Thinking Out Loud

July 1, 2019

Earlier Modern Worship Songs Which are Still Viable

Long ago, in a time before Hillsong, Jesus Culture and Elevation; in a world uninhabited by Chris Tomlin, there existed another universe of praise and worship…

This list is comprised of songs which are not the most popular from the ’90s, but chosen by a criteria consisting of, “Would these songs work well with today’s congregations?” or, “Are these songs which could be re-introduced?”

Why this matters: There were some substantive songs which people who have been around church remember, but are not currently sung. The songs represent music for a demographic that is not longing for the nostalgia of the Gaither Music years — they aren’t that old yet — but longing for some connection to past songs where there is greater singability. 

This could include things from Maranatha Music, Vineyard Music, etc.

Statistically, the median age of established churches rises over time. The key is to keep this demographic engaged, but present music that doesn’t sound dated to the younger demographic churches are hungry to reach.

This is the list I assembled:

  • You Are the Mighty King
  • The Servant King
  • You Are Worthy of My Praise (I Will Worship With All of My Heart)
  • Blessed Be the Lord God Almighty
  • Above All
  • Glorify Thy Name (Father, I Love You…)
  • You Are My King (with 2nd verse)1
  • Once Again
  • Shout to the North
  • Majesty2
  • All Heaven Declares
  • You Are My All in All
  • Lord I Lift Your Name on High (with 2nd verse)
  • Trading my Sorrows
  • Open the Eyes of My Heart

Related: A History of Modern Worship Music

1 You are My King 2nd Verse
2 Majesty Extra Verses

June 24, 2010

Worship in the United States vs. Worship in the United Kingdom

Two countries.   Much shared history.   A common language.   Similar politics.

But when it comes to church or when it comes to our expression of Christianity, are we in North America more alike our British cousins or are we more unalike?

Living in Canada gives a few of us a unique window on both our neighbours to the south and our friends several thousand miles to the east.   To many of us here, Adrian Plass, Selwyn Hughes, Graham Kendrick, Stuart Townend, etc. are names we have at least heard, if we haven’t also read their books or sung their songs.

What amazes me though is how little my contacts in the U.S. know of Christianity in England.    Where this turns up most is in a cursory examination of worship music in both countries.

Because we’re still a few weeks away from getting the biannual numbers from CCLI — the next six month report comes out in August — we’ll have to settle for a look at the February 2010 stats.

Here’s a look at the Top 25 worship songs in use in the U.K.

Without getting too deep into statistics — we’ll leave that to the sportscasters — you see on this list a couple of Graham Kendrick classics along with the beautiful “I Will Offer Up My Life” by Matt Redman and a number of pieces that follow the ‘hymn style’ of verse/chorus, such as “How Deep the Father’s Love for Us,” “Be the Centre,” and the classic “All Heaven Declares.”   The American #1 most-used chorus, “Mighty to Save” by Hillsong doesn’t even appear on the list.

Here’s the U.S.A. list for the same period:

For some of my American readers, this list seems rather dated, or perhaps even rather tame.  Your church has already moved on to newer songs.   I personally think that the U.S. church has adopted a rather “disposable” attitude toward its worship music in the last five years or so.   Anything before 2006 is considered a “golden oldie.”

That’s rather sad in a way.    The British churches contributing to their list seem to hang on to a good song a little longer.

I also feel bad for American churches who aren’t using “Once Again” by Matt Redman, but also wish that the British list contained at least one song by Paul Baloche.

I think every church service should contain at least a couple of songs from these lists.   This is the worship music that connects us; these songs are being sung across denominational lines.   Too much new and unfamiliar music weakens the worship time.   I also hope your church does at least five or six different worship songs each week.   There’s a trend right now to only doing a couple, but I think it leaves both seasoned worshipers and seekers a little shortchanged.

If you missed it, last week I had another couple of posts on worship music in light of a recent book, and you can read those here (June 11th) and here (June 17th).  (If you think I’ve gone conservative, rest assured that the author of that book wouldn’t have even posted these lists!)

I think it is incumbent on worship leaders to stay aware of what’s happening in worship on a worldwide scale, and know about other material that is available to them.   If you click on the links, you’ll end up at the site which also allows you too look at lists in Canada, Australia, New Zealand and Africa.

Brooke Fraser has a total of four songs on the N.Z. list, including #2 and #3, but the Africa list has more familiar songs that you might expect.

