Posts Tagged ‘Jesus’

Miracle Of Faith – Part 11

Wednesday, April 9th, 2014
Julia Wade

Julia Wade

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-10 yet you start there.  This way you’ll get the whole story.

The Session:

The first two sessions of this project certainly had their degrees of unfamiliarity for me.  First recording an inexperienced 12-year old boy and secondly, recording a very experienced myself put me in somewhat of a different zone.  So it was only fitting that the third session would go smooth as silk.  And it did.

Julia Wade is as pro a vocalist in the booth as I’ve ever worked with.  She comes in totally prepared for the work, she’s smart and experienced and has all the chops necessary to accomplish just about anything I want.

On top of that, she loved the song and had been singing it around the house for weeks.

There’s not much drama to this story because Julia simply came in and did her job.  We did 7-8 takes and fixed a few rough spots and were finished in a couple of hours.

The comp was difficult frankly because I had so much good stuff to choose from.  Most of the time I sweat going through the comps praying that I have the takes, praying that I have at least one great take per line to work with.  With Julia, there were always a plethora of choices to choose from.

Also, if I may further praise my artist (and wife), Julia is a committed actress deeply involved with the subtext of the songs she sings.  That, coupled with a great and highly trained instrument, makes her a joy to work with.  People often ask how, as man and wife, we work together both as artists and partners in  business running Watchfire Music.  We also run most of the business out of our home and our studio is also in our home.  This means we spend 24/7 pretty much together.

Well, beside the fact that we love each other, we trust each other.  We don’t spend much time looking over one another’s shoulder.  We each do our parts and run our divisions and trust that each of us will do our jobs well.

Recently she took on a new manager and that was a real lift for me.  I was her turn-to manager for the last 15 years.  I did it out of necessity, but never really loved the job.  It always seemed like one thing too many.  So when her new manager, Reggie Bahl, came on board I breathed a sigh of relief and went back to work.

It’s also interesting to note here that Julia has had a twenty-year fascination with the life of Mary Magdalene.  She’s read many books about her, poured over every mention of her in the Bible and already played her once several years back singing a song of mine named I Was There.  So this experience, for her, was a continuation of the exploration of that character.

Hers is a voice that I can hear in my imagination as I write, so I know pretty much how it’s going to sound as I’m writing – a great gift for a composer.  Also I know her instrument so well that I can orchestrate a song without her having previously recorded a scratch vocal because I can hear her in my head.  This way the orchestra and Julia can work as one.

It’s a good partnership.

And more importantly, we have a great time together workin’ it.

Miracle Of Faith – Part 10

Tuesday, April 8th, 2014
Mary Magdalene - Pietro Perugino

Mary Magdalene – Pietro Perugino

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-9 yet you start there.  This way you’ll get the whole story.

The Third Song:

As I mentioned earlier, Dora’s and my first inclination was to write this song for the character of Jesus.  I was never comfortable with this idea.  The master’s words are so iconic, so immortal that I did not want to in any way dilute the power of his thoughts.  I decided to let the master be the master and so we switched the character to Mary Magdalene.

Besides, we needed a chick in the band.  :o)

Again, we went to our imagination and suggested that she might have been there at the site of the miracle and also because, in our imagination, she was so close to Jesus, then she might have some special insights as well as a woman’s POV into the whole matter.

We called the work Miracle Of Faith not because of Jesus’ faith, for in our minds Jesus worked much more from a point of understanding  than faith, but really because of the boy’s amazing innocence of faith.  He so easily believed that the master could heal his mother that he was willing to give all he had to feed the 5000.

It says in the Bible (Hebrews 11:1), “Faith is the substance of things hoped for, the evidence of things unseen.”  If this miracle is not the perfect example of this quote, then I don’t know what is.

Dora and I talked a lot about the “magic” of pulling rabbits out of a hat.  The magic of pulling enough food out of the boy’s basket to feed the multitude.  The idea of the many clowns at the circus all coming out of the tiny little car mush to the audience’s delight.  This image has thrilled people’s imaginations for centuries.

But Jesus was not a magician and what he was doing was not magic, but supremely natural.  The creation of supply through thought.  If matter is an illusion to begin with than why would this not be a natural occurrence for Jesus.  We even considered not using the term “Miracle” in our title for just that reason – because most people see miracles as some form of magic instead of being what they really are – simply God’s laws in action and abundance.  But then again we decided that the title was appropriate for just that reason as well – to clarify just how natural the occurrence of a miracle is.

