I Feel Good, Good, Good – Anonymous

 

We don’t know who wrote it, but we could guess that it has been sung a lot of different ways just by inserting a couple of new words in place of the original ones to fit the mood of whomever was trying to express him- or herself. Open an old hymnal (or a new one, even) and you might find “I Feel Good” --   maybe with the adjective repeated twice more for emphasis – in the pages of that book. Who was behind the song that is often anonymously attributed to ‘Traditional’ or ‘Gospel’ or maybe ‘Folk song’ will remain a mystery, but could it be that Philip Paul Bliss (see his portrait here) helped spawn a musical movement that gave rise to ‘I Feel Good’ and others like it? Someone was feeling good, and wanted others to share that too, and then he/she shared a few other emotions to help carry the group’s celebration further. Maybe an old apostle deserves some of the credit, when he wrote about focusing on the positive (see Philippians 4:8) as he addressed a new church that he wanted to inspire. This can even be done while sitting in a prison, as he apparently was. God can be with anyone, anywhere, and His presence can bring light into the darkest period of one’s life.  

 

The apostle Paul wrote: Finally, brothers, whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise, think about these things. (Philippians 4:8) Wouldn’t it be interesting if this guy named Philip (P.P. Bliss, as he’s often designated in his songs’ attribution lines) had come up with some of his own pretty positive thoughts to musically echo those first crafted by a guy writing to a community (the Philippians) from which his own name derives? Let’s just pretend that that might be true! Moreover, the 1^st Century Paul and the 19^th Century Philip Paul might thus be linked, not only in their names, but emotionally and spiritually too. All these linkages could not be just an accident, right? OK, enough of this speculation. Here’s what we could say, including that positivity flows from not only saying one feels good, but good, good, good, and hearing some clapping and maybe even foot stomping to accompany all of this revelry. Say the operative word three times, with a jumpy tune that goes well with a broad smile and contentment in one’s heart. You could verify this by experiencing it in person. Change a few words – like from feel good, to can love, or got joy, or can sing, or got peace, or any other ways you want a group to say something uplifting – and you’re doing what the 1^st Century Paul suggested. Philip Paul was perhaps the first to publish a work with the phrase Gospel song that described the contents of a hymnbook (in 1874, Gospel Songs. A Choice Collection of Hymns and Tunes), helping coax worshipping crowds with songs noted for their ease of use. Just sing something simple and crowd-pleasing, so the saved can focus on the delight of their spiritual state. That’s a recipe for easing depression and anxiety, no matter what one’s earthly circumstances are.   

 

Long before the Gospel Music era (also known as the Holiness-Pentecostal period in the 19^th Century) came along, two prisoners (including Paul, and his first partner Silas) modeled for early Christians the feel good, good, good satisfaction, a reaction to their situation that could not but have helped stir others in their presence (see Acts 16:25-34), including the Spirit of God apparently, in Philippi. Earthquakes don’t often happen because of a joyful witness, but who’s to say what might result if more of us dug deep inside ourselves more often to proclaim the hope we have? Paul knew well what joy, despite his whereabouts, could do. Perhaps he was remembering another character in his Jewish history who made the most of his prison stay – Joseph (Genesis 39 and 40). He, and then later Paul and Silas, probably discovered something you and I should remember. Prison is temporary, but joy emerges with so many other potent reasons for celebration on a never-ending spectrum. It’s a journey that doesn’t even end at death’s door. In fact, it’s just really beginning.         

 

Gospel music - Wikipedia

https://en.wikipedia.org/wiki/Folk_music

 

See information about the portrait here: Philip Paul Bliss, 1838-1876…This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1930.

