Contemporary worship music (CWM) is a loosely defined genre of Christian music used in contemporary worship. It has developed over the past sixty years and is stylistically similar to pop music. The songs are frequently referred to as "praise songs" or "worship songs" and are typically led by a "worship band" or "praise team", with either a guitarist or pianist leading. It is a common genre of music sung in Western churches—particularly in Protestant churches, both denominational and nondenominational.

History and development

In early 1950s, the catholic Taizé Community in France started to attract youths from several religious denominations with worship hymns based on modern melodies.

In the 1950s and 60s the Church began to place particular emphasis on reaching to the youth. Christian Unions in university environments hosted evangelistic talks and provided biblical teaching for their members, Christian cafes opened with evangelistic aims, and church youth groups were set up. Amateur musicians from these groups began playing Christian music in a popular idiom. Some Christians felt that the Church needed to break from its stereotype as being structured, formal and dull to appeal to the younger generation. By borrowing the conventions of popular music, the antithesis of this stereotype, the Church restated the claims of the Bible through Christian lyrics, and thus sent the message that Christianity was not outdated or irrelevant. ''The Joystrings'' were one of the first Christian pop groups to appear on television, in Salvation Army uniform, playing Christian beat music. The Jesus People in America also had particular influence, and began to create their own musical subculture, sometimes referred to as ''Jesus music''— essentially hippie-style music with biblical lyrics. This Jesus music gradually bifurcated into Christian rock (music played for concerts) and 'praise music' (music for communal worship).

Churches began to adopt some of these songs and the styles for corporate worship. These early songs for communal singing were arguably the first examples of contemporary worship music, and were characteristically simple, often only involving a three chord structure. ‘Youth Praise’, published in 1966, was one of the first and most famous collections of these songs and was compiled and edited by Michael Baughen and published by the Jubilate Group. More recently songs are displayed using projectors on screens at the front of the church, and this has enabled greater physical freedom, and a faster rate of turnover in the material being sung. Important propagators of CWM today include Hillsong, Vineyard and Soul Survivor.

Theology and lyrics

As CWM is closely related to the charismatic movement, the lyrics and even some musical features reflect its theology. In particular the charismatic movement is characterised by its emphasis on the Holy Spirit, personal encounter and relationship with God, and agape.

Lyrically, the informal, sometimes intimate, language of relationship is employed. The terms ‘You’ and ‘I’ are used rather than ‘God’ and ‘we’, and lyrics such as, ‘I, I’m desperate for You’, and ‘Hungry I come to You for I know You satisfy, I am empty but I know Your love does not run dry’ both exemplify the similarity of the lyrics of some CWM to popular love songs. Slang is used on occasion (for example ‘We wanna see Jesus lifted high’) and imperatives (‘Open the eyes of my heart, Lord, I want to see You’), demonstrating the friendly, informal terms charismatic theology encourages for relating to God personally. Often a physical response is included in the lyrics (‘So we raise up holy hands’; ‘I will dance, I will sing, to be mad for my king’). This couples with the use of drums and popular rhythm in the songs to encourage full body worship.

The metaphorical language of the lyrics is subjective, and therefore does risk being misinterpreted; this emphasis on personal encounter with God does not always balance with intellectual understanding.

Just as in secular popular and rock relationships and feelings are central topics, so in CWM association to a personal relationship with God and free expression are emphasised.

As in traditional hymnody, some images, such as captivity and freedom, life and death, romance, power and sacrifice, are employed to facilitate relationship with God.

Musical identity

Because, in common with hymns, such music is sung communally, there can be a practical and theological emphasis on its accessibility, to enable every member of the congregation to participate in a corporate act of worship. This manifests in simple, easy-to-pick-up melodies in a mid-vocal range; repetition; familiar chord progressions and a restricted harmonic palette. Unlike hymns, the music notation may primarily be based around the chords, with the keyboard score being secondary. But throughout the history of CWM, some songs have used more complex rhythms and metres, and, to a lesser degree, harmonies.

This sound clip is a recent example of CWM and demonstrates the variety available within these boundaries: Strength will rise (Everlasting God). With the exception of one 2/4 bar shortly before the chorus, rhythmic variety is achieved by syncopation, most notably in the short section leading into the chorus, and in flowing one line into the next. The use of a pedal note at the opening secures the piece firmly in B flat major, and the whole piece uses only four chords: B flat (tonic), E flat (subdominant) and G minor (submediant), and just two references to F (dominant) as it leads into the chorus. Structurally, the form verse-chorus is adopted, each using repetition. In particular the use of a rising four-note figure, used in both melody and accompaniment, makes the song easy to learn.

Such techniques are common to CWM: the strong sense of home key, climactic chorus and repeated motifs. Though the styles have developed according to what is popular between 1950s and now, such music usually follows popular trends that are already well-established rather than the most current.

At more charismatic services, members of the congregation may harmonise freely during worship songs, perhaps singing in tongues (see glossolalia), and the worship leader seeks to be ‘led by the Holy Spirit’. There may also be role of improvisation, flowing from one song to the next and inserting musical material from one song into another.