We saw Mary Magdalene sitting back on a rock watching the whole event and, having seen so many of the master’s ‘miracles’ before, simply seeing the entire event as normal and understanding it all perhaps even on a higher level than the disciples themselves.

The Evidence Of Things Unseen
Mary Magdalene

Lyrics by Dora Redman & Peter Link
Music by Peter Link

And so he spoke
“They need not depart.
Give ye them food to eat.”
Give them food for thought,
The food of light,
The light of sustenance
Don’t send them away in their time of need
Feed the flock

But his disciples were not in the mind of Jesus
They struggled to raise their faith
And though miracles had abounded throughout the days
They were stuck in the world’s worn out ways
They knew not God’s law of infinite abundance
And I watched as they muttered amongst themselves  hmm
“Feed them with what? There’s nothing to eat
No apples, no almonds, no meat”

Then a boy stepped forth
With a basket of bread and two fishes
Well you know the rest
The five thousand were fed
And we all saw the power of his wishes
And the evidence of things unseen
Oh yes the evidence of things unseen

You ask, “What is that evidence?”
It’s the substance of faith
And no seeming dreams that lie in between

There, by his prayer
Pulled out of thin air
In a miracle of such routine
(As I witnessed so often, again and again)
Was the evidence of things unseen
Yes, the evidence of things unseen

Yes a boy stepped forth
With the spirit of “Nothing can stop me”
A boy, just a boy
And five thousand were fed
And we all felt the power and the glory
Of the evidence of things unseen
Oh yes the evidence of things unseen

And right there, by his prayer
Pulled out of thin air
In a miracle of such routine
(As I witnessed so often, again and again)
Was the evidence of things unseen

The man
The miracle
The son of God
Hallelu!!!
And all this from two fishes
And five loaves of bread

The writing of this song was a total joy.  Once we had the lyric locked down and finished, the music of the moment simply poured forth almost effortlessly.

Why?  Because it was the third song in the trilogy, because the moments had been so researched and discussed for many months and we had lived in the shoes and already written the scene twice from different points of view.  Because we understood the characters, because we saw in our imaginations the whole scene like a movie.  In essence it became, for me, like a three camera shoot of the same scene.  I was this time camera #3.

I know that Mary, for instance was over, somewhat behind Jesus, back there on the left, sitting up on that rocky abutment quietly watching it all go down.  I know what she was wearing and I know how the shadows fell as daylight turned to dusk.  I know how much she loved Jesus and stood with him in these oh so special moments.

I know the mood of the hungry crowd and hear the murmuring as the food is passed out.  I feel the incredulity of the multitude and the gratitude and the wonder.  I feel the shame and the pride of Thomas juxtaposing his wonder.  I feel the calm assurance of the master and wide-eyed excitement of the boy.  I dive into the mind of Mary and the music simply comes forth, it passes through me, through pen and paper, through the keys of my keyboard, through the digital zeros and ones of my computer, through the vibrations passing through the air to your ears, through the wonder of the oneness of people connecting through this amazing language called music.

The song does what it is supposed to do.  It ties the knot; it ties the bow.  It explains the miracle as natural without trying to explain the science behind it.  It says that there are things beyond our understanding that are yet to learn.  And that a little boy of twelve can actually work the principles of this science without even understanding the science like the master, but just simply through his own innocent child-like faith.

The song sings itself.

Next: The Session.

 

Miracle Of Faith – Part 8B

Saturday, April 5th, 2014

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-7 yet you start there.  This way you’ll get the whole story.

Installment 8B

This experience of singing, for me, was a great eye-opener, a great reminder of just how hard it is to sing at your best.  Most people think that if one has the gift of music that it’s just easy, but great singers make it look easy when it’s simply not.  It is an experience where every nuance must be addressed, where every moment of action and drama must be thoroughly understood and accomplished in performance.

In short, if you don’t do it in the vocal booth, there’s no way and no piece of technical gear invented that will put it on tape.  (Yes, tape is a funny and old-fashioned word that does not apply anymore, but you get the point.)  If you don’t truly live the song in the vocal session, you’ll never live in the recording.

After my 10 or so takes I can feel my mind, my focus going.  That’s where fatigue hits the singer who is in shape to record.  It’s usually not the voice, but rather the concentration.  My voice is still solid because I prepared well over the last month and got in shape for this adventure, but my focus is waning.  It’s time to stop.

