Opinion on why CCM music changed

Earlier this week, I saw a post on Facebook basically asking what happened to  Contemporary Christian music and why it went away. While this blog is 90 % baseball and baseball card related, I wanted to use this post to give my thoughts on the question since I have many thoughts and it would never fit in a FB post. 

I will try to keep the post as short as I can, but I feel like I really need to go into depth for some parts. I humble ask if you are reading this post for the CCM question that you take the baseball stuff in stride, and that if you are reading it for the baseball stuff that you take the this CCM post in stride. 

I wanted to start off with a kind of background of my life, telling when I started listening to CCM, and why it was important, and just giving relevant facts on my point of view. If you don't want to read my life story, just scroll down. 

I was born in 1983. My parents went to church, and had cassette tapes of the popular groups back then like Carman, Sandi Patty, the Imperials, Larnelle Harris, and Amy Grant. By the time I was 4 or 5, I loved listening to Carman’s ‘The Champion’ tape, and called it the ‘pop tape’ because I thought the sound of the snare drum on some of the songs sounded like a popping noise. We moved to Florida in 1990, and the closest thing to a CCM station was WCIE, and they played most of the popular CCM artists of the time. I attended a private Christian school owned by our strict Baptist church from 2nd-5th grade. They didn’t approve of Christian rock, and I wasn’t sure where I stood on the subject. I knew I enjoyed listening to Carman and the stuff of WCIE.

We attended a Carman concert in 4th grade, and in 5th grade, changes happened. We got pulled out of school and were home schooled by my mom. We started attending a church within walking distance of our house, and they were Southern Baptist, had a drummer, and sang the modern praise choruses of the time instead of 100% hymns. 

Sometime around then, WCIE changed ownership and became the Joy FM, and they played all of the modern CCM artists of the time. In 6th or 7th grade, I started going to the youth group at the church we started going to. I wanted to be popular and have people like me, so I figured if I learned everything about the Christian music on the radio, that people would like me. I listened to the Joy FM whenever I could, learning about the bands and artist. Every Saturday the 20 the Countdown Magazine would come on, and I kept a running list of every #1 song from like 1997-1999. Wish I still had it. 

I took piano lessons from 2nd-5th grade and learned scales and chords after getting drilled on them and trying to improve my speed on the drills. This framework taught me what I needed to know to play piano at church and how to figure out chord progressions in songs. This was big. 

After being home schooled through 10th grade, my parents decided to put us in public high school. I went there my last 2 years, and was shy and used to bring my CD player to school to listen to instead of talking to people. I did meet a friend named Gina who introduced me to PfR, a popular CCM artist at the time. Popular artists I listened to in high school were PfR, Michelle Tumes, Out of the Grey, Point of Grace, Chris Rice, Rachael Lampa, DC Talk, among others. In the summer of 2001, I went to Festival Con Dios, and saw Earthsuit live for the first time. I fell in love with the rapping and singing mixture in their song ‘One Time’, and that began a love affair with the band that lasted almost 20 years. I didn’t have enough money to get their first big CD Kaleidoscope Superior, but did have enough to buy an earlier tougher to find CD that didn’t even have an official title, but is called ‘Headless Clown’ after the clay clown on the front cover that had its head broken off. I went to camp the previous 2 years with my youth group, and we stayed at the dorms at the University of Mobile each year. I got some info about the school, and for some strange reason, thought it would be a perfect fit. An out of state private college that just happened to be a Christian school. While in college, many things happened. I got Earthsuit’s Kaleidoscope Superior CD. It is still one CD I could listen to start to finish on repeat. I went to a few CCM concerts over the 2 semesters I was there, including Winter Jam with Newsong, Michelle Tumes, Paige, Pete Orta, and others. I saw Nichole Nordeman, Rachael Lampa, Out of the Grey, and even Bleach. 

One of the biggest things that happened was I got a cheap Casio keyboard. I took that thing and penned out the songs that had been in my head. I got a cheap tape recorder and made recording of them that sound worse than a Barry Manilow song. I found 3 other guys who played guitar, drums, and bass, and we formed a band called ‘A1’ (Audience of One). We played the popular praise and worship songs (basically stuff by SonicFlood and Ten Shekel Shirt), and while we never played a gig, I recorded most of our practices with my crappy recorder. I figure it was around that time when all of CCM changed. That first SonicFlood album, along with Third Day’s Offerings album, and Darlene Zschech’ 'Shout to the Lord' single changed, in my opinion, the course of CCM forever. 

