a house divided? christian music in black and white

Journal of Media and Religion, 10:115–137, 2011

Copyright © Taylor & Francis Group, LLC

ISSN: 1534-8423 print/1534-8415 online

DOI: 10.1080/15348423.2011.599640

ARTICLES

A House Divided?

Christian Music in Black and White

Omotayo O. BanjoUniversity of Cincinnati

Kesha Morant WilliamsPenn State Berks

This study examines racial discourse evident in gospel music, a predominantly African American

genre and contemporary Christian music (CCM), a predominantly White American genre. Analyz-

ing 45 songs on the Billboard year-end charts for 2007 and 2008, the study reveals differences in

messages predicated on sociocultural influences. Whereas gospel songs, possessing roots in blues,

emphasize opposition and overcoming, CCM songs, establishing its root in the aftermath of the

Hippie movement, emphasizes devotion and inspiration. This comparative study lays a foundation

for future thematic analysis of Christian music and holds implications for the intersection between

social and spiritual identity, the influence of industry practices on cultural production and offers a

contributing explanation for issues of race relations even among Christians.

In response to a question about the church’s role in integration, Dr. Martin Luther King, Jr. was

quoted in 1963 as saying that “the church [was] the most segregated institution in America”

(see Dr. Martin Luther King’s 1963 Western Michigan University Question & Answer). Still

today, the most segregated day of the week is Sunday, where racial groups typically congregate

with fellow in-group members (Emerson & Smith, 2001; Hacker, 1992; Tatum, 1997). The

Christian music industry is no exception. Although Christian music is largely defined by its

lyrics, its musical styles are quite varied ranging from blues to rock to reggae (Howard, 2004).

Nonetheless, in retail stores and on music charts, Christian music is typically divided into

two categories: gospel and contemporary Christian music (CCM). Not surprisingly, African

Correspondence should be addressed to Department of Communication, University of Cincinnati, 137 McMicken

Hall, Cincinnati, OH 45221. E-mail: [email protected]

115

116 BANJO AND WILLIAMS

American artists dominate the gospel section, whereas White artists comprise most of CCM.

Regardless, scholars classify both genres as sacred music given the subject of their message

and affirmation of Christian principles (Howard & Streck, 1999; Pauley, 2005). If the principles

within the music are the same, then why is there such an overwhelming difference in racial

representation? Further, how might these differences influence the message content in the

music?

Currently, there is little to no research on thematic differences in CCM and gospel music.

The purpose of this exploratory study is to lay the groundwork for future comparative analysis.

Since culturally specific art can be used to solidify a group’s social identity (Cross, 2008),

we hope to lay a foundation for future study of the differences in message content across

the genres as indicators of the intersection between racial and spiritual identity. In this paper,

we are specifically looking at music content to provide insight into the communication of

spirituality among African American and White American Christians. We seek to identify

themes within each genre and draw conclusions about the utility of each classification as it

relates to music listeners’ cultural and spiritual identity. Although each genre commits to a

similar goal to share the Gospel, each has developed from distinct socio-cultural situations

that help define its message. Examining the sociocultural influence of these two genres lays

a foundation for understanding the differences in message content. What follows next is a

sociocultural description of both gospel and CCM, which provides the context for our analysis.

BACKGROUND

Gospel Music

While some posit that gospel music emerged out of the Protestant City Revival Movement of

1850; a formative date of gospel music is not agreed upon. Scholarship supports that gospel

music grew out of the Black Pentecostal church around 1895, when the oldest Pentecostal

denomination, The Church of God in Christ, was organized. William H. Sherwood published

pre-gospel songs in 1891; however Charles A. Tindley is noted as the first African American

to compose and publish gospel songs in the early 1900s (Darden, 2005; Harvey, 1987).

Nevertheless, while others such as Lucie Campbell and Charles Price Jones are also credited

with influencing early gospel, Thomas A. Dorsey is the celebrated father of gospel music

(Darden, 2005; Harvey, 1987; Nelson, 2001). “Dorsey’s musical significance is that ultimately

he created a new musical idiom from existing forms. He wedded blues, and jazz into a

distinctive style which utilized the experiences of black people and the Bible. Black gospel

music is the good news of the Gospel in the bad times of life” (Harvey, 1987, p. 25).

Though discussions continue about the true founder of gospel music, scholars widely accept

that its roots are found in the rhythmic acts of drumming, dancing, and the verbal expressions

such as field hollers or moans of the enslaved African in America. Initially, their dependence

on the sacred world gave them hope that they would regain their freedom in this life; however,

when the hope of freedom in this life faded, they shifted their focus to freedom in the afterlife.

Early themes in spirituals, sorrow songs, jubilees, and camp meeting songs, all of which are

encompassed in early gospel music, expressed dependence on the sacred world and reward

for suffering in heaven, after death (Baraka, 1963; Floyd, 1995; Murphy, 2001; Sidran, 1983).

CHRISTIAN MUSIC IN BLACK AND WHITE 117

According to Harvey (1987), “Black music is called gospel because it attempts to relate the

‘good news’ of Jesus Christ primarily to the existence of black folk in this country” (p. 26).

While the conservative Black religious community rejected the music, in time the acceptance

of this style of music increased throughout the mainstream Black church community as well as

White America. Black city dwellers found that gospel music was relevant to urban life and was

a sacred counterpart of city blues. Like never before, mainstream media, prominent venues,

and music executives courted Black artists. According to a report on the status of gospel music

published by Billboard, “Perhaps the biggest news in gospel music this year [1987] is the

stunning growth and wider acceptance of Black gospel music” (Billboard, 1987, C-6 cited in

Maultsby, 1992, p. 20). The audience base, once mainly African American, is multicultural

and spans a variety of socio-economic backgrounds.

According to the Gospel Music Association industry overview reports (2006, 2007, 2008),

Black gospel music represented 20% of the 54.2 and 53 million units of gospel music industry

annual sales in 2006 and 2007, respectively. In 2008, Black gospel music represented 18% of

the industry’s 56 million units of sale. The increase in gospel radio stations, gospel artists per-

forming at national music festivals, and record labels specializing in this genre have increased

the breadth and depth of the reach of gospel music within American society (Darden, 2005;

Mautsby, 1992). Gospel music expanded its purview and embraced broader contextualization

of the social, cultural, and historical experiences of African Americans in America (Maultsby,

1992; Nelson, 2001). Nevertheless, its connection to the early sorrow songs, spirituals and

jubilees still remains within the music and is still separated from its mainstream counterpart,

CCM. What follows next is a sociocultural description of CCM.

