agápe - Kum Ba Yah~

Topic: Religious Folk Music Revival
The Methodist Church South sired Pentecostal denominations when it renounced the Holiness movement in 1894. [1]  The United Methodist Church was more circumspect with the Charismatic Movement, if for no other reason than its membership had begun to drop in 1964. [2]  Of those who remained, 18% “identified” with the movement in 1972. [3]

That year, 1972, the General Conference appointed a commission to investigate speaking in tongues.  Its 1976 report distinguished between Methodist and Pentecostal theology, and said charismatic manifestations were acceptable, so long as they fell within the Wesleyan framework.  Specifically, the authors condemned substituting “experience for doctrine.” [4]

The commission noted that at the time Pentecostalism arose in the Azusa Street revival, some northern Methodist churches were promoting the Social Gospel. [5]  The erosion of membership in the 1960s coincided with the Civil Rights movement and the withdrawal of people into churches that operated segregated, private, Christian schools.

The two impulses, the one toward social activism and the other toward a religion of personal experience, led to two different responses by the Methodist-Presbyterian Hope Publishing company [6] in 1973.

Carlton Young’s Genesis Songbook contained a number of secular songs suitable for youth meetings and coffeehouses, while John Wilson only used songs with religious themes. [7]  Wilson’s Folk Encounter was subtitled “the Now hymnal,” while Young described his as “songs for getting it all together.” [8]

Both used material from Presbyterian and Roman Catholic liturgical reform composers like Richard Avery, David Marsh, [9] and Ray Repp, [10] and both reprinted the versions of “Kum Ba Yah” they had used in earlier publications. [11]

The counterculture that appeared in San Francisco in 1967 was not interested in Civil Rights or the war in Vietnam.  Individuals were protesting the emptiness of middle-class expectations for good grades and good jobs that demanded delayed gratification.  The Now Generation got its name from wanting some pleasures immediately.

The Genesis Songbook included Malvina Reynolds’ “Little Boxes” [12] and six songs recorded by Simon and Garfunkle. [13]  In addition, Young included two songs by Bob Dylan, [14] two by the Beatles, [15] and two religious songs popularized by commercial folk-music revival singers: Judy Collins’ “Amazing Grace” [16] and Cat Stevens’ “Morning Has Broken.” [17]

Wilson used two songs from the Jesus Movement, Larry Norman’s “I Wish We’d All Been Ready” [18] and Marsha Stevens’ “For Those Tears I Died. [19]   He used nine songs from Word composers Ralph Carmichael, Kurt Kaiser, and Sonny Salsbury, mentioned in the post for 13 December 2020.  In addition he published “Put Your Hand in the Hand” [20] and “Yesterday, Today, and Tomorrow.” [21]

This was as far as Hope would go. [22]  Genesis was the last songbook Young published for youth under the agápe imprint he had established to reach that group. [23]  His Exodus Songbook of 1976 was for adults with easy listening tastes. [24]

When Jesus music began using electric instruments and techniques borrowed from acid rock, agápe turned to the British hymnody revival that began in Dunblane, Scotland, in 1962.  It was a reaction against contemporary hymns that used tunes influenced by popular music, but with texts and imagery that did not reflect changes introduced by Dunblane’s 1961 translation of the New Testament. [25]

The group’s secretary had served as a “minister of Congregational and reformed churches in England and Scotland.” [26]  Erik Routley believed songs should advance theological goals.  He criticized Charles Wesley for focusing “hymn writing too narrowly on the ‘evangelical’ themes of personal salvation.” [27]

The emphasis on theology over experience anticipated UMC’s pronouncements on speaking in tongues.  In 1974, agápe published a work by Routley [28] and a setting of two Charles Wesley communion anthems by Young. [29]

Routley moved to Princeton, New Jersey in 1975. [30]  Two years later agápe introduced many of the British songs to the United States in the Ecumenical Songbook. [31]  Fourteen hymns used the word “Christ” in their titles, but only two used “Jesus.”  Another three used “Jesus Christ.”