But I only stop the full takes.  Somehow I know in my heart, in my instinct several sections of the song that I’m still a bit nervous about.  I know I haven’t quite nailed them yet, so I do an additional 4-5 takes of just those sections.  At that point I’ve been in the booth singing for about 3 hours.

I’m done … for the day.

In the next couple of days I’ll take several hours and sit down and study each take and organize what I like and what I don’t like and then build a comp track of a final vocal.  A comp track it a composite of the best of my session.  I can edit (just like in the movies) a verse or a line from one take to another and build a “best of” performance.  For that matter, I can also edit words and sometimes even individual syllables together from different takes to get it right.

It’s important to state here that if this kind of work is to be done right, my 10 full song tracks have to be very close to each other in terms of performance and emotional choices.  That’s why it’s so important for the performer to understand the emotional arc of the song well before the session.  Otherwise I’ll never be able to match style and emotional line.  Singers who come in unprepared on that level are almost impossible to comp.  It is definitely an acquired skill.

OK, perhaps I’ve given away enough trade secrets at this point.

There is a real collaboration between vocalist and producer.  Often, when a comp is finished the singer needs to go back and study the comp and learn all the good stuff that she or he and the producer created together in the endeavor of recording.  This way they can sound as good as their record when they are performing their song live.

In my case I did, several days later go back in and fix a couple of moments that I was still not happy with.  And then several days after that and many listenings later, I did go back in yet again to fix just a word or two.

I’ll have to admit the difficulty of this endeavor.  I’m a real taskmaster with my singers in the studio.  I demand the best of them and will not stop until I get it.  I was doubly hard on myself and needed to be.

The song is finished now and I’m doing the final mix today.  I’ve gone over it and over it hundreds of times and am OK with it.  I say, “OK” because I’m not sure I’ll ever be thrilled with it because I experienced the effort it took to get it done.

I understand why Katherine Hepburn never watched a movie she ever made.

It’s also just very difficult to do both jobs at the same time.  Occasionally we see that some stars direct their own movies.  I have to take my hat off to them.  It’s not easy.  Warren Beatty is a pretty special talent.  Clint Eastwood too.

In the end, it is what it is.  It’s finished and it’s time to move on.

Ultimately it was a fascinating and enriching experience.

Miracle Of Faith – Part 8A

Friday, April 4th, 2014

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-7 yet you start there.  This way you’ll get the whole story.

Installment 8A

The Sessions:

So I finally got to the point where I decided that it was now or never.  Are we ever fully ready to do a vocal session?  So much is learned in the session itself.  As the producer listens to take after take and helps shape the performance and direction is taken by the vocalist, the song does grow.  It’s simply a part of the creative process.

I always say that it’s most important to have as much of the technical understood before that session so that the technical becomes second nature and the majority of the focus in the session is on the emotional and logical performance.  In any given moment in a studio recording, if the singer is focused on the technical, it simply weakens the performance – the singer is not living the moment, but rather is standing outside of the song and not “into it.”

When I produce my own vocals, then I have to wear two hats – the hat of the producer and the hat of the performer.  As a performer when in the booth singing, I can’t be listening to myself with my producer hat on.  I must be totally the performer.  If I were to listen to each take as the producer right after the take, I would double the time it takes to do a good vocal and turn a 2-3 hour session into a 4-6 hour session.  A long session like that would simply wear anybody out, so basically I have to just wear the hat of the singer and trust my instincts and hope that I have what I need for the comp.

I believe I did 10-11 full takes of the song.  In my studio I can run my computer and my Apple Logic Recording Software remotely from the booth.  So I am, in essence, singer, producer and engineer.  I need to make sure I get a lot of sleep the night before.

I start out by getting levels – both headphone levels and recording levels.  Sometimes I’ll ask Julia to come in and watch the VU meters while I run through the song in rehearsal and set a level so that I’m well short of distortion.

Once I’m happy with the mix of orchestra and myself in my phones then I spend the next 2 hours recording 10-12 full takes of the song.  I drink a lot of hot tea while I’m singing.  It keeps my throat lubricated and warm and I just like the feel of it.  Every singer is different.  Many won’t drink any dairy products before or during a session.  They say it coats the throat.  Others drink hot water.  Cold water with ice is probably the one drink I would stay away from.  Carbonated beverages are probably not such a good idea either.  Too many bubbles in the stomach.  Burrrrp …

Well, enough of all that …

Basically I try to spend the 2 hours of singing living the character of the song.  In this case it was a more theatrical song and I was playing Thomas, the doubter, but as long as I play Peter, the doubter I’ll be OK.  Even if I’m playing simply myself in a given song, I still have to choose what part of my own character I will play.  I have to know who I am and who I am talking to and most importantly what am I doing.  Basically all these decisions of the actor are made before the session, so once I get into the session, I just let it fling.

