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6 min read

Aside from Amazing Grace

Helping win a historic victory for humanity was an influencer with a shocking back story. Biographer Jonathan Aitken discovers there’s more to John Newton than penning Amazing Grace.

Jonathan is a former politician, and now a prison chaplain.

Statue of John Newton

John Newton is back in the news. 250 years ago in January 1773 he wrote the words of what has become the most recorded, performed and loved hymn of all time – Amazing Grace. 

As a popular song it is right up there competing with Happy Birthday and I’m Dreaming of a White Christmas. And the spiritual power of its lyrics shines out at an estimated ten million annual weddings, funerals, celebrations and services across the world. 

As a biographer of John Newton I have paradoxical feelings about Amazing Grace.  I love the hymn as much as anyone particularly when it brings tears in the prison chapels where I serve as a chaplain.   

Yet for historical reasons I am disappointed on this great man’s behalf that he is largely remembered only for this hymn.   

For there is much more to John Newton than Amazing Grace. 

For starters he was so close a mentor to William Wilberforce, and so important a witness as an ex-slave ship captain to the horrors of the evil trade, that without Newton the Abolition of Slavery Act 1807 would never have won the necessary Parliamentary votes to pass into law. 

If this great historical achievement was not enough Newton’s colourful back story was the stuff of which best sellers and movies came to be made. 

In his wild youth Newton was a serial rebel.  He ran away from home, church, school and military service.  He was jailed and publicly flogged for desertion from the Royal Navy. 

After being thrown out of the Navy he ended up working as a slave trader in West Africa. 

There the hard drinking, riotous and ruthless young Newton indulged in every imaginable vice.  His business as a brutal kidnapper of natives, whom he sold to slave ships, made him a fortune.  

Then came a dramatic change, Newton got religion.  This happened on the 9th of March 1748.  Newton was on board a ship, The Greyhound, in the middle of the Atlantic Ocean. Suddenly a massive storm wave hit the ship and almost broke it apart.  Newton was roused from sleep by a cry of “all hands on deck, the ship is sinking.”   

The storm of gale force winds which ripped a huge hole in The Greyhound lasted for the next seven days.  For most of that time Newton, a strong young seaman, took the helm.  He was certain that he and everyone else on board would be drowned.  In desperation he remembered some of the prayers he had learned from his mother, in his childhood, and started to pray for God to save his life. 

So when, against all the odds, The Greyhound did not sink and limped into the Port of Londonderry, Newton decided that perhaps there might be a God and began going to church. 

Although Newton did start praying and reading his Bible, he did not stop slave trading.  Promoted to being a slave ship Captain he made five further voyages to West Africa.  On his ships he indulged in many of the vicious cruelties that characterised the slave trade. 

Newton kept diaries of these horrors which included chaining, shackling, flogging, thumb screwing and throwing overboard the slaves during their long and dangerous voyage from the West Coast of Africa to the East Coast of America. 

Yet gradually, his self-educating Bible study and some teaching from Christian friends caused Newton to see the light. He gave up the slave trade.  He got a good shore job in his home port of Liverpool, a city which was being targeted by Methodist preachers such as Wesley and Whitefield. 

Newton, by now a soul on fire, became a preacher in dissenter chapels in Lancashire and Yorkshire.   

After some years he applied for ordination in the Church of England.  But he was turned down for ordination seven times in six years by various Bishops and Archbishops.  

These rejections had nothing to do with Newton’s sinful past career as a slave ship Captain.  For in the 18th Century, the Church of England was not merely tolerant of the slave trade.  It reaped many benefits from its large investments in it and the large donations it received from it. All documented in a recent Lambeth Palace Library exhibition.  

Astonishingly the reason why Newton was turned down for ordination was because he was thought to have ‘too much enthusiasm’.  

This was a coded phrase meaning that he was felt to be too close to the Methodists whose evangelical preaching and hymn singing was disapproved of by the established church hierarchy. 

But with the help of an admiring patron, the Earl of Dartmouth, Newton was ordained as a Church of England priest and appointed to a Dartmouth living at Olney church in Buckinghamshire. 

As a Parish Priest Newton was a huge success.  He trebled the size of his congregation to over 600 worshippers.  As a result, the church had to build a gallery to accommodate them. 

But his biggest break through was that Newton started writing articles, books and hymns. These bought him fame and a move to the strategically important church of St. Mary Woolnoth in the heart of the City of London. 

During his 28 years of service there, Newton continued to be a best-selling author, a campaigner for social reforms and a renowned preacher.  Influential people flocked to hear his sermons including an unknown young MP called William Wilberforce. 

Wilberforce first approached Newton to ask him to resolve what the young MP called “my anguish of soul”.  He said he wanted to give up being a Member of Parliament in order to become a Minister of Religion.   

