Download Country Music Gospel

The roots of country music have always been in the church - in songs of worship and praise - whether it was a thankful reminder for how blessed we are or a lost soul looking for salvation after straying from the righteous path.

Christian country music (sometimes marketed as country gospel, gospel country, positive country or inspirational country) is music that is written to express either personal or a communal belief regarding Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music. Christian country music is a form of Christian music and a subgenre of both Gospel music and Country music.

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Like other forms of music the creation, performance, significance, and even the definition of Christian country music varies according to culture and social context. It is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes with a positive message, or as an entertainment product for the marketplace. However, a common theme as with most Christian music is praise, worship or thanks to God and/or Christ.

Many Christian country organizations have been around for a great number of years. The oldest of all of these organizations is the International Country Gospel Music Association which was founded in 1957.[1] These organizations were founded to further artists careers much in the same manner as the GMA, NARAS or CMA. Many of these organizations have yearly conventions which hosts music showcases and awards shows. The CCMA was sued by the CMA for award name right infringement. The CCMA renamed their awards show after a federal judge ruled that they could no longer use the name. The new name is the ICM Music Awards' which stands for "Inspirational Country Music".[2][3][4]

Radio personality Bob Wilson was one of the first radio personalities to see the potential of the genre. His weekly show Gospel Country Round-up aired for many years playing southern and Christian country music. Many Christian country stations today are going the way of Internet stations. That is a positive move for this genre, however, because there are few terrestrial radio stations that play a strictly Christian country format. Many mainstream country stations only have a weekly Sunday Country Gospel show.[5]

Christian country has several syndicated programs. The Country Gospel Countdown has broadcast since 1984 and syndicated since 1988, The Country Parson radio program with host Scott Perkins, broadcast since 1995 and has been syndicated since 1998.[6][7] Today's Cross Country with Marty Smith, broadcast since 1995, syndicated since 1996.[8] Ken's Country Radio Show, The Radio Hour, Country Messenger, The Ranch radio show on KKUS, and Canadian produced Riverside Country.[9][10][11] The Country Gospel Music Guild also airs a weekly radio program while Circuit Rider Radio airs on conventional and satellite radio worldwide.[12]

Other syndicated weekend shows that feature Inspirational and Positive Country music are Power Source Top 20, and finally, the American Christian Music Review for United Stations Radio Networks. These programs are aired nationwide weekly on both Country and Southern Gospel radio stations.[13][14]

Other shows like Hee Haw, the Barbara Mandrell and the Mandrell Sisters Show, and the Statler Brothers implemented the same programming style. For instance, Hee Haw featured a gospel song at the end of each of its shows; series stars Roy Clark, Buck Owens, Grandpa Jones and Kenny Price would sing either a traditional hymn or a newer one well known by mainstream country and Christian country audiences, and the segment itself served as a balance to the show's loony, corn-style humor.

At times, gospel and Christian-themed songs earned mass mainstream appeal. Among the most popular of these songs included "Why Me" by Kris Kristofferson (1973, a plea for God's guidance and forgiveness), "The Seeker" by Dolly Parton (1975, a spiritual), "One Day at a Time" by Cristy Lane (1980, co-written by Kristofferson), "Three Wooden Crosses" by Randy Travis (2003, where a prostitute gives birth to a man who eventually becomes a preacher), "Long Black Train" by Josh Turner (2003, about resisting temptation from Satan and following the Lord instead); "Jesus, Take the Wheel" by Carrie Underwood (2005, where a woman turns to Christ) and "When I Get Where I'm Going" by Brad Paisley (2006, about the afterlife).

Josh Turner has established himself as a country music artist for the past 15 years. Now that he is making gospel music, the Grammy-nominated artist explained why he chose to make faith the central topic of his latest record.

I was very blessed that the lord showed this band to me when he did. I was undoubtedly going through the toughest part of my life. God is truly showing himself to his people through this family. The music they play is so pure and is played with true joy, the kind of joy that can only come from God. When listening to their gospel music, all the garbage in this world completely disappears. Thank you for sharing your music with us. I can only imagine what it will be like to sing songs of worship like this in heaven.