I came back home to FL after 2 semesters. The Joy FM still played their music (which included Saturday nights with harder bands like Broomtree, Grammatrain, any ska bands, and then had Sunday nights with Christian jazz and introduced me to Glenn Kaiser and Wayman Tisdale’s work), but the music was starting to change. More worship stuff, and every other song seemed like it was either Casting Crowns, Mercy Me, or Avalon. 

I want to stop right here and say that I’m not trying to criticize any station or band or artist. I’m just trying to prove my theories and sometimes I need to point out something I observe with a radio station or band or artist. 

In 2002, I joined a praise and worship band comprised of guys in my youth group in FL. We never played anywhere, but did do worship for our youth group every Wednesday night and a few worship nights every year. It was there I learned how to play worship songs with scales and chords and where I was just allowed to be free to play whatever I wanted to. I still consumed CCM, but I really made a few CDs comprised of the entire Earthsuit, PfR, Out of the Grey, and Michelle Times collections that I had. I listened to those CDs very often over the next few years. 

In 2005, my friend JT from college allowed me to come back up to Montgomery, AL and visit. I had known JT since the first weeks of college, and that man would be an important part of my life from then on. He was my roommate the last semester, and introduced me to a few recording programs. I spend spring break with him at his house in Montgomery, and I remember laying in bed and worrying if I was coming back to school the next semester because of money being tight. I just remember God saying to me that he would provide for my needs. I left school after that spring semester in 2002, and attended a local school in FL for a few years after that. Anyway, I went back to JT’s house for a few days in December 2005. I showed him an idea for a silly song about penguins, and he helped me with the melody, and I recorded it when I got back to FL. After that, I just had the urge to lay it all on the line and try to start a band. I convinced JTs parents to let me stay with them for a few months while me and JT tried to start a band. Somewhere in 2002, Earthsuit broke up, but in 2004, 3 guys from the band formed MuteMath. I saw 2 shows in FL, and timed my move to Montgomery so I would make it there before they played in Montgomery. I saw them play another 10 or 12 times in different cities over the next 7 or so years. I spent 3 years in Montgomery, and they really shaped me musically. I didn’t really follow CCM anymore just because MuteMath and PfR just had so much talent and creativity that everything else seemed boring to me. 

I got connected with many groups of musicians over those 3 years, including a college aged Bible study group led by Ryan John. Ryan let me play how I wanted to, even though it was wild and reckless at times. He allowed me to lead worship a few times, and I performed an original song in 2008. 

I led worship for another college group and a youth group at different times. I played a few worship sessions for different events, and had the opportunity to do a 4-song opening set for Christian band Thalon in 2007 as well. 

JT ended up getting a traveling job, and I had some low points in Montgomery, ending up couch surfing, and working a 7 dollar an hour job for 50+ hours a week shoveling dog poop. It was during those times that songs like ‘Brave’ by Out of the Grey and ‘Missing Love’ by PfR helped me through. 

After the band thing with JT didn’t work out, I decided to move back to FL in 2009. I was kind of running from God then. I still attended some churches, but was just disappointed that I couldn’t find steady work and that the band didn’t work out. I didn’t really listen to CCM during those next 3 years. I ended up getting with a few different bands during that time, playing 10-15 gigs. I played a few with His Vessel, a Christian rock band in Lakeland. I played 5 with emo rock band Hooks for Ladders. With Hooks, I had the opportunity to play at the Orpheum in Ybor City, a stage I saw MuteMath play on a few years back.

 I played with Kim Grieves. With Kim, we had the opportunity to play in a Battle of the Bands at Wet ‘n Wild waterpark. 

Somewhere in the 2000’s, Florida got another CCM radio station with Z88.3. The Z hosted the event, and I wish I was listening to them at the time. 

In 2011, my life started turning around. I had a full time job at the time that gave me enough money to start saving. I met my future wife in November, saved for a ring, and proposed to her in February. I talked with JT a lot during that time, recorded some crappy versions of my songs and some of his. JT was my best man when I got married in December 2012, and I was one of his groomsmen when he married my youngest sister in March 2012. 