Contemporary Christian Music

The emergence of CCM is argued to have begun at the end of what is referred to as the Jesus

People Movement (Eskridge, 1999) in the 1960s. At this time many free-spirited youth had

shifted their interests to the spiritual revivals burning on the West Coast (Radwan, 2006; Shires,

2007). These born-again hippies blended the message of the gospel with the popular music

form at that time—rock. CCM began to take shape as a formidable industry in the 1990s with

the growth and backing of the evangelical church (Howard & Streck, 1999).

In line with the objectives of evangelical denominations, the orientation of CCM became

evangelistic with a goal to spread the Gospel to non-Christians. The music itself is seen as

a vehicle which globally transports the messages of redemption, reconciliation, and renewal.

Coincidentally, there also seemed to be a need for a wholesome alternative for young teens

pressured by immoral messages promoted by popular secular music. Therefore, another benefit

of CCM was its ability to reinforce the Christian worldview for born-again believers (Howard

& Streck, 1999; Romanowski, 1992) through popular styles of rock music.

Today, the industry is the most lucrative of the Christian-based markets and has become a

strong contender for the mainstream music industry. In fact, almost as many radio stations air

CCM as do talk/news programming (Abelman, 2006). CCM is one of the few Christian-oriented

industries whose listeners are both Christian and non-Christian (Lochte, 2008). Because of its

cross-over appeal, the industry has an advantageous advertising appeal, which has led to an

increase in Christian-based entertainment products (e.g., “Not of This World” Christian apparel

and “Veggie Tales”) beginning in 2001 (Harrison, 2005; Romanowski, 2000). Convergent with


the lifestyle expected of the typical evangelical and in accordance with scripture (John 17:15–

16), CCM seeks to reach out and be in the midst of non-Christians without being a part of the

culture (Pauley, 2005).

Considering its connection with popular culture, there are a number of CCM categories that

have developed over time. According to Howard and Streck (1999), there are three categories

of CCM beginning with the separationist whose songs are explicit and often sung in worship

services (e.g., Chris Tomlin and Michael W. Smith). These songs focus on the message of

the cross—a symbol of love and redemption—and encourage public worship. The second

classification, integrationist, describes artists who tread the blurred line of secular music and

are only set apart by their Christian-themed lyrics (e.g., Amy Grant and Vince Gill). Last,

transformational CCM describes music that emphasizes the art form over the lyrical content

(e.g., Switchfoot). The intent of this type of music is not always clear, but it is open to

interpretation by any listener.

Race and Christian Music

Although both gospel and CCM enjoy market success, there are obvious differences predicated

on racial demographics. Christian music has been subjugated to the fragmentation common to

industry practices in which gospel Christian music is predominantly populated by and marketed

to African American audiences while contemporary Christian music is mostly populated and

marketed to mainstream or White American audiences. Although contemporary gospel artists

see themselves as revamping traditional gospel music by using modern musical styles, the

music industry refers to them as gospel, not Christian. While the differences in classification

are not exactly clear, a clear demarcation between the two genres is market appeal and the

market success achieved best by CCM. The inspirations for the type of music produced largely

depend on the target market of interest, and in the case of CCM the demographic is typically

White evangelical youth.

Contemporary Christian songs are typically inspired by alternative, ska, heavy metal, and

rock sounds appealing mostly to White audiences who are less likely to consume traditional

gospel music (Howard & Streck, 1999). Although R&B, jazz, and hip hop forms of music

with Christian themes are categorically contemporary, the industry itself has been dominated

by White producers, writers, and artists (Harrison, 2005). In fact, revealing public perceptions

of the genre, comedian/writer Joe Bob Briggs once defined CCM as “bad songs written about

God by White people” (as cited in Powell, 2002, para. 44). Some African American artists have

expressed their frustration with the partiality given to White contemporary Christian artists. For

example, BeBe Winans described his experience as being “raped by people who are supposed

to be kindred spirits” (as cited in Powell, 2002, para. 38).

The issue of racial inequality is as familiar to CCM as anything produced from America’s

fabric, but it seems more problematic given that an integral component of the Christian faith is

reconciliation. Artists such as White rock band DC Talks’ Toby McKeehan (also known as Toby

Mac) and African American gospel artist Kirk Franklin have taken initiatives to address these

concerns through their personal organizations and through a message of racial reconciliation

in their music (Harrison, 2005). Nonetheless, the racial division in the industry may provide

some interesting insight into the thematic differences in the music produced by each group,

the primary goal of this research. We examine the differences in message content in forms


of Christian music popular to White and Black Christian markets independently. Although

we recognize the stylistic differences evident in traditional gospel and contemporary gospel,

this paper focuses specifically on the differences between the genres of gospel music and

contemporary Christian music as classified by Billboard Magazine.

METHOD AND PROCEDURE

In the absence of extensive research on the comparative themes of gospel and contemporary

Christian music, we used grounded theory and an inductive qualitative content analysis to

allow the dominant themes in the gospel and contemporary Christian songs to emerge from the

text. Grounded theory was used because, using constant comparison, the interpretive process

allows the themes to emerge inductively from the text. Instead of developing hypotheses we

analyzed texts by using codes and concepts. We grouped our codes into similar concepts;

from the concepts we developed categories. A detailed explanation of the process follows.

According to Falk, Brynhildsen, and Ivarsson (2009), “the distillation (thorough analysis) of

words into fewer content-related categories” (p. 358) is integral to inductive qualitative content

analysis. Therefore, the interpretative process of analyzing the text was performed in three

phases: preparation, organizing, and reporting (Elo & Kynga, 2007).

In the preparation phase, we selected the unit of analysis and read and reread the selected

songs to achieve an overall sense of the content. Songs were selected from the Billboard

Music Charts end-of-year top gospel popular songs and end-of-year top contemporary Christian

popular songs, 2007 and 2008, as a sampling frame. In the interest of parsimony, the researchers

included every third song from the 2007 and 2008 charts in the sample. From the 2007 charts,

10 songs are included from the top gospel chart, and 13 songs are included from the top

contemporary Christian chart. More songs were included from the contemporary Christian

category because the chart was longer. From the 2008 charts, 10 songs are included from both

the top gospel chart and the top contemporary Christian chart (see Appendix A for complete

list of songs).

