Come, Holy Spirit

"Come, Holy Spirit" is a classic inspirational song from the late John W. Peterson, this anthem pleads for God's spirit to lead and guide us now as in the times of the great revivals. This new arrangement is respectful of Mr. Peterson's legacy and contains a pertinent message for the modern church. 

A classic inspirational song from the late John W. Peterson is crafted into an evocative anthem that takes the words of his dramatic Pentecost song of praise and lifts it to new expressive levels. A chronicle of the Christian church, this anthem pleads for God's Spirit to lead and guide us now as in the times of the great revivals. This is a pertinent message for the modern church and its mission. This choral challenge is a true sermon in song.

John Willard Peterson (November 1, 1921 – September 20, 2006) was a songwriter who had a major influence on evangelical Christian music in the 1950s through the 1970s. He wrote over 1000 songs, and 35 cantatas.

Born in Lindsborg, Kansas, he served as an Army Air Force pilot flying the China Hump during World War II. Later, he attended Moody Bible Institute and served on the radio staff there for a number of years.

In 1953, he graduated from the American Conservatory of Music in Chicago and shortly thereafter settled in Pennsylvania to continue his songwriting career. He then moved to Grand Rapids, Michigan, where for over ten years he was President and Editor-in-Chief of Singspiration, a sacred music publishing company. While there, he compiled and edited a hymnal called "Great Hymns of the Faith", (c) 1961. He also served on the board of Gospel Films, Inc. of Muskegon, Michigan.

He also had direct contact with popular Christian musicians of the day such as Bill Pearce and Dick Anthony. He resided in Scottsdale, Arizona, where he continued to write music. Peterson died September 20, 2006, aged 84, following a bout with prostate cancer.

Some of his more popular song titles include "It Took a Miracle", "Over the Sunset Mountains", "Heaven Came Down", "So Send I You", "Springs of Living Water", "Jesus is Coming Again", "Surely Goodness and Mercy", "This is the day that the Lord hath made" and "O Glorious Love". His cantatas include Night of Miracles and Down From His Glory.

In 1986, he was inducted into the Gospel Music Hall of Fame.

To download the easy alphanotes and chords sheet music, look here. Enjoy!

Come, Holy Spirit

The Holy Spirit came at Pentecost
He came in mighty fullness then
His witness through believers won the lost
And multitudes were born again.

The early Christians scattered o’er the world
They preached the gospel fearlessly
Tho’ some were martyred and to lions hurled
They marched along in victory

Chorus
Come, Holy Spirit, dark is the hour
We need your filling
Your love and your mighty power
Move now among us stir us we pray
Come, Holy Spirit revive the church today

Then in an age when darkness gripped the earth
The just shall live by faith was learned
The Holy Spirit gave the church new birth
As reformation fires burned.

In later years the great revivals came
When saints would seek the Lord and pray
O once again we need that holy flame
To meet the challenge of today

Chorus
Come, Holy Spirit, dark is the hour
We need your filling
Your love and your mighty power
Move now among us stir us we pray
Come, Holy Spirit revive the church today
.
Come, Holy Spirit, dark is the hour
We need your filling
Your love and your mighty power
Move now among us stir us we pray
Come, Holy Spirit . . .
Revive the church today
Revive the church today
Revive the church today!

                         

A New Creature

"A New Creature" is written by John F. Wilson. John F. Wilson’s music was written during a long career as a government lawyer in many parts of the world.  The main body of his music consists of sacred solos for use in church services, originally published as ‘Sermons in Song’. The nearly 50 songs are rich and diverse in style, including influences from the Caribbean and China and English folk song. Although sometimes quite complex harmonically, they can be performed by players of average ability and have been used in church services in many countries. The vocal line is tuneful and direct, and the accompaniments, though sometimes using modern harmonic idioms and unusual transitions, always reflect the words.