The music of subjugated native peoples and enshackled slaves is pushed into the background. The folkways continue, but in subdued fashion. White European culture dominates. Opera, instrumental, and vocal music are prevalent in the cities. In rural areas, many try to stay up-to-date, but communication with population centers is often slow or non-existent. Only instruments easily transportable are taken west.

The rush to the ever-expanding western frontier and the first signs of the American "melting pot" of heterogeneous cultures begin. Westward migration is fraught with difficulties. The first explorers, primarily men, drive westward, conquering and incorporating cultures as they go. Later, as women and children begin to migrate, so does "polite culture." Newspapers, publishing houses, the telegraph, and the railroad contribute to the distribution of information. America is so large that regional differences begin to appear. This is particularly evident in folk traditions and musical favorites. Waves of immigrants come to America, some involuntarily as slaves, others seeking relief from tyranny or poverty. The immigrants tend to settle in areas that remind them of their former homes. With them they bring the instruments most important to them and most easily transportable. Amid the novelty of their new homes they cling to the cultures of their origins as a means of stability. Ballads and tunes from home blend with the new American stories; morality songs and parables intermingle and new oral traditions are created. Music and stories are handed down from generation to generation orally, but popular music publishing carries on nevertheless. Music schools are rarely seen outside the cities. In the first half of the century, newspapers, song sheets, and songsters print song lyrics, but music notation is usually neglected in favor of the mnemonic cue "sung to the tune of . . . ." Printed music (vocal as well as instrumental) is slower to expand. Music is integral to American life in the 19th century. All aspects of life are celebrated in song. Musicians, especially those who learn by listening and imitating, not by reading from a printed score, subtly incorporate sounds from surrounding cultures. Thus, the true "country music" of America begins.

Dwight Moody and Ira Sankey popularize revival meetings and begin publishing a series of songbooks for use at the revivals. These new gospel hymns gain immediate popularity in emphasizing personal salvation: "When the Roll Is Called Up Yonder," "What a Friend We Have in Jesus," "Leaning on the Everlasting Arms," and "Amazing Grace."

The Victor and Okeh recording companies begin recording the first country music artists. Fiddler Eck Robertson records "Arkansas Traveler" and "Sallie Gooden" for Victor Records, becoming the first pure country music artist to make a recording.

Decca Records begins recording country music acts. Gene Autry makes his first movie, In Old Santa Fe. Bob Nolan writes "Tumbling Tumbleweeds," which becomes a hit for Gene Autry and Roy Rogers, as well as a signature song for Nolan's group, The Sons of the Pioneers.

John Lomax, honorary consultant and curator for the fledgling Archive of American Folk Song at the Library of Congress, and his wife, Ruby, begin a southern states recording tour. They record hundreds of performances of ballads, blues, cowboy songs, field hollers, spirituals, and work songs in nine southern states. Many ethnomusicologists consider the recordings made on this field trip to be among the most important in this genre.

Charley Pride begins to rise to the top of the charts. He is the first black performer to become a star in the country music field. Pride successfully switches back and forth between the country, pop, and gospel charts.

New Country, or "countrypolitan," emerges, containing elements of western swing and bluegrass. Asleep at the Wheel personifies this sound as do George Strait and Reba McIntire. Ricky Skaggs infuses his New Country with driving bluegrass instrumentals. Randy Travis uses a more traditional "lonesome" vocal style.

Honky tonk, bluegrass, pop, and new country contribute to crossover appeal. Artists move freely from one genre to another. Emmylou Harris, Patsy Loveless, Marty Stuart, Vince Gill, and Kathy Mattea stay close to their traditional roots; Alan Jackson, Clint Black, Travis Tritt, Garth Brooks, Trisha Yearwood, Tim McGraw and Faith Hill, Lee Ann Rimes, Shania Twain, and the Judds all move closer to a pop/rock sound, but still keep it country. Country singers gain international fame.

NASHVILLE, TENN. - Alan Jackson's mother had been after him for 10 years to make a gospel record. Last year, when the country superstar's father-in-law died, he recorded Turn Your Eyes Upon Jesus for the funeral. Then the whole family got after him, too. e24fc04721