Young became less active with agápe.  Two of his last releases were choir songs accompanied by handbells. [32]  Eventually, the label only published handbell arrangements [33] like the version of “Kumbaya” by Wilson that is discussed in the post for 16 December 2018.

Young’s next project was editing the next release of the Methodist hymnal.  As mentioned in the post for 14 February 2019, it included “Kumbaya.”  He also included five works by Routley and one by Sydney Carter, who influenced the Dunblane group. [34]

The hymnal included Collins’ “Amazing Grace,” but “Simple Gifts” appeared as the tune for Carter’s “Lord of the Dance.” [35]  Young only included one song by Avery and Marsh, “We Are the Church,” [36] and one song from the religious repertoire that immediately preceded Jesus music, Kurt Kaiser’s “Pass It On.” [27]

Presbyterians retreated from the worship innovations of Avery and March.  The 1990 hymnal, which included “Kum ba Yah,” used their “Gloria Patria” and rhythmic “Doxology,” but did not list them in its index of composers.  The collection also used “Amazing Grace,” “Morning Has Broken,” and two works with Routley’s name. [38]

The 2012 revision replaced both their works with others, and added five more songs composed, arranged, or translated by Routley.  It retained “Kum ba Yah,” “Amazing Grace,” and “Morning Has Broken.”

Performers
Same as post for 9 August 2020

Credits
Same as post for 9 August 2020

Notes on Lyrics
Same as post for 9 August 2020

Notes on Music
Same as post for 9 August 2020

Notes on Performance
Hope produced albums to accompany the songbooks that exploited stereophonic technology: one track contained the vocal part, the other the instrumental.  The liner notes gave instructions on manipulating phonographs to hear just one track.  It also indicated the length of the instrumental introductions and the verses recorded. [39]

Neither included “Kumbaya,” but the instrumental styles for other songs suggest the aesthetics of the collections.  Genesis [40] used simple unison vocal arrangements, while Encounter [41] illustrated settings suitable for young choirs.  They included male and female parts, variations in dynamics, and changes in key.

Both albums relied primarily on piano accompaniments, supplemented with guitars, drums, and electric guitars and bases.  Wilson’s arrangements on Encounter were more influenced by Easy Listening music than either the commercial folk-music revival or Jesus music.  Wilson’s concern was with the reactions of adults in an audience.

Young hired Fred Bock to produce the Genesis record.  He was then on the music staff at Bel Air Presbyterian Church in Los Angeles, [42] where the pastor had been one of the first to allow charismatic manifestations among his congregation. [43]  Many of the piano accompaniments used techniques borrowed from Southern Gospel music. [44]  Both the vocal and instrumental parts were syncopated, while only Wilson’s accompaniments were rhythmic.  Bock wished to engage the interests of participants.

Notes on Performers
Wilson was featured in the posts for 16 December 2018 and 19 December 2018.  Young is mentioned in the post for 14 February 2019.

Bock’s early career with Word Records is mentioned in the post for 12 July 2020.  He left Word in 1971 to work as a freelance arranger and editor.  In 1973, he had works published by the Nazarenes, Baptists, and Singspiration. [45]  He also was working closely with Benson Publishing and Bill Gaither, who is discussed in the post for 17 December 2017.

He later moved to Hollywood Presbyterian, under the pastor who replaced the one who supported the coffee houses. [46]  Lloyd Ogilvie was more restrained about speaking in tongues.  Bock died in 1993.  His widow established a music institute in his name at Fuller Seminary. [47]

Availability
Book: “Kum Ba Yah.”  The Genesis Songbook.  Edited by Carlton R. Young.  Carol Stream, Illinois: agápe, 1973.  46.

Book: “Kum Ba Yah.”  Folk Encounter.  Carol Stream, Illinois: Hope Publishing Company, 1973.  34.

End Notes
1.  For more on the reaction of Methodist hierarchies to Phoebe Palmer’s theory of Holiness, see the post for 9 February 2020.