I Come Expecting Jesus -- John Chisum and Nancy Gordon

 

This songwriter had already traveled a pretty adventurous road in his career, and had had a chance to reflect on how he got to where he was in 1996. So, John Chisum must have thought a lot about God’s presence in his life, even when things for a short time looked pretty grim some 13 years earlier, and even before that really. He grew up in Memphis, but evidently by the mid-1990s was in or near Nashville (see the map-graphic here, with highlights Davidson County where Nashville is located) where his music career was in full swing. With the apparent collaboration of Nancy Gordon, they said “I Come Expecting Jesus” to those who would want to draw close to Jesus Christ, the way John remembers when he was a teenager and young adult trying to change his life trajectory. His desire for Jesus was really beyond any plan that John had scoped out, so we might conclude that we are hearing John saying something from deep inside a pit where he’d been as a young man. Access a moment when you were at the bottom, and realize God was there – that just might be the message that John and Nancy are communicating.

 

John Chisum’s experience as a Christian began when he was 18 years old, following an adolescence filled with alcohol and drug abuse, and needless to say he had had only some distant thoughts about God and being close to Him. But upon his acceptance of Christ’s lordship in his life (with the very significant influence of a woman named Lynn, who discipled John), John says that that moment was like the ‘epicenter’ of everything that proceeded forth from that time. His first response was to write a song, which evidently blossomed into an embryonic music career, though he was still was a youngster struggling to make his way in the Christian music industry. A brief homeless episode with his wife, after an expected ministry job fell through, was part of the life that John lived in late 1983 and early 1984 in Nashville, before God seemed to answer his prayer for a foot-in-the-door new beginning. God answered, and John’s career had its new start in Nashville. The lyrics of ‘I Come…’ indicate this is an obvious communion song, written in or about 1996, though the exact circumstances of its inspiration are not described by John or Nancy. And yet, being close to Jesus, and expecting Him to be with you no matter what the situation, is what John indicates has been the driving force in his life from that seminal moment – actually two moments, when he was 18, and then in his early-to-mid 20s -- in his young life going forward. During communion, isn’t that the pivotal moment in His life when believers are invited to meet His embrace most intimately, a time when He ate and drank with those 12 Apostles, shortly before his crucifixion? To read and hear just how momentous and difficult that time was for Him, especially in what transpired later in Gethsemane and then on the cross, is to appreciate how the holy God feels about us, and just how much He was willing to endure to draw us near to Himself.  

 

Eating His body and drinking His blood…that’s how close He wants you and me to be. Calling it ‘a holy moment’ would be offensive if it were anybody but the Divine One. And, for those of us who can recall  times when we were at our lowest points and calling out to Him for relief, that ‘mercy and grace’ that John Chisum and Nancy Gordon write in their lyrics are not just pretty, philosophical words. They are  filled with meaning almost beyond description. Communion transcends what happens here terrestrially, though I still remember those special times when I did indeed feel His care and guidance in my earthly circumstances. The communion song John and Nancy wrote reminds me that His reach in His own life overwhelmed what happened to Him as a mortal – God overcomes. Getting close to the One who has the power to overcome life – that’s pretty special.  

 

Read about one of the songwriters here: Spirit Soul Body | John Chisum

 

And, here: About – Nashville Christian Songwriters

 

And here: /life-work-with-john-chisum

 

Listen to Chisum’s life story in this podcast here: JOHN CHISUM: 40 Years of Music Making - Nashville Christian Songwriters

 

Very brief information about the secondary author-composer: Nancy — The Blessing Co.

 

See information on the map-image of Davidson County (where Nashville is) here, including the public domain status of the graphic: File:Map of Tennessee highlighting Davidson County.svg - Wikimedia Commons . The following statement is associated with the graphic re: its public domain status: I, the copyright holder of this work, release this work into the public domain. This applies worldwide. In some countries this may not be legally possible; if so: I grant anyone the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

Sing We (or to) the King -- Charles Silvester Horne and Billy Foote

 