If I could only sing 25 songs in the next year, I’d be content to make the Africa list my songbook.

Today’s forum:  What do you think of the song selection at your place of worship?

November 7, 2008

A Complete History of Modern Worship Music

The History of Modern Worship Choruses

Rummage through old piano benches in church basements and you’re almost certain to locate a classic chorus sheet consisting of short stanzas written in the first half of the last century. By today’s standards, the material does not hold up well, but it serves as a reminder that what we call ‘choruses’ are nothing new.

Not that this should come as any surprise. Twice in the new testament, Paul uses the terms “Psalms, Hymns and Spritual Songs.” While one commentator has suggested that these are just different words for the same things, most others agree that the variance in meaning suggests a graduated difference in both style and substance.

To be sure, some of the choruses from times past endure in Children’s ministry, while others are preserved as camp songs or ‘retro’ youth ministry favorites. But whether it’s “Constantly Abiding,” “I Love Him Better Every Day,” or “I’ve Got Peace Like a River;” there is a fairly distinct line at which some of these traditional songs end, and our modern worship begins.

For this writer, a turning point was when Paul B. Smith, pastor of Toronto’s People’s Church returned from a missions trip in the 1970s and taught a simple chorus with just one word, “Allelujah” repeated eight times. (One publisher actually produced an overhead projector master for the lyrics.) Out of the preceding 100 years of church music at least, non-Charismatic people were for the first time “losing themselves” in worship.

music_for_worship1Allelujah or Hallelujah is a somewhat trans-lingual word, and another universal symbol of surrender to God is upraised hands. So it’s not surprising that at the same time as people sang this song with lifted hands, the charismatic movement was taking place, and with it, songs that had been heretofore reserved for Pentecostal or Assemblies of God churches suddenly found their way into Evangelical churches.

At the same time, the so-called “Jesus Movement” was beginning in Southern California. It’s at this point, we see one of the main forces of modern worship, Maranatha! Music beginning as a music ministry of Chuck Smith’s Calvary Chapel in Costa Mesa. However, when I visited in 1979, a full seven years after the Time magazine cover of “Jesus People” being baptized in Pirate’s Cove; the morning services at Calvary consisted exclusively of selections from the Inspiring Hymns book my own church had purchased in the late 1950’s.

But on concert nights, Calvary began each Christian rock concert with a time of worship. In fact, some argue that the Maranatha! Praise series taught the rest of the U.S. to worship.

That assumption is only partially correct however, for while the Jesus People were swaying to the guitars on the west coast, a New Zealand couple, David and Dale Garratt were compiling and recording many of the new “scripture choruses” as part of their ministry, Scripture in Song.

By the late 1970’s a small group had broken away from Calvary Chapel to form a network of churches called The Vineyard. The first two churches were led by Kenn Gulliksen and John Wimber. Vineyard’s music was simple, reflective and sometimes chant-like in its repetitions of key lines, while Maranatha! Music’s owed a greater debt to the country rock sound of bands like The Eagles.

Vineyard’s simple approach to songwriting would later stand in sharp contrast to Hosanna/Integrity Music’s live worship albums which incorporated a slicker, tighter sound including a full brass section, jazz chords and frequent key changes which suggested a more sophisticated level of musicianship was necessary.

Integrity Music albums were said to be based largely on some worship tapes that had circulated from Christ For the Nations. These recordings of live, seamless worship somewhat resembled live concert recordings.

In subsequent years, Integrity Music also introduced listeners to a greater focus on who the worship leader was. First the pictures appeared on the back covers, then the front, and eventually it was hard to tell the difference between their worship albums, and the contemporary Christian music (CCM) performance “artist” albums. Although this was toned down in some later releases, to this day, Integrity customers want to know who is leading, and Integrity introduced us to the ministry of Marty Nystrom, Paul Baloche, Ron Kenoly, and Don Moen, just to name a few.

Across the pond in the U.K. churches were embracing the music of one worship leader, Graham Kendrick. Although many Canadians know Kendrick (author of “Shine, Jesus Shine,” “Meekness and Majesty”, “The Servant King”) the one American. release on Integrity was not immediately followed up in the states., which was their loss, since Kendrick’s British. catalogue consisted of literally dozens of recordings.

No discussion of modern worship music is complete without mention of Kendrick’s influence, because he paved the way for other U.K. worship ministries. The entire Worship Together family of albums and artists; the music of Delirious, Passion, Matt Redman and many others all originates in the wake of Kendrick’s influence.

