Customer Reviews

Oh, Be Careful Little Ears : Contemporary Christian Music

5 star:		(3)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(7)

 

 

Even though this book is not perfect, it is still a must read for any Christian concerned with such issues. Smith clearly illustrates why CCM is not appropriate for worship, because it glorifies the flesh. It is not singing in your heart to the Lord (Ephesians 5:19). Today's popular music is specially designed to bypass the mind and appeal directly to one's senses and emotions, just like the easy distractions of popular culture. Not all pop culture is bad, but an excess of pop culture can erode the skills that a person needs for a robust spiritual life. Attention to the spiritual realm requires something that is different from the everyday distractions of modern pop culture. I highly recommend this book in addition to "Why I Left the Contemporary Christian Music Movement" by Dan Lucarini.

Those who read this book with open, discerning minds will find it very difficult not to reconsider the use of contemporary Christian music (CCM), particularly Christian rock music, in the postmodern church today. Yet reviewers will still condemn the book, when it is clear that they have read little or none of it.

A man bashing this book elsewhere defended CCM on the misinformed notion that Martin Luther set his hymns to the worldly songs and brothel music of his time. Therefore, the man reasoned, the church should follow that example with popular music today. Having compiled a list of some 16 excuses which proponents of CCM commonly offer in defense, Mrs. Smith on page 84 exposes the fallacy and myth behind excuse #13, entitled "Martin Luther set his hymns to the tunes (worldly songs) of his day." It is clear that, had the man read "Oh, Be Careful Little Ears," he wouldn't have raised the issue, because Mrs. Smith already had defeated it. In Mrs. Smith's opinion, "The practice of pointing to another Christian so that we may excuse our own behavior is not to be commended."

If we honestly follow the biblical standards that Mrs. Smith summarizes in her book, we must honestly conclude that Christian rock music, the most carnal and prevalent form of CCM today, fails those standards and is completely unacceptable for use in worship.

To potential reviewers: Reviews based solely on prejudicial preferences rather than strictly on book content do potential buyers a grave disservice.

Kim Smith has done an excellent job in bringing together all aspects of music and how it affects our souls. I challenge anyone who dares to criticize this work to do hours of unbiased research and come up with a different conclusion than Mrs Smith and her husband. If you have any questions about how important music is and the real origins of rock music, then this book is for you.

This was a frustrating read for me. While I completely agree with Ms. Smith that contemporary Christian music (CCM) is flawed, I do not agree with her reasoning. In my opinion, she misses the major point on this topic. It seems like she's watched the movie "Footloose" a few too many times as she totally demonizes contemporary Christian music for its "unnatural rhythms" and "sensuality". The real issue is the texts that are used, not on the actual musical sounds.

First, the book is not well-written. Ms. Smith is certainly not a scholar - this book, in terms of resources and sources (even though many are listed), is not too solid. She makes many brazen statements that are not backed up well. Within her writing, she says the same things over and over again. It was tiring to keep seeing "sensual", "carnal", and "unnatural rhythms".

While I completely agree with the author that much CCM is a poor expression of the Christian faith, I disagree with her reasoning. I can point to many pieces by the great composers who have dissonant music with places of "unnatural" rhythms. At one point, she discusses J. S. Bach. Has she ever actually looked at a score of his music, though? He has wonderfully, powerful dissonances in his music -- not to mention that many of his pieces were based on dance forms (and dances, Ms. Smith says, are too sensual!).

It's all about the texts!! Traditional hymnody takes texts from scripture (or based on it) and tells a story. It teaches the congregation. It is used as a tool. CCM does not do this. The texts are drivel and do not tell any kind of story. They are generally a one-sided conversation with God asking to be heard. They are "I" songs -- some examples: "If I Believed", "If I Stand", "I Just Know", "Carry Me", "I'm Thankful", etc. These are just songs that help a person feel better about themselves. There is also very little participation in singing. If you see videos of these "worship services", you'll see people listening and swaying, not singing along or participating. It's more of a concert -- but that's not worship, and this is where CCM is flawed. But Ms. Smith misses this major point of this issue.