Performance

The worship band

There is no fixed band set up for playing CWM, but most have a lead singer and lead guitarist or keyboard player. Their role is to indicate the tone, structure, pace and volume of the worship songs, and perhaps even construct the order or content of the worship during performance. Some larger churches are able to employ paid worship leaders, and some have attained fame by worship leading, blurring contemporary worship music with Christian rock, though the role of the band in a worship service, leading and enabling the congregation in praise normally contrasts that of performing a Christian concert. In CWM today there will often be three or four singers with microphones, a drum kit, a bass guitar, one or two guitars, keyboard and possibly other, more orchestral instruments, such as a flute or violin. There has been a shift within the genre towards using amplified instruments and voices, again paralleling popular music, though some churches play the same songs with simpler or acoustic instrumentation.

The role of technology

Technological advances have played a significant role in the development of CWM. In particular the use of projectors means that the song repertoire of a church is not restricted to those in a song book, and so CWM has a much greater rate of turnover than other Christian genres. Songs and styles go in trends. The internet has increased accessibility, enabling anyone to see lyrics and guitar chords for many worship songs, and download MP3 tracks. This has also played a part in the globalisation of much CWM. Some churches, such as Hillsong and Vineyard, have their own publishing companies, and there is a thriving Christian music business which parallels that of the secular world, with recording studios, music books, CDs, MP3 downloads and other merchandise. The consumer culture surrounding CWM has prompted both criticism and praise, and as Pete Ward deals with in his book ‘Selling Worship’, no advance is without both positive and negative repercussions.

Criticisms

Criticisms include Gary Parrett’s concern that the volume of this music drowns out congregational participation, and therefore makes it a performance. He quotes Ephesians 5:19, in which St. Paul tells the church in Ephesus to be ‘speaking to one another with psalms, hymns and songs from the Spirit’, and questions whether the worship band, now so often amplified and playing like a rock band, replace rather than enable the congregations’ praise.

Samuele Bacchiocchi expresses concerns over the use of the rock idiom, as he argues that music communicates on a subconscious level, and the often anarchistic, nihilistic ethos of rock stands against Christian culture. Using the physical response induced by drums in a worship context as evidence that rock takes peoples’ minds away from contemplating on the lyrics and God, he suggests that rock is actively dangerous for the Church.

The theological content too has raised questions for some, including Martin Percy, who argues there is too great an emphasis on a very intimate relationship with God, using terms such as ‘I’ and ‘you’ instead of ‘we’ and ‘God’ and very passionate, physical language, and argues that this bias needs urgent correction. He explains how the emphasis on emotion can encourage hype and a need to create an atmosphere which evokes a sense of encounter with God, rather than allowing God to do so.

Despite the biblical basis employed to underpin CWM, such as , its surrounding culture tends to exclude systematic use of the psalms in weekly worship, sidelining lament from regular worship practice. The emphasis on praise, and on an interpretation of 'worship' that is overwhelmingly positive, can lead to avoidance of the psalms of lament. Michael Vasey writes: "Scripture is, of course, full of lament – and devotes its finest literary creation to warning the godly against quick and easy answers. The power of many of the psalms we are embarrassed to use lies precisely here. Of all this there is little echo in our contemporary reading." Whereas denominational churches generally use a weekly lectionary that gives a broad range of scriptural themes, including selected psalms on those themes, CWM churches tend not to have an agreed lectionary and the consequent agreement on using a broad range of material.

Pope John Paul II, concerning the role of musicians in the church, has this to say: "Today, as yesterday, musicians, composers, liturgical chapel cantors, church organists and instrumentalists must feel the necessity of serious and rigorous professional training. They should be especially conscious of the fact that each of their creations or interpretations cannot escape the requirement of being a work that is inspired, appropriate and attentive to aesthetic dignity, transformed into a prayer of worship when, in the course of the liturgy, it expresses the mystery of faith in sound."

It reflects the social climate of individualism as the lyrics emphasize personal relationship with God, even within a group context.

And perhaps most importantly it creates an atmosphere of religious euphoria.

Popularity

As a common genre of Christian music found in Western churches CWM has proven successful. Its simplicity means that almost anyone with some degree of competency on a musical instrument may join in the leading of it. It is in a style suited to the musical taste of a generation who have grown up listening to pop songs and find classical music less accessible.

Some songs now appear in more traditional hymnals.

See also

Contemporary Christian music

Contemporary worship

Christian music

Christian rock

Notes

References

Bacchiocchi, Samuele (ed.), ''The Christian and Rock Music: A Study on Biblical Principles of Music'', (Michigan, 2000)

Darlington, Stephen, and Kreider, Alan (ed.), ''Composing Music for Worship'', (Norwich, 2003)

Jones, Ian and Webster, Peter, 'The theological problem of popular music for worship in contemporary Christianity.', in ''Crucible. The journal of Christian social ethics'', (July-Sept 2006) pp. 9–16; full text in SAS-Space

Miller, Donald, E., ''Postdenominational Christianity in the Twenty-First Century'', Annals of the American Academy of Political and Social Science, Vol. 558, (July, 1998), pp. 196–210

Parrett, Gary, A., ''Theses on Worship: A Disputation on the Role of Music'', as visited on October 27, 2007 (posted October, 2007)

Sheldon, Robin (ed.), ''In Spirit and in Truth: Exploring Directions in Music in Worship Today'', (London, 1989)

Ward, Pete, ''Selling Worship: How What We Sing has Changed the Church'', (Milton Keynes, 2005)

