…the evidence of things not seen

Under the Bonus Tracks menu, you will find a song (Hold my hand I pray) that Old Gnu recorded 40 years ago on his shiny new cassette deck. One man, one guitar, one very cheap microphone and one shiny new Trio Cassette deck. It was a song that a clergy colleague requested should be sung at a 6.30pm ghost service. In those days there was no established new 6.30pm choir, so a kind man with a very fine voice agreed to sing this song to jolly the service along so to speak.  He was our equivalent, on that occasion, to George Beverley Shea singing at a Billy Graham Crusade evening. Who the song is by, I cannot tell, neither may I tell what manner of person the singer was. Perhaps releasing it will bring all to light. And perhaps both composer and singer will request its immediate removal if they discover it here. We shall oblige if that is the case.

Why has Old Gnu released this? Well two things happened that brought it about. The first was that a hardworking and honourable gnu-tube website minion had hinted earlier in the year that something ought to be done to mark the first anniversary of the website. The second incident was as follows.  Old Gnu was clearing out some rubbish in his shed when a pile of it gracefully slid off a high shelf landing resoundingly on the floor, except for a cassette which lodged between his horns and never made it to the floor. Old Gnu delicately pick it out with a sense of awe and wonder. He deciphered the following faded runes on the cassette case: 6.30pm Guest Service 1978.

Curiosity drove him to play the almost disintegrating cassette tape on the same trusty old Trio Cassette deck, which is with him even unto this day – well, it’s actually in his shed most of the time; Mrs. Gnu won’t have it in the house.

(Incidentally, the offending microphone refused to have its photo displayed in public.)

He had the good sense to run a digital recorder to encapsulate what was on the cassette for he knew it might disintegrate after one playing. And behold! This song greeted his ears. It sounded terrible – the recording, not the singer – but after much polishing and scrubbing in a music software package, voilà! the words and melody could be heard reasonably clearly, despite a little sibilant distortion. Much delighted by his efforts, Old Gnu proceeded to add instrumentalists from his LA Philharmonic DLH Orchestra.  And the result is akin to Natalie Cole singing the song Unforgettable with her father, Nat King, twenty five years after his death.  Except in this case I hope both composer and performer are alive and well, even though the addition, 40 years later, of the LA Philharmonic DLH Orchestra may be less unforgettable.

Then it occurred to Old Gnu: What better way to celebrate the first anniversary of the website than by releasing a song by an unknown composer and unidentified singer?  This, he thought, would be a good gesture, tribute and memorial to all those unknown composers who the world has forgotten but who hopefully have not died in battle.

Vetus Pater Gnu
Academiae Musicorum et Theologia
Turris, [LA]
IV Aprilis MMXVIII

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  1. ADDENDUM: But make no mistake. This is a very fine song, and the singing of it those many years ago was one of the ingredients that started at least a couple of folks on the road of the Kingdom. It just goes to show that the Good Lord* uses things beyond our understanding to draw people to him/her. And those of us who understand everything could be in danger of being conceited. He has even used the things we are certain we understand and sneer at, such as endless repetition of the chords of E and B7 to bring about her purposes.

    (* ‘ Lord’ is still regarded as a genderless generic term in the belssed Church of England. So we now have ladies who are Lord Bishops.)

  2. Thank you Rev. L.R. Hare. I’m not sure I quite understand the sentiment of the words, or what sort of eschatological framework it moves in. In Pauline escahtalogogy the ‘better day’ is both present in the church as the first fruits of the age to come (‘The Better Day’), and also future, I.E.,it has yet to come in all its fulness. So one is both sitting in the ‘ heavenly places ‘ now (Ephesians 1) but is also waiting to be ‘caught up in the air’ (1 Thessalonians 4:17ff) for the full universal realisation of that Better Day. (C.H. Dodd coined the term ‘Realized Eschataology). The fact that the song is accompanied by more complex chords than E and B7 suggests that the composer has a multilayered view of the Better Day. No doubt the person who sang the song will presently give a full exposition of its kerygmatic thrust – (nasty business) – and all will be revealed to my dull mind. As yet he hasn’t owned up. But we know he is out there somewhere. I hope I don’t have to resort to a Missing Persons Agency to find him. It is a man singing, isn’t it? Poor Old Gnu’s hearing is getting worse! There is, of course, a chance that she/he may sue us.
    I had a feeling of belssedness about this song, so it was most appropriate that the arrangement should finish with the ‘Amen’ of a plagal cadence. Most belssed indeed! It always makes pieces sound holier. Greetings to all that dwell with thee.
    Old Gnu.
    P.S. When you say you ‘love it’, which of the 4 New Testament for love were you thinking of?….

  3. Love it! And a very fine plagal cadence at the end to let us know that all is well.

    Richest belsings,
    The Leveret

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