I am a church musician and purchased/read this book out of sheer curiosity. It is not something that I would advise other readers to waste their time with. If you're interested in this area of music/worship, check out books by Timothy Wright and Marva Dawn. Much more interesting and credible writers.

This book has given us peace about our disappointment and frustration with our church's move toward contemporary music. My wife and I have left our church service so many times in emotional turmoil. We could not understand how the leaders of our church would use such music. We politely asked at various times to go back to traditional music, but to no avail. The children and youth of our church are being denied the rich heritage and reverent meditative music that is so important to everyone's worship. Kimberly Smith has helped us to understand the contemporary Christian music movement and our own feelings, and thus has given us excellent feedback. It has helped us to accept the fact that our negative response to the contemporary music has been correct. We will now continue to work to reinstate traditional music in our church. We consider this book an answer to prayer and evidence of the Holy Spirit's work in our lives.

Bob and Carol Boruff
Rowlett, Texas

Kimberly Smith, a church organist and classically trained pianist, can be likened to a modern-day Dr. Van Helsing in pursuit of the fiendish "undead." Armed with the Word of God, she triumphantly impales "Christian" rock music, the most carnal and prevalent style of contemporary Christian music (CCM) today.

Despite the fact that the majority of Christians, especially teenagers, much prefer Christian rock over traditional church hymns, Smith exposes Christian rock as nothing more than "Christian" lyrics attached to secular rock music (the latter having evolved from sexually-driven rock 'n roll music of the 1950s). For any music to be acceptable in worship, the lyrics must be in spiritual harmony with the music itself, for each one sends its own "message." The musical "message" of all rock music, including Christian rock, is carnal, sensual, and unacceptable because it appeals to the "flesh" and violates biblical principles. Moreover, attempting to hallow rock music with "Christian" lyrics is futile, because the rock "message" (sex, rebellion, etc.) is not spiritually harmonious with the lyrics. In other words, the secular rock music corrupts and compromises the spiritual lyrics. Smith sees Christian rock as catering to worldly desires and preferences rather than glorifying God. She further presents 16 of the most common, "emotionally charged excuses given by people" regarding CCM in general, then crushes each one with an arsenal of Scripture references.

This book will generate extremes of opinions. Discerning Christians will praise Smith for exposing the fallacies and dangers of Christian rock. Non-believers and worldly "Christians," outraged at the magnitude of the truth presented, will burn her in effigy.

This book and its companion, "Let Those Who Have Ears to Hear," are highly recommended reading for Sunday school programs and youth groups.

Good exegesis of the two (similar) verses in the N.T. that address music. Mrs. Smith clearly explains how God is referring not just to lyrics, but also the music to which they are set. Right away, we must admit that God has standards for music. It is more difficult to convey what those standards are. Mrs. Smith is correct in her assertion that we "must" worship God in spirit and truth. It follows that carnal (physical) "worship" is not appropriate worship. Music that is spiritual combined with lyrics that are truth qualify as Godly worship in the N.T. Music that appeals to the flesh OR lyrics that are not Biblical disqualifies itself as true worship. Carnal music is music that appeals to us physically-it makes our bodies respond. Spiritual music makes our spirit respond. If you cannot tell the difference, you have a problem. The Bible is clear-just as a well cannot bring forth bitter and sweet water, neither can music appeal both to the flesh and the spirit. Mrs. Smith could have better clarified these simple concepts. She should have also explained (maybe she did, and I just missed it) why in the O.T. many percussive instruments were used, but not in the N.T., where it seems they only sang hymns. In the O.T. people did not worship in spirit and truth (at least not exclusively). Rather, they often worshipped with sacrifices and rituals-carnal methods. That is why Christ told the Samaritan woman that the time was coming when all people would worship God in spirit and truth; not just at temple in Jerusalem, or through a priest. So the method of worship has changed! It is now exclusively in spirit and truth. I do not believe this book will help many people who are dedicated CCM listeners. Rock/carnal music becomes a physical addiction. It is a strong indication that a person is living in the flesh, not the spirit. The spiritual person responds like Elijah on the mount. The carnal person reacts like the prophets of Baal. God responded to the spiritual plea of Elijah. He will not respond to jiving, dancing, or any other physical action music may motivate. Unfortunately, many "Christians" today have gone the way of the Children of Israel. They want a king and a golden calf. They want to see, hear, and feel-physically. This is not the way to worship an almighty God, who is a spirit.