Webster, Peter and Jones, Ian, 'Expressions of Authenticity: Music for Worship' In: ''Redefining Christian Britain. Post 1945 perspectives''. SCM, London, 2007,pp. 50–62; full text in SAS-Space

Webster, Peter and Jones, Ian, 'Anglican ‘Establishment’ reactions to ‘pop’ church music in England, 1956–c.1990'. ''Studies in Church History'', 42 (2006) . pp. 429–441; full text in SAS-Space

Wilson-Dickson, Andrew, ''A Brief History of Christian Music'', (Oxford, 1997)

Wuthnow, Robert, ''All in Sync: How music and art are revitalising American Religion'', (California, 2003)

External links

Category:Christian songs Category:Christian music genres Category:Contemporary worship music

de:Lobpreis und Anbetung#Neue_Lobpreis-_und_Anbetungslieder ko:워십 nl:Praisemuziek ja:コンテンポラリー・ワーシップ・ミュージック no:Lovsang pl:Praise & worship sv:Lovsång

Contemporary worship is a form of Christian worship that emerged within Western evangelical Protestantism in the twentieth century. It was originally confined to the charismatic movement, but is now found to varying extents in a wide range of churches, including many that do not subscribe to a charismatic theology. Contemporary worship is generally characterised by the use of contemporary worship music in an informal setting. Congregational singing typically comprises a greater proportion of the service than in conventional forms of worship. Where contemporary worship is practiced in churches with a liturgical tradition, elements of the liturgy are frequently kept to a minimum. The terms ''historic worship'', ''traditional worship'' or ''liturgical worship'' are sometimes used to describe conventional worship forms and distinguish them from contemporary worship.

History

Historically, the contemporary worship phenomenon emerged from the Jesus Movement in North America in the 1960s and the “Charismatic Renewal Movement” in Australia and New Zealand during the 1970s and 80’s. The function of music in services, the style of songs, their performance, the explicit theology of the lyrics, and the theology implied by these aspects distinguish “contemporary worship” from traditional worship in practice, and theological background. Contemporary worship music takes a significant part of the service time and repetition of phrases reinforces the theological content of the service. The impact is heightened as creeds and formal prayers are seldom used. Theologically, contemporary worship music is influenced by Pentecostal and evangelical theologies. However, the phenomenon has influenced all major denominations to some degree. There is a wide variety in practice between churches.

Contemporary worship is intrinsically related to the contemporary Christian music industry.

Controversy

The shift towards contemporary worship has been a source of significant controversy (sometimes called 'worship wars') in many churches. Whilst some disagreements have primarily resulted from a resistance to changes to the accustomed style of worship, more substantial concerns have also been raised.

The musical style of contemporary worship is very much influenced by popular music, and the use of modern instruments is commonplace. Objectors feel that this style of music is 'worldly' and associated with an immoral lifestyle. A small number of theologians oppose it based on their interpretation of the regulative principle of worship.

Additional controversy results from the lyrical content of much contemporary worship music, which differs from traditional hymnody and often reflects a charismatic theology. The increasing influence of this music is seen as introducing charismatic teachings by the back door. In addition, criticism has been made of the simple wording of many contemporary worship songs, which is felt to be banal and lacking in depth.

Finally, critics have argued that contemporary worship services are actually 'entertainment', claiming that the increased amounts of music (often played by a band) and lack of intercession, create the atmosphere of a concert or performance.

Opposition to contemporary worship has been most vocal from the conservative evangelical wing of the church, which also opposes the charismatic movement.

Practical details

Block worship

Contemporary worship normally includes a number of songs sung in succession, with little or no intermediate speaking. In more traditional forms of worship, it would be normal for hymns to be interspersed with prayers, readings, liturgical items, etc. The traditional practice is sometimes referred to as a 'hymn-prayer sandwich' and the contemporary form 'block worship' or the 'praise and worship'.

Worship leader

A notable feature of contemporary worship is the worship leader. A worship leader is normally a musician (often a guitarist or pianist) with good singing ability whose role it is to lead the congregational singing. Many composers of contemporary worship songs are also worship leaders. The worship leader has a prominent role in contemporary worship services and is responsible for much of the spiritual direction of the meeting and often will choose the songs that will be sung. This can be contrasted with traditional churches, where the entire service is normally led by a member of the clergy. Also, in many cases, the worship leader is responsible for recruiting, assigning, and training other musicians to compose a worship band or team.

Worship band

The style of contemporary worship music is influenced by popular music and not suitable for the traditional church organ. Most churches adopting contemporary worship therefore have a ''worship band'' or ''praise band'' to provide music during their services. Other terms such as ''worship team'', ''worship group'', ''praise team'', or ''music group'' are also used. Worship bands are most common in evangelical denominations, but can also be found among other Christian denominations. Most worship bands are church-based and seldom play outside their own churches. However, some contemporary Christian music bands also act as worship bands for events, and may label themselves as such.

Worship bands have varying compositions and use a variety of non-traditional church instruments. In the 1970s and 1980s, a folk music style was commonplace with acoustic string or woodwind instruments being popular. Today, the influence of rock music is widespread and the use of electric instruments has increased.

