| Urban/contemporary gospel | |
|---|---|
| Stylistic origins | |
| Cultural origins | Late 20th century, African-Americans |
| Typical instruments |
|
| Subgenres | |
| Christian hip hop | |
Urban/contemporary gospel, also known asurban gospel music,urban gospel pop, or just simplyurban gospel, is a modern subgenre ofgospel music. Although the style developed gradually, early forms are generally dated to the 1970s, and the genre was well established by the end of the 1980s. Theradio format is pitched primarily to African-Americans.Christian hip hop can be considered a subtype of this genre.
Protestant hymns and African-Americanspirituals make up the basic source material fortraditional black gospel music, which in turn is the most significant source of urban/contemporary gospel. Urban/contemporary gospel has kept the spiritual focus of the traditional black gospel music, but uses modern musical forms.
Urban/contemporary gospel derives primarily from traditional black gospel music, with strong influence from, and strong influence on, many forms of secular pop music. Due to strong racial divisions in 20th century American culture, urban/contemporary gospel developed specifically out of the African-American musical traditions.[1] The equivalent music from white American culture iscontemporary Christian music.[1] Although the racial lines have blurred in some areas, particularly with urban musical styles, these divisions are still evident in the industry.[2] Thecolor line divides artists with extremely similar musical styles on the basis of their race, and unites artists with divergent styles (such asrap and pop) on the same basis in industry reporting, marketing choices, and awards like the Grammy and Dove awards.[1]
During the 1960s and 1970s and 1980s, hit songs likeThe Clark Sisters' "You Brought the Sunshine"Edwin Hawkins' "Oh Happy Day" andAndrae Crouch's "Take Me Back" were significant milestones in the development of urban/contemporary gospel music.Edwin Hawkins is called the "godfather of contemporary gospel"[3] andTwinkie Clark is called the "Mother Of Contemporary Gospel".
In the 1980s and 1990s, some gospel groups (such asThe Rance Allen Group) emerged by singing with elements ofMotown sound, emulating quartets such asThe Temptations but still propagating biblical messages. The members of many such groups later established their own gospel music careers (but still returned for occasional reunions). For example,Marvin Sapp andFred Hammond started out in the groupCommissioned.[4] New artists likeYolanda Adams, the Clark Sisters,Donnie McClurkin, andKirk Franklin's Nu Nation gained popularity in the secular world with their musical style.[5]
Other groups and individual artists such asHezekiah Walker took gospel congregational songs from the 1950s and 1960s and adapted them to a more upbeat feel similar to '80s and '90s pop. Examples of this include "99 ½" by Walker and the Love Fellowship Crusade Choir.
Many artists who began in the 1960s and 1970s (like the aforementioned Andrae Crouch and The Clark Sisters) also continued to release influential songs and albums in this period.
In the 2000s, many gospel artists from the previous two decades began establishing records and gaining established places in the gospel music canon, as recognized by annualWOW Gospel albums (after beginning in the late 1990s). They were accompanied by younger gospel artists/groups likeMary Mary,Sheri Jones-Moffett andBrian Courtney Wilson, who leaned the genre towards hip-hop, funk and '90s R&B, respectively.
Groups likeTye Tribbett & G.A. andMyron Butler and his groupLevi released songs with more complicated instrumental riffs and melodies that hint at a contemporary jazz influence (though some say it goes the other way around).[6]
Gospel artists had collaborated with secular artists in the past, but in the 2000s and 2010s, this became far more pronounced. Kirk Franklin is widely known for this, working withKanye West on his gospel album,Jesus Is King, and withLil Baby on the song "We Win" for the movieSpace Jam: A New Legacy. Franklin also sang withStevie Wonder on "Why" in the former's 2005 album,Hero. Rance Allen sung withSnoop Dogg on the song "Blessing Me Again" in 2018.
Eventually, secular artists began releasing gospel albums full of such collaborations. Examples include PJ Morton’s 2020 albumGospel According to PJ and Snoop Dogg's 2018 albumBible of Love.
Like most forms of Christian music in the last two centuries, artists have been criticized by Christians who see the new forms as too similar to secular music styles or insufficiently focused on traditional religious sentiments. Artists in the urban/contemporary styles have taken a variety of approaches to address these concerns from their fan bases.[7]
Artists in this genre are expected to convey a committed Christian religious viewpoint and to treat their musical performances as a sacred service to God. In a distinctlyProtestant-American touch, artists in this genre are expected to pray publicly, to "testify" about the artist's personal, emotion-driven conversion, and to make an effort to convert non-Christians to Christianity.[7]
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The secular version of this music isurban contemporary music, which is musically indistinguishable, but which takes non-religious subjects for its lyrical content. Urban/contemporary gospel music is characterized by dominant vocals, usually performed by a soloist. Common instruments include drums, electric guitar, bass guitar, and keyboards.[7]
The lyrics very often have an explicitly Christian nature, although "inspirational" songs feature lyrics that can be construed as secular in meaning. For example, a song about a father's love for his son may be interpreted asGod the Father's love forGod the Son, or as a human father's love for his human child. This lyrical ambiguity echoes the double-voicedness of 19th century spirituals, and may havemusical crossover appeal to the larger secular market.[7] Common themes include hope, deliverance, love, and healing.[3]
In comparison with traditional hymns, which are generally of a statelier measure, gospel songs are expected to have arefrain and a pronounced beat with asyncopated rhythm. Compared to modernpraise and worship music, urban/contemporary gospel typically has a fastertempo and more emphasis on the performer.
The genre includesChristian hip hop (sometimes called "Christian rap"), which has lyrics with Christian ideals and themes.[8]
Rock & roll, country and rhythm & blues were influenced by traditional black gospel music, and these forms, as well asdisco,funk,jazz and many secular genres, influenced urban/contemporary gospel music.
Perhaps the most significant musical influences on urban/contemporary gospel arehip hop andR&B.[3] Like contemporary gospel, R&B developed from traditional black gospel music.[1]Soul music andChristian rock are also significant influences on contemporary gospel.
The gospel market is smaller than the secular market, but popular artists have sold millions of units. The radio stations that program UC Gospel, primarily in the Southern and Southeastern US serve a fiercely loyal core of listeners from all age groups and income demographics in the African-American communities.
Compared to traditional black music, whose sales are steady, urban/contemporary sales are rising, as a result of more significant marketing efforts.[9]