While some may suggest that a song is a large unit of analysis, we assert that using a

word or theme as the unit of analysis could result in fragmentation (Elo & Kyngas, 2007). In

addition, we agree with Graneheim and Lundman’s (2004) assertion that “: : : the most suitable

unit of analysis is whole interviews or observational protocols that are large enough to be kept

in mind as a context for a meaning unit during the analysis process” (Elo & Kyngas, 2007,

p. 109). Therefore, we chose to use each song as a unit of analysis.

The organizing phase included open coding, creating categories, and abstraction. After

repeated independent readings by both researchers, recurrent concepts that were directly stated

or inferred by the language within each song were coded (manifest and latent content). The

codes and in-process memos were written directly in the margins of the transcripts of the song

lyrics (Elo & Kyngas, 2007; Hsieh & Shannon, 2005; Lindlorf & Taylor, 2002). The codes and

in-process memos were gathered from the transcript margins and transferred to a coding sheet.

After completing the open coding, the researchers generated categories through the abstraction

process. The categories were grouped and then collapsed based on similarities and differences.

Throughout this interpretive process, we created high-inference categories because “they call

for knowledge of cultural insider meanings or require the researcher to assimilate several pieces


of evidence” (Lindlorf & Taylor, 2002, p. 215). In addition, there is an ambiguous element

within the definitions of high-inference categories. Although the ambiguity is reducible to a

manageable level, it is important to note that “: : : categories are seldom able to contain all

of the excess (or contradictory) meanings of the incidents they are supposed to represent : : : ”

(p. 215).

Denotative definitions of the themes inform our understanding. After reviewing each defini-

tion the emergent themes were sorted based on how they are related and linked to the denotative

definition. For example, in CCM songs “You Are My Everything,” “Find You Waiting,” and

“Every Time I Breathe,” there is an immediate sense of intimacy, closeness, commitment, or

dependence. These themes are connected to the denotative definition of relationship; therefore

relationship is adopted as the category name. Themes that make up the particular category

must be dominant in the song to be included. Dominance was determined by the theme’s

presence in more than 70% of the song. Our coding manual contained the category names

(e.g., relationship), definitions of each category (e.g., relationship is defined as expressing a

state of interrelatedness and interconnectedness), and examples and/or related words of each

category (e.g., in “Never Would Have Made It,” the gospel artist sings Oh I would have lost it

all, oh but now I see how you were there for me. I would have lost my mind a long time ago,

if it had not been for you. Related words for this category include dependence, commitment,

intimacy, and growth). Cases for which there was disagreement were discussed and coded

according to mutual satisfaction (Elo & Kyngas, 2007; Lindlorf & Taylor, 2002).

Finally, in the reporting stage the researchers analyzed the process and the results of the

study. Examining the dependability and trustworthiness of qualitative work is essential. Lincoln

and Guba (1985) assert that apparent consistency in the results establishes dependability. This

occurs when multiple researchers have similar interpretations of the text and after repeated

examinations of the text the same interpretations continue to emerge (Lincoln & Guba, 1985;

Lindlorf & Taylor, 2002). Lincoln and Guba (1985) continue that trustworthiness is established

when there is confidence in defendable research results. Although there were different expres-

sions of independent interpretations initially, we realized the similarity in our interpretations

after repeated examinations of the text. For example, in the CCM song “Washed by the Water,”

one researcher interpreted endurance while the other interpreted resilience. After reviewing the

texts as many times as-needed, we realized that our individual expressions were synonymous

with perseverance that we created as a category. In addition, the quality of qualitative research is

strengthened through reflexivity. Gergen and Gergen (2000) state that the method of reflexivity

includes the following:

Here investigators seek ways of demonstrating to their audiences their historical and geographic

situatedness, their personal investments in the research, various biases they bring to the work, their

surprises and “undoings” in the process of the research endeavor, the ways in which their choices

of literary tropes lend rhetorical force to the research report, and/or the ways in which they have

avoided or suppressed certain points of view. (p. 1027)

In the interest of locating our position in this analysis (Gergen & Gergen, 2000), we thought

it wise to acknowledge our personal Christian commitments as well as our consumption of

CCM and gospel music. Both researchers, raised in Protestant Christian homes, are exposed

to both genres of music and continue to practice their faith. By recalling our passion for the


subject matter at hand in addition to our “historical and geographic situatedness” (Christian faith

tradition) and personal investments in this research, the quality of our research is strengthened.

THEMATIC ANALYSIS

Shared Themes

A number of themes emerged from the analysis (see Appendix B for complete list of shared

themes). As expected of genres that share the same faith, some themes overlapped with others.

Some themes, however, were explicitly distinct from the other. Both gospel and CCM shared

six themes: worship, gratitude, celebration, faith, salvation, and relationship. Of the shared

themes, only one theme—worship—was well represented across the two genres of music. The

remaining themes were overrepresented in one genre or the other. However, because the theme

emerged at least once in a genre, it was still counted as a shared theme. What follows next is

a description of each shared theme.

Worship. Worship is the explicit expression of reverence and high esteem of God as a

supreme being. In CCM, six songs were identified as resonating with the worship theme. In

these songs, God is the subject and each song celebrates God’s uniqueness and awe-worthy

traits. For example, Fee’s “All Because of Jesus” (2008) refers to God as the “author of eternity”

and “giver of every perfect thing.” Further, the artists claim God as the source and sustenance

of every living thing, including them. The singer of Echoing Angel’s “You Alone” (Peevey &

Wilbanks, 2006, track 2) reiterates an attitude of exultation when he sings, “I know the heavens

will call out your name if I don’t.” Newsboys’ “In Wonder” (Furler, Knott, & Taylor, 2008,

track 13) uses symbols such as the vast sea or burning sun to describe the greatness of God in

comparison claiming: “No power can tame Your presence/no light can match your radiance.”

The constant mantra throughout the chorus is a call for all creation, animate or inanimate, to

express amazement and appreciation for the Creator.

While worship is often a distinguishing factor of all Christian music, only two occurrences

of the theme worship emerged in the gospel lyrics; the Anointed Pace Sisters “High Praise”

(Moore, 2007, track 2) and Rev. Timothy Wright and the New York Fellowship Mass Choir’s

“Jesus, Jesus Jesus” (Wright, 2007, track 1). Lyrics such as:

Lift up your voice

Let’s give Him a high praise

Lift up your voice

Let’s give Him a high praise

most certainly express reverence and high esteem for “Him.” As with many of the other gospel

songs the listener is to assume that “Him” is God.