John’s solos use verses from the Bible, including the Beatitudes, the 23rd Psalm and the Lord’s Prayer, poems published in the Christian Science periodicals, poems by Mary Baker Eddy, and some of his own lyrics.  Most of the songs are solo settings, but there are a few vocal duets and some with instrumental obbligato.

John Wilson obtained a law degree from Oxford University and practiced as a barrister for some years in Birmingham, England, before going overseas in 1976. He was Attorney General of Tuvalu during its independence, and then Attorney General of Montserrat. He spent 15 years as a legal officer in the Hong Kong Government both before and after the transition to Chinese sovereignty. He has since worked as a law drafting consultant for small jurisdictions in the Pacific, the Caribbean and the Atlantic.

John learned the piano at an early age and taught himself to play the organ for Christian Science church services. He has been involved all his life in music-making as a choir member, accompanist and organist. In addition to the vocal solos published on the Watchfire Music website, he has composed Hymn Tune Interludes intended for use in church services and based on hymns in the 1932 Christian Science Hymnal, and miscellaneous music for choirs and instrumental groups. John is a committee member of the Northampton & District Organists’ Association in  England and former member of the Northampton Composers’ Association and is active in his local Christian Science church.

The title ‘Sermons in Song’ is derived from a phrase in Science & Health by Mary Baker Eddy (p.234): “Whatever inspires with wisdom, Truth, or Love — be it song, sermon, or Science — blesses the human family with crumbs of comfort from Christ’s table, feeding the hungry and giving living waters to the thirsty.” It also echoes the line from Shakespeare, “Sermons in stones, and good in everything.”  John hopes that his solo songs will inspire with wisdom, Truth and Love and that you will enjoy exploring this special catalogue of sacred solos for use in church.

To download the easy alphanotes and chords sheet music, look here. At present I am not able to find this hymn on youTube or anywhere els as a video or audio file.  Enjoy!

Lyrics 

1.If any man is in Jesus Christ, 

He is a new creature, a new creature.

Old things are passed away,

And suddenly a new life has begun.

It's the start of a new way and a new hope,

and a new song for a brand new day!

2.Commit your life to Jesus Christ, 

and be a new creature, a new creature,

Old things will pass away,

And suddenly a new life will begin.

It's the start of a new way and a new hope,

and a new song for a brand new day!

And it's just the beginning, 

Just the beginning,

The beginning of a whole new life,

And it's just the beginning, 

Just the beginning,

The beginning of a whole new life,

Commit your life to Jesus Christ, 

and be a new creature,

A new creature.

Just a Closer Walk with Thee

"Just a Closer Walk with Thee" is a traditional gospel song that has been performed and recorded by many artists. Performed as either an instrumental or vocal, "A Closer Walk" is perhaps the most frequently played number in the hymn and dirge section of traditional New Orleans jazz funerals. The title and lyrics of the song allude to the Biblical passage from 2 Corinthians 5:7 which states, "We walk by faith, not by sight" and James 4:8, "Come near to God and He will come near to you." 

The precise author of "A Closer Walk" is unknown. Circumstantial evidence strongly suggested it dated back to southern African-American churches of the nineteenth century, possibly even prior to the Civil War, as some personal African American histories recall "slaves singing as they worked in the fields a song about walking by the Lord's side.". Horace Boyer cites a story that repudiates this claim, stating,

“On a train trip from Kansas City to Chicago, composer Kenneth Morris exited the train on one of its stops to get some fresh air and heard one of the station porters singing a song. He paid little attention at first, but after he re-boarded the train the song remained with him and became so prominent in his mind that at the next stop, he left the train, took another train back to the earlier station, and asked the porter to sing the song again. Morris wrote down the words and music and published the song “Just a Closer Walk with Thee” that year, 1940, adding a few lyrics of his own to provide more breadth. Within two years the song became a standard in gospel music, eventually becoming a standard in Jazz, and then moving into the realm of American folk music, known and sung by many (Boyer, 75).” 