 2.  “The Methodist Church: Recent Membership Trends.”  True Discipleship website.  It absorbed the Evangelical Brethren Church in 1968, which broadened its theological heritage.  The church also may have realized that, because of all those missionary drives, the church had members in Africa and the Philippines who had very different interpretations of the Holy Spirit.

3.  Gallop poll cited by Charles Yrigoyen, Jr.  T & T Clark Companion to Methodism.  London: T and T Clark, 2010.  286.

4.  “The Charismatic Movement: Its Historical Base and Wesleyan Framework.”  The UMC revised its guidelines in 2004.  Seeking 4 Truth website claimed it was posting the 1976 version in its post “Guidelines: The United Methodist Church and the Charismatic Movement.”

5.  Seeking 4 Truth.
6.  Hope Publishing is discussed in the post for 9 August 2020.

7.  Wilson didn’t mention the Jesus movement.  On the inside front cover, he wrote “The emergence of a new song, as well as an increase appreciation of our musical heritage, has resulted in ‘New Music’ for Christians.”

8.  The National Conference of Christians and Jews had used the Youngbloods’ version of “Get Together” [48] in 1969 “in a radio public service announcement as a call for brotherhood.” [49]

9.  Avery and March are discussed in the post for 9 August 2020.
10.  Repp is discussed in the post for 16 August 2020.
11.  See the post for 9 August 2020.

12.  Malvina Reynolds.  “Little Boxes.”  Copyrighted by Schroeder Music Company in 1962.  Pete Seeger popularized it on We Shall Overcome.  Columbia CS 8901.  Recorded 8 June 1963; released 1965.  [Discogs entry.]

13.  They only printed lyrics for three.
14.  “Blowin’ in the Wind” and “The Times They Are A-Changin’!”
15.  “Imagine” and “Let It Be.”
16.  Details are provided in the post for 13 December 2020.

17.  Cat Stevens.  “Morning Has Broken.”  Teaser and The Firecat.  A&M Records 8T-4313.  1971.  Camp Songs, Folk Songs traced the history of the tune used for Eleanor Farjeon’s words in 1931.

18.  Larry Norman is discussed in the post for 4 October 2020.
19.  Marsha Stevens is discussed in the post for 4 October 2020.
20.  Details are provided in the post for 13 December 2020.
21.  Details are provided in the post for 2 August 2020.

22.  Generalizations on agápe are based on a WorldCat search conducted 7 June 2020 with the keywords “Agape” and “Young.”

23.  For more on the origins of Hope’s agápe imprint, see the post for 9 August 2020.

24.  Carlton R Young.  Exodus Songbook.  Carol Stream, Illinois: agápe, 1976.  For example, it included “Alfie,” “Mack the Knife,” and “Raindrops Keep Fallin’ on My Head.”

25.  Robin A. Leaver.  “British Hymnody Since 1950.”  555–599 in The Hymnal 1982 Companion.  Edited by Raymond F. Glover.  New York: The Church Hymnal Corporation, 1990.  1:567–568.  The translation was done by the Joint Committee on the New Translation of the Bible.  The New English Bible.  Cambridge, England: Oxford University Press and Cambridge University Press, 1961.

26. “Routley, Erik.”  An Episcopal Dictionary of the Church.  Edited by Don S. Armentrout and Robert Boak Slocum.  New York: Church Publishing, 2000.  Republished on the Episcopal Church website.

27.  Erik Routley.  “The Case Against Charles Wesley.”  Bulletin of the Hymn Society.  88:252–259:1960.  257.   Quoted by Margaret Anne Leask.  “The Development of English-Language Hymnody and Its Use in Worship: 1960-1995.”  PhD dissertation.  University of Durham, 2000.  10.

28.  Carlton R Young and Erik Routley.  “New Songs of Celebration: Concertato for Two Part Mixed Choir, Congregation, Brass and Organ.”  Carol Stream, Illinois: agápe, 1974.  [WorldCat entry.]

