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as taught in his Basic Youth
Conflicts Seminars. These were some of the main factors that caused many U.S. churches to largely reject the movement and these artists at the time. This suited many artists as they wanted to bring Jesus to non-Christians, not only to church youth. Larry Norman addressed
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Initially, the music tended to be relatively simple, as it drew largely on guitar-based folk and folk-rock influences. The message also seemed to be relatively simple, as the songwriters attempted to present the value of a Christ-centered spiritual experience without evoking the vocabulary or other
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music with
Christian lyrics. By 1976, it was apparent that a new generation of performers who had grown up in the church wanted to play non-secular pop and rock music for other Christians. By the end of the 1970s the term "Jesus music" fell out of use as
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trappings of ecclesiastical religion. Rather than quoting religious cliches or King James Bible verses, they used storytelling, allegory, imagery, and complex metaphors, often with a colloquial language that flustered conservatives.
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On the West Coast of the United States, Jesus music festivals began to emerge in the summer months of the early 1970s, featuring many of the artists listed above. While the music was often loud and the venue similar to the
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in Costa Mesa. In the aftermath of such conversions, these musicians continued playing the same styles of music that they had been playing prior to their conversion, though they now infused their lyrics with a
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332:. Larry Norman voiced this in his song "I Wish We'd All Been Ready", singing "There's no time to change your mind/The Son has come and you've been left behind."
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message. Of the many bands and artists that came out of this time-period, some became leaders within the Jesus movement. Most notably among them
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By 1973, Jesus music was receiving enough attention inside the mainstream media that an industry began to emerge. By the mid-1970s, the phrase "
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Jesus music primarily began in population centers of the United States where the Jesus movement was gaining momentum—
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at best or as "the Devil's music" in the worst case. This latter position was held by conservatives such as
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Patterson, James Alan (2005-09-01). "Revolution and the
Eschaton: Images of Jesus in the Jesus Movement".
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In addition to the basic message of salvation, the lyrics often reflected the expectation of the imminent
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143:. A number of these conversions, especially in southern California, were due largely to the outreach of
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was one of
Britain's influential Jesus people and one of the founders of the group that became JPUSA,
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prominent in evangelical circles at the time, reflected and heightened by the publication of
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this culture clash in his 1972 song, "Why Should The Devil Have All the Good Music?"
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in the late 1960s and early 1970s. This musical genre developed in parallel to the
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The Jesus People
Movement: an annotated bibliography and general resource
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The Jesus People
Movement: an annotated bibliography and general resource
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The Jesus People
Movement: an annotated bibliography and general resource
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was published in July 1977. CCM now was a combination of traditional
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414:, etc. were some of the most notable agents of the gospel beat.
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In the United
Kingdom, Parchment, Roger and Jan, Judy McKenzie,
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363:" (CCM) had been coined by Ron Moore and the first edition of
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705:. Peabody, Massachusetts: Hendrickson Publishers. pp.
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began to eclipse it and absorb its musicians around 1975.
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American Jesus: How the Son of God Became a
National Icon
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music, Jesus music artists, and in some cases a style of
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Despite the message, the music was described by many as
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522:(Documentary movie). United States: David Di Sabatino.
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and ministry, currently located on the North Side of
112:. It outlasted the movement that spawned it and the
593:. Peabody, Massachusetts: Hendrickson Publishers.
540:. Lake Forest, CA: Jester Media. pp. 136–137.
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519:Frisbee: The Life and Death of a Hippie Preacher
621:. Archived from the original on April 14, 2013.
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555:. Lake Forest, CA: Jester Media. p. 136.
485:. Lake Forest, CA: Jester Media. p. 137.
702:Encyclopedia of Contemporary Christian Music
590:Encyclopedia of Contemporary Christian Music
428:. Two of the first influences of JPUSA were
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136:and street musicians began converting to
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505:. New York: Ferrar, Straus and Giroux.