Songs with similar chorus lyrics were published in the 1800s, including "Closer Walk with Thee" with lyrics by Martha J. Lankton (a pseudonym for Fanny Crosby) and music by William Kirkpatrick, which was published in 1885. Some references in Atchison, Kansas, credit an African-American foundry worker and vocalist, Rev. Elijah Cluke (1907-1974), for the current rendition of the song. "Just a Closer Walk with Thee" became better known nationally in the 1930s when African-American churches held huge musical conventions. In 1940 Kenneth Morris arranged and published for the first time the well-known version after gospel musicians Robert Anderson and R.L. Knowles listened to William B. Hurse direct a performance of it in Kansas City and then brought it to Morris' attention. Morris added some new lyrics and a choral arrangement. In the 1940s, a boom of recordings recorded the number in many genres, ranging from Southern gospel to jazz and brass bands.

The first known recording was by the Selah Jubilee Singers on October 8, 1941, (Decca Records 7872) New York City; with Thurman Ruth and John Ford lead vocal; Fred Baker, lead baritone; Monroe Clark, baritone; J. B. Nelson, bass vocal; and Fred Baker on guitar. Rosetta Tharpe also recorded the song on December 2, 1941 (Decca 8594), with Lucky Millinder and His Orchestra.

The revived interest in traditional New Orleans jazz resulted in multiple recordings of the number, including a 1945 session by Bunk Johnson's Brass Band featuring numbers Johnson had played in New Orleans before he left in 1915.

In 1950, it was a million-seller for Red Foley.

In 1958, an unreleased home recording was recorded by Elvis Presley, made in Waco, Texas, on May 27. Presley's studio version can be heard on Just a Closer Walk with Thee (2000) (Czech CD on Memory label). Tennessee Ernie Ford made the charts with it in the late 1950s. By the end of the 1970s, more than a hundred artists had recorded the song.

To download the easy alphanotes and chords sheet music, look here. Enjoy!

Lyrics 

1. I am weak, but Thou art strong;
   Jesus, keep me from all wrong;
   I’ll be satisfied as long
   As I walk, let me walk close to Thee.
   • Refrain:
     Just a closer walk with Thee,
     Grant it, Jesus, is my plea,
     Daily walking close to Thee,
     Let it be, dear Lord, let it be.
2. Through this world of toil and snares,
   If I falter, Lord, who cares?
   Who with me my burden shares?
   None but Thee, dear Lord, none but Thee.
3. When my feeble life is o’er,
   Time for me will be no more;
   Guide me gently, safely o’er
   To Thy kingdom shore, to Thy shore.

Jesus Walked This Lonesome Valley

 This hymn of encouragement in times of difficulty is usually described as an American folk hymn or spiritual, attributed to "traditional" 

It started to be included in hymnals in the USA during the second half of the 20th century - but was likely in use before that.  Some writers believe that it's current form is likely a combination of a simplified Appalachian folk song an African-American spiritual.

The allusion to the Kedron Valley where Jesus walked makes the song suitable for Lent and Good Friday - but it is not confined to these seasons.

With meter of 88.10 8, it is set to a tune called LONESOME VALLEY, which is an African-American spiritual, composer unknown.

As well as the traditional four verses, various others have been added in different publications - espeically ones which emphasise the communal nature of Chrisian life, eg "

As we walk our lonesome valley, We do not walk it by ourselves, For God sent His Son to walk it with us, We do not walk it by ourselves."

An extra three verses by Jack Schrader were included in Worship and Rejoice (2001, Hope Publishing Company), which focus the song on Jesus resurrections:

"Jesus prayed for His disciples; ... nobody else could bear such sorrow ..."
"Jesus died on Calvary’s mountain ... O, nobody else could die for sinners... "
"Jesus rose from death’s dark prison ... O, nobody else could bring us victory ...."

To download th easy alphanotes and chords sheet music, look here. Enjoy!