Kimberly does a great job tracing the roots of "carnal" music and for showing how the words of a song is not enough to make it Christian when the beat still leads you into movements of sensuality. If you have questions about "Christian rock", this book will help.

"Oh, Be Careful Little Ears" is an opinionated manifesto which makes poor attempts at justifying personal preferances with God's holy word.
The basic premise of the text is that popular and ethnic music runs rampant with "unnatural rhythms" and "sensuality, carnality" by way of devices such as "offbeat accents, rhythms that conflict with melody, sliding or scooping (gliss. even), etc." According to the authors, these devices engage listeners in evil responses such as motioning with the hips, head, etc. The book goes on and on and drills the premise add nauseum. The author concludes and advises listeners to take a "musical fast" and only listen to "good music" like toccatas and fugues by Bach, which make heavy use of offbeat accents, rhythms (and melodies) that conflict with melody, and quasi improvisatory episodes (kind of like planned out jazz) that are seemingly disorderly. This, of course, is just fine with the authors since it's Bach and not rock. Egocentrism abounds as the authors delineate what is good and bad with just enough room for their preferences to fit in the good category.
There is a lot of truth in this book, as well as a lot of fiction (Africans are blamed for dissonance, which was more an outcropping of the late classical to romantic periods; Beethoven is implied to be Godless despite his self-proclaimed greatest piece "Missa Solemnis" which was written for God, but let's overlook that too). Scripture is also widely used in a vain attempt to conforms the reader's thinking to that of the authors.
The narrative is highly emotionally charged in rebuking retorts that are emotionally charged for being emotionally charged. One retort is actually described as "a lame excuse for listening to rock."
If you're looking for a book that will edify you, I suggest "Mere Christianity" by C. S. Lewis. If you're looking for emotionally charged opinions, I suggest "Oh, Be Careful Little Ears."
And for the authors, I'd like to leave a bit of scripture for ponderment's sake -

1 Timothy 1
3As I urged you when I went into Macedonia, stay there in Ephesus so that you may command certain men not to teach false doctrines any longer 4nor to devote themselves to myths and endless genealogies. These promote controversies rather than God's work--which is by faith. 5The goal of this command is love, which comes from a pure heart and a good conscience and a sincere faith. 6Some have wandered away from these and turned to meaningless talk. 7They want to be teachers of the law, but they do not know what they are talking about or what they so confidently affirm.
1 Timothy 4
1The Spirit clearly says that in later times some will abandon the faith and follow deceiving spirits and things taught by demons. 2Such teachings come through hypocritical liars, whose consciences have been seared as with a hot iron. 3They forbid people to marry and order them to abstain from certain foods, which God created to be received with thanksgiving by those who believe and who know the truth. 4For everything God created is good, and nothing is to be rejected if it is received with thanksgiving, 5because it is consecrated by the word of God and prayer.

Remember, music is a gift from God, not a gift from man. Don't let man tell you how it should be used based on their opinions and personal beliefs.

Anyone who takes the arguments in this book and calls them solid is so far from reality that it can't be measured. I really don't know what to say beyond this. This whole argument line is so fallacious and unbiblical as to be laughable. The ideas that are being promulgated about African people and their rhythms are not only completely sad and racist, they are based on false assumptions. Fact is, rhythm was not a dominant part of African music until into the 20th century. Folks, be real. This stuff makes Christians look bad. If you want to spend the rest of your life singing and listening to dry, soul-less and lifeless music, have at it. But don't get on your high horse and expect anyone to buy this concept. Man I wish there were a negative five rating...