Miracle Of Faith – Part 7

Thursday, April 3rd, 2014

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-6 yet you start there.  This way you’ll get the whole story.

Casting the second song:

I am a man of great faith.  I run much of my life on faith – faith that I can always write the next song, faith that I will wake up the next morning, faith that the music business will come back to life, faith that I am well.

I can also have my more skeptical moments as well.  I try not to, but this time around I’m faced daily with my own humanity.  I suppose that my life’s quest is to get over it – to get over or beyond my own humanity.

So as we wrote, I understood this guy, Thomas, more and more.  You might say that on certain levels I even began to identify with him – on certain levels.  I certainly have compassion for the guy.

So when it came to finding the right male voice for the role, I looked through my book of wondrous singers that I know and have worked with over the years and searched for the man with the right spirit, mentality and voice for the role.

I did not find the perfect choice.  One did not jump out at me.

I do not consider myself a singer’s singer.  Oh I can carry a tune and all, but I do not spend my life working at this craft.  I coach and teach singers, but I do not consider myself a singer per se.

But this nagging thought kept coming to me saying, “Sing it yourself.  You know this guy, you feel this guy.  You could do it.“  But then I’d think, “No, you’re not in shape, this song requires a bigger voice, this song requires more than you can give it.”

But the more I looked for the right guy, the more I came up empty.

So finally I thought, “Well, why don’t you just try it. If it doesn’t work, you can always use what you do as a demo in looking for someone else.”

So I made the commitment.  I began to get my voice in shape.  I hadn’t really sung much for a couple of years, but I’d thought a lot about it since I had been teaching voice pretty regularly for the past couple of years.

I began to exercise for an hour a day – scales, chest voice, head voice, etc., etc.  I did not sing an actual song for 3 weeks – just getting’ in shape exercises.  It wasn’t easy for me.  Back in the day, oh a hundred or more years ago, I could sing pretty well.  I did the lead in Hair on Broadway and one of the leads in my own hit musical, Salvation, and sang in my own folk group and rock bands, but that was then.

After 3 weeks I decided, besides vocalizing, to start working on the song.  I was shocked at how difficult it was even though my voice was now in pretty good shape.  I would vocalize and warm up every day and then work on the song for an hour going over vowels, breathing, character development, the 5 necessary questions that every singer has to answer in order to really perform a song – all the things I teach.

Because I now teach these things, I had to take the teacher’s hat off and put the doer’s hat on.  That was very interesting …

I must admit, recording this song has made me a much better teacher.  It’s also made me a much more compassionate teacher.  Singing well is extremely hard.  Singing well enough to record is ten times harder.  When you record, it’s for all time, a permanent record.  It has to be perfect.

In considering perfection I finally came up with, “Well, it’s as good as I can do it.”  It is me at the time in my life the best that I can be.

Is that enough?  I certainly hope so.

I’ll let the listener be the judge.

Next:  The Sessions.

Miracle Of Faith – Part 6B

Tuesday, April 1st, 2014

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-5 yet you start there.  This way you’ll get the whole story.

Installment 6B

So we last left off with Thomas being embarrassed, perhaps even humiliated at Jesus’ reprimand.  As I mentioned earlier, we hear this song being sung by Thomas years later as he remembers back on the experience.  He sings:

Now I wish to understand
A world not made with hands
To see the world as children do
And to see the world that the Master knew
Oh why is it so easy for this child to believe?
And so difficult for me?         

Jesus turned the water into wine
And healed, in an instant, the blind
He told me, “You can do all this and more, Thomas
All these possibilities lie within you”

But I can’t see beyond the world I see
And I would this world of matter and spirit
Be reconciled

But Jesus cautioned, “No, my friend,
Thomas, you must see through the eyes of a child
Through the eyes of a child”

Thomas asks the great $64 question, “How can God be all good and yet evil seem to be?  How can both matter and spirit exist on the same plane?  How can I make peace with this dichotomy?

Even in his old age – still trying to figure it out …

He goes on in his story:

It was then he turned quiet
As the sun began to leave the day
Silently he beckoned me
“Won’t you come and pray?”
“Pray what?” said I
But I obeyed and closed my eyes
And did as I was bid to do
In the miracle of the five loaves and two fishes
Oh yeah
And we fed five thousand souls

Thomas wasn’t a bad guy.  He was just struggling with both worlds.  Which of us have not done that before?  In fact, here, he was proud, proud of the miracle, proud of being a part of such a stupendous moment in the history of human civilization.