I had music in common with my wife, and she got me listening to much more than my Earthsuit, MuteMath, PfR, and Out of the Grey diet. I even (unfortunately) gave country music a try for about a year. Better than that, I started listening to the Z. 

The music changed alot since 2001 or so when last listened. It did, however, expose me to many different artists. Some of the early ones that caught my ear were For King & Country, Chris Tomlin, and Colton Dixon. 

Life with my wife hasn’t been easy since then. We had high points when we had our son in 2016 and on all the multiple road trips we’ve been on. We’ve had some really low points with 20+ surgeries that my wife has had for different issues, a miscarriage in 2021, and just the average trying to make ends meet.

I have been playing piano at our church for the past 10 years or so, and have really learned the art of holding back while playing. We do dozens of worship songs that have been on CCM radio, including old ones and current ones. My wife sings, and my son (the genius), has filled in on piano once or twice for me although only being 9. 

CCM has helped me through the low points. I got diagnosed with depression, and wanted to end my life in December 2025. Through therapy, my wife’s support and one CCM song, I am back and stronger than ever. 

I have always been a 'music first guy' with lisening to music, just always caring more about the melody and chord progression than the lyrics. During one bad day, I heard the song 'Flowers' by Samantha Ebert on the Z. Hearing the sad chord progression, the lyrics telling me that God has a good plan, and just hearing the pain in Samantha's voice had me crying. That has never happened to me when listening to a song. I still get teary eyed when the song comes on. I hope I get the chance to see Samantha perform it live and get to meet her. 

****************************END OF MY LIFE STORY*****************************

That about takes me to where I am now. I listen to the Z exclusively. It is very different than what I listened to in the '90's. Some is good, and some isn't. 

Now we get to the queston of what changed and why? 

There are 2 easy answers. The first is the worship album. 

'Shout to the Lord' was one of the first worship singles that was popular. That song, along with SonicFlood's debut album, and Third Day's Offerings album almost singlehandedly changed the direction of CCM forever. Many bands had 1 or 2 worship songs on an album. Carman did, Rich Mullins did, Michael W. Smith did. After the 2 albums I mentioned came out, just about everyone did a worship album. Rebecca St. James, Newsboys, Phillips, Craig, & Dean, and just about every popular band did one. Now there was no going back to just having regular albums. 

The other answer is that either the producers or the record companies just took over at some point and made everything sound similar. There are many instances when I see it (especially from a musicians standpoint). 

First, I feel like there was a point after the worship albums were introduced where many bands that sounded unique just stopped sounding unique, almost like the producers took over their albums and took away their originality. I can almost name the points where this happened for certain bands. 

3rd Day had thier song start sounding similar after their Conspiracy #5 album.

Somewere in the middle of 'If I left the Zoo', Jars of Clay lost their unique songs.

After Nichole Nordeman released 'Holy' hers started sounding similar.

Michelle Tumes took a different turn on her 'Dream' album.

Ginny Owens lost her origniality after her 'Something More' album.

Matthew West sounded like he was going to be a breath of fresh air with his first song 'More', but after that, it was like the record company took over, and all of his stuff since then is just impossible to distinguish for me because it just isn't unique. 

I feel like Jars of Clay could've been mega stars, but after the 'Zoo' album, they have just faded into oblivion. Same with 3rd Day. They had a few popular worship albums (and they were good), but then faded after the record companies took over. Nichole Nordeman is a great songwriter and deserves to be left alone so she can write her songs, but she is hiding somewhere releasing independant stuff.

I feel like somewhere in the early 2010's, producers started just having 2-3 writers do all of the songwriting for the whole studio, and while doing so, they resorted to doing the same chord progressions for most songs, and also using the same guitar/keyboard effects im many songs. 

There is a country producer, Shane McAnally, who does a ton of songwriting for that genre. While he has many hits under his belt, a plethora of his songs have the repetative 4, 1, 5, 6 minor chord progression. There is a video that took some country songs from that era, put them in the same key/speed, and you can see the similarities. 

I feel like in the early 2010's, CCM did the same thing. A ton of songs with the 4, 1, 5, 6 minor progression. A few years later, 6 minor, 4, 1, 2 minor was the big one. After that, 6 minor, 5, 1, 4 was big. The past year or two, 1, 4, 1 with the verse, and 6 minor, 4, 1 for the chorus was popular. 