Gratitude. Gratitude is an expressed state of pleasure and contentment for benefits re-

ceived. In a religious context these benefits are birthed from relationship with God. Four

occurrences of gratitude are found in the gospel songs. In “You Keep on Blessing Me” (Barnes,

2007, track 2), Luther Barnes and The Red Budd Gospel Choir continue to thank Jesus for


everything he has done in their lives. This display of abundant thankfulness is most certainly

an expression of gratitude. The entire bridge of the song includes “I wanna thank you Jesus”

repeated eight times. In lyrics such as:

I can move around, I can wave my hands (I can wave my hands)

When you speak to me, I can understand (I can understand)

Well, I’ve got a home to live in, where I can lay my head

I could have been sleeping in my grave, but you kept me alive instead

the songwriter shares the reasons for his gratitude. The singer’s gratitude comes from a place of

contentment with where and who he is in God. A desire for God to do more is not expressed.

Most significantly these lyrics support that the expression of gratitude comes without attachment

to any expectation of reciprocity. Hence the singer is not grateful in the hopes of getting more

from God. The singer is grateful just because of what God has done.

The gratitude theme emerged in one song in CCM. In 33Miles’ “Thank You” (Barton, Mizell,

& West, 2007, track 6), the artists challenge themselves to possess an attitude of thankfulness.

This song resonates with the gratitude theme as the artists sing of choosing to express gratitude

“: : : in the morning when I wake up; even before I fill my coffee cup.” The song also expresses

a sense of what the authors refer to as enduring praise, that is, a commitment to a lifestyle of

praise regardless of the present circumstances.

Cause life is joy, life is pain

But the prayer on my heart will never change

I say thank You

Oh I’ll thank You

Celebration. The celebration theme emerged in four of the gospel songs included in this

study. Celebration is defined as the expression of honor, praise, and merriment. “Praise on the

Inside” (Moss, 2006, track 7), by J. Moss, describes a bubbling over and explosion of exuberant

praise bursting through the singer’s soul. The praise is so significant that the singer must share

the good news. The following lyrics continue to express the purity of the singer’s joy:

A holler stirring up

From the depths of my soul

So excuse me if I seem a little giddy

Or maybe even strange

But praise is the way I say thanks

God’s influence on Moss’s life is so significant, so powerful that the only way he can express

his joy is to bellow (i.e., holler) it from his soul. The lyrics suggest that this style of praise and

celebration is not understood by those outside of this experience. This is expressed when he

states: “So excuse me if I seem a little giddy or maybe even strange.” He continues to describe

a pattern of expression that supports the presence of overflowing joyfulness and delight. One

of the most interesting dynamics of this song is that the lyrics suggest that one should not care

how those outside of this experience interpreted his/her actions; as long as one can praise God

and enjoy His presence everything is just fine.


Celebration also emerged as a theme in CCM but only in one song. David Crowder’s “You

Make Everything Glorious” (Crowder, 2006, track 10) was the only song that most prominently

illustrated joy and honor for God. In the upbeat song, Crowder joyously proclaims to God, who

is the presumed subject, “The day is brighter here with You.” Crowder honors God as a masterful

maker of all things, including humans who are evidence of God’s creative ability. The artist’s

proclamation that “You make everything glorious” warrants respect and rejoicing in the Creator.

Faith. The theme faith emerged in the lyrics of three gospel songs. While it is arguable

that faith is connected to all gospel music, these songs directly addressed expressing an active

choice to believe in the tenets of Christianity and who God is. Other words used in the lyrics that

relate to this definition included trust, hope, and aspiration. In Donald Lawrence’s “Encourage

Yourself” (Lawrence, 2006, track 2), his lyrics suggest that one must have faith that occurrences

or episodes in life will get better in life. Faith is directly addressed in the lyrics “Speak the

word and you will be healed.” In a religious sense, faith is belief and trust in the loyalty of

God, while in a secular sense faith is a firm belief in something for which there is no proof.

The lyrics of this song address both.

Sometimes you have to speak the word over yourself

the pressure is all around but God is present help

oh the enemy created walls but remember giants they do fall

speak over yourself encourage yourself in the Lord

When Lawrence asserts that one must “speak the word,” he is referring to the word of God

(i.e., the Bible) and while there is no proof that the person will be healed, the speaker believes

and trusts that s/he will indeed be healed. The speaker also believes that “giants,” negativity in

one’s life (i.e., the devil), will fall as long as one speaks the word of God over his/her life.

Among the CCM songs, the faith theme emerged in only one song, Steven Curtis Chapman’s

“Miracle of the Moment” (Bronleewe & Chapman, 2007, track 1). In “Miracle of the Moment,”

Chapman urges his audience to worry less about the intangibles and trust in God’s current

provision. He urges the listener to “let go” and trust “the One who knows what’s really out

there waiting.” The simple act of letting go is considered an act of faith and demonstration of

abandonment to God.

Salvation. Songs with themes of salvation expressed the benefits of accepting Jesus as

Savior. Such benefits include freedom and deliverance from the power and effect of sin (harmful

or immoral conduct). Salvation themed songs also emphasized messages of regeneration (being

born again), repentance (a change of attitude toward sin), and grace (undeserved approval), all

of which are principle components of salvation.

Themes of salvation were identified in nine CCM songs. Jeremy Camp illustrates this

message of new life and grace in “Let it Fade” (Watts & Camp, 2008, track 5). The singer

describes a life of destitution and discontentment when he asks the listener, “Have you been

standing on your own feet too long? Have you been looking for a place where you belong?”

Camp proposes that there is more to life than the emptiness experienced and encourages the

listener to receive life offered through the Christian faith when he says, “You can find rest : : :

[if you] Let this old life crumble/let it fade/let this new life offer be your saving grace.” Whereas


Camp sings of the process of being born again, Rush of Fools’ “Undo” (Davis, Hugueley, &

Willis, 2007, track 5) refers to the process of repentance when they sing: “Bring me back to the

place of forgiveness and grace.” “Undo,” along with other examples, reflects principles central

to the concept and process of salvation.

While it is arguable that all Christian music has some element of the salvation message,

surprisingly, the explicit inclusion of the salvation theme only emerged in one gospel song.

In “You Must Come Through the Door” (Biggham, 2007, track 10), songwriter and singer

Timothy Wright stresses the God is “: : : the way, the truth, and the light.”