He was a preacher, so what he wrote may have been intended to communicate something musically that he was addressing from the pulpit also. The Englishman Charles Silvester Horne (see Horne’s native English flag here) evidently envisioned the congregants in a London suburb’s church to whom he preached joining with him as he sang “Sing We the King” in the early years of the 20^th Century. Some 100 years later, the American Billy Foote took Horne’s hymn and recast a few words (including the title – “Sing to the King”) and employed a new tune to refresh its use, but its purpose has remained unchanged. Draw those who are gathered to appreciate Him, what He’s done, and especially what we all hope and trust He will do. While Billy’s version says something very succinct about praise, the version Charles originally wrote broadens the message to include some thoughts about how His salvation will impact the redeemed. Both versions are worthy. He just wants to hear from His people, no matter if it’s a few sentences or a meatier paragraph.

 

Charles presumably wrote ‘Sing We…’ while ministering and preaching at one of two churches in the London area in the first decade of the 20^th Century. He was also a member of Parliament in the latter portion of this period, so he was well-accustomed to public life and how to address crowds and motivate them with his words. What precisely moved Charles to write a five-verse hymn with a chorus-refrain to use in worship is unknown, but ‘Sing We…’ is one that continues to be used a century later, including in the first few years of the 21^st Century when Billy Foote’s revised version, with two verses and a chorus-refrain, was introduced. Billy’s version borrows the lyrics of Charles’ first and fifth verses with a few modifications, and then adds more changes to a chorus that coaxes believers to repeat praises to Him as King. Charles’ second through fourth verses foresee His kingdom being one in which racial divides are gone, and ‘justice and truth’ expunge all ‘wrongs’ (v.2); in which ‘peace’, ‘freedom’, and ‘wisdom’ are present, creating an environment in which ‘foe(s)’ become friends (v.3); and in which sin’s punishment is paid, while ‘doubt’, ‘death’, and ‘hell’ are overcome (v.4). Both Charles and Billy eagerly await the ‘dawn of the (that) day’ when all will sing to Him as He inaugurates the everlasting kingdom (v.5); it’s an enthusiastic ending that really builds on what is said in verse one – His reign is approaching, Jesus’ atoning death is the reason we can offer praise, and it’s a reality that is cause for all nations’ rejoicing. Both Charles and Billy were intent on making a song that casts aside all hesitation, telling a people that there need not be any lingering questions about how all this will happen. The Father and Son have done what is necessary, including removing the ‘vanquished Satan’ from the picture and elevating ‘King Jesus’ to the throne in the song’s final few words. Our part is to step forward, grab hold of the gift, and let out our loudest cheer!   

 

Not much more needs to be explained in what Charles Horne and Billy Foote have told us. The few downbeat words in the lyrics are overwhelmed by the accomplished work of Jesus as the ‘slain Lamb’ and what that entails. These two authors-composers don’t dwell on these few negative words, and that is a life message for the hearers. We don’t have to tell ourselves that troubles don’t come along – because they do -- but rather that they shrink and ultimately vanish in the light of what’s coming. A community of believers provides an embrace for each of us when we’re hurting, but in the end, those embraces turn into linked arms that have us all marching – and indeed, skipping – together to the finish line and beyond into the victory party on the infield of the great racetrack we’re all traversing. It’s a marathon for most of us, but Charles and Billy remind us that at some point the applause will get increasingly louder, urging us on. Keep going!

 

Classic hymn was titled “Sing We the King”  http://www.hymntime.com/tch/htm/s/i/n/g/k/singking.htm

See here for information on the classic hymn’s original composer-author and the verses he wrote: Sing to the King | Hymnary.org  and here: Charles Silvester Horne | Hymnary.org 

Also see here for information on the original composer: http://www.hymntime.com/tch/bio/h/o/r/n/horne_cs.htm and here: https://en.wikipedia.org/wiki/Silvester_Horne

Read about the secondary composer here: Billy Foote site

See information on the England flag here: File:Flag of England.svg - Wikipedia…This work has been released into the public domain by the copyright holder. This applies worldwide.