Originally published by No Magic Man Records...
Jesus' Blood never failed me yet
Gavin Bryars with Tom Waits
By: Oryan Peterson-Jones
(Die Geister Beschwören)
In the late Nineties...
I was a Tom Waits fan to the point of obsession (is there any other kind?) I donned ragged suits and porkpie hats, learned to play dusty Blues and skronk Jazz, studied World Music, Traditionals, Spirituals and Work Songs. I began using my travels across the globe as an excuse to collect exotic instruments and field recordings. I would spend considerable time soaking up inspiration from the man's old haunts: New Orleans, Los Angeles, Sonoma County... Always on the lookout for elusive bootlegs, interviews and stories of Waits sightings.
So stumbling upon Gavin Bryars' collaboration with Tom Waits while perusing the used bin at my hometown record store was like striking gold! How could such a gem have escaped me?! I took the album home, opened the liner notes and spent the next hour in awe.
"Jesus' Blood never failed me yet
Never failed me yet
Jesus' Blood never failed me yet
There's one thing I know
For he loves me so..."
For those unfamiliar with Jesus' Blood never failed me yet, the album is a simple orchestral piece centered around a tape loop of an elderly homeless man's song. The basic chords and melody remain the same through out, while timbre and instrumentation evolves, forging new textures over a consistant landscape. There are a number of elements that make this one of my all time favorite compositions: An enthusiasm for classical music and found sounds, message and imagery, the sincerity and obvious struggling in the Tramp's voice, symphonic hooks, strategic use of cadence, space, and repetition. And while it was Tom Waits' participation that first caught my eye, his role is esentially quite small, only contributing some of his famous barking to the final few minutes.
What really makes Jesus' Blood never failed me yet so powerful, however, is the Story behind the recording (I've always been more fascinated by the creative process than the end result.)
In 1971, Gavin Bryars agreed to operate sound for a documentary about London's downtrodden. Over the course of filming, some characters drunkenly broke into song. One spirited old man, who did not drink, mumbled a religious tune, which Bryars managed to capture. After toying around with the audio at home, Bryars discovered that the old Tramp's singing was perfectly in tune with his piano and quickly arranged a chord progression. He also found that the vocal sample worked quite well as a loop.
Bryars took the tape to a local university to transfer it onto a continious reel. After stepping out for a cup of coffee, Bryars returned to a melancholy and subdued scene. Some folks were quietly weeping. The loop had been running for some time, noticably affecting everyone in the room. Realizing the material's potential, Bryars spent the next few years further developing his concept: Adding a full string section, woodwinds, brass, percussion and a choir. He extended its length, adapting the material to various new recording mediums being introduced (extended play vinyl, CD's, etc.) and even prepared a version for the stage. Many years later, Tom Waits (who was a fan of the original recording,) was asked to sing a duet with the Tramp's vocals.
Unfortunately, the old man passed away before ever hearing Bryars' tribute...
With Jesus' Blood never failed me yet, Gavin Bryars turned a golden moment into a remarkable artistic statement. This is an emotionally charged work that lends itself to indivdual interpretation as much as it speaks to our Western Mythology. It is an affirmation of Faith in the face of adversity, told through the strained voice of a timeless bard. The Tramp as storyteller; He who sings of our epic triumphs and downfalls, our compassion and sacrifices, our fears of the dark. There is an undeniable sense of longing present, but it co-exists alongside sentiments of comfort and familiarity.
My personal experience of Jesus' Blood never failed me yet is hardly limited to the observation of a particular piece of music, but is also one of being so helplessly overwhelmed by that Unstruck Sound that it has forever impressed itself upon my larger worldview. I have become the constant struggle. I am the Tramp. And though it is obvious that I greatly identify with the original Story, I am as deeply haunted by the song's eternal melody. I hear it as whispers on trains, as echoes in cathedrals and thunder during storms. I hear it while strolling beneath exploding stars... In fields of white noise and Silence. This is the lasting impact and true spirit of Jesus' Blood. It is a tiny arrow that lives within one's heart, a tether to the beyond.
As my musical interests moved further underground, I eventually grew out of my Tom Waits phase. But this composition has remained a source of inspiration. For the past few years, my friends and I have hosted listening parties on Christmas morning. A roaring fire, candles and heavy consumption of red wine sets the tone. Sharing Jesus' Blood never failed me yet with folks is a special tradition, and witnessing reactions to the album is still a fascinating social experiment. Walls crumble. Tears roll. No one is spared.
We always return to that subdued and melancholy room...