God’s got a way (That you can’t go over)

God’s got a way (That you can’t go under)

God’s got a way (That you can’t go around it)

The language Wright uses when describing God’s ways suggest that one cannot escape exposure

to God’s way (i.e., can’t go over, go under, go around). The key element of the salvation message

is found in the lyrics, “If you wanna see Jesus, you got to live right/You must be saved from

all of your sins.”

Relationship. Next to salvation, relationship was perhaps the most prominent theme in

CCM, emerging in seven of the reviewed songs. In the context of this study relationship is

defined as expressing a state of interrelatedness and interconnectedness, that is, dependence,

commitment, intimacy, growth, and love. Matthew West’s “You are Everything” (Mizell &

West, 2007, track 4) best exemplifies the committal aspect of relationship. The singer says:

I’m the one with big mistakes

Big regrets and bigger breaks

Than I ever care to confess

Oh but, You’re the one who looks at me

And sees what I was meant to be

More than just a beautiful mess

Where would I be without someone to save me

Someone who won’t let me fall

Whereas the singer describes his unworthiness and underserved favor in this song, he also

emphasizes a reliance on God for strength, hope and the ability to live. In Big Daddy Weave’s

“Every Time I Breathe” (Cloninger, Farren, & Weaver, 2006, track 2), the artist describes

personal suffering but also demonstrates a dependence on God. The artist expresses his desire

for intimacy and connectedness with God in the chorus where he sings: “Every time I breathe

You seem a little bit closer.” He then professes his marvel of God and confesses that he is

“in love.” Here, the artist relates to God as a person, expressing sentiments most recognized

in interpersonal contexts. The concepts of familiarity and reciprocity are also interpersonal,

therefore in this song Big Daddy Weave also sings:

Now how could I after knowing One so great

Respond to You in any way

That’s less than all I have to give


Interestingly, the theme relationship only emerged in one gospel song throughout both years.

In “Never Would Have Made It” (2007/2008), Marvin Sapp passionately expresses the depths

of his relationship with God. He asserts that because of God he is better, stronger, and wiser.

In the song, Sapp asserts, “Oh I would have lost it all, oh but now I see how you were there for

me. I would have lost my mind a long time ago, if it had not been for you.” A particular area

of interest within these lyrics is that Sapp never states that “you” is God. When one explores

the artist’s background and recognizes the genre of music he is a part of, it is fair to assume

the “you” is God.

Themes Unique to Gospel Genre

Although there were notable similarities between the two genres, as expected, there were

also defining differences. Themes of conquering, testimony, victory, communal connection,

scriptural exhortation, insurance (covered), and positive confession were resonant in gospel

music. What follows next is an illustration of each distinctive theme.

Conquering. The conquering theme was identified in seven of the included songs. Songs

within this theme were identified as songs that expressed a desire or state of winning over

obstacles or demonic forces that hinder one’s success. Conquering themed songs also included

characteristics such as victory, weariness, power, and struggle.

For example, in Youth for Christ’s “The Struggle Is Over” (Nelson & Salvage, 2008, track 2),

the singers describe that their period of turmoil is over. The lyrics exhibit characteristics of

determination and weariness through language such as “you’ve been in this place long enough,

and your mountain side has been rough” while characteristics of victory and power emerge

through lyrics that assert completion or finality of the struggle: “The heartache is over, the

trouble is over, the struggle is over for you.” All of the lyrics support that the singers conquered

various challenges in their lives.

“Victory” (2008) by Jonathan Nelson also follows this same line of reasoning. In “Victory,”

Nelson uses the word conqueror to describe who he is. For example, in the song he sings, “I’m

a conqueror, I know that I win.” The entire song is full of encouraging lyrics. He continues

asserting it is within God’s plan that he will have a victorious life; God gave him the authority

to overcome the enemy and that with God he is destined to win.

Testimony. Five occurrences of the testimony theme emerged during the analysis. Tes-

timony is the expressed need to share news that confirms the characteristics of God. It is a

declaration or testament of the demonstrated goodness of God. Ricky Dillard’s use of testimony

in his song “The Light” (Dillard, 2008, track 2) supports this definition in a number of ways.

In the lyrics Dillard writes:

Just call on Jesus,

And do as I.

Let me tell ya, He will save your soul.

His testimony comes into play when he admonishes listeners to “just call on Jesus” as he does

(i.e., sharing news) and Jesus will save the listener’s soul (confirms the character of God). His


declaration continues to confirm the character of God through lyrics asserting that Jesus will

renew the listener’s strength, and if allowed into the listener’s heart, Jesus will forever shine

in his/her soul.

Sovereignty. The sovereignty of God theme is present in three songs. When one recog-

nizes the sovereignty of God, one is accepting that God has dominion, power, and authority

over everything. A sovereign God is a supreme excellence and is free from all external control.

The sovereignty of God emerges in the examined lyrics mostly during times of strife or great

challenge. In “Step Aside” (Garrett, Magwood, Morris, & Morris, 2007, track 1), Yolanda

Adams encourages the listeners to move out of the way (step aside) and allow God to be

God. The song lyrics point out that, though quite a contradiction, sovereignty and free will are

related in the Christian faith. For example in the lyrics she writes:

God can work a miracle for you

Step aside

You got to let go

And let God

The statement God can work miracles supports the freedom from external control element of

the definition. She continues with “move yourself out of the way/move your pride out of the

way.” By moving oneself and one’s pride, the hindrances that can prevent God from moving

are gone.

Communal Connection. Communal connection is present in two songs. This theme is

represented through communion with one another, that is, expressing a sense of community, the

establishment of a “we-ness.” Unlike many of the other songs, in both “Waging War” (Capehart,

Tunie, & Winans, 2008, track 6) by CeCe Winans and “Blessed and Highly Favored” (Clark-

Sheard, 2007, track 2) by the Clark Sisters, there is a purposeful emphasis on “we” or a

communal experience rather than one’s individual relationship. For example, Winans’s song

suggest that some sort of spiritual warfare is occurring, and it will take the entire community

effort to overcome the enemy.

We’re taking territory

Fighting unseen enemies

Like never before

We’re Waging War

The Clark Sisters, however, take a completely different approach to their “we-ness.” Through

language such as:

Never let a day go by and not realize we are blessed

Don’t take it for granted that we are here today

Just know that we’re blessed and highly favored

Just know that we’re blessed and highly favored

This song embraces communal language when asserting that God has blessed and highly favored

a community of people (i.e., we’re blessed). In this context, the “we’re” is the community of

Christian believers.