Worship bands normally also include vocalists and a worship leader and usually lead congregational singing replacing the traditional church choir and pipe organ, although occasionally churches use both bands and choirs. A worship band can create a contemporary sound to the worship that younger worshipers can identify with. Worship bands may also be utilized with the rationale that some non-churchgoing visitors will feel more comfortable.

Projected lyrics

The charismatic movement also resulted in large numbers of songs being written. It became impractical for churches to use hymn or song books, as a single book rarely contained all the material they wanted to sing, and the turnover in songs was rapid.

Hence many churches that adopt a contemporary style of worship project the words to the songs onto one or more screens. Originally, this was done using an overhead projector or occasionally a slide projector, but as video projectors fell in price and improved in performance, it became more popular to use a computerised system. Specialised software, known as worship presentation programs, was developed to generate the images for display.

Creative arts

Contemporary worship often includes other elements not found in conventional forms of worship. Drama, typically in the form of short sketches, is sometimes used to highlight a topic of teaching. Dance is commonplace and includes both choreographed and improvised dance as both an expression of worship and again for teaching purposes. Occasionally short videos or film clips are shown.

See also

Contemporary worship music

Christian worship

List of notable contemporary worship songs

List of Christian worship music artists

Hymn

Contemporary Christian music

CCLI

Worship Leader Praise Awards

References

Also: ;Pro contemporary worship

''Contemporary Worship Music: A Biblical Defense''. John M. Frame, P & R Publishing, 1997. ISBN 0875522122.

;Anti contemporary worship

''Worship in the Melting Pot''. Peter Masters, Wakeman Trust, 2002. ISBN 1870855337.

''Stones for Bread: A Critique of Contemporary Worship''. A. Daniel Frankforter, Westminster John Knox Press, 2001. ISBN 0664222846.

;General - not categorized

''Selling Worship - How What We Sing Has Changed The Church''. Pete Ward, Paternoster, 2005. ISBN 1842272705.

''Worship In The Spirit''. James H. S. Stevens, Paternoster, 2002. ISBN 1842271032.

''America's Worship Wars''. Terry W. York, Hendrickson, 2003. ISBN 156563490X.

''Putting an End to Worship Wars''. Elmer L. Towns, Broadman & Holman, 1997. ISBN 0805430172.

''Worship in Spirit and Truth''. John M. Frame, P & R Publishing, 1996. ISBN 0875522424.

''Blended Worship: Achieving Substance and Relevance in Worship''. Robert E Webber, Hendrickson, 1996. ISBN 1565632451.

''Guiding Your Church Through a Worship Transition''. Tom Kraeuter, Emerald Books, 2003. ISBN 1932096086.

External links

Evangelistic Worship - discusses both contemporary and historic worship

Music, trends, and the church - argues in favor of blended worship

Contemporary worship vs biblical worship - critical article from Fundamentalist Baptist News Service

Style and Substance - critique of contemporary worship

Worship Leader Magazine - resource for discussion of contemporary worship by leading artists and theologians

Category:Christian liturgy, rites, and worship services

ja:コンテンポラリー・ワーシップ

Paul David Washer (born 1961) is the Founder/Director & Missions Coordinator of HeartCry Missionary Society which supports indigenous missionary work. He is also a Southern Baptist itinerant preacher. Washer's sermons tend to have an evangelistic focus on the gospel and the doctrine of the assurance of salvation, and he frequently speaks against practices such as the sinner's prayer, and a focus on numerical church growth.

Washer's sermons often focus on how a person is saved from hell. According to Washer, a person is saved through faith alone, but the evidence of a person's faith is his or her works. Washer claims that most people who profess a belief in Christianity aren't truly saved. Washer blames preachers, as he claims many preachers often say a person is saved without looking for evidence of repentance in that person's life.

Washer cites RC Sproul, John F. Macarthur, George Muller, John Piper, Jonathan Edwards, George Whitefield, Charles Spurgeon, Leonard Ravenhill, John Wesley, A.W. Tozer and Martyn Lloyd-Jones among others, as influences. He has frequently appeared on Christian radio to discuss how people are saved.

Washer had a born again experience while studying to become an oil and gas lawyer at the University of Texas. Upon graduation, he attended Southwestern Baptist Theological Seminary and achieved a Master of Divinity degree. He then moved to Peru to become a missionary for 10 years, after which he returned to the United States. Washer resides in Radford, Virginia, where he lives with his wife and three children.

Books written

References

External links

HeartCry Missionary Organization Official site of Washer's organization.

Shocking Message Transcript: http://www.scribd.com/doc/789/The-Truth-About-Christianity

Regeneration vs. Idolatry of Decisional Evangelism: http://adidab.wordpress.com/2009/05/05/paul-washer-transcript-01-regeneration-v-the-idolatry-of-decisional-evangelism/

Ten indictments video & transcript: http://adidab.wordpress.com/2009/05/05/paul-washer-transcript-03-ten-indictments/

Truth About Man Workbook: http://www.heartcrymissionary.com/resources/online_books

Brief Washer Biography: http://www.hcmissions.org/about/staff/2

Paul Washer Bible Study Video Series Studies: http://www.youtube.com/view_play_list?p=8872D3C0103E8568

