Glory to Glory to Gimme a Break

Formulaic songwriting that reduces music composition to nursery rhyme chants! Self-deprecating, unimaginative lyrics in appeal to the most narcissistic version of God possible! Chord progressions of…well really just about 2 or 3 chords. But synth strings! Don’t forget the synth strings!! In this episode, Tim and Ray discuss the bane of their existence: praise and worship music. What is the difference between CCM, gospel, and praise & worship music, and how have these differences been rendered almost completely moot by the monopoly of the latter? How does the music reinforce Christian gatekeeping and the hierarchies that allow only the singers with a certain sound, look, and “lifestyle” to be worship leaders? And what of how the creation of a consolidated Christian “worship” experience has disproportionately redefined the identity of the Black church and eradicated the viability of traditionally Black-sounding gospel music? Tim digs into the history of the genre from the early days of the Jesus People and Maranatha! Music to Integrity’s Hosanna Music to Hillsong Worship. And Ray critiques the current leading purveyors of Black worship music, Maverick City Music, and the collective’s role in upholding white supremacy in the Christian/Gospel music industry. Opening banter includes this year’s Grammy nominations and why the awards (especially those in the Gospel field) are so bad at actually honoring the best music of the year. Disclaimer: you may hear the occasional little snore or cough from a sleeping dog on Tim’s lap in the background.

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Tim: @timdillinger

Ray: @raycurenton

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Resources/References:

“We’ve No Less Days to Sing God’s Praise, But New Worship Songs Only Last a Few Years” by Daniel Silliman 

“Meet ‘J.C.’ — The First-Ever A.I. Gospel Artist Making His Debut On Meta” by Keenan "HIGz" Higgins

“How Maverick City Music Is Breaking the Worship Music Mold,” Relevant Magazine