What H T Spence's Book Actually Covers
"Confronting Contemporary Christian Music" by H T Spence is a critical examination of modern worship music from a conservative Christian theological standpoint. The book argues that much of what passes for CCM contains theological problems, shallow lyricism, and a commercialization of worship that contradicts biblical principles. Spence was writing from a Reformed Baptist perspective, and his critiques target specific songwriters, genres, and trends within the Christian music industry. I picked up a copy about eight years ago when our church was debating whether to incorporate more contemporary songs into our service. A few people in the congregation had been pushing for stuff that sounded like pop radio but with Christian lyrics slapped on. My pastor handed me this book and told me to read it before the next meeting. I read it in two sittings. It wasn't pleasant reading. The guy doesn't pull punches.
Where to Get a Copy of Confronting Contemporary Christian Music H T Spence
The book is out of print as a mainstream release, which means you won't find it at your typical big-box bookstore. Your best options are: Amazon — used copies are available, usually from third-party sellers. Prices range from about $5 to $30 depending on condition and shipping. I'd recommend checking the seller rating before buying. I've bought CCM critiques from Amazon where the book arrived with loose bindings and yellowed pages. Readable, yes, but don't expect a library copy at that price point. Barnes & Noble used section — occasionally they get returns. Not reliable, but worth a phone call if you're local.
AbeBooks and Alibris — these are better for rare or out-of-print theological works. You can filter by condition and often find fairly priced copies with reasonable shipping. I found my first copy through Alibris for $8 plus shipping in decent condition. Christian book dealers online — sites like ChristianBook.com sometimes have them in their used or out-of-print inventory. They also carry new print-on-demand versions in some cases, though the quality of those can be inconsistent. Internet Archive — they sometimes have digitized versions you can borrow for an hour or two. Not ideal for a deep read, but useful if you just want to sample the arguments before committing money.
Get the Full Details
Google Books — partial previews are available, which lets you verify whether the book's thesis aligns with what you're looking for.
How to Approach Reading This Book
Read it critically, not as an authority. That sounds contradictory but it's important. Spence makes some solid points about theological emptiness in certain worship songs, but he also overgeneralizes in places. His critiques are thorough but occasionally miss the nuance of why certain musical choices exist in the first place. My practical advice: read the book, then go listen to several of the songs he criticizes yourself. Form your own judgment. The book is a starting point for discernment, not the final word. I learned this the hard way when a friend of mine used passages from this book as ammunition in a church culture war. He quoted Spence like scripture. It didn't end well for anyone involved. The congregation was divided, people left, and the actual musical issues we were dealing with got swept under the rug because everyone was too busy arguing about a 1990s book someone pulled out of a drawer.
Common Problems People Run Into
One issue I encountered directly: trying to verify Spence's claims about specific songs or songwriters. He names names, and some of his characterizations don't hold up when you look at the full lyrics or the songwriter's stated theology. A song he called theologically empty might have deeper meaning when you read the complete words rather than just the chorus. Another problem is that the book reflects the CCM landscape of its time. The music industry has shifted dramatically since publication. Some of his targets no longer exist in the same form, and new songs with similar problems have emerged that aren't addressed in the text. I also found that his arguments against certain musical styles sometimes rely more on personal taste than theological reasoning. You need to separate those two categories when you read. The book is most useful when you're working through the theological questions rather than using it as a blanket condemnation of any modern worship music.
What the Book Does Well
The strongest sections deal with lyrical theology — or the lack of it. Spence correctly identifies that many popular Christian songs prioritize emotional resonance over doctrinal accuracy. He also raises valid concerns about the commercial machinery behind CCM and how market forces shape what gets written and promoted. If you're a church leader evaluating whether to use certain songs in your service, these are real questions worth considering. The book gives you a framework for asking them. His analysis of worship as performance versus worship as congregational act is also worthwhile. That's a distinction that still gets ignored far too often in churches that treat worship time like a concert.
Where the Book Falls Short
Spence doesn't offer much in the way of positive alternatives. He's good at tearing things down but light on constructive guidance for what churches should do instead. If you finish the book and still don't know what music to actually use on Sunday, you're right where you started. Pair it with other resources that focus on building a worship theology rather than just critiquing what exists. Some of his specific song critiques also feel dated even for when the book came out. Music trends move fast, and certain accusations lose relevance quickly. Don't treat every claim as timeless truth.
Practical Takeaway
If you're someone who writes or selects worship music for a church, read this book. It will make you ask harder questions about what you're bringing into your services. But don't let it be the only voice in the room. Cross-reference his critiques, listen to the songs he's attacking, and develop your own criteria for what constitutes theologically sound worship music. The goal isn't to avoid all contemporary music — it's to be intentional about what you include and why. That takes more work than reading a single book and declaring victory, but it's the only approach that actually sustains over time.
