Review
Culture
Grace
Music
Race
5 min read

Revisiting Amazing Grace inspires new songs

Today’s musicians capture both the barbaric and the beautiful.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

three folk musicians face the camera across a meadow
Angeline, Cohen & Jon.

John Newton’s Amazing Grace was originally written to accompany his sermon for New Year’s Day 1773 and has become the most recorded and most sung hymn in the world. Last year was the 250th anniversary of the hymn’s creation while next year is the 300th anniversary of Newton’s birth. 

The former slave trader who became a Church of England minister and abolitionist, preached his sermon on the theme of God’s mercy as outlined in a biblical passage from the first book of Chronicles. There, King David prays ‘Who am I Lord and what is my family that you have brought me thus far?’ Newton found parallels with his own life, having been saved from sinfulness and a storm at sea. 

Among the many events and projects marking the two anniversaries, a folk album entitled Grace Will Lead Me Home may well be one of the most interesting. That is because, while it celebrates the hymn and its legacy, this album also explores “the distance between the world’s most beloved hymn and a most vile and shameful period in history, the trans-Atlantic slave trade”. 

As captain of a slave ship when he became a Christian, Newton continued shipping Africans across the Atlantic. Later, he became Curate in Charge at St Peter and St Paul’s Church in Olney, where he befriended William Cowper and wrote the words to many hymns, including ‘Amazing Grace’. Later still, he lent his voice to the abolitionist cause. Despite these tensions in Newton’s life-story, the love that people have for ‘Amazing Grace’, including those who are descended from the slaves that Newton shipped across the Atlantic, became very apparent in a series of interviews conducted as part of the project before the songs forming the album were written and selected. 

‘I’m going to hear John Newton preach’ is a key track on the album in which Jon Bickley describes Newton’s transformation from “foul-mouthed drunken sailor” to the captain able to “talk about how Grace can set you free”. In between, however, Bickley notes that the slaves disembark “leaving a trail of blood across the quay” while “the Captain’s in his cabin” writing about grace. Bickley’s songs on the album culminate in a powerful plea for reparations for slavery entitled ‘Sorry’. He writes:  

“300 years after the birth of John Newton the road to redemption for those nations who profited from the slave trade looks long and difficult but surely it starts by saying Sorry.” 

Bickley collaborated on the album with two musicians who have also played on other recent folk albums exploring the transatlantic slave trade and its legacy. Both Angeline Morrison and Cohen Braithwaite-Kilcoyne played on a project by Reg Meuross entitled Stolen From God, while Morrison had also released The Sorrow Songs, which featured Braithwaite-Kilcoyne, to considerable acclaim. Both artists brought the weight of their study as well as their considerable artistic talents to the Grace Will Lead Me Home project. 

Braithwaite-Kilcoyne brought the profound and arresting ‘Press Gang Song’ to the album. This is a resume of what it takes to become a slave trader from a readiness to “sail the fierce sea” to the willingness to “abuse your fellow man lead him shackled in chains”, “brutalise and violate, disregard their cries of pain”, “cast them overboard to a watery grace”, “for when that you do you shall master your trade”. This was the journey taken by Newton in becoming a slave trader.  

Morrison, whose ‘Grace will lead me home’ is based on the Christian hope of resurrection, also writes from that perspective in ‘The Hand of Fanny Johnson’ from The Sorrow Songs. There, having noted the universality of death which “comes for the rich and the lowly”, she sings: 

“My dear mother said that a funeral is holy, 
The sanctified earth receiving the body, 
And in the hereafter that’s when we will all be 
Remade, entire and whole.”  

Stolen from God, while clearly noting and condemning the way in which European Christians viewed the degradation inflicted on others as their God-given route to wealth, also makes some words of Frederick Douglass, a former slave turned abolitionist, writer and orator, central to the song cycle: 

“Between the Christianity of this land and the Christianity of Christ, I recognize the widest possible difference… so wide that to receive the one as good, pure and holy, is of necessity to reject the other as bad, corrupt, and wicked… I love the pure, peaceable and impartial Christianity of Christ; I therefore hate the corrupt, slave-holding, women-whipping, cradle-plundering, partial and hypocritical Christianity of this land.” 

The song ‘Stolen from God’ makes this contrast its central theme: 

“God made these hands to hold and caress 
He made these hands to worship and bless 
He made these hands to hold my own child 
God made these hands to be mild” 

Yet, those involved in the slave trade: 

“You made these hands to blister and bleed 
To slave for the white man and bend to his greed 
To cut coffee for gentlemen cane for their wives 
At the cost of my family’s lives” 

As a result, your legacy is “written in blood, everything stolen from God”. 