Paul Washer Biography on Theopedia: http://www.theopedia.com/Paul_Washer

Paul Washer en Español: http://salvacioneterna.com/pwasher.html

Category:American clergy Category:American people of Croatian descent Category:Southern Baptists Category:Southwestern Baptist Theological Seminary alumni Category:1961 births Category:Living people

el:Πωλ Γουόσερ es:Paul Washer no:Paul Washer pl:Paul Washer

Name	Michael W. Smith
Background	solo_singer
Birth name	Michael Whitaker Smith
Born	October 07, 1957 Kenova, West Virginia, USA
Origin	Nashville, Tennessee, USA
Instrument	vocals, Piano, Guitar
Genre	CCM, Christian rock, Pop rock
Occupation	Singer-songwriter, Musician, Recording artist, Composer, Actor
Years active	1983 – present
Label	Reunion Records, Provident Label Group
Associated acts	Amy Grant, Chris Rice, Steven Curtis Chapman
Website	www.michaelwsmith.com
Past members	}}

Michael Whitaker Smith (born October 7, 1957) is a Billboard top ten Billboard Hot 100 recording artist and Grammy Award-winning American singer-songwriter, composer, and actor. He is one of the best-selling and most influential artists in Contemporary Christian music. Smith also has achieved a considerable amount of success in the mainstream music industry. Smith is a three-time Grammy Award winner, and has earned 40 Dove Awards. Over the course of his career, Michael W. Smith has sold more than 13 million albums and recorded 29 No. 1 Hit songs, fourteen gold albums, and five platinum albums. Smith is an American Music Award recipient; he was also named one of ''People'' magazine's "Most Beautiful People".

Early life

Michael Whitaker Smith was born to Paul and Barbara Smith in Kenova, West Virginia. His father was an oil refinery worker at the Ashland Oil Refinery, one of the top ten largest oil refineries in the world, in nearby Catlettsburg, Kentucky and his mother was a caterer. He inherited his love of baseball from his father, who had played in the minor leagues. As a child, he developed a love of music through his church. He learned piano at an early age and sang in his church choir. At the age of 10, he had "an intense spiritual experience" that led to his becoming a devout Christian. "I wore this big cross around my neck," he would recall, "It was very real to me." He became involved in Bible study and found a group of older friends who shared his religious faith.

After his older Christian friends moved away to college, Smith began to struggle with feelings of loneliness and alienation. After graduating from high school, he gravitated toward alcohol and drugs. He attended Marshall University for a few semesters while developing his songwriting skills. He also played with various local bands around Huntington, West Virginia. During that time, his friend Shane Keister, who worked as a session musician in Nashville, encouraged him to move to Nashville, the Country Music capital, and pursue a career in music.

In 1978, Smith moved to Nashville, taking a job as a landscaper to support himself. He played with several local bands in the Nashville club scene. He also developed a problem with substance abuse.

In November 1979, Smith suffered a breakdown that led to his recommitment to Jesus Christ. The next day he auditioned for a new Christian Contemporary Music (CCM) group, Higher Ground, as a keyboardist and got the job. It was on his first tour with Higher Ground, playing mostly in churches, that Smith was finally able to put the drugs and alcohol behind him.

Career

In 1981, Smith was signed as a writer to Meadowgreen Music, where he wrote a number of gospel hits penned for artists such as Sandi Patty, Kathy Troccoli, Bill Gaither and Amy Grant, to the effect that some of these popular worship songs can now be found in church hymnals. The following year, Smith began touring as a keyboardist for Grant on her ''Age to Age'' tour. He would eventually become Grant's opening act and recorded his first Grammy-nominated solo album: ''The Michael W. Smith Project'' (which he also produced), in 1983, on the Reunion Records label; a label started by Grant's brother-in-law, Dan Harrell, along with Michael Blanton. This album contained the first recording of his hit "Friends", which he co-wrote with his wife Deborah. They wrote it one afternoon for a friend who was moving away.

By the time Smith's second pop album was released in 1984, he was headlining his own tours. In 1986, Smith released ''The Big Picture'', produced by Johnny Potoker. Smith intros "Tearing Down the Walls" with an Amy Grant recording of "Emmanuel" played backwards via the CD search button. He has explained that he and Potoker were trying to come up with a different way to go into the song.

After the release of his 1988 effort, ''i 2 (EYE)'', Smith once again teamed up with Grant for her "Lead Me On World Tour". The following year, Smith recorded his first Christmas album.

In the mainstream

In 1990, Smith released ''Go West Young Man'', his first mainstream effort, including the mainstream crossover hit "Place in This World," which peaked at No. 6 on the Billboard Hot 100. In 1992, he released ''Change Your World'' (which included the No. 1 adult contemporary hit "I Will Be Here for You"), 1995's ''I'll Lead You Home'', and 1998's ''Live the Life''. Also in 1998, Smith released his second Christmas effort, ''Christmastime''. In 1999, Smith released "This Is Your Time" (about Cassie Bernall, one of the students killed during the Columbine massacre). In the music video for this song, the beginning shows a real video of Bernall talking about her religious beliefs and how she wanted to spread the word of God. Smith wrote the song with Wes King, the brother-in-law of Florida Secretary of State Katherine Harris. Smith had been asked to perform at some of the memorial services that were held in honor of the victims.

