God's Wonderful People -- Lanny Wolfe

This was the scene in 1974, Salt Lake City, in what is known as the Salt Palace (see picture). Lanny Wolfe was 32 years old, and he was feeling something like a warm blanket come over himself, as he thought about “God’s Wonderful People”. It wasn’t a one-time occurrence for Lanny, a songwriter who had grown accustomed to this sensation, and knew what to do with this moment. He wasn’t seeking attention, but really reveled in that moment, that he was just one of the crowd. Lanny didn’t need the stage to feel the music flow inside, and he didn’t need to know everyone in the crowd on a first-name basis to have this warm feeling. These were the people with whom he felt a visceral sense of belonging, a sense of contentment at the same time that he felt overwhelmed. With all of these impressions flowing in his being, is it any wonder that a song soon emerged?

 

Lanny Wolfe had shared many times with crowds not unlike the one where he found himself one night in Utah in 1974 (or about that time), as a result of his chosen profession. He had been part of bible college music departments in California and in Missouri by the mid-1970s, and would go on to the same role in Mississippi for the next nearly 20 years, and then on to worship director positions in Texas, Florida, and Indiana after that. All the while, Lanny was building ‘family’ memories, so perhaps in 1974 it’s not a stretch to say that he was already conscious that his part in the kingdom was a gift, one which gave him a deep sense of devotion to the Giver. Perhaps that was most evident when the 10,000 people sang together at the conference where Lanny found himself, something that would have struck a special chord in his musical being. Lanny was off to one side, in some bleachers that were not central to the events in the Salt Palace. Did that allow him to more easily observe the assembled, to identify some people’s faces, and to recall his own personal history with them? Lanny says the good and bad times with these people were part of what he imagined, both in the past and what he expected would come about in the future. Celebrations and lamentations, it didn’t matter, because Lanny knew he could depend on this family to be present in his life no matter what the circumstances. All these thoughts welled to the surface, so the speak, and Lanny did not ignore what was happening – in fact, he’d used many similar episodes to concoct new songs. He already had the chorus for ‘God’s Wonderful Family’ written by the time he returned to a nearby motel, and remembers distinctly sharing it with two people who had been part of his musical family. Some people take pictures to remember special moments, and others like Lanny compose musical portraits to commemorate those times.  

 

The song chorus he wrote while sitting in Salt Palace was probably really the only way for Lanny to express adequately what was going on in his head and his heart that evening in Utah. He already had the pictures in his mind of people there, so all he needed were sounds and musical notation to capture and take to another level what was spinning inside himself. He dedicates this song, and another similar one named ‘God’s Family’ (see blog entry for June 26, 2021), for someone he considers pretty special in his life – someone named George. ‘George’s Song’, which Lanny writes on the front page for these two song stories, refers to his childhood/teenage-days pastor, George Chambers. But Lanny hastens to add that many, many people are part of his ‘family’ of believers. It seems as if they’ve helped keep Lanny rooted, in touch with himself and his role in the family. Sound familiar? It’s great to be in a family!      

 

 

See this site to obtain the book “More than Wonderful”, where the story to the song is found: https://paradigmmusic.net/

 

Author’s biography is here: https://en.wikipedia.org/wiki/Lanny_Wolfe

 

Source for the picture: Salt_Palace_-_West_Temple_entrance_-_12_September_2012.JPG (2392×3528) (wikimedia.org)

 

What the Lord Has Done in Me – Reuben Morgan

What can God do? What cannot He do? These must have been some of the thoughts running through the mind of Reuben Morgan in 1998 when he composed “What the Lord Has Done in Me”. Or, more precisely, it was actually a family member whose changed life he was celebrating with this song. If you’ve ever seen someone’s life turn completely from a wasted mess to a positive, affirming model for others, then you may know emotionally what the exclamation ‘Hosanna’ means. Picture the biblical episode that inspired people to use this word (see Palm Sunday picture here).  It was an intensely personal and powerful episode for the Morgan family, one with which you may identify.  See if you agree.

Reuben Morgan relates on a video (see link below) in just a few seconds that “What the Lord Has Done in Me” was written at the time of his brother’s baptism. To say it was a special time would be an understatement, because his brother had just come out on the other side of a life of addiction. It was obviously a very tough period, made all the more special when his brother wanted to give himself to God, to start anew. Indeed, Reuben says his brother is now a pastor (as of 2006). Reuben doesn’t provide any other details, but from the song’s words, it sounds as if 23-year old Rueben (in 1998) and his brother had had at least one conversation, one with words exchanged like those in the song. Can you hear them? ‘Brother, you can be strong with God on your side. You might be weak, but He’s not. Just give Him the chance, and see what He can do for you. Wash all those mistakes away, in baptism. ‘ And when his brother agreed, what a moment! Hosanna ! It’s the cry only someone who’s messed up so much, and who’s nevertheless given the greatest gift – a new beginning—can make. It’s reaching out to cling to something infinitely more valuable than oneself.  It’s the criminal who’s finally discovered how ugly and perverted his existence has been, and wants desperately to change. ‘How can I?’, he laments, when he owes so much to pay for his wrongdoing. He owes millions or even billions, if his life’s mistakes could be calculated in dollars. The compassionate God says ‘I’ll pay it’. In fact, He already has, so just cash the check in that watery grave, and watch the sins go down the drain. They cried ‘Hosanna’ when they saw Jesus (Matthew 21), perhaps because they saw themselves in perfect clarity. It was a stark relief next to the purity of Him. Can you sense how Reuben’s brother felt at that moment?