Newton persuaded Wilberforce that it would be better for him to serve God by staying in Parliament. After taking that wise advice, Wilberforce developed a close friendship and mentoring relationship with Newton. 

During the next 15 years there were periods when Wilberforce became depressed and wanted to give up his abolitionist campaign. It was Newton who persuaded him to keep going.   

More importantly Newton became Wilberforce’s most vital witness about the horrors of the slave trade in front of a Select Committee in the House of Commons and in front of William Pitt and his Cabinet. 

Newton’s authentic eye witness accounts of the suffering of the Africans on board slave ships were devastating.   

His evidence and his best-selling pamphlet Thoughts on the African Slave Trade were game changers. Gradually the tide of public and parliamentary opinion turned against the slave trade.  Eventually in 1807 when 82 year old Newton was still the Rector of St. Mary Woolnoth,  William Wilberforce’s Abolition of Slavery Bill was voted into law by the House of Commons by 283 votes to 16. 

It was an historic victory for humanity.  And a political triumph for William Wilberforce.  But that victory and that triumph would never have been achieved without John Newton’s mentoring, supporting and his giving of vital evidence to Wilberforce’s campaign. 

In his last years John Newton was venerated as an iconic church leader, bestselling author, and abolitionist reformer. 

Surprisingly, he was not well known in his lifetime for Amazing Grace which only became famous when American churches took it up and made it an anthem of the Civil Rights Movement.  So Newton was regarded as a great man long before he was recognised as a great hymn writer. 

Fame was of little interest to John Newton.  He remained endearingly humble.  When he was on his deathbed the 18th century equivalent of a tabloid reporter burst into his bedroom and asked:

“Any last words Mr Newton?” 

He replied:

“Sir I know only two things. That I am a great sinner and that Christ is a great Saviour!” 

What an exit line!  What a life! 

Article
Culture
Music
Wildness
6 min read

Rock ‘n’ roll’s long dance with religion

How popular music conjures sacred space.

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

Rapper Stormzy raises a hand to heaven as he sings with a gospel choir on the Glastonbury stage.
Blinded by Your Grace, Stormzy, Glastonbury 2019.
BBC.

In Faith, Hope and Carnage, his book of conversations with Seán O’Hagan, Nick Cave said: “Music plays into the yearning many of us instinctively have—you know, the God-shaped hole. It is the art form that can most effectively fill that hole, because it makes us feel less alone, existentially. It makes us feel spiritually connected. Some music can even lead us to a place where a fundamental spiritual shift of consciousness can happen. At best, it can conjure a sacred space.”  

That’s because, as Elvis Presley stated during his ‘68 Comeback Special, "Rock and roll is basically just gospel music, or gospel music mixed with rhythm and blues". Following in the wake of key precursors such as Sister Rosetta Tharpe, Rock ‘n’ roll merged Blues (with its spiritual strand) and Country music (tapping its white gospel) while Soul music adapted much of its sound and content from Black gospel. For both, their gestures and movements, and sometimes the songs too, were adopted wholesale from Pentecostalism. Some, such as Jerry Lee Lewis and Sam Cooke, felt guilt at secularising Gospel while others, like Johnny Cash, arrived at a hard-earned integration of faith and music.  

All experienced opposition from a Church angry at its songs and influence being appropriated for secular ends. This opposition fed a narrative that, on both sides, equated rock and pop with hedonism and rebellion. The born-again Cliff Richard was often perceived (both positively and negatively) as the only alternative. Within this context the biblical language and imagery of Bob Dylan and Van Morrison was largely overlooked, although Dylan, in particular, spoke eloquently about the influence of scripture within the tradition of American music on which he drew. 

However, this changed in two ways. First, the Church began to appropriate rock and pop to speak about Christian faith. David Wells has explained that: “The American branch of the Jesus movement effectively started in the Haight-Ashbury district of San Francisco, but there was also a parallel development in the UK that slowly evolved from beat groups performing in church coffee-bars. By 1971, leading British Christian rock band Out Of Darkness were appearing at notorious countercultural gathering Phun City, while Glastonbury introduced a “Jesus tent” that offered Christian revellers mass and holy communion twice a day.” 

This development led eventually to the emergence of a new genre, Contemporary Christian Music (CCM) and a consequent oscillating movement between CCM and the mainstream. Mainstream artists such as Philip Bailey, David Grant, Al Green, Larry Norman and Candi Staton developed CCM careers while artists originally within CCM such as Delirious? Martyn Joseph, Julie Miller, Leslie (Sam) Phillips, Sixpence None The Richer, Switchfoot, and Steve Taylor achieved varying levels of mainstream exposure and success. 