In 1996, Smith opened his own record label, Rocketown Records, named for a song on ''The Big Picture''. He does not personally record on it. He states the label is driven by the artists, and the first artist signed was Chris Rice, who had written "Go Light Your World", a No. 1 hit song by Kathy Troccoli, in 1995. In 1999, Smith collaborated with Jim Brickman on "Love of My Life" from the album ''Destiny'', which went to No. 9 on the Hot Adult Contemporary Tracks.

Nearly all of Smith's albums contain at least one instrumental track, and in 2000, Smith recorded his first all instrumental album, ''Freedom''. The following year, Smith released an all Christian music album, ''Worship'', on September 11. This album was followed by a sequel, ''Worship Again'' in 2002, recorded live at Southeast Christian Church in Louisville, KY. Both albums were recorded live in concert. (Both are also the only two albums to be composed almost entirely of songs he did not write himself). A ''Worship'' DVD, which comprised a selection of songs from both albums, was recorded live in Edmonton, Alberta at YC Alberta and released in 2002. It immediately topped the Billboard video charts and went gold in both the U.S. and Canada.

Smith won the Male Vocalist of the Year award at the GMA Music Awards in 2003.

Smith wrote a song entitled "There She Stands", inspired by the September 11, 2001 attacks. He performed this song live for the 2004 Republican National Convention, saying that President George W. Bush, whom he said is a fan and a family friend, had asked him to write a song about the attacks.

Smith's album, ''Healing Rain'', was released in 2004 and debuted at No. 11 on the Billboard Hot 200 Chart. The title track rose to No. 1 on the Radio & Records Charts and a music video for the song was released. The album nominated for a Grammy Award for Best Pop/Contemporary Gospel Album, combines the pop style of his previous recordings with the religious feel of his two releases in that genre. A new album, ''Stand'', was released in November 2006.

In October 2007, he released ''It's a Wonderful Christmas''. On June 20, 2008, Smith recorded his third live Worship album at the Lakewood Church in Houston, Texas, titled ''A New Hallelujah''. It was released in October 2008. That same month he began a tour with Steven Curtis Chapman. In September 2010, he released ''Wonder'', and in October started touring with Third Day, tobyMac, and Max Lucado on the "Make A Difference" tour.

Other ventures

In 1994, Smith opened a teen club, named Rocketown, in Nashville, Tennessee (6th Avenue). Later in early 2003, the club was moved to a new location — a renovated warehouse in downtown Nashville. The venue offers a large dance floor, extensive indoor skate park, and a cafe hosting live acoustic music.

Smith is actively involved in volunteer service and is vice chair of the President's Council on Service and Civic Participation, which is chaired by Jean Case of the Case Foundation. He is also an avid spokesperson for sponsoring children through Compassion International. Smith finished work on a film directed by Steve Taylor entitled ''The Second Chance'' which was released on February 17, 2006 in selected theatres. In the movie, he stars as a pastor assigned to work in the inner city. The DVD of the movie was released in July 2006.

Personal life

Smith is married to Deborah "Debbie" Kay Davis (b. 1958) and has five children: Ryan Whitaker, Whitney Katherine Smith-Mooring (married to Jack Mooring (of the band Leeland)), Tyler Michael (keyboard player for the United Tour), Anna Elizabeth and Emily Allison. He resides in the Nashville suburbs and spends time at the Smith family farm.

Alderson-Broaddus College awarded Smith the degree Doctor of Music honoris causa in 1992.

Smith is the founding and visionary pastor of New River Fellowship in Franklin, Tennessee where he was the lead pastor from 2006 and 2008. Currently Smith and his wife remain involved members of the church.

Smith supports the Republican Party, and is personal friends with several prominent Republicans, including former President George W. Bush.

Discography

''See Michael W. Smith discography for a complete discography.''

Awards

;Grammy awards

1984 ''Michael W. Smith 2'' – Best Gospel Performance, Male

1995 ''I’ll Lead You Home'' – Best Pop/Contemporary Gospel Album

2002 ''Worship Again'' – Best Pop/Contemporary Gospel Album

;Grammy Nominations

1983 ''Michael W. Smith Project'' – Best Gospel Performance, Male

1986 ''The Big Picture'' – Best Gospel Performance, Male

1988 ''I 2(Eye)'' – Best Gospel Performance, Male

1989 "Holy, Holy, Holy" – Best Gospel Vocal Performance, Male (Track from Our Hymns, Word Gospel)

