in the genre and how it has been presented.

 

One thing to note is that the author *does* have a particular "it was always racist" bent to much of her commentary, so your mileage may vary there. But at 18% documentation, it is close enough to expected to classify as (mostly) well documented. (20-30%+ has been more of the actual norm in my experience, but I've noted in other reviews over the last several months that perhaps I should be revising that down to perhaps around 15% or so given more recent experience.)

 

This noted, I've never encountered a book quite so comprehensive in all my years both within the CCM community and as a book blogger, including having even worked books from Jaci Velasquez and Mark Stuart (lead singer of Audio Adrenaline) as advanced reader copies over the course of the last few years + read Jennifer Knapp's memoir just before that. Thus, having never come across any book quite like this one, given my own experiences, means it truly is quite likely quite rare indeed. That it is (mostly, again, see the YMMV comment above) so well written is almost a bonus given its comprehensive analysis of the history involved.

 

Ultimately this is one that some may want to defenestrate at times, but still absolutely a worthy read for anyone remotely interested in the subject. Very much recommended.