Scriptural Exhortation. The theme scriptural exhortation emerged in two songs. This

theme uses scriptures in a song to encourage the listener and confirm believers. For example,

in “High Praise” (Moore, 2007, track 2) the Pace Sisters reference a biblical passage in Psalms

34:8 and Psalms 118:1 when they sing:

Oh magnify the Lord with me

let us exalt His name together

for He is good oh taste and see

that His mercy endures forever

In the song “Praise on the Inside” (Moss, 2006, track 7), J. Moss also uses scripture to encourage

the listener and confirm believers. For example Moss writes:

Let it bring forth a sound from your voice filled with gladness

all ye lands make a joyful noise

and let the psalms of David live forever and ever

praise is the way I say thanks

In a general sense, these lyrics are referring to a number of chapters in the book of Psalms,

which is a collection of personal narratives that capture humans’ sincerity toward God. David

is credited as the author of many of the Psalms; therefore, when Moss writes “let the Psalms

of David live forever and ever,” he is referencing the entire book.

Covered. The covered theme is present in three songs. In the religious community, the

term covered refers to a sense of confidence in a promise of protection and security. For

example, one is covered by the blood of the lamb (i.e., the blood of Jesus) or covered by

God’s grace. In “Blessed and Highly Favored” (Clark-Sheard, 2007, track 2), The Clark Sisters

express an assurance and security about their relationship with God. For example, in the lyrics

“He looked out for me/he heard my cry and rescued me/I know that I am blessed and highly

favored,” the song writers and singers are suggesting that they are heirs of God and no matter

how the enemy (i.e., the devil), attempts to affect them, they are covered by God.

Jason Champion uses similar language when describing his relationship with God. In

“Always” (Campbell, Campbell, Champion, & Dawkins, 2008), the singer expresses that no

matter what occurs in life, everything will be alright. The singer asserts:

Just when you think it and it’s gonna be “Alright”

Just call his name and you’ll see what I mean “Alright”

As with the song “Blessed and Highly Favored,” these lyrics assert that the enemy cannot win

in the lives of the people of God. Hence, the core premise found in both songs is comforting

assurance that God covers or protects everyone who is a part of the family (i.e., has accepted

salvation).

Positive Confession. The theme positive confession emerged in three instances. In the

songs, this theme is presented through an expressed sense of ownership in dictating and

influencing the direction of one’s destiny. Positive confession is also expressed through personal


responsibility, positive declaration, and renewed mind. In “Encourage Yourself” (Lawrence,

2006, track 2), Donald Lawrence admonishes listeners to take control of certain elements of

their own lives by controlling what they say. While the lyrics acknowledge that life may not

always go as planned, listeners are encouraged to speak “victory during the test,” regardless

of feelings. This is a clear example of positive confession. Overall, the lyrics imply that be it

victory, be it healing, or be it encouragement, one can speak “it” into existence.

Canton Jones expresses a similar sentiment in his song “My Day” (Jones, 2008, track 14).

While Jones briefly hints at a sense of disappointment with elements of his past:

I’ll let go what’s happen in my past

And the time that I had somehow finished last

I’ll ball it up and throw it in the trash

Cause it’s my day

He spends the majority of the song sharing positive confessions of the gloriousness of this

particular day. He is confessing that this is “my season and I will start with my own attitude.”

He expresses a desire to share love and gratitude, and he embraces positive thinking.

Themes Unique to Contemporary Christian Music

Inspiration/motivation, perseverance, faithfulness, and eternity bound-consciousness were unique

to CCM (see Appendix C).

Inspirational/Motivational. Two songs emerged as inspirational/motivational songs, which

are characterized as songs that express a state of joyous carefree living and do not explicitly

state Jesus or God as the source of that joy. These songs are more likely to reflect Howard and

Streck’s (1999) transformational category of CCM. Switchfoot’s esoteric song “Awakening”

(Freeman, 2006, track 4) depicts a bland lifestyle that becomes aroused by the realization of

personal dreams and desires. While the artists do not identify themselves as a Christian band

(Morse, 2004), the song—which makes no reference to Jesus or spiritual things—is listed on

the top Christian chart.

Perseverance. Perseverance expresses a state of persistence in face of opposition or

discouragement and was identified in four songs. Songs for which messages about life struggle

or weariness were central ideas were classified under the perseverance theme. Needtobreathe’s

“Washed by the Water” (Reinhart & Reinhart, 2007, track 13), for example, narrates a story

about a preacher whose congregation turns on him, and the singer proclaims:

Even when the rain falls

Even when the flood starts rising

Even when the storm comes

I am washed by the water

This song, in addition to the other examples, identifies God as a resource of strength needed to

overcome difficult circumstances of life (i.e., disagreements, testing of faith, and confusion).


Faithfulness. Faithfulness, different from faith, expresses God’s dedication to those who

believe. This theme accentuates God’s attribute more than it does a believer’s faith in God,

and emerged in three songs. Clarifying this characteristic of God, DecembeRadio’s “Find You

Waiting” (2008) paints a picture of a discordant lifestyle and an uncertain journey that ultimately

ends with a dependable God, who is ever-present and possesses the needed solution when the

singers state:

And through all these years You have been there

Dried all my tears and answered my prayers

I just want to feel your presence again

I’m down on my knees in need of a friend

And I find you waiting there for me

The singer then proclaims a confidence that God will never abandon him, even in the midst of

struggle.

Eternity-bound Consciousness. Eternity-bound consciousness captures a desire or ex-

pectation of a life outside of the confines of worldly expectations. This theme emerged in three

songs in CCM. Aaron Shust’s “Give Me Words” (2007) emphasizes a desire to live a God-

centered, God-directed life. The artist suggests that a life that revolves around selfish ambition is

dormant and leads to discontentment and confusion. Hence, he prays that God would not “let his

spirit sleep.” A life hidden in Christ, on the other hand, is very much alive and more meaningful.

Throughout the song, the artist expresses a desire for an increase of something he cannot attain

in a self-centered life. The singer implies that the world is laden with deception that taints the

life experience. He then desires for God’s voice to be the only one that’s heard as only then can

he be empowered by the Truth to walk this life journey differently than his worldly counterparts.