1990 ''Go West Young Man'' – Best Pop Gospel Album

1998 ''Live the Life'' – Best Pop/Contemporary Gospel Album

2000 ''This Is Your Time'' – Best Pop/Contemporary Gospel Album

2002 ''Worship'' – Best Pop/Contemporary Gospel Album

2006 ''Healing Rain'' – Best Christian Pop Album

;Dove Awards

1985 Songwriter of the Year

1987 Pop/Contemporary Album of the Year – ''The Big Picture'' (producer, artist)

1988 Long Form Music Video of the Year – "The Big Picture Tour Video" (artist)

1990 Short Form Music Video of the Year – "I Miss the Way" (artist)

1991 Pop/Contemporary Album of the Year – ''Go West Young Man'' (producer, artist)

1992 Choral Collection of the Year – ''The Michael W. Smith Collection'' (artist)

1992 Musical Album of the Year – ''Change Your World'' (artist)

1992 Song of the Year – "Place in this World" (artist)

1993 Praise and Worship Album of the Year – ''Songs From the Loft'' (artist)

1993 Recorded Music Packaging of the Year - ''The Wonder Years'' (artist)

1994 Musical Album of the Year – ''Living on the Edge'' (artist)

1996 Songwriter of the Year

1996 Special Event Album of the Year – ''My Utmost For His Highest'' (artist)

1997 Special Event Album of the Year – ''Tribute: The Songs of Andre Crouch'' (artist)

1998 Children’s Music Album of the Year – ''Sing Me to Sleep Daddy'' (artist)

1998 Special Event Album of the Year – ''God With Us – A Celebration of Christmas Carols and Classics'' (artist)

1999 Artist of the Year

1999 Pop/Contemporary Album of the Year – ''Live the Life'' (producer, artist)

1999 Producer of the Year

1999 Special Event Album of the Year – ''Exodus'' (artist)

2000 Short Form Music Video of the Year – "This is Your Time" (artist)

2000 Song of the Year – "This Is Your Time" (artist)

2000 Songwriter of the Year

2001 Pop/Contemporary Album of the Year – ''This is Your Time'' (producer, artist)

2001 Youth/Children’s Musical Album of the Year – ''Friends 4 Ever'' (artist)

2002 Album of the Year – ''Worship'' (producer, artist)

2002 Artist of the Year

2002 Inspirational Recorded Song of the Year – "Above All" (artist)

2002 Instrumental Album of the Year – ''Freedom'' (producer, artist)

2003 Album of the Year – ''Worship Again'' (producer, artist)

2003 Artist of the Year

2003 Long Form Music Video of the Year – ''Worship DVD/Video'' (producer, artist)

2003 Male Vocalist of the Year

2008 Christmas Album of the Year

2009 Inspirational Recorded Song of the Year - A New Hallelujah

2009 Praise & Worship Album of the Year - ''A New Hallelujah''

References

External links

Michael W. Smith's official website

Michael W. Smith at the Internet Movie Database

Larry King">Transcript of February 10, 2006 interview with Larry King

Yamaha Corporation artist biography

Category:1957 births Category:Living people Category:American film actors Category:American songwriters Category:American pianists Category:American composers Category:American guitarists Category:Christian religion-related songwriters Category:People from Huntington, West Virginia Category:People from Nashville, Tennessee Category:American Christians Category:Grammy Award winners Category:Tennessee Republicans Category:West Virginia Republicans Category:Contemporary worship music Category:American performers of Christian music Category:Musicians from West Virginia Category:Musicians from Tennessee

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name	John Schlitt
landscape	yes
background	solo_singer
birth name	John William Schlit
born	February 03, 1950
origin	Lincoln, Illinois, U.S.
instrument	vocals
genre	Rock, Contemporary Christian
occupation	singer, real estate agent
years active	1972–present
associated acts	PetraHead East
website	www.johnwschlitt.com }}

John William Schlitt (born February 3, 1950 in Lincoln, Illinois) is known for his career as the lead singer of Christian rock band Petra from 1986 until the band's retirement in late 2005. Prior to joining Petra in 1986, Schlitt was the vocalist for Head East.

Biography

Early years

John Schlitt was born in Lincoln, Illinois. Shortly after, his family moved to Mt. Pulaski where he grew up. Schlitt began singing and showing interest in music from a very young age. When he was 13 years old, he joined a band called ''Vinegar Hills Hometown Band Something Different''. He went to Mt. Pulaski High School in his hometown graduating in 1968. It was during his high school years that he would meet future wife, Dorla Froelich.

After graduating from high school, Schlitt enrolled on the University of Illinois for a degree in Civil Engineering. However, his main interest was still music. In 1972, he joined the rock band Head East as lead singer with some fellow students of the university. Juggling his musical career and college studies, Schlitt finally graduated from college in 1974 and dedicated full-time to his career in music.

Head-East Era and Aftermath

During the following years with Head East, Schlitt enjoyed the success of the band that produced several hits during the 70s. They released together four studio and one live album. However, during the time, Schlitt also developed a dependency on cocaine and alcohol. His dependency reached a peak when he retired from the band in March 1980.

After leaving Head East, Schlitt formed a short-lived band, but it quickly vanished as his addiction intensified in a six-month depression during which he "came very close to suicide.". During that same period, however, his wife became a born-again Christian, and subsequently convinced Schlitt to see her pastor. Schlitt confesses that he had already decided to end his life and complied only "so my wife would be able to say ‘he tried’ after I was gone".

However, Schlitt also became a born-again Christian and left his addiction to drugs and alcohol. Schlitt decided to leave the music scene and dedicate to his family. After that, he started working in a factory, and slowly rose until becoming a mining engineer and then a cost and scheduling engineer.

Petra Era

Five years after leaving the music industry, John received a call from Bob Hartman and was invited to audition for Christian rock band, Petra. The band had just lost its lead singer Greg X. Volz, who had left to pursue a solo career. After a session with Hartman (band's co-founder and guitarist), he was asked to join the band. He sang his first show on February 3, 1986, beginning a career that would span nearly two decades. His first album with the band was the 1986 release ''Back to the Street''.