And afterwards I heard the boy
Say “Master, I must ask another miracle of you …”
But before he could go on Jesus spoke
“Your faith hath made her whole”

Even this young lad heals while Thomas, the great disciple, doubts on …

And after all these years …

I still wish to understand
A world not made with hands
To see the world as children do
And to see the world that the Master knew

Now why was it so easy for this child to believe?
And so difficult for me?                 

Jesus walked the water ‘cross the sea
Defying all the laws, set us free
He told me, “You can do all this and more, Thomas,
“You can calm the heavens and still the ocean’s roar …”

At times I see beyond the world I see
Bewitched by matter, yet by spirit beguiled
And at times I still can catch the light
Shining in the eyes and the innocence of that boy
Through the eyes of a child

Ah yes, the innocence of that boy …

What a kid!

Ah Thomas, how well I understand you …

Perhaps I ought to try to sing this song myself, thought I …

Please stay tuned for Part 7.

 

Miracle Of Faith – Part 6A

Monday, March 31st, 2014
Caravaggio - The Incredulity of Saint Thomas

Caravaggio – The Incredulity of Saint Thomas

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-5 yet you start there.  This way you’ll get the whole story.

Installment 6A

The Second Song:

Through The Eyes Of A Child is very much a song of Dora’s and my imagination.  In none of the four Gospels is it stated exactly which of the disciples were on hand at the miracle of the five loaves and two fishes.  Since it is unclear exactly which disciples were there and who said what, Dora and I decided to make it up.

Actually, in the first song, God Made It So, there was a lot left to our imagination as well.  For instance, the back-story of the boy and his mother, was total conjecture on our part.  There was a boy who stepped forth in only one of the Gospels, but that’s all we know about this young lad.  So we exercised what is called “theater license” and simply made it up.  Who’s to say anyway how accurate the Bible is?  After all, Luke was written some two hundred years after it all happened …

So we decided to make the main disciple the infamous doubting Thomas, who later in the story of Jesus so doubts his master’s return from the dead after the crucifixion that he has to touch Jesus’ wounds to see if he’s not really a ghost.  We figured that someone had to scoff at this innocent boy’s faith, so why not good ol’ Doubting Thomas?

All drama needs an obstacle, a push and pull.  If it’s easy to accomplish the quest, then there’s no play.  With Doubting Thomas we had our foil.  It’s Thomas who says, when the child steps forth and offers all he has in his basket, “ Get outta here, kid.  That’s not nearly enough to feed this multitude.”

But the more we explored this man, the more we looked into his character and thought about the way he interacts with Jesus, the more I personally felt compassion for this gentle doubter.  Which of us today have not had our doubting moments in life – especially when it comes to the so-called miracles of healing?

So we wrote the song from the point of view that as Thomas tells the story, he’s a much older man now looking back on his life and his most special time spent with the master.  He’s a guy who followed Jesus, but he was the skeptic of the group.  Every group needs a skeptic.  A good skeptic can help keep the balance in group discussions and decisions.  Jesus probably knew what he was doing when he included Thomas as a disciple.

So we saw Thomas as a life-long doubter – one of the disciples who never quite “got it” the way Peter (who later raised the dead) did and John and some of the other great disciple stories in The Acts.  Thomas is never mentioned after the Gospels and we just figured that perhaps he was one who never quite figured it all out.

Now remember, some of this is simply fiction.  We’re not saying that this is absolutely what happened.  Rather, this is a musical of the imagination.  Please remember this term: Musical of the Imagination.  We’ll talk about it a lot more as we move forward.  Essentially, we took these age old stories and asked ourselves, “What if …?”  Again it’s simply called “theater license.”  We’re sometimes mixing fact and fiction – reality and conjecture.

So Thomas starts by singing:

I followed Jesus to the mountaintop
Where five thousand souls gathered ‘round
Where we listened to the Master’s stories
And his truths that for centuries
Would astound the world

Toward the end of the day
When the hungry crowd began to leave
Jesus turned to me and said
“We must feed the people”

“With what?” said I
I turned away and scoffed in doubt
Then from the crowd a boy stepped out and said
“Hey Mister, I got five loaves and two fishes”
Say what?
“I got five loaves and two fishes”

This naïve lad with such big wishes (Heh)
Would feed five thousand with all his riches …
Ha!