DISCUSSION

At the onset of this study, we sought to identify prevailing themes in both CCM and gospel

music. We problematized the distinction between the genres based on the overrepresentation of

race in one category over the other regardless of shared convictions. As expected, the analyses

suggest that true to its inspiration, both genres share a gospel-affiliated message. However, the

sociocultural influences of each genre are evident in the songs. Arguably, one’s racial location

(Orbe & Harris, 2008) or an individual’s worldview based on a classification system predicated

on racial hierarchy could have some influence on message production of each genre. While

this study did not explicitly study these factors, future research hopes to give insight into the

relationships between racial location, music consumption, and spiritual identity. The following

conclusions were drawn from an analysis of the top popular Christian and gospel songs from

two years.

Similarities

Many of the themes addressed in the analyses are those that cross genre lines and support

Christ-centered messages. Overlap between themes such as faith, relationship, salvation, and


worship are commonly found across all genres of Christian music. For example, a core element

of the Christian belief system is faith. Faith emerged in both gospel music and CCM through

language of active trust, hope, and aspiration. Worship is also integral to the Christian faith.

While worship was more common in CCM, there was also a representation of worship style

music in the included gospel texts. Both examples of worship within gospel music were found

in traditionalists songs within the genre.

One’s relationship with Christ is also paramount within the Christian tradition. For example,

it is about relationship not religion is a colloquial saying often found within the evangelical

Christian communities. Further, many in the Christian community believe that relationship with

God is essential to the salvation of the world. The presence of relationship and salvation were

evident in both genres even though they were more dominant in CCM lyrics.

This analysis supports that many of the foundational themes of Christian music in general are

found in both gospel music and CCM. Though targeting different populations of people, both

genres have remained connected to their commitment to Christ. Nevertheless, the manifestations

of the cross-genre themes vary greatly within gospel and CCM and lead to a discussion of

defining differences.

Differences

Although there were notable similarities between the two genres, as expected, there were

also defining differences. Alone, CCM themes focused on God as the subject of a song.

Whether a singer was expressing adoration, perseverance, or a desire to live godly, the major

focus of a song was to attain promises and benefits that come with choosing the Christian

faith. The benefits and promises include a new life, an awareness of God’s promises, and

a feeling of closeness with God. In contrast, gospel songs focused more on life struggles

and opposition. Whether the artists were singing of conquering, making positive confessions,

or having faith, the main emphasis of the music seems to be on encouragement through

hardship. This encouragement comes through thinking positively, speaking scripture, sharing

testimonies, and trusting in God’s authority. Whereas the themes in CCM place more emphasis

on a believers’ individual walk with God, the themes unique to gospel music encompasses all

believers who share in both a struggle and victory over spiritual opposition.

Differences emerge even among the themes shared between CCM and gospel. For example,

although both genres shared the relationship and salvation theme, relationship and salvation

only emerged once in gospel as compared to the nine songs in CCM. Again, this illustrates the

evangelical emphasis on relationship with God in CCM music as compared to traditional gospel

music. Further, the one song in which the salvation theme resonates in gospel is instructional

and doctrinal, whereas those in CCM are more personal.

Just as relationship was overrepresented in CCM and underrepresented in gospel, the grat-

itude theme emerged more prominently in gospel with five songs as compared to one song

in CCM. Gospel songs expressed messages of gratefulness more than messages in CCM. It

is probable that individuals who experience more hardship might express more gratitude for

the small things. Gospel artists also appeared to celebrate more than CCM artists, while CCM

artists sang more songs of worship in this sample. The inclination of gospel toward celebration

resonates with the history of jubilee music, and intimate worship songs resonate with the

emphasis on salvation in CCM.


Implications

The analyses of the present study have a number of implications for gospel music, CCM, and

Christian music in general. First, in the gospel genre specifically, the analyses highlight the

continued presence of the oppressive history of African Americans in the United States. The

music suggests that, just as their enslaved ancestors, many of the artists and listeners believe

they must continue to conquer or overcome past and present-day issues of oppression. While

it is arguable that these messages can create a sense of community for the oppressed, it is

also arguable that they can reinforce a victim mentality. In contrast and also connected to

African culture, the analyses reveal the presence of exuberant celebration and praise in gospel

music. The recognition that the same type of celebration is present in the jubilees and ring

shouts of the enslaved African in America supports that gospel music is intertwined with its

ancestral beginning and continues to express an intimate connection to spirituality and the

sacred world.

While the included gospel songs consistently expressed a need to remain committed and

joyful while overcoming life’s challenges, the included CCM songs focused on the everydayness

of the Christian experience. Contentment and pleasure are consistent in many of the CCM songs,

which arguably connect with the emergence of the genre. The born-again hippies within the

Jesus People Movement wanted their music to serve as a positive alternative to the immoral

messages found in popular rock music. Therefore, CCM’s broader emphasis on simply being

content with God is indicative of its historical roots. Some might argue that CCM blurs the

boundaries between sacred and secular. As a result others may argue that the songs promote

complacency, ignoring the components of the Christian faith that involve personal and active

responsibility. The free-spirited nature of the music may be seen as not challenging enough.

At the same time, others might argue that CCM songs liberate its listeners from ritualistic

practices by personalizing the message.

We suggest that the emphasis in the two genres have noteworthy implications for their

audiences. An important implication of this research is that the emphasis in each genre may

help to construct listeners’ worldviews and spiritual identifications. If it is true that each genre

socially constructs listeners’ spiritual identities, then investigations such as the present study

may help to shed light on the divisions between African American and Caucasian Christians.

Limitations and Future Research

This study lays groundwork for future comparative analysis of Christian music genres. Being

among the first of its kind, it is not without limitations. One limitation of this study is that it

does not account for all the possible themes present in CCM and gospel music. However, while

we do not dispute that other examples exist, this study was based on popular songs ranked

by a credible media organization. Therefore, we reported the themes present in the songs that

achieved the most market success.

Although this study does not account for all the possible themes in the genres, the analyses

alone raise a host of new questions that warrant scholarly and industry attention. Analyses

imply the defining differences of each genre may be reinforcing different aspects of listeners’

spiritual identity. Though all believers are reinforcing their faith, CCM encourages a walk with

God that empowers listeners to face life’s trials, while gospel music empowers listeners to face


an enemy. In the included CCM songs, struggle is just an episode within one’s existence—

a temporary interruption in the listener’s life; the struggle in gospel is presented as one’s

consistent existence—one’s plight in life. Future research should conduct interviews to explore

how members of each racial group consume the music. It is plausible that the difference in

utility affects how listeners view and relate to God, and maybe one another.