On this same video, Reuben Morgan also shares with other believers his encouragement to persevere – a characteristic that’s so important for those people who’ve had difficult challenges like addiction.  That also sounds like good advice for those of us who share the same life with someone who needs to change, but doesn’t yet know it. Reuben’s journey as a Christian began when he was 17, he relates in one video interview; so, he was six years into this Christian adventure when his brother’s conversion compelled “What the Lord…”. He must’ve been praying and hoping all that time, right? How long do you think God’s been watching and waiting for believers to come to their senses? Maybe He’s able to persevere because He knows how great the reward is. Think….really think, about His reward. Isn’t that worth at least one little ‘hosanna’?

See following video site for interview of the composer, and a few biographic details:

http://www.bradlomenick.com/2013/07/04/an-interview-with-hillsong-songwriter-and-worship-leader-reuben-morgan/

A small portion of the video at this link (minute 4:45) tells the circumstances of the song’s story:  http://www.youtube.com/watch?v=A0MOEVOF-u8

See this site for composer’s biography: http://en.wikipedia.org/wiki/Reuben_Morgan

  

O Lord, Our Lord -- Horatio Richmond Palmer

Is music medicine? Would you call it salve, maybe therapy for a sufferer? In the case of Horatio Richmond Palmer, one might think music was a call from deep inside his consciousness, something subliminal.  Although his life was devoted to music, he’s credited with writing just a few songs, including composing the words and music for the hymn “O Lord, Our Lord” in 1874. Now, what was hidden about that song,  that might make you think he was concealing something? After all, he’s proclaiming to everyone through the song that there’s a great and magnificent Lord, the most important confession anyone can make. Look at Palmer a little closer, and see if you think there’s something else there.

Horatio Palmer began his musical life early on in New York state, a vocation and an obvious passion that we can assume lasted throughout his lifetime, given the number of musical ventures in which he was involved. Maybe his father, Anson B. Palmer, deserves the most credit for Horatio’s direction, for it was he who undoubtedly endorsed his son’s inclusion in the church choir (directed by the elder Palmer) at the age of just seven.  Horatio’s mother had died when he was just three years old, in 1837, leaving Horatio’s upbringing to his father, and perhaps not insignificantly to the church’s musicians too. For the next several decades, this son of the choir director studied, organized, and led numerous musical endeavors, including a chorus of many thousands at Madison Square Garden. What a sound that must have been! At the age of 40, Palmer wrote “O Lord, Our Lord”, a composition he must have envisioned a large chorus of angelic-like voices directing upward, if you’ve ever heard it. We know not the precise incident that inspired Palmer to write this hymn, but there are two things we can surmise, with a little exploration. Palmer chose words from David the Psalmist (Psalm 8) to echo his praise to Him, so Horatio had a palpable passion for his God that he wanted to convey in a grand way, worthy of Him. Looking at its construction, and comparing it to other songs that Palmer wrote, there is also an interesting pattern. Female voices alone begin the hymn, just a composer’s routine choice, or a habit? Two other earlier Palmer compositions (“Love One Another” [also known as “Angry Words”] in 1867, and “Yield Not to Temptation” in 1868) also exhibit this same tendency. Horatio obviously appreciated the female voice, and wanted to hear it without male accompaniment. Did he miss his mother’s influence in his early life, even into adulthood? Perhaps he did, even if his father and the church helped fill the gap. (Although a commenter [see it below] tells me that Palmer had a stepmother...thanks for the information!)

How did Palmer fare, despite his birth mother’s absence through most of his life? From all appearances, Horatio Palmer was a productive, God-fearing, positive influence. Maybe he never knew something was missing. Look at David, Horatio’s musical predecessor…who was his mother? We know his father was Jesse, at least here on earth. Perhaps the more significant parent for David was the one in heaven. It wouldn’t be too hard to deduce that Horatio Palmer had perhaps figured out that part too. I’m part of a family, and my goal is to be part of one forever. There’s only one place and one parent that can make that come true.  

http://www.cyberhymnal.org/bio/p/a/l/palmer_hr.htm