29.  Carlton R Young and Charles Wesley.  “Two Communion Anthems.”  Carol Stream, Illinois: agápe, 1974.  [WorldCat entry.]

30.  Wikipedia.  “Erik Routley.”

31.  Carlton R. Young.  Ecumenical Praise.  Carol Stream, Illinois: agápe, 1977.  [WorldCat entry.]

32.  Carlton R Young and Christian H Bateman.  “Ring and Sing Alleluia: Two Part Mixed Voices and Handbells.”  Carol Stream, Illinois: agápe, 1977.  [WorldCat entry.]

Samuel Sebastian Wesley and Carlton R Young.  “Lead me Lord: For SA(T)B Voices with Handbells and Optional Accompaniment.”  Carol Stream, Illinois: agápe, 1978.  [WorldCat entry.]

33.  “Hope Publishing Company History.”  Its website.
34.  Carter talked at the Dunblane meeting in 1964. [50]

35.  Sydney Carter.  “Lord of the Dance.”  Copyrighted by Galliard in 1963.  The tune was identified as a “19th cent. Shaker tune; adapt. By Sydney Carter, 1963.  The post for 13 December 2020 has more details.

36.  Richard K. Avery and Donald S. Marsh.  “We Are the Church.”  Copyrighted by Hope Publishing in 1972.  This became their most popular song. [51]

37.  “Pass It On” is discussed in the posts for 4 October 2020 and 13 December 2020.
38.  The Presbyterian hymnals are discussed in the post for 17 December 2019.
39.  As mentioned in the post for 13 August 2020, Word used this technique in 1972.

40.  The Genesis Singalong.  agápe Records ARS-1013.  1973.  Produced by Fred Bock.

41.  Folk Encounter Singalong.  Hope Recordings HCP-2030.  1973.  Produced by John F. Wilson.

42.  Notice about Easter service.  Van Nuys Valley News And Green Sheet [Los Angeles, California].  9 April 1971.  91 “Music will be by the combined children’s and Chancel choirs under the direction of Dr. Keith Clark with Fred Bock at the organ.”

“Indianapolis Nov. Gospel Site.”  Billboard 87:56:6 September 1975.  “Fred Bock, minister of music at Bel Air Presbyterian Church.”

43.  Louis Evans, Jr, is discussed in the post for 27 September 2020.

44.  The album liner notes did not list musicians, but Bock was an accomplished piano and organ player.  I suspect he was the pianist, if, for no other reasons, than to save money.  The album was recorded by Toby Foster at Whitney Studios.  That studio was established to support Loren Whiney and the Haven of Rest Quartet. [52]

Wilson used the Sound Studios in Chicago.  The engineer, Stu Black, previously had worked with Chess Records and knew local blues musicians. [53]

45.  This is based on a search of works by Fred Bock in WorldCat conducted 18 June 2020.  He also had arrangements distributed by Theodore Presser.

46.  Lloyd John Ogilvie replaced Raymond Lindquist in 1972.  I suspect Bock moved when Ogilvie began a weekly television program in 1978. [54]

47.  Post about Fred Bock Institute of Music on Fuller Theological Seminary Facebook page.  2 January 2017.

48.  The Youngbloods.  “Get Together.”  The Youngbloods.  RCA Victor LSP-3724.  1967.  It was reissued as a single on RCA Victor 47-9752 in June 1969.  [Discogs entries.]

49.  Wikipedia.  “Get Together (Youngbloods Song).”
50.  Leask.  106.

51.  “Presbyterian Pastor, Songwriter Richard Avery Dies.”  Presbyterian Church of USA, Presbytery Mission Agency website.  23 March 2020.

52.  “Whitney Recording Studios.”  Discogs website.  The Haven of Rest Quartet is mentioned in the posts for 27 November 2017 and 21 October 2018.

53.  Bruce Iglauer and Patrick A. Roberts.  Bitten by the Blues.  Chicago: The University of Chicago Press, 2018.  45.

54.  “Our History.”  First Presbyterian Church of Hollywood website.