I waited patiently for the LORD;
he inclined to me and heard my cry.
He drew me up from the pit of destruction,
out of the miry bog,
and set my feet upon a rock,
making my steps secure.
He put a new song in my mouth,
a song of praise to our God.
Many will see and fear,
and put their trust in the LORD.
SONG: “Oh, He’s Taken My Feet” | Early American folk hymn, performed by Lucy Simpson, with Rock Creek (Bill Destler, Wally Macnow, Tom McHenry), Mary Alice Amidon, Peter Amidon, and Caroline Paton, on Sharon Mountain Harmony: A Golden Ring of Gospel (1982, 2002)
Lucy Picco Simpson (1940–2006) was a prodigious collector of old hymns, amassing four hundred hymnals, mostly from the nineteenth and twentieth centuries, over her lifetime. From their pages she would dig out old gems and help revive them—such as “Oh, He’s Taken My Feet.” After recording the song for Folk-Legacy Records in 1982, it was picked up by folk singers Jean Redpath and Lisa Neustadt in 1986, and thenceforth by others.
I’m not sure precisely where Simpson sourced the song from, but I do know both the text and tune were compiled, along with 249 others, by George Pullen Jackson in the book Spiritual Folk Songs of Early America (New York: J.J. Augustin, 1937), which you can download for free from Project Gutenberg.
Sharon Mountain Harmony, where Simpson’s simple rendition appears, is one of my favorite albums. In his 1983 review for the Washington Post, Richard Harrington wrote,
On “Sharon Mountain Harmony” the inspiration is the particularly rich motherlode of gospel song, both black and white traditions. Rock Creek [the vocal trio comprising Wally Macnow, Tom McHenry, and Bill Destler] shares the album with Lucy Simpson of Brooklyn, and Mary Alice and Peter Amidon of Vermont. Simpson and Rock Creek alternate leads while providing a constant, thick backing of informal and earthy harmonies with heavenly aspirations. The singing is comfortable, unhurried. No matter which voice leads – Simpson’s ethereal and soft soprano, Bill Destler’s gentle tenor or Wally McHenry’s persuasive baritone – it’s the richness of the ensemble, the entrancing vocal weaves, that make this album a quiet gem. Another plus is the choice of material. All 16 songs are deeply rooted in prayer meetings, crusty hymnals and songbooks, revival tents, amen corners, rural radio programs; they come from the land and they’ve been well-used. There’s the clipped bluegrass harmony of “Glory Bound,” the shape-note urgency of “There Are Angels Hovering Round,” the exuberant Baptist release of “Oh, He’s Taken My Feet” and “Trouble So Hard,” the spiritual grace of “Blessed Quietness” and “Time Has Made a Change in Me,” the calming reassurance of “I Will Arise.” These are all wonderful songs, beautifully displayed. They reflect intensely personal convictions and a tremendous respect for the grace of unadorned voices singing from the heart.
Folk artist Sam Amidon, one of the sons of Peter and Mary Alice Amidon (who sing on Sharon Mountain Harmony), learned “Oh, He’s Taken My Feet” from Lucy Simpson, a family friend. Music critic Ryan Foley calls Amidon a “clever re-inventor, overly ambitious re-animator, whiz-bang music folklorist, fusty archivist . . . disassembling and then reconstructing antiquated sacred songs, secular ballads, and folk tunes.”
That’s what he does with this song on his 2013 album Bright Sunny South. “Brimming with unexpected shifts and subtleties,” Amidon’s arrangement of “He’s Taken My Feet” “begin[s] with a spare guitar and voice, [then is] slowly joined by hints of trumpet, understated fretless bass, and other elements until the song, very gradually, grows to a burning climax of dissonant guitars, synths, and explosive drums” (Fred Thomas). The sonic chaos at the end lasts almost a full two minutes and represents “the mire and the clay”—all that pulls us down, gets us stuck.
The melancholic tone that culminates in clashing is not what you’d expect from a psalm of testimony about the rock-solid stability God provides. But when the song is taken in context of the whole biblical psalm on which it is based, which vacillates between praise and lament, it makes perfect sense. Psalm 40 opens by celebrating the deliverance God has wrought in the past, but then it moves into the miry present, where the psalmist is in need of another deliverance:
For evils have encompassed me
my iniquities have overtaken me,
and I cannot see;
they are more than the hairs of my head;
my heart fails me.
Be pleased, O LORD, to deliver me!
O LORD, make haste to help me!
. . .
You are my help and my deliverer;
do not delay, O my God! (vv. 12–13, 17b)
Amidon’s arrangement of “He’s Taken My Feet” captures the believer’s struggle through adverse circumstances to find firm footing once again on the “Rock of Ages.” From within the fray the speaker remembers God’s faithfulness, sings God’s faithfulness, and that weary song creates anticipation for yet another act of divine rescue.
This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.
To view all the Revised Common Lectionary scripture readings for the Second Sunday after Epiphany, cycle A, click here.
2 thoughts on “From the Mire (Artful Devotion)”
[…] post: “From the Mire (Artful Devotion),” on Psalm […]
[…] the Lord: Isaiah 42:1–9; Matthew 3:13–17; Acts 10:37–38, 42–43Second Sunday after Epiphany: Psalm 40:1–3Third Sunday after Epiphany: Isaiah 9:1–5; Matthew 4:12–17Fourth Sunday after Epiphany: 1 […]