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100:in the United Kingdom, is a style of
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257:Andraé Crouch (and the Disciples)
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23:. For the documentary film, see
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361:contemporary Christian music
329:The Late, Great Planet Earth
184:, and during the mid-1970s,
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699:Powell, Mark Allan (2002).
587:Powell, Mark Allan (2002).
551:Di Sabatino, David (1999).
536:Di Sabatino, David (1999).
481:Di Sabatino, David (1999).
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444:'s Highway Ministries, and
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914:Christian alternative rock
858:Contemporary worship music
516:David di Sabatino (2001).
501:Prothero, Stephen (2004).
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72:Late 1960s – early 1970s,
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19:For the Lecrae song, see
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1267:Christian music festival
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448:in England, the largest
114:Christian music industry
16:Style of Christian music
1231:Christian vocal artists
1226:Christian record labels
1206:Christian metal artists
889:Christian country music
648:Full Circle Jesus Music
619:www.christianguitar.org
452:festival in the world.
324:Second Coming of Christ
287:, The Talbot Brothers:
104:that originated on the
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868:Neues Geistliches Lied
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174:Second Chapter of Acts
1346:Christian terminology
1257:Anglican church music
960:Latin Christian music
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689:by Resurrection Band.
422:intentional community
350:Monterey Pop Festival
1216:Christian punk bands
1201:Christian rock bands
1025:Christian liturgical
765:Roots and beginnings
430:Cornerstone magazine
301:All Saved Freak Band
1221:Christian ska bands
663:"See Dave Boyer at"
201:Children of the Day
126:Southern California
970:Black Gospel music
936:Christian hardcore
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801:Exclusive psalmody
446:Greenbelt festival
394:Outside California
291:and Terry Talbot,
269:Sweet Comfort Band
245:Scott Wesley Brown
149:Pastor Chuck Smith
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434:Resurrection Band
400:Malcolm and Alwyn
309:Resurrection Band
217:Noel Paul Stookey
98:gospel beat music
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667:. Retrieved
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371:gospel music
366:CCM Magazine
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341:Bill Gothard
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289:John Michael
285:Gentle Faith
273:country rock
233:Chuck Girard
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162:Larry Norman
141:Christianity
128:(especially
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80:Other topics
975:Traditional
811:Sacred Harp
806:Jesus music
281:Daniel Amos
265:jazz fusion
241:Phil Keaggy
186:Keith Green
96:, known as
94:Jesus music
33:Jesus music
21:Jesus Muzik
1325:Categories
1126:Beneventan
1117:(Milanese)
821:Spirituals
816:Shape note
669:2012-03-07
468:References
261:soul music
237:Tom Howard
213:Mark Heard
205:Paul Clark
193:folk music
138:born-again
130:Costa Mesa
45:Folk music
1156:Old Roman
1151:Mozarabic
1146:Gregorian
1115:Ambrosian
1106:Plainsong
1049:Byzantine
791:Hymn tune
776:Polyphony
772:Homophony
354:Woodstock
297:hard rock
277:Bethlehem
229:soft rock
197:folk rock
170:Love Song
158:Christian
50:folk rock
1300:Category
1141:Gelineau
1136:Gallican
1121:Anglican
1091:Znamenny
1064:Galician
1044:Armenian
627:cite web
456:See also
379:big-band
299:(Agape,
1310:Commons
1161:Ravenna
1101:Western
1069:Obikhod
1036:Eastern
781:Chorale
707:808–809
442:Servant
426:Chicago
337:worldly
313:Servant
293:The Way
253:R&B
134:hippies
120:History
1131:Celtic
1086:Syrian
1074:Kievan
1054:Coptic
713:
651:, 2009
597:
420:is an
1174:Lists
1028:chant
991:Chant
305:Petra
786:Hymn
774:vs.
711:ISBN
633:link
595:ISBN
432:and
352:and
195:and
147:and
315:).
271:),
259:),
251:),
227:),
151:of
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