This contradiction in the Christianity that underpinned the transatlantic slave trade is central to the story of Amazing Grace and its legacy (see Bickley’s ‘The choir still sings Amazing Grace’). Newton did come to see the error of his ways and lend his voice to the abolitionist cause in support of those like William Wilberforce, Thomas Clarkson and Olaudah Equiano. Meuross effectively captures the beginning of this change in a song called ‘Bridgewater’ about an early petition against slavery: 

“Reverend Chubb Mr Tucket Mr White 
Call on every Christian soul to join the fight 
To stand up as a nation ‘gainst this wicked violation 
Though it might be bad for trade you know it’s right… 
O brother oh brother oh brother 
First the tide must turn before the flood” 

The Sorrow Songs, Stolen From God and Grace Will Lead Me Home are three deeply moving and challenging albums, with Morrison and Braithwaite-Kilcoyne as the exceptional musicians linking all three, that tackle the history of the transatlantic slave trade, unearthing both incredible tales and uncomfortable truths. The Church is among the institutions that need most to hear and receive the truths and tales these albums share. 

  

Angeline Morrison – The Sorrow Songs (Topic Records 2022) 

Reg Meuross – Stolen From God (Hatsongs Records 2023) 

Angeline, Cohen & Jon – Grace Will Lead Me Home (Invisible Folk 2024) 

Article
Books
Culture
Morality
Sin
7 min read

After the Salt Path revelations I’m liking it even more

We edit our own reality by the stories we tell ourselves

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

A newspaper front page shows its title and a falling sea bird
How The Observer broke the story.

The Observer held nothing back in its exposé headline:

“The real Salt Path: how a blockbuster book and film were spun from lies, deceit and desperation”

The truth behind the summer’s feel-good movie and the reputation of author Raynor Winn lie in tatters, shredded by the revelations unearthed by relentless investigative journalism.

The uplifting story of how a couple face financial ruin, homelessness and a terminal illness by walking the South West Coast Path has been an inspiration for many who’ve either read the book or seen the film, or both. The story works because it reflects back to us the life we know, the lives we live. And when you add the seaside of Somerset, Devon, Cornwall and Dorset, what’s not to love?

But now it needs to be seen in an altogether different light.

The article beneath the headline was thoroughly researched, carefully constructed and uncompromising in the allegations implied by the discoveries, observations and commentary of its narrative.

“… not her real name”

“… she was a thief … embezzled the money”

“… arrested and interviewed by the police”

“… five county court judgements”

“… they owned land in France”

“… nine neurologists … were sceptical”

Point by point the back story of the Salt Path is pulled apart.

First, Raynor and Moth Winn are not the “real”, “legal” names of Sally and Tim Walker.

Second, The Observer uncovered that the couple had money troubles for reasons other than the failed business investment they had claimed. Rather, as a part-time bookkeeper for an estate agent and property surveyor, Sally was accused of syphoning off £64,000 from the company’s accounts. Concerning which, it was reported that she was arrested and interviewed by the police.

Third, it was mounting debts from settling the matter with her former employer, alongside other debts, that actually led to the repossession of their home and their resulting homelessness. Not the failed business venture.

Fourth, they weren’t actually homeless as they owned a property in France, near Bordeaux. While it was in a state of disrepair and not habitable, they had previously stayed on site in a caravan.

And then finally, in a revelation that undermined the very heart of the story of their journey together, medical experts observed that it was extremely doubtful that Moth had suffered from corticobasal degeneration (CBD) for 18 years. The journalist had consulted nine neurologists, and this was the reported consensus. Not only were Moth’s presenting symptoms not what were expected, the normal life expectancy with the condition was tragically short at six to eight years.

Pulling the various strands of its investigation together The Observer thumps the tub about the importance of ‘truth’. It is not acceptable to be mis-sold an idea of truth where important passages of the book are invented. There are both “… sins of omission and commission”:

“The story, no doubt, has elements of truth, but it also misrepresents who they were, how they started out on their journey and the financial circumstances that provided the backdrop.”

However, life is complicated and there are always two sides to a story.

In a response posted to her website Raynor Winn answers each of the accusations in turn. Amid the storm of vitriol and threat unleashed online by the article, she protests that, “… [it] is grotesquely unfair, highly misleading and seeks to systematically pick apart my life.”

Most distressing has been how Moth has been traumatised by the suggestion his diagnosis was made up. Along with her online statement Winn has posted appropriately redacted letters from the neurologists treating Moth that confirm his diagnosis and the narrative of the book.

