Holy hip hop (also known as Christian rap or Gospel rap) is a type of music resulting from artists using the musical style and aesthetics of rap/hip hop but including overt lyrics professing their Christian faith. The genre developed mainly within the larger framework of Gospel music in the 1980s as artists such as Stephen Wiley, dc Talk, and S.F.C. (Soldiers for Christ) began writing rap music with Christian lyrics. These early Christian rap albums were released by Gospel music labels such as ForeFront Records (now a part of EMI Christian Music Group).
In the 1990s, the genre spread as artists such as The Cross Movement and the Gospel Gangstaz expanded the audience. The Cross Movement, based out of Philadelphia, understands their Christian rap music to be yet another subgenre of the larger hip hop culture. The Gospel Gangstaz, comprised of ex-gang members, represent a number of holy hip hop artists who retain their cultural style, preference, and aesthetics for music making after a marked point of conversion in their spiritual lives. For example, artists such as Bushwick Bill (Geto Boys) and Christopher “Play” Martin (Kid ‘N Play) have transitioned from other subgenres of hip hop to Christian rap in recent years.
Currently, almost all of the major record labels for Christian music release albums that could be considered holy hip hop, but only a few specialize in this genre exclusively. The largest of these is the result of The Cross Movement establishing their own Christian rap label: Cross Movement Records. A number of African American and white American male artists make up the performers of this genre while there are very few female artists in this market. As with most subgenres of Christian popular music, there are many mixed reactions to this style of music from both the church and larger society. Finally, an important aspect of this genre is that a number of internet forums such as www.rapzilla.com, www.holyhiphop.com, and www.hhhdb.com (the holy hip hop data-base), and individual artists’ MySpace pages serve as networks for fans.
The four Holy Hip Hop releases reviewed in this issue represent the products of three independent record labels specializing in HHH from two geographical regions: two from Philadelphia (Cross Movement Records and Lamp Mode Recordings) and one from Dallas (Reach Records). These four albums offer only a small sampling of HHH but shed light on some salient issues and stylistic features of the genre. While the production techniques of HHH appear to have caught up with mainstream abilities, albums in this genre vary in style between albums and from track to track in many individual albums. The lyrical content is expressly Biblically-centered, offering countless vernacular metaphors, specific citations, and general thematic material related to the Christian faith. Within this overt Christian apology, artists’ personal faith tradition and perspectives come to the fore. These HHH artists interact with both the church and their “secular” counterparts by offering general (and sometimes harsh) critiques of actions viewed as ungodly with their favorite target being materialism. Overall, these four albums are well-produced and lyrically interesting examples of a continually emerging musical genre that interacts with both the secular and ecclesial world.
Posted by Mike Lee