If you listen to Phil Wickham's 'Hymn of Heaven', and 'Living Hope', you will see many similarities (chord progression, repeat of a 3rd verse, going to a 6 minor chord after the final chorus and tagging the final line). Nothing wrong with it, I just think with a little creativity, songs would sound unique. 

I also noticed the chord progressions would add a subtle difference at some points during the past 5 years or so. Some examples include adding a 2 minor chord in the 2nd verse where a 4 chord was used in the 1st verse. Sometimes a 2nd bridge would have a slightly different progression. Sometimes, a final chorus after a bridge was slightly different. It just kind of comes off as a gimmick to me. 

I also notice similar guitar or keyboard effects in songs. There is a guitar effect on We the Kingdom's 'Jesus Does'  at the end of the first chorus that is used in songs by other band like Chris Tomlin. This year, there is a keyboard effect that almost sounds like a music box that has been used in Mercy Me's 'Make it Well' and Tasha Layton's 'Meet me in the Valley'. Another thing that seems a little lazy and cliche. 

Another way the producers have taken over seems like the lyrics. I feel like many songs are written by 'prosperity God' authors. While not bad in itself, when pastors like Steven Furtick are adding thier theology to songs, it takes the focus of the truth of scripture and almost makes it the opinion of a therapist the focus. God doesn't owe us anything. Songs like Katy Nichole's 'In Jesus Name', while true that God can make anything possible, make it sound like all you have to do is pray and you get what you want. I prayed, and it didn't make the heart of our miscarried baby beat stronger during the 7th and final week of its life so it would be born and come into this world. It hasn't cured my wife from all of her medical issues. Songs that present this kind of prosperity and miracle theology need to be careful to err on the liberal side of the issue. Brandon Lake, Furtick, and others have some good theology in thier songs, but then have some that make this mistake.

One final way that I feel producers have taken too much control is that I notice many songs have the same 'keyword' or phrase idea in the past 10 years. For a while, the phrase was 'Dead of Night' (Chainbreaker by Zach Williams, 'I will fear no More' by the Afters, 'Desert Song' by Hillsong United, and 'Good Good Father' by Chris Tomlin. Another one is 'House' or 'House of the Lord' ('House of the Lord' by Phil Wickham, 'If the Lord builds the House' by Hope Darst, 'The Father's House' by Cory Asbury). The latest one is 'Breakthrough' ('Breakthrough' by Red Rocks Worship, 'Breakdown' by Andrew Ripp, 'Won't Start Now' by Seph Schlueter, among others). It just feels like the producers are pushing a keyword and making the writers make a song about it.

All of these things make me feel like the record companies are just pushing out product to make money and all of the creativity is gone. There are SOOOOO many good artists that were doing their thing in the late '90's, and then the producers came in, and they are either now out of work or just pushing out cookie cutter crap. Ones basically out of work include Michelle Tumes, Out of the Grey, Daily Planet, Denver & the Mile High Orchestra, Chris Rice, Shaun Groves, Sara Groves, Bebo Norman, Over the Rhine, and Misty Edwards. There are creative ones who really never got a shot like Nathan Tasker, Jenny & Tyler, Smith Band, Nevertheless, Paige, Ronnie Freeman, Thalon, and Ellie Holcumb. Ones who just let the producers take over the music include Matthew West,  Mercy Me, Third Day, David Crowder, Point of Grace, Ginny Owens, Michael W. Smith, and the final stuff from the Newsboys. It is just a shame to me how all of these artists and bands had unique, creative stuff, and now most of them are out of the business and doing a few independant albums that will never be on CCM radio, or they gave in and all of their new stuff just sounds similar and is played on CCM stations. The only people that win is the record producers. 

I know I can choose which CCM type I listen to and can find a Spotify station with '90's CCM artists, but if the record companies hadn't taken over and the big worship album craze hadn't been so big, we might just have some original CCM artists on your local CCM radio staion. I still enjoy some recent CCM bands, including Andrew Ripp, For King & Country, Cain, We the Kingdom, Pat Barrett, Samantha Ebert, Jordan St. Cyr, and Anne Wilson, among others. I just hope that some original artists can sneak through and keep that bright light of creativity shining in CCM radio for the next generation. 

Thanks for checking out my point of view, and listening to my story of CCM in my life and the reasons I think it changed.