Lyrics: Jesus walked this lonesome valley. He had to walk it by Himself; O, nobody else could walk it for Him, He had to walk it by Himself. We must walk this lonesome valley, We have to walk it by ourselves; O, nobody else can walk it for us, We have to walk it by ourselves. You must go and stand your trial, You have to stand it by yourself, O, nobody else can stand it for you, You have to stand it by yourself.

A Quiet Place

A Quiet Place is written by Ralph Carmichael.  Ralph Carmichael (born May 27, 1927) is an American composer and arranger of both secular pop music and contemporary Christian music, being regarded as one of the pioneers of the latter genre as well as the father of contemporary Christian music.

Carmichael was born in Quincy, Illinois, the son of a Pentecostal minister, who allowed his son to play the violin and listen to the radio. "I was captivated by the chordal explosions I heard on the radio. I felt a sadness that we didn't have that in our church. Our church orchestra sounded weak and terrible by comparison. It was embarrassing. Why? Why did we have to settle? Why couldn't we use those gorgeous rhythms, sweeping strings, the brass, the stirring chords? That started to control everything I did."

As a teenager he played violin with the San Jose Civic Symphony. At 17 he enrolled at Southern California Bible College, now Vanguard University, to become a preacher like his father, grandfather, three uncles and five cousins. He started a campus men's quartet, ensembles and mixed groups of all kinds, blending jazz and classical music techniques with gospel songs and hymns. His musical "experiments" proved instantly controversial. His bands were unwelcome at many churches, and he was not allowed to store the baritone saxophone on campus because of its worldly associations with big band music.

After college, reaction to his band was mixed from the Christian community. One church made them hide the drums behind a curtain; a pastor in Oakland stopped the band mid-song because the music sounded too worldly. After a performance at a men's fellowship in Pasadena, however, Carmichael's band was invited to audition for television. This program drew so much mail from Christians that the station asked for more shows.

In 1951, he was invited to score a film for the Billy Graham Evangelistic Association; in all he wrote the musical score for twenty of their films. For BGEA, he made the funky urban soundtrack for the 1970 film The Cross and the Switchblade. By the late 1950s, secular producers had taken notice of Carmichael's radio and film work. He was invited to assist the composer at the television sitcom I Love Lucy and was soon arranging music for that show as well as Bonanza and The Roy Rogers and Dale Evans Show and for singer Rosemary Clooney. In 1958, Carmichael was hired by producer Jack H. Harris to score his science fiction film, The Blob. With the success of the film, Carmichael was brought back to score Harris' follow-up film, 4D Man. He arranged and composed music for a Bing Crosby Christmas special television program, which prompted his denomination to strongly suggest he not apply for renewal of his ordination. He also composed and conducted the theme music for the 1965 sitcom, My Mother the Car.

His big break came at the end of the 1950s, when his work came to the attention of Capitol Records, who asked him to provide the arrangements for an album of mainly sacred Christmas songs by one of the label's biggest stars, Nat King Cole. The result, The Magic of Christmas, was released for the 1960 festive season, by which time Capitol had already set Carmichael to work with Cole on more secular albums.

Carmichael duly became Cole's most regularly utilized arranger from then until the singer's death in early 1965, their first mainstream pop collaboration being The Touch of Your Lips (also 1960), an album of romantic ballads backed by lush strings, and their final team-up being Cole's last album, L-O-V-E, with jazzy big band arrangements, recorded in December 1964, only two months before Cole succumbed to the lung cancer which was already in its advanced stages.

Carmichael wrote arrangements for many other top performers, including Ella Fitzgerald, Bing Crosby, Jack Jones, Peggy Lee, Julie London, Al Martino and Roger Williams. He arranged most of the carols on the 1961 Stan Kenton album A Merry Christmas!.

It is in the field of Christian music that Carmichael has been most prolific. In particular, his experiments in pop-rock style in the 1960s and 1970s have brought him recognition as the "Father of Contemporary Christian Music". He founded Light Records in order to widen the audience for the music of the Jesus People.^[4] He was subject to controversy from within the church, being called a heretic for his use of guitars in worship and his adaptations of Gospel songs to big band stylings.