During his career with Petra, the band released 2 RIAA certified Gold albums (''Beyond Belief'' and ''Petra Praise: The Rock Cries Out'') and earned 4 Grammy and numerous Dove Awards. His travels and performances with the group reached all 50 states of America as well as over 35 countries.

Solo career

During breaks from Petra, Schlitt recorded and released two solo albums: ''Shake'' in 1995, and ''Unfit For Swine'' in 1996. Both albums were moderately successful and received positive reviews.

After Petra's retirement in 2005, Schlitt and Petra guitarist and founder, Bob Hartman started working on an album together as II Guys From Petra. The album was released on January 26, 2007 titled ''Vertical Expressions''. Hartman and Schlitt have performed several shows to promote the album.

In addition, Schlitt released his third solo project, titled ''The Grafting'' on 2008-01-22. Dan Needham, Schlitt's son-in-law, produced the album. The album was released with premier performances of the tracks "The Grafting" and "Only Men" by Schlitt on the program, Celebrations. The telecast was aired internationally by the Daystar Television Network. In May 2008, John Schlitt toured India, playing eight dates in six cities with an all-new backing band, StoneJava. With this new backing group, John played songs from his solo CDs, along with many Petra favorites, to positive reviews.

John Schlitt has earned multiple Gold Records, Grammys and Dove Awards. He has toured all over the world and has been inducted into the Gospel Music Hall of Fame as the lead singer of Petra. John Schlitt was recently named the best rock singer in Christian music history by GospelMusicChannel.com. According to the website, John Schlitt "remains one of the most distinctive and impactful men to ever stand behind a microphone."

Personal life

Schlitt has been married to wife Dorla since August 28, 1971. They have four children together and reside in Franklin, TN:

Kari - b. December 02, 1974

John Kyle - b. January 28, 1979

Kris - b. December 07, 1983

Krey - b. May 31, 1989

Discography

Solo

{|class="wikitable" !Date of release !Title !Label |- |1995 |''Shake'' |Word/Epic |- |1996 |''Unfit for Swine'' |Word |- |2008 |''The Grafting'' |4K |- |}

with II Guys From Petra

{|class="wikitable" !Date of release !Title !Label |- |2007 |''Vertical Expressions'' |Petra Productions |- |}

with Petra

{|class="wikitable" !Date of release !Title !Label |- |1986 |''Back to the Street'' |StarSong |- |1987 |''This Means War!'' |StarSong |- |1988 |''On Fire!'' |StarSong |- |1989 |''Petra Praise: The Rock Cries Out'' |Dayspring/Word/Epic |- |1990 |''Beyond Belief'' |Dayspring/Word/Epic |- |1991 |''Unseen Power'' |Dayspring/Word/Epic |- |1992 |''Petra en Alabanza'' |Dayspring/Word/Epic |- |1993 |''Wake-Up Call'' |Dayspring/Word/Epic |- |1995 |''No Doubt'' |Word/Epic |- |1997 |''Petra Praise 2: We Need Jesus'' |Word/Epic |- |1998 |''God Fixation'' |Word/Epic |- |2000 |''Double Take'' |Word/Epic |- |2001 |''Revival'' |inpop/EMI |- |2003 |''Jekyll & Hyde'' |inpop/EMI |- |2004 |''Jekyll & Hyde: en Espanol'' |inpop/EMI |- |2005 |''Farewell'' |inpop/EMI |- |}

with Head East

{|class="wikitable" !Date of release !Title !Label |- |1974 |''Flat as a Pancake'' |A&M; Records |- |1976 |''Get Yourself Up'' |A&M; Records |- |1977 |''Gettin' Lucky'' |A&M; Records |- |1978 |''Head East'' |A&M; Records |- |1979 |''Head East Live'' |A&M; Records |- |1979 |''A Different Kind of Crazy'' |A&M; Records |- |}

Other Contributions

Geoff Moore & The Distance - ''A Place To Stand'' (1988)

Steve Camp - ''Justice (1988)

Nathan DiGesare - ''Jubilate'! (1989)

Artists And Friends - ''Carry The Light (1989)

John Lawry - ''Media Alert (1990)

''Breakaway Praise 1'' (1992)

4 Him - ''The Ride Comes Alive'' (1995)

Mickey Masters: Agent Of Truth - ''The Evil Plot Of Madame Chang'' (1996)

The Best Of Morgan Cryar - ''What Sin?'' (1998)

Re:newal - ''The Art Of Community'' (2001)

Silers Bald - ''Real Life'' (2003)

Liberty n' Justice - ''Welcome To The Revolution'' (2004)

Everlife (2004)

Project Damage Control - ''Project Damage Control'' (2005)

Rick Derringer - New album (2007)

Alakrity - guest vocals on "Beyond Belief" (2007)

Project Damage Control - "Mechanism" (2010)

Notes

See also

Petra (band)

Head East

Project Damage Control

External links

John W. Schlitt Official Site

Petra Official Site

Petra Merchandise official site

Project Damage Control Site

II Guys from Petra (MySpace)

II Guys from Petra official site

The Petra Zone

PetraBand.ca (Canada)

2009 John Schlitt concert site (Romania)

Category:1950 births Category:Living people Category:American Christians Category:American singers Category:American musicians Category:Converts to Christianity Category:Performers of Christian rock music Category:Petra members Category:People from Logan County, Illinois

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