We think Thomas was earnestly trying to protect the master here.  Trying to be a good disciple and serve his boss as best he could by keeping the time wasters away from him so he could do his work.  Thomas wasn’t a bad guy here; he was just being practical, being a good personal secretary to the boss.

But he had a tough time seeing the whole picture.   His sense of far sightedness was, well… a bit short sighted.  He goes on to sing:

But Jesus turned to me and spoke
“Thomas, you must see through the eyes of a child
Now bring the lad to me and let be
Your doubtful uncertainty”

Oh, to be reprimanded by the master.  This had to be a tough moment for our friend, Thomas.  Just imagine …

Miracle Of Faith – Part 5

Wednesday, March 26th, 2014

BOY-WITH-BASKETNote: I suggest that if you haven’t yet read Miracle Of Faith – Part 1-4 yet you start there.  This way you’ll get the whole story.

God Made It So:

This is a theatrical song – one of three performed in a very theatrical CD.  We see it as a mini-musical of the imagination.  I use the word “imagination” because there’s nothing to see (yet).  No productions are planned at this point.   The concept here is to tell a story from three different character’s points of view entirely as an audio experience and let the listener’s imagination go to town.

So this is not a CD to listen to while washing the dishes, getting the kids ready to go to school in the morning or as background music to anything.  Get in front of those speakers or get those headphones on, lie back in your favorite chair, turn the lights down low and dive into the listening experience.

We’re gonna tell you a great story, so listen up.

It’s about one of the coolest moments ever witnessed on the planet, so we need your full attention.

A lot of the music is purely instrumental and that tells a story too, but you get to close your eyes and imagine what you think might be happening.  We’re going to lead you in a few directions here with things like the title of each instrumental and, of course, the sung songs themselves, but the rest is up to you – you and your imagination.  In my imagination I know what’s happening in every bar of the instrumentals, in every phrase of the music.  I first saw the movie in my mind and then I scored it.  So you should listen and imagine your own movie.

But now I’ve gone and gotten off the point.  The point of this post is to introduce you to the first song of the trilogy.  The CD is not yet finished, but here’s a preview of it in lyrical form as sung by a twelve year old boy who takes family matters into his own hands.

God Made It So

Lyrics by Dora Redman & Peter Link
Music by Peter Link

A Boy

Well the news of the Prophet traveled fast
And a hope filled Mother’s heart.
When she heard of the miracles
She begged me to find him
Hoping she might be healed.

So I carried her with me to the market place
And as the crowd began to fill the streets
Calling his name
And following after him
With expectation in our hearts
Mother and I,
Hope and doubt,
Followed along as best we could

Each step was a struggle but we finally arrived
Then Mother began to cry
There were so many people on that mountainside
And much to my dismay
The Sun had set, his sermon done
Her chance was slipping away
So I left her behind, took the basket of food
And crawled through the legs of the multitude

Upon reaching the front
There he was
Jesus and the twelve gathered ‘round

Then I heard them tell Jesus, “Send the people away.”
In despair, I began to pray
(One said)
“If we don’t feed the people they will leave, I fear”
And my chance would disappear

So I gave that one my basket of food
“Take mine.  It’s all that I have.”
He scoffed as he said “That’s not nearly enough”
And brushed me aside with a gentle rebuff
Ah but Jesus said
“Bring the boy here
He brings to us all that we need”

Then Jesus turned away from the crowd
And began giving thanks out loud
And I heard the words as I stood at his sandaled feet
Then he took from my basket for all to eat
My two small fishes and my five loaves of bread

But he didn’t stop there.
He reached down again
And brought forth from my basket
Out of thin air
Until more than five thousand were fed

And what I’ll always remember
And always will know
Is how Jesus believed in his heart
And how God made it so

As the multitude was being fed
I tugged on Jesus’ sleeve
“If you can do all of this and more
Then you can heal my Mother”
Jesus tossed my hair and said
As he sat me on his knee
“From the moment that you left her
The healing was received
The very moment your tenacity began
You see you can do whatever you believe
If you just believe you can”

I too then turned away from the crowd
And began giving thanks out loud
I had believed and the truth was revealed to me
Then I went to my Mother and knew she was free
For she was laughing
As she wept and danced with me

But it didn’t stop there
For our basket was full
With great measure to spare
From out of thin air
And the Master was smiling at me

And what I’ll always remember
And always will know
Is how I simply believed in my heart
And how God made it so


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