Manna Music Inc founders Tim and Hal Spencer introduced Andraé Crouch to Carmichael, helping to launch Crouch's recording career. Carmichael also provided the backing for a number of RCA albums by Gospel singer George Beverly Shea, including The Love of God in 1958, and How Great Thou Art in 1969. In 1969, Carmichael and Kurt Kaiser collaborated on Tell It Like It Is, a folk musical about God. The record album of the musical, which included the song "Pass It On", sold 2,500 copies, completely selling out the first run; it then completely sold out its second run of 100,000 copies.

One of Carmichael's contemporary hymns, "Reach Out to Jesus", was recorded by Elvis Presley, on the singer's 1972 Grammy Award-winning album of sacred songs, He Touched Me. His album Strike Up the Band won a Dove Award for "Instrumental Album of the Year" at the 25th GMA Dove Awards in 1994. 

To download the easy alphanotes and chords sheet music, look here. Enjoy!

Lyrics: 

There is a quiet place
Far from the rapid pace
Where God can soothe my troubled mind
Sheltered by tree and flow'r
There in my quiet hour with Him
My cares are left behind
Whether a garden small
Or on a mountain tall
New strength and courage there I find
Then from this quiet place
I go prepared to face
A new day with love for all mankind

Joshua Fit the Battle of Jericho

"Joshua Fit the Battle of Jericho" (or alternatively "Joshua Fought de Battle of Jericho", "Joshua Fit the Battle" or just Joshua and various other titles) is a well-known African-American spiritual.

The lyrics allude to the biblical story of the Battle of Jericho, in which Joshua led the Israelites against Canaan (Joshua 6:15-21).

The song is believed to have been composed by slaves in the first half of the 19th century. Some references suggest that it was copyrighted by Jay Roberts in 1865. In 1882, the song was published in Jubilee Songs by M. G. Slayton and in A Collection of Revival Hymns and Plantation Melodies by Marshall W. Taylor. The first recorded version was by Harrod's Jubilee Singers, on Paramount Records No. 12116 in 1922 (though some sources suggest 1924). The Online 78 Discography entry for this record credits Jay Roberts as the author. Later recordings include those by Paul Robeson (1925), Mahalia Jackson (1958), Clara Ward, Laurie London, Hugh Laurie (2011) and Elvis Presley (1960) among many others.

In 1930, Marshall Bartholomew created his arrangement of the song.

Composer and conductor Morton Gould used the song as the basis for his 1941 composition for concert band, Jericho Rhapsody. Ralph Flanagan adapted it under the title "Joshua". Ralph Flanagan and His Orchestra recorded the spiritual in New York City on March 1, 1950. It was released by RCA Victor Records as catalog number 20-3724 (in USA) and by EMI on the His Master's Voice label as catalog numbers B 9938 and IP 604.

Bing Crosby included the song in a medley on his album 101 Gang Songs (1961)

Sister Thea Bowman learned the song from her elders and recorded it in 1988 on the stereocassette Songs of My People. In 2020 it was re-released for the 30th anniversary of her death as part of the digital album Songs of My People: The Complete Collection.

Early published versions include some parts in dialect, such as "fit" for "fought". A rare, unpublished variation, "Jacob fought the battle of Jericho", has evolved and has been heard sung in the later twentieth century. In this instance, "Jacob" refers to the people of Israel, who won the battle. Though this version is almost never used, the two-syllable name 'Jacob' fits more naturally into the song's meter than the three-syllable name 'Joshua'.

Like those of many other spirituals, the song's words may also be alluding to eventual escape from slavery – in the case of this song, "And the walls came tumblin' down." The lively melody and rhythm also provided energy and inspiration. Critic Robert Cummings wrote: "The jaunty, spirited theme hardly sounds like the product of the pre-Civil War era, and would not sound out of place in a ragtime or even jazz musical from the early 20th century. The closing portion of the tune, sung to the words quoted above, is its most memorable portion: the notes plunge emphatically and impart a glorious sense of collapse, of triumph."