Second, the Hippie movement expanded the spirituality already inherent in rock music through the visionary aspect of drug culture and a wider engagement with religion which included significant connections with Eastern religions but also, in part through the Jesus Movement, with Christianity. This was the period of songs such as 'Presence of the Lord' by Blind Faith, 'My Sweet Lord' by George Harrison, 'Fire and Rain' by James Taylor, 'Sweet Cherry Wine' and 'Crystal Blue Persuasion' by Tommy James and the Shondells, 'Let it Be' by The Beatles, 'That's the Way God Planned It' by Billy Preston, 'Hymn' by Barclay James Harvest, 'Jesus is A Soul Man' by Laurence Reynolds, 'Are You Ready?' by Pacific Gas & Electric, 'Spirit in the Sky' by Norman Greenbaum, 'Put Your Hand in the Hand' by Ocean, 'Jesus Is Just Alright' by the Doobie Brothers, ‘God Gave Rock and Roll to You’ by Argent, and both ‘My Life Is Right’ and ‘Try Again’ by Big Star.  

This was also the period of musicals such as Jesus Christ Superstar, Godspell and, from the Jesus Movement, Lonesome Stone and Yesterday, Today, Forever. Among the most interesting, but then relatively obscure, examples of albums connecting faith and music were Electric Prunes’ Mass in F Minor (written by David Axelrod), C.O.B.’s Moyshe McStiff and the Tartan Lancers of the Sacred Heart and Bill Fay’s Time of the Last Persecution. Gram Parsons drew heavily on the Gospel music tradition in Country Music, also taking The Byrds in the same direction, while many of the songs of Judee Sill dealt specifically with Christian spirituality.  

It was that spirit that was transposed into the feel and flow of rock and soul and it is this that gives rock and soul its affective nature.

With the majority of Soul stars having begun singing in church, many of the most effective integrations of faith and music were also found there, with Marvin Gaye’s What’s Going On and the Gospel-folk of the Staple Singers, such as Be What You Are, being among the best and most socially committed examples. Gospel featured directly with Preston, Edwin Hawkins Singers, Aretha Franklin’s gospel albums, and Green's albums from the Belle Album onwards.  

The biblical language and imagery of stars like Cave, Leonard Cohen, Dylan, Morrison and Bruce Springsteen began to be understood and appreciated. This was helped to varying degrees by explicitly ‘Christian’ periods in the work of Dylan, Van the Man and, more latterly, Cave. Dylan’s conversion came about through the Vineyard Church movement which also impacted musicians such as T Bone Burnett, Bryan MacLean, David Mansfield, Maria McKee, and Stephen Soles. 

Musicians such as After The Fire, The Alarm, The Alpha Band, Burnett, The Call, Peter Case, Bruce Cockburn, Deacon Blue, Extreme, Galactic Cowboys, Inner City, Innocence Mission, Kings X, Lone Justice, McKee, Buddy & Julie Miller, Moby, Over The Rhine, Phillips, Ricky Ross, 16 Horsepower, Mavis Staples, U2, Violent Femmes, Gillian Welch, Jim White, and Victoria Williams rather than singing about the light (of Christ) as CCM artists tended to do, instead sang about the world which they saw through the light (of Christ).  

As rock and pop fragmented into a myriad of genres, this latter approach to the expression of faith (which was first articulated by Burnett) continues in the music of Belle and Sebastian, Eric Bibb, Blessid Union of Souls, Creed, Fay, Brandon Flowers, Good Charlotte, Ben Harper, Held By Trees, The Killers, Michael Kiwanuka, Ed Kowalczyk, Lifehouse, Live, Low, Neal Morse, Mumford and Sons, Joy Oladokun, Revolutionary Army of the Infant Jesus, Robert Randolph and the Family Band, SAULT, Scott Stapp, Sufjan Stevens, Stormzy, The Welcome Wagon, and Woven Hand. 

With his latest album Wild God, Cave is using rock music to conjure sacred space. ‘Joy’ begins, “I woke up this morning with the blues all around my head” but its key moment of transition comes when he falls to his knees calling out “have mercy on me please” and “a voice came low and hollow” saying “we’ve all had too much sorrow, now is the time for joy”. In ‘Wild God’, the antidote to “feeling lonely” and “feeling blue” is to “Bring your spirit down” so that He moves “through your body like a prehistoric bird”. 

In his examination of the roots of rock and roll, James Cosby notes that the entire purpose of Pentecostalism was to play music that most let its adherents feel the Holy Spirit in their bodies. It was that spirit that was transposed into the feel and flow of rock and soul and it is this that gives rock and soul its affective nature. This is where “the heart, joy and sheer exhilaration of rock 'n' roll comes from” and it may also be “one of the best examples of America’s ability to draw from both the sacred and the secular”. 

 

Many of the artists mentioned above feature on the author's Closer to the Light playlist on Spotify.

 

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