Integrity Music also introduced us to the music of the worship team from Hill’s Christian Assembly in Australia. Today, Hillsongs is a category in itself, with its trademark use of rhythm section, backup singers and huge choir (and often more than one choir.)  It restores a connection between modern worship and the black gospel choir or mass choir; which owes its roots to the ‘spirituals’ sung in the deep south of the U.S.

Just as Hillsongs is roooted in a local church, often a congregation will popularize a single chorus. Jack Hayford’s “Majesty” came during his pastorate at the Church On The Way in California.

This brings us to today’s megatrend of “double albums” on CD. The vinyl and cassette customer never fully embraced the concept of “samplers” but the Compact Disc medium seemed perfect for it. Today, if it’s a double worship CD, it sells, no matter who originates it. The best example is the series of recordings released through The WoW! Partnership, which includes Maranatha, Vineyard, Integrity, and Worship Together as the primary participating record companies.

But no discussion of our modern worship is complete without mention of the great influence of youth ministry. From local junior high, senior high and college & career groups; to camp minstries and major summer festivals; many of our current choruses began as youth ministry material. Many churches today “use” their youth groups to both test out and introduce new worship compositions to the larger congregation.

In recent years, this trend has gone full circle, as our popular choruses become the substance of children’s music ministry. In some churches, the content of the children’s worship includes exactly the same titles the adults are singing in a nearby auditorium.

What will be the next major wave in worship? We will know soon enough because of a service called Christian Copyright Licensing Inc. CCLI monitors the material being used in tens of thousands of churches, and its website chronicles the most-used choruses in a “Top 100” styled chart format, with specific charts for Canada, the U.S., the U.K. and Australia.

The idea of a chart for music intended to be lifted up as worship often grates on the spiritual conscience, but it does help worship leaders’ awareness of what material is being used in other places. While each church has their local favorites, and some churches produce original music, it’s not unwise to focus on the CCLI list, especially in today’s climate where people migrate more freely from church to church.

worshipRecently, we’ve also noticed a shift in how we sing. Hymnbooks gave way to overhead projectors which in turn gave way to video text projection. Today, those texts often have picture backgrounds consisting of still photos, animations, or even full film treatment. In one service we visited (dubbed “Ancient/Future” because of elements from many generations) we counted seven different video projectors in use.

The upside is that the video projector is often used by the pastor to emphasize the sequential points of the sermon, or to include a video clip. The inclusion of these began with short scenes from popular movies, but more recently an entire industry has grown up around manufacturing video clips for use around different themes and preaching subjects.

The downside is that we’ve lost an important element of worship which was prevalent when we had hymnbooks: Four-part harmony. However, in its place, we have more songs emerging which use different parts sung at once, having their roots in the antiphonal music and canons of the past. The growth of the Taizé movement is another example of the growing desire for worship which is more musically complex. Rhythmically, “How Deep The Father’s Love For Us” allows a congregation to effortlessly sing in 5/4 time.

What of the hymns? Many still endure, but of course some argue that many of the so-called choruses of the last twenty years are hymns. Certainly everything from “Meekness and Majesty” to the more recent “In Christ Alone” follow the hymn style, while “Wonderful Cross” simply attaches a new chorus to an existing hymn, “When I Survey.” In other churches, rediscovery of some of the “lost” stanzas to popular hymns is unfolding as is a resurgence of more liturgical elements (prayers, readings, etc.) in evangelical churches.   Others have suggested that the hymns, as a form, aren’t really disappearing at all, only the mid-twentieth century ones (circa 1920 – 1960) are fading from use.

The late Robert Webber probably wrote more about worship than anyone and popularized the term “Blended Worship.” Mixing “something old, something new” not only provides musical and theological balance, but is a wise move for worship leaders trying to achieve peace in a congregation with a broad demographic.

Music is always changing, though; and while many of our children and youth are learning theology through music as we did when we were younger; there is no doubt that the songs will sound antiquated over time. The Bible encourages the writing of new songs of praise (see Is. 42:10) and hopefully our generation will be able to allow the next generation to create, hear and sing their own compositions which express of the ways of God, the truths of God, and the Word of God.

(c) 2008 Paul Wilkinson; Originally blogged here on April 2nd, 2008; a reprint and update of an earlier article published in 2004; this also appeared on a previous blog.  This article is always subject to minor revisions; last update 01/25/10.

Create a free website or blog at WordPress.com.