 To download the easy alphanotes and chords sheet music, look here. Enjoy!

Lyrics: 

Joshua fought the battle of Jericho
Jericho Jericho
Joshua fougth the battle of Jericho
And the walls come tumbling down
You may talk about your men of Gideon
You may brag about your men of Saul
There's none like good old Joshua
At the battle of Jericho

Joshua fought the battle of Jericho
Jericho Jericho
Joshua fougth the battle of Jericho
And the walls come tumbling down

Up to the walls of Jericho
He marched with spear in hand
Go blow them ram horns, Joshua cried
'Cause the battle is in my hands

Then the lamb ram sheep horns began to blow
The trumpets began to sound
Old Joshua shouted glory
And the walls came tumblin' down
Joshua fought the battle of Jericho
Jericho Jericho
Joshua fought the battle of Jericho
And the walls come tumbling down

Here We Go a-Caroling/Here We Go a-Wassailing

"Here We Come A-Caroling" (or "Here We Come A-Wassailing") is a traditional English Christmas carol and New Year song, dating from at least the mid 19th century, but possibly much older. The old English song refers to "wassailing", or singing carols door to door wishing good health, while the a- is an archaic intensifying prefix. 

Here We Come A-wassailing (or Here We Come A-caroling), also known as Here We Come A-Christmasing, Wassail Song and by many other names, is a traditional English Christmas carol and New Year song, typically sung whilst wassailing, or singing carols, wishing good health and exchanging gifts door to door. It is listed as number 209 in the Roud Folk Song Index. Gower Wassail and Gloucestershire Wassail are similar wassailing songs.

The song dates from at least the mid 19th century, but is probably much older. The a- in "a-wassailing" is an archaic intensifying prefix; compare A-Hunting We Will Go and lyrics to The Twelve Days of Christmas (e.g., "Six geese a-laying").

According to Readers Digest; "the Christmas spirit often made the rich a little more generous than usual, and bands of beggars and orphans used to dance their way through the snowy streets of England, offering to sing good cheer and to tell good fortune if the householder would give them a drink from his wassail bowl or a penny or a pork pie or, let them stand for a few minutes beside the warmth of his hearth. The wassail bowl itself was a hearty combination of hot ale or beer, apples, spices and mead, just alcoholic enough to warm tingling toes and fingers of the singers."

In 1949, the Welsh folk singer Phil Tanner sang a minor-key variant called "Wassail Song" and generally known as "Gower Wassail", which was popularised by various folk revival groups.

A variant is "Here We Come A-Christmasing". It replaces the word "wassail" with "Christmas".

There are also other variants (often, but not always, sung by Americans), wherein the first verse is sung "Here we come a-caroling" and it is titled so. Often in this version, the third verse (directly after the first refrain [see lyrics]) is removed, along with the refrain that follows it, but this depends on which version is being used. This version also often has the second line of the chorus "And a merry Christmas too" or "And to you glad tidings too", instead of "And to you your wassail too".

Another variant is entitled "We've Been a While-A-Wandering" and "Yorkshire Wassail Song".

o download the easy alphanotes and chords sheet music, look here. Enjoy!

Lyrics: 

Here we come a-caroling
Among the leaves so green
Here we come a-wandering
So fair to be seen

Chorus:
Love and joy come to you
And to you glad Christmas too
And God bless you and send you
A Happy New Year
And God send you a Happy New Year!

We are not daily beggars
That beg from door to door
But we are neighbors' children
Whom you have seen before

[Chorus]

We have got a little purse
Of stretching leather skin
We want a little of your money
To line it well within

[Chorus]

God bless the master of this house
Likewise the mistress too
And all the little children 

That round the table go

[Chorus]