Stumbling, as one might, across Isaiah 12:3 again recently, reminded me of this wonderful song. And now I’m rediscovering it, and being refreshed by it all over again.
Its provenance, I think, is an interesting one, and I am going to indulge in a little informed guesswork, to work through its tangled origins. I’m actually not sure if I first heard the song on the vinyl album by The Keyhole (the Church of the Redeemer’s coffeehouse worship and ministry team), a group incidentally that seemed like a ‘second generation’ Keyhole, since the core of their original team had already relocated to the UK to become the base of The Community Of Celebration and of its touring music and creative ministry team to be quickly dubbed ‘the Fisher folk’; or was it in fact from that very same ministry team that I first heard it, when Colin drove us to the Woodcroft Christian centre in Chepstow? [ More about this in my blog on ‘I am a Rock’ from July’s postings] Diane Davis took the lead vocal in this small team and the bright clarity of their delivery highlighted, in a startlingly fresh way, the song’s poetic appreciation of the Spirit’s potentially dynamic effect on our lives.
I note that the song’s composers are David Lynch and Grace Krag. For anyone fascinated, as I am, in the history and development of ‘intentional’/experimental Christian Communities, I heartily recommend reading the extensive account of a community called The Symphony Of Souls, and later The Trees, recounted with helpful detail and eloquent selection, in a blog (though its dozen or so sections comprise something easily book length) by one of its founding members Katheryn (Shishonee) Reutenik, under the title of ‘the Seven Story Bus: the story of the Trees Community’ http://www.thetreescommunity.blogspot.co.uk/ It is one of the most fascinating accounts of the development of a spiritual community which I have ever read and more than repays the patience of sticking with it.
This small, hippie-ish, counter cultural community, with its own rhythms of worship litanies and liturgies, and diverse experimental music styles – with an emphasis on a range of instruments that would now signal ‘world music’ – found themselves, at one stage of their windblown itineraries ‘parked up’ for a while at Houston’s Church Of The Redeemer, going of course through its own emerging radical and life changing renewal. As is the way of these things, there seems no doubt that there was both friction and blessing in the mix, mutuality of influence between the communities, and mutuality of effect. ‘Symphony of Souls’ songs show up in early Redeemer/Keyhole/Fisher folk recordings –‘The Bell Song’ (most notably), ‘O Jesus How I Love You’, ‘He Was Wrapped In Flesh’, on a Christmas album, and, I’m guessing, this song.
Certainly David Lynch was a member of the Symphony Of Souls. Katheryn’s narrative names this as a song which their team performed . She also comments about Grace Krag considering and praying about the possibility of joining their community –though clearly she didn’t: she turns up as a flautist on recordings of the Woodland Park Fisherfolk in the early eighties. It would seem that she stuck with the Redeemer/Celebration model.
So maybe this song was a collaborative outcome from the mingling of the two communities? Perhaps Grace wrote a poem which David put to music, adding the Isaiah verse as a chorus? [Since starting this,my ‘researching sources’ have confirmed my guesses are not far off the mark. Grace’s lyric is in fact part of a poem she wrote originally as a student assignment; another Symphony of Souls member David Karasek suggested inserting the Isaiah verse as a refrain; the whole was presented on a birthday card to David Lynch who almost immediately ‘heard’ a tune for it.] However extraordinary the collaboration, the result is whatever the spiritual version of ‘magical’ is. The five verses focus on Biblical images and keywords for the Holy Spirit –fire, power, love, breath, water – handled with a light but freshly poetic touch, and with a personal perspective – i.e. Lord, this is what your spirit does, not just generally, but in me … And the images are not twee or overly-gentle, if you know what I mean. While the fourth verse highlights the Spirit as wind/breath ..’gently breathes, bringing peace, freeing me… the opening verses are much more shockingly dynamic – ‘Your fire purely sears a clean hollow within me..’ and ‘ Your spirit…breaks through me…/ Constrains my fragile will…’ Grace says her tutor compared her poem to Donne and suddenly, yes, now I see the distinct parallels to Donne’s sonnet ‘Batter my heart, three-personed God’!
The use of the Isaiah verse as refrain is inspired, masterfully appropriate – launched from the springboard of each verse, it presents something at the same time a response (‘Therefore, with joy..’) and a promise (‘..shall ye draw water…’) and an affirmation of mysterious depths to the sources of the Spirit’s power/love/life (‘..out of the wells of salvation’); the melodic contrast which the refrain offers sounding like a peal of confident bells.
The original Lynch/Krag composition contains a prefaced vocative/invocation ‘sweet Jesus’, given slow, rich harmony on the album to which it gives its name. While on the surface it may seem a dispensable and incidental bit of preparatory throat-clearing, I believe there’s sound theological justification for it – acknowledging Christ as the ‘giver’ and conduit for the Holy Spirit’s indwelling of those who follow and love – ‘Your spirit within me…’. Interestingly, when, a decade or so later, another recording team from the Fisherfolk stable (largely a British one from the community’s interaction with the Post Green Community in Dorset)made a fresh stab at the song, they dropped the invocation, changed the title to ‘Wells of Salvation’ and –though surely not necessarily because of that- produced something which, while valid in its own way, doesn’t for me match the exhilarating zing of the original.
I’m loving the song all over again. And I’m feeling that even at 62 there’s more re-re-rediscovering of the mysterious third person of the Trinity to be experienced – (which is probably the pattern more or less of two milennia of church history!) . Grace and David’s song makes the connection between the Isaiah verse, and John 7:38 (Jesus’ extraordinary public pronouncement on the last day of a significant temple feast); and the subterranean connection between those verses still excites. I more than suspect the well’s still full, and deeper than we can imagine!