Critique of ‘Hallelujah’ in Christmas Worship

As of this writing, there are only five days until Christmas. If I had only spoken out a few months ago, things might have been different today. But I didn’t say anything earlier because I didn’t want to hurt feelings or offend. I can only hope that by protesting now, something good can come of it.

You may recall that a few years ago I wrote a scathing critic of Dean Martin’s “Baby It’s Cold Outside.” I wasn’t the first to point out the song’s sexually abusive lyrics. Nevertheless, my article did get attention. This wasn’t surprising since the #metoo movement was going strong at the time.

But here we are in yet another Christmas season and what do we have? More offensive lyrics in Christmas songs. What makes it worse is that they are part of worship services. These services are meant to celebrate the birth of Jesus Christ, not a sexual conquest.

It seems that all one must do these days is include the word hallelujah in a song, no matter the context of the borrowed lyric or tune, and it’s sure to be a hit at your next Christmas cantata.

“Hallelujah”

Let me be clear. It is not my wish to trash Leonard Cohan’s famous, beloved and oft-covered “Hallelujah.” Why would I want to? My complaints would just fall on deaf ears. Since the 1984 release of Cohen’s “Hallelujah,” near universal praise has been given for its lyrical, poetic, and harmonic beauty. But I’m not a fan. I can’t stand the song – not because of the tune, but the message.

But as with many things, even though I’m not a fan, if it stays within the bounds of its intended secular audience, I’m content to let rotting dogs lie.

It’s only when the putrid scent of death begins to taint the fragrant incense of worship that I get offended. My gag reflexes tempt me to puke.

Unfortunately, as of late, I’ve had to keep a barf bag close by. It seems that more and more Christians have gone odor blind and cannot detect even the slightest stench. Everywhere I turn, Cohen’s agnostic and broken Hallelujah” is being incorporated into holy worship.  

A Little Background

With just a little digging, I found that the first time “Hallelujah” became linked to Christmas was in 2010. Susan Boyle from Britain’s Got Talent included it on her Christmas album. It featured the original lyrics.

Then, early in December of 2012, Cloverton released the now popular Christmas version of “Hallelujah” which tells the story of Christ’s birth. Below is the first verse.

I’ve heard about this baby boy
Who’s come to earth to bring us joy
And I just want to sing this song to you
It goes like this, the fourth, the fifth
The minor fall, the major lift
With every breath, I’m singing Hallelujah

In 2017 the group Anthem Lights released “Hallelujah Medley,” a mashup of two classic Christian songs with “Hallelujah” woven throughout. The other two songs were “Hallelujah, What a Savior” and Michael W. Smith’s “Agnus Dei.”

This year I heard both the Cloverton and the Anthem Lights versions in the same church Christmas cantata. However, as an instrumentalist in that church, I couldn’t bring myself to accompany either one.

Giving Grace

But I want to extend grace. I don’t want to disparage anyone who sings these covers or re-writes of “Hallelujah.” Their intention might be to glorify God. They may also encourage others to praise Him. Even Paul was hesitant to condemn those who, out of jealously, added to his suffering, for even then the Gospel was being preached (see Philippians 1:15-18). That was the main thing.

I’m compelled to show grace, too, because others may genuinely see things differently. They may consider what is being done with “Hallelujah” as an act of sanctification. They might argue that the tunes of some of the greatest and most beloved hymns were once big hits in the pubs and ale houses. Therefore, incorporating the tune or some of the lyrics into Christmas music is no different than how we sing “Amazing Grace” to the traditional tune of “New Britain.”

And, if nothing else, I must be careful to offer a lot of grace because I’m not perfect. I’ve had a bad cold, recently, and lots of things irritate me more when I feel sick.

What Are the Issues?

So, what is the issue (or issues)? What is there to complain about this time? What makes me cringe? What makes me nauseous?

Issue 1: The Lyrics

To begin with, it all goes back to Leonard Cohen’s original “Hallelujah” and its meaning. You see, I like music, but I also try to understand the lyrics. Just because a song has a happy tune, that doesn’t mean it’s worth listening to. I try to feed my soul with good stuff, not garbage.

Compared to many songs, though, “Hallelujah” is downright tame. It’s not a vulgar, pornographic jingle celebrating wet body parts (e.g., Cardi B). But it isn’t religious, nor is it wholesome for all ages, either. Actually, it is a song that draws loosely from the lives of biblical characters to describe dysfunctional, sexually-involved relationships that seek consolation through mutual brokenness.

But as a Christian, what bothers me most is the way Cohan distorts and contorts the word hallelujah. It offends me that such an intrinsically holy word (made up of two Hebrew words, hālal and yâ, which means “praise the Lord”) is used to describe a sexual release in the second verse.

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you to a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah

It may seem petty, but it also irritates me how Cohan (born a Jew, but a practicing Buddhist) not only mixes the stories of King David and Samson, but does so in a self-justifying, slanderous way. David needed proof for his faith? Whose throne got broken?

But who really cares about the verses of this song, right? I mean, all that people really care about are the melody and the haunting chorus that repeats the word erroneously attributed to a “baffled” king.

Hallelujah is the real money maker, after all.

Issue 2: The Fusion of the Holy and the Unholy

The other big issue I have is not only the willingness, but the ambivalence toward fusing holy, Christian works with unholy, secular, even blasphemous works in an attempt to be creative.

Here’s the thing. I can’t sing “Amazing Grace” without including the accompanying tune once connected to bar songs. However, when I or any other person hears “Amazing Grace,” the words of “New Britain” never enter our minds. The older song is totally disassociated from Newton’s “Amazing Grace” and the author of “New Britain” never gets any credit.

But “Hallelujah” is a different thing entirely. Whenever either the tune or the lyrics of “Hallelujah” are used in either a lyrical remake or a mashup with other Christian songs, some sort of attribution must be given to Leonard Cohan.

Issue 3: Ignorance is Blessed

I asked my wife for her thoughts on the rendition of Cloverton’s version of “Hallelujah” that our praise band did last week. Like everyone else, she thought it was beautiful. And from a purely musical perspective, even a worshipful one, it was moving.

But on the other hand, on hearing “It goes like this, the fourth, the fifth, the minor falls, the major lifts,” when does one wonder: “Why are the words of an agnostic Jewish Buddhist being used out of their context to praise the God and Savior he doesn’t even believe in?”

But that’s just it. Most people don’t know.

Most people aren’t aware of the source material. For that matter, most people never parse the lyrics to any of the songs they sing, even in church, and are usually content remaining ignorant, but blessed. Honestly, I can’t blame them. It’s easier that way.

And frankly, at least in this case, what you don’t know probably won’t hurt you, so worship away.

But I do know. That’s why I just had to say something.