As for the charges of embezzlement, she does concede that there were difficulties with a former employer. Allegations were made to the police, and she was questioned about them. However, no charges were brought, and a settlement was reached that included her paying back money on a “non-admissions basis”.

“Any mistakes I made during the years in that office, I deeply regret, and I am truly sorry.” Raynor Winn

This, however, was not the failed business deal that lay behind their financial difficulties and which triggered their homelessness and the Salt Path story.

Winn reports that the property in France is an “uninhabitable ruin in a bramble patch” with its own, unrelated, back story. When they did explore selling it at the height of their difficulties, a local French agent valued it as virtually worthless and saw marketing it as pointless.

Ultimately, they chose not to declare themselves bankrupt and simply wipe out their debts. Rather, they made an agreement with their creditors for minimal repayments. The success of the book has enabled all their debts to be cleared.

Which leaves the implicit accusation of not being who they said they were, of hiding behind pseudonyms and not owning their “real”, “legal” names. She explains that the reasons Sally Ann and Tim Walker are Raynor and Moth Winn is really quite straightforward.

In the early years of their relationship she told Moth how much she disliked being called Sally Ann and would have preferred the family name, Raynor. Moth called her Ray from that point on. Winn is her maiden name. As for Moth, well his name is Timothy, get it? Friends and family use the names interchangeably, Sal/Ray, Tim/Moth.

Having read the book and seen the film earlier this summer I was particularly taken with The Salt Path. The humanity of their story, the journey they’d been on and the insights to a life well-lived that it offered.

Goodness, which one of us has never made a mistake, a bad call, or a wrong choice, “through weakness, through ignorance or through our own deliberate fault”?

When The Observer’s bombshell broke my heart fell. Moral high horses were being mounted and outrage expressed. Raynor Winn was being cancelled, literally cancelled.

She pulled out of her forthcoming Saltlines tour, which would have seen her perform readings from her books alongside the music of the Gigspanner Big Band during a string of UK dates. There were also calls for Penguin to cancel her next book, On Winter Hill, set for publication in October.

But do you know what? On reflection, after the revelations about the Salt Path story I’m liking it even more. And for exactly the same reasons I liked it before. Because it reflects back to us the life we know, the lives we live.

For a start, life is messy. Sometimes it’s even murky, full of misunderstanding, misinterpretation and constructed narratives. Goodness, which one of us has never made a mistake, a bad call, or a wrong choice, “through weakness, through ignorance or through our own deliberate fault”? Skeletons and cupboards come to mind.

Then, on the back of that, we all fashion the story of our lives. Whether it’s curating our online presence with the images we post to social media, or the anecdotes we share and the face we present to those who are part of our day-to-day lives. The pull is always towards a version that shows us in the best light.

In fact, it can even go right down to the stories we tell about ourselves, to ourselves. The interpretation of what has happened to us and why. Interpreting how much of our experience is down to what has been done to us or is the fruit of our own responsibility.

Now, I may not want to go as far as University of Sussex Professor of Neuroscience, Anil Seth, whose books, articles and Ted Talks see us living in a kind of ‘controlled hallucination’. An interpreted version of reality constructed and calibrated by our brains out of our experience. But there is no doubt in my mind that we edit our own version of reality by the stories we tell ourselves and each other.

This is how things are. This is what it means to be human. Some bits are edited in, others edited out. Some experiences we can interpret in one way, while others might view them very differently from where they stand.

When we feel the temptation to write someone off because of what they’ve done we do well to reflect on our own experience. Then we may well be grateful that we haven’t been cancelled because of our past indiscretions.  As the old saying goes, “There, but for the grace of God, go I.”

I’m reminded of how Jesus handled himself is such circumstances. When a self-righteous crowd were swiftly wanting to rush to judgement on a woman’s flawed sexual choices, Jesus encouraged those who were without fault to be the first to act. Slowly they all realised what he was saying and backeddown.

For myself, I have always found the prayer of confession to be profoundly helpful. It keeps us grounded in the reality of our own experience and should caution us about cancelling others and writing them off.

Almighty God, our heavenly Father,

we have sinned against you

and against our neighbour

in thought and word and deed,

through negligence, through weakness,

through our own deliberate fault.

We are truly sorry

and repent of all our sins.

For the sake of your Son Jesus Christ,

who died for us,

forgive us all that is past

and grant that we may serve you in newness of life

to the glory of your name.

Amen.

For our skeletons there is forgiveness.

For what lies ahead, we have the possibilities of starting over.

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