Future research should also examine the socioeconomic influence on the message con-

struction and consumption. Furthermore, socioeconomic status might be a determinant for

the classification of the genre. For example, even among various classifications of gospel

music, there exist alternative forms that have been referred to as urban contemporary gospel.

Like contemporary Christian music, urban contemporary gospel (UCG) breaks away from

traditional styles of the genre and appeals to youth culture. Also similar to CCM, UCG

seeks to share the message of the gospel with secular audiences. The only noted difference

is how the genre is modified. The term “urban” is loaded with assumptions about class and

race; therefore, to qualify the genre as such implies that these issues are important to its

construction and consumption. While songs included in our sample may be categorized as

UCG, the focus of the present study was to examine gospel music as a whole. To address this

limitation, future research should investigate possible differences between urban contemporary

gospel and traditional gospel music as well as the political economy of the Christian music

industry overall.

The Christian music industry is a valuable cultural site through which communication

scholars can investigate questions of identity. We chose to examine the distinctions in message

content between racialized genres within the industry. We hope future research will be able to

inform implications of message content on listeners’ spiritual identities. More important, we

hope to have positioned Christian music as a valuable text for future analysis.

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APPENDIX A

Gospel Contemporary Christian Music

2007

Encourage Yourself, Donald Lawrence Undo, Rush of Fools

Blessed and Highly Favored, The Clark Sisters Every Time I Breathe, Big Daddy Weave

Never Would Have Made It, Marvin Sapp Something Beautiful, Newsboys

High Praise, Anointed Pace Sisters Does Anybody Hear Her, Casting Crowns

The Struggle Is Over, Youth For Christ Give Me Words to Speak, Aaron Shust

Praise on the Inside, J. Moss Everything Glorious, David Crowder Band

You Keep On Blessing Me, Luther Barnes &

The Red Budd Gospel Choir

Love the Lord, Lincoln Brewster

Jesus, Jesus, Jesus, Rev Timothy Wright and

The New York Fellowship Mass Choir

You Alone, Echoing Angels

Step Aside, Yolanda Adams Miracle of the Moment, Steven Curtis Chapman

Everybody Everybody!, Kenny Lewis & One Voice I Will Lift My Eyes, Bebo Norman

The Last Night, Skillet

Awakening, Switchfoot

After the World, Discipline

2008

Never Could Have Made It, Marvin Sapp You Are Everything, Matthew West

He’s Done Enough, Beverly Crawford Let it Fade, Jeremy Camp

Livin’, Clark Sisters Washed by the Water, Needtobreathe

The Light, Ricky Dillard Amazing Grace My Chains Are Gone, Chris Tomlin

Victory, Jonathan Nelson All Because of Jesus, Fee

Always, Jason Champion Your Grace Is Enough, Matt Maher

You Must Come Through the Door,

Reverend Timothy Wright

Lose My Soul, Toby Mac/Kirk Franklin

Waging War, CeCe Winans Finding Your Way, DecembeRadio

Hold On, Yolanda Adams I Wonder, Newsboys

My Day, Canton Jones Thank You, 33Miles


APPENDIX B

Shared Themes Gospel Music Contemporary Christian (CCM)

Faith 2007

Encourage Yourself, Donald Lawrence

Step Aside, Yolanda Adams

2008

Hold On, Yolanda Adams

2007

Miracle of the Moment, Steven Curtis

Chapman

Relationship 2007 & 2008

Never Would Have Made It, Marvin Sapp

2007

Every Time I Breathe, Big Daddy Weave


I Will Lift My Eyes, Bebo Norma


2008

You Are Everything, Matthew West


Finding You Waiting, DecembeRadio

Salvation 2008

You Must Come Through the Door, Reverend

Timothy Wright

2007

Undo, Rush of Fools

Does Anybody Hear Her?, Casting Crowns

The Last Night, Skillet


2008

You Are Everything, Matthew West

Let It Fade, Jeremy Camp

Amazing Grace My Chains are Gone,

Chris Tomlin

All Because of Jesus, Fee


Gratitude 2007

Blessed and Highly Favored, The Clark Sisters

Praise on the Inside, J Moss

You Keep on Blessing Me, Luther Barnes &


2008

He’s Done Enough, Beverly Crawford

2008

Thank You, 33Miles

Worship 2007

High Praise, Anointed Pace Sisters



2007

Every Time I Breathe, Big Daddy Weave

Love the Lord, Lincoln Brewster


2008

All Because of Jesus, Fee

Your Grace is Enough, Matt Maher

I Wonder, Newsboys

Celebration 2007

Praise on the Inside, J Moss

You Keep on Blessing Me, Luther Barnes &


Everybody Everybody!, Kenny Lewis &

One Voice

2008

Livin’, Clark Sisters

2007

Everything Glorious, David Crowder Band


APPENDIX C

Unique Themes Gospel Music Contemporary Christian (CCM)

Conquering 2007


Never Would Have Made It, Marvin Sapp

The Struggle Is Over, Youth For Christ

2008

Livin’, Clark Sisters

Victory, Jonathan Nelson

Waging War, CeCe Winans

Hold On, Yolanda Adams

Testimony 2007


You Keep On Blessing Me, Luther Barnes &




Everybody Everybody!, Kenny Lewis & One Voice

2008

The Light, Ricky Dillard

Communal

Connection

2007


2008

Waging War, CeCe Winans

Covered 2007


2008

Victory, Jonathan Nelson

Always, Jason Champion

Positive

Confession

2007


The Struggle Is Over, Youth For Christ

2008

My Day, Canton Jones

Scriptural

Exhortation

2007

High Praise, Anointed Pace Sisters

Praise On the Inside, J Moss

Sovereignty 2007

Step Aside, Yolanda Adams

Faithfulness Your Grace Is Enough, Matt Maher

Find You Waiting, DecembeRadio

Inspiration/

Motivation

2007

Something Beautiful, Newsboys

Awakening, Switchfoot

Perseverance 2007

Give Me Words to Speak, Aaron Shust

I Will Lift My Eyes, Bebo Norman

2008

Washed by the Water, Needtobreathe

Find You Waiting, DecembeRadio

Eternity-bound

consciousness

2008

Amazing Grace My Chains Are